What is characteristic about Shange's dramatic discourse is its discursive diversity. The discursive diversity of her writing might be considered in the context of the multi-layered otherness that black women have experienced in the relation not only with black/white men, but with white women. In boogie woogie landscapes and spell #7 shows Shange an suggestive example of black feminist writing. She sticks to the poetic discourse as an axe of the overall web of her play. This poetic form is a lucid reflection of her challenging effort to be an conscious outsider from the convention of "phallocentric" representation of the European theatre. Her emphasis on music and dance is not only rooted in the black American aesthetics, but also consistent with the inclinations of feminist eclectic writing. She refuses to adopt the standard syntactic structure and grammar, which is also a kind of evidence that she disrupts the general consensus of language usage on purpose. Shange avoids the dramatic convention of realistic drama. She does not stick to the scheme of consistent plot and character development. She presents a series of episodic scenes with every intention to reflect the actual experience of the black women in American society. She tries to place the authorship among the black women audience. She realizes that the genuine authority of black feminist writing lies in the ritual response among the audience. She decreases the distance between playwright and actress, actress and character, to build without distortion or protection the stories told on stage from the experience of those who make theatre. The open-ended structure of her plays encourages the black women audience to build and formulate alternatives to the oppressive system of race/gender hierarchy.