Articles 1 - 3 of 3
Full-Text Articles in Africana Studies
“In The Beginning Was Body Language” Clowning And Krump As Spiritual Healing And Resistance, Sarah S. Ohmer
Publications and Research
In the neighborhood of HollyWatts in Los Angeles, dance allows a shift from existing as bodies presented as sites of threat and extinction to sources of spiritual empowerment. Clowning and Krump dancers—their subjectivity and their dancing bodies—negotiate survival from trauma and socioeconomic marginalization. I argue that the dancers’ performances act as embodied narratives of “re-membering in the flesh.” The performance acts as a spiritual retrieval and re-integration of traumatic memories and afflictions into memory through the body. Choreography and quotes from dancers support the claim that Krump and Clowning is “re-membering in the flesh” that enacts self-worth, self-defined ...
Trapped In The Mouse House: How Disney Has Portrayed Racism And Sexism In Its Princess Films, Jessica L. Laemle
This paper analyzes the history of one of the most popular entertainment companies in the world, Disney. Through the discussion of multiple princess films, from the beginning of Disney to the more current films, I analyze the ongoing racism and sexism that is presented in these timeless Disney films. I will discuss the implications that this racism and sexism has on the children who view these films and what responsibility Disney has as a worldwide company in terms of what it displays to its audience.
Wakanda: A Visual Study In Structural And Surface Textile Design Via The Black Panther Movie, Eulanda A. Sanders
International Textile and Apparel Association (ITAA) Annual Conference Proceedings
The phenomenon of The Black Panther, the movie, the first 2018 release of the Marvel Comics cinematic franchise, has grossed $631 million as of March 25th, 2018 (Rubin, 2018). The movie, branded as a cultural phenomenon, creating a sense of pride among Black people globally, is also a visual feast for textile artists and designers. Throughout the move, the characters are swathed in a variety of textiles created via various structural and surface textile design techniques. The costume design team, led by Ruth E. Carter, not only created a visual menagerie of apparel that harkened back to textile techniques ...