In the beginning- according to Yoruba mythology- the creator of the world (Olodumare), sent 17 gods to establish the earth. 16 of those gods were male and one was female: Her name was Osun. Without consulting her, the 16 male Orisa came into earth and made decisions about the ways the world would unfold. They picked out the textures and the colours of this … Continue reading Women can’t be heroes, they must be mothers
Spike Lee’s decision to dress the women in camouflage emphasizes his agenda to militarize the bloodless strike. There is the scene where the women take over the military base without any guns. And, when told that 75 women took over the military base, Commissioner Blades first asks “Women did that?” The intense surprise on his face reiterates Lee’s agenda to emphasize just how little is expected of … Continue reading Militarizing Non-violence: Use of costuming in Chi-Raq
The lens- as a panoptic gaze- is literally above the humans in Spike Lee’s Do The Right Thing, but its powers are also unlike that of the humans in the movie. For instance, the ability of the gaze to seamlessly, and silently move in and out of rooms- without having to knock on doors, or open doors, or creak on floorboards- has a deep metaphorical significance for the way the panoptic view does not operate through the physical body of a single individual , but through a complex structure that transcends what one individual is humanly capable of doing. Continue reading “Right or Righteous: Looking at conscience as a panoptic apparatus”
In Black Skin, White Masks, Frantz Fanon addresses the appearance of blackness in black men and what it means to validate your black, male appearance.
One of the ways to look at how equivalence has been forced in rap music is through this idea of censorship. What this forces most of them to do is to come up with phrases or other words that equate the word that has to be removed for its “vulgarity”/ “violence.” In this process, equivalence begins to resonate Continue reading “Jigga what? Jigga who?: Points of (In)equivalence between Black history and rap music”