Tiina Rosenberg is Professor Emerita in Theatre Studies at the Department of Culture and Aesthetics, Stockholm University. Previously, she held professorships in gender studies at Stockholm and Lund Universities and served as the vice-chancellor of the University of the Arts Helsinki (Finland). Rosenberg has extensively explored performing arts, feminism, and queer theory in her writings.Fawzia Afzal-Khan is Professor of English and former Director of Women and Gender Studies (now Gender, Sexuality, and Women's Studies) at Montclair State University (US). Specializing in Feminist Theory, Cultural, Performance, and Postcolonial Studies, she designed and instructs MSU's inaugural course on Muslim women's writings, alongside an Honors course in Muslim Pop Culture. Sandra D’Urso obtained her PhD from the University of Melbourne Faculty of Arts and is an independent scholar in Melbourne (Australia). Their primary interests include feminist performance art, Australian theater, and contemporary performance art within states of exception.

• INTRODUCTIONCHAPTER 1: The Postcolonial Turn In Feminist Theatre and Performance. Case Study: PakistanCHAPTER 2: Black Performance in Brazil. Black Skin, White Masks as Intersectional and Decolonial Feminist Performance PracticeCHAPTER 3: French Afrofeminist Performance: A Rising Wave Since the 2010s CHAPTER 4: Feminist Performance Art in the AmericasCHAPTER 5: The ‘Arab Spring’ as a Milestone in Feminist PerformanceCHAPTER 6:The Queer Turn: Gender as PerformanceCHAPTER 7: Larval Ecologies: Femi-Queer-Crip Performance Practice at the Edge of the Sixth ExtinctionCHAPTER 8: Transfeminist Performance: A Liberatory PraxisCHAPTER 9: Decolonizing the Posthuman in Feminist Performance: From Cyborgs to Inhuman and Non-Human FiguresCHAPTER 10: Do Feminist Milestones Burn? Pussy Riot’s Punk Prayer in Times of WarTIMELINEGLOSSARY