By E. Patrick Johnson
Johnson seems at a number of websites of played blackness, together with Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic exercises through Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings through Amiri Baraka and Eldridge Cleaver, the vernacular of black homosexual tradition, an oral historical past of his grandmother’s adventure as a family employee within the South, gospel song as played via a white Australian choir, and pedagogy in a functionality stories lecture room. via exploring the divergent goals and results of those performances—ranging from resisting racism, sexism, and homophobia to apart from sexual dissidents from the black community—Johnson deftly analyzes the a number of significations of blackness and their myriad political implications. His reflexive account considers his personal complicity, as ethnographer and instructor, in authenticating narratives of blackness.
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Appropriating Blackness: Performance and the Politics of Authenticity by E. Patrick Johnson