The piece we read by Spivak was difficult to read both logistically and emotionally. I am not incredibly sure that I understood the complexity of the issue at hand, but from what I did grasp, I saw a large parallel to McMillian’s “Performing Objects.” For example, let us look at the following quote by Spivak: “This […]
In “Can the Subaltern Speak?” Spivak makes the claim that the Subaltern, a term that is hard to define but in some sense can be thought of the as “the least powerful group of the most colonized people”, (shout out to Sarah for that summary video that helped a lot) have no “voice” or way […]
Can the Subaltern Speak? by Gayatri Spivak is a piece that focuses on how the experiences and the feelings produced from these lived experiences of marginalized groups are skewed by second hand reports from white academics and media. Spivak’s piece immediately made me think of a Ted Talk by Chimamanda Ngozi Adichie called “The Danger […]
Gayatri Chakravorty Spivak’s piece, “Can the Subaltern Speak”, can easily be applied to news coverage of modern tragedies. For example, these ideas are relevant to the reporting of the massacre at Mother Emanuel church in Charleston on June 17, 2015. As Spivak says, the colonizer creates a narrative with knowledge collected from words rather than experiences. […]
In Gayatri Chakravorty Spivak’s article, “Can the Subaltern Speak?”, the questioned is raised of whether or not the subaltern can speak and be able to have their own voice that has not been distorted through the lens of primarily white academics, or through the lens of someone who has not experienced what they are going […]
Can The Subaltern Speak? is a significant piece of work authored by Gayatri Spivak, and became an extremely important essay within postcolonial theory. The piece is quite dense– the beginning sections seem to be conversations with philosophers like Deleuze and Foucault. In the concluding section, however, Spivak truly digs into the meat of her argument. From […]
As Beyoncé opens the flood gates, steps out of her baptism, and emerges onto the streets, she leaves a less-than-perfect New Orleans and enters a new, constructed portrayal of a topic New Orleans in what is most obviously a Hollywood set. It is garnished with set props and extras to give the illusion of reality. […]
In the film Paris Is Burning, director Jennie Livingston immerses herself in black and latino queer culture in New York City in the mid-to-late ‘80s in order to document the developing drag scene of this time. The piece includes portraits of elegance, energy, and community, characteristics that define this style of performance. Paris Is Burning […]
In Nicki Minaj’s music video for the song “Only” ft. Drake, Lil Wayne, Chris Brown, the images, as well as the lyrics, objectify Nicki in a sexual way throughout the entire piece. The raps from Drake and Lil Wayne both include lyrics about how they would fk Nicki and that she needs a man. This […]
As I initially read McMillian’s piece, Performing Objects, I found myself questioning the relationship between theory and practice. Were black performance artists reading black feminist theory? Or were black feminist theorists writing about black performance artists? DId these two every really come into conversation with one another, or were they existing in separate spheres? One artist […]
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