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Using an analysis of Ming Smith's photograph Flamingo Fandago (West Berlin) (painted) (1988), this chapter introduces the analytics of shadows and noise by using sensation as a methodology based on situatedness. The chapter explains the politics of thinking between categories of representation and the implications for engaging with experiential knowledge without this work coalescing into the production of autobiography. The chapter dwells on the importance for criticism of grappling with different embodied forms of knowledge, in addition to offering an analysis of racialization as a polytemporal structure of location. It introduces an outline of the author's own situatedness and provides an overview of the book.
Using an analysis of Ming Smith's photograph Flamingo Fandago (West Berlin) (painted) (1988), this chapter introduces the analytics of shadows and noise by using sensation as a methodology based on situatedness. The chapter explains the politics of thinking between categories of representation and the implications for engaging with experiential knowledge without this work coalescing into the production of autobiography. The chapter dwells on the importance for criticism of grappling with different embodied forms of knowledge, in addition to offering an analysis of racialization as a polytemporal structure of location. It introduces an outline of the author's own situatedness and provides an overview of the book.
This chapter focuses on figures of Black women and girls as they circulate through Us, Jordan Peele's 2019 film. The uncanniness that Peele invokes by mobilizing the horror of the doppelgänger enables a closer examination of Black women's fraught and multiple relations to desire, home, and agency. However, the fungibility and illegibility (which Musser here calls noise) that emanate from the Black girl in Peele's mirror offer possibilities for sensing alternate frameworks and ways of being. Theorizing the Black girl anchors the present book in autobiographical reflexivity to make an argument for a critical deployment of the uncanny in order to sense what lies beneath representation and to highlight what attachments—personal and critical—emerge through this sensual expansiveness.
The second chapter grapples with the tensions between authenticity, spectacle, and exoticism in its examination of Shango (1945), a dance choreographed for Broadway and performed in repertoire by Katherine Dunham and her dancers. Dunham's ethnographically informed invocation of Vodou makes felt the tensions between exoticization and the possibility of decolonization while also preserving something of the unrepresentability—the noise—of Vodou itself. Shango's movement through and distance from African diasporic spirituality complicates questions of agency, representation, and legibility. Dunham's anthropological gaze provides a particular vantage point from which to think the desires and tensions of diasporic belonging. The main tension that undergirds the chapter is the friction between insider and outsider knowledge and how that guides interpretation.
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