ABSTRACT
This conclusion presents some closing thoughts of the key concepts discussed in the preceding chapters of this book. The book highlights how interactions between, and identification with, the USA and countries and cultures in Africa and the Caribbean have shaped black British drama since the 1970s. It surveys and analyses the large number of plays, and suggests that migration has been, and remains, a key organising principle of black British dramas. The book reflects the prevalence of urban stories of crime and/or racism on British stages that has been noted by playwrights, scholars and cultural critics. It highlights how new African British dramas draw attention to the creolising processes but often extend their consideration to the evolution of black Britishness. The book demonstrates the significant way in which identification with African American politics, art and popular culture has influenced black British identity and dramatic representations.
