{"title":"Dancing for laughs: signifyin(g) bodies and the Black American sitcom","authors":"Cara Hagan","doi":"10.1080/09502386.2023.2261961","DOIUrl":null,"url":null,"abstract":"ABSTRACTThis work examines the presence and impact of dance in Black sitcoms from kinetic, historical, and cultural perspectives. In a sitcom, the role of dance is one where actors can communicate with their bodies what they cannot verbalize. Signifying, or the use of mockery, repeated motifs, riddles, and other such devices as an embodied practice means that actors dancing in sitcoms are asserting their agency as performers and their legitimacy as human beings in a world that does not share this sentiment. The practice of signifyin(g) harkens back to minstrelsy, a realm of the performing arts from which sitcoms are a direct descendant. By looking at sitcoms from each of the designated sitcom eras as expressed by media scholar Robin R. Means Coleman, this article connects dance and comedy forms dating back to the mid-1800s and contemporary constructions of these forms in the bodies of actors like Will Smith, Alfonso Ribeiro, and Janet Hubert of The Fresh Prince of Bel-Air. As the fields of dance, screendance, and media studies ignore the importance of the moving body in Black sitcoms, the fields miss out on through lines between minstrelsy and present-day performing arts where dance is not a stand-alone genre. Dance has never been a stand-alone practice in the context of the Black body. In sum, Black dance in sitcoms offers viewers a welcome break from the trauma stories often depicted on screen, while still honouring the complexities of Black experiences and most notably, compelling us to settle into our own groove from the comfort of our living rooms.KEYWORDS: Televisionminstrelsydanceracismsexismactors Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 John B. Quick’s Minstrels, 1920.2 Minstrel ad in Darkest America.3 Original New Orleans Minstrels, 1876.4 John B. Quick’s Minstrels, 1920.5 Amos ‘n’ Andy would change formats from a nightly program to a weekly program, then to a disc jockey program.6 Jenny Craig Weight Loss, 1995.7 Dexatrim Diet Pills, 1990.8 Slimfast, 1999.9 Special K, 1990.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"49 1","pages":"0"},"PeriodicalIF":1.6000,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cultural Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/09502386.2023.2261961","RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACTThis work examines the presence and impact of dance in Black sitcoms from kinetic, historical, and cultural perspectives. In a sitcom, the role of dance is one where actors can communicate with their bodies what they cannot verbalize. Signifying, or the use of mockery, repeated motifs, riddles, and other such devices as an embodied practice means that actors dancing in sitcoms are asserting their agency as performers and their legitimacy as human beings in a world that does not share this sentiment. The practice of signifyin(g) harkens back to minstrelsy, a realm of the performing arts from which sitcoms are a direct descendant. By looking at sitcoms from each of the designated sitcom eras as expressed by media scholar Robin R. Means Coleman, this article connects dance and comedy forms dating back to the mid-1800s and contemporary constructions of these forms in the bodies of actors like Will Smith, Alfonso Ribeiro, and Janet Hubert of The Fresh Prince of Bel-Air. As the fields of dance, screendance, and media studies ignore the importance of the moving body in Black sitcoms, the fields miss out on through lines between minstrelsy and present-day performing arts where dance is not a stand-alone genre. Dance has never been a stand-alone practice in the context of the Black body. In sum, Black dance in sitcoms offers viewers a welcome break from the trauma stories often depicted on screen, while still honouring the complexities of Black experiences and most notably, compelling us to settle into our own groove from the comfort of our living rooms.KEYWORDS: Televisionminstrelsydanceracismsexismactors Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 John B. Quick’s Minstrels, 1920.2 Minstrel ad in Darkest America.3 Original New Orleans Minstrels, 1876.4 John B. Quick’s Minstrels, 1920.5 Amos ‘n’ Andy would change formats from a nightly program to a weekly program, then to a disc jockey program.6 Jenny Craig Weight Loss, 1995.7 Dexatrim Diet Pills, 1990.8 Slimfast, 1999.9 Special K, 1990.
摘要本文从动态的、历史的和文化的角度考察了舞蹈在黑人情景喜剧中的存在和影响。在情景喜剧中,舞蹈的角色是演员可以用他们的身体来表达他们无法用语言表达的东西。象征,或者嘲弄,重复的主题,谜语,以及其他类似的手段作为一种具体的实践,意味着在情景喜剧中跳舞的演员在一个不分享这种情感的世界中主张他们作为表演者的能动性和他们作为人类的合法性。意义(g)的实践可以追溯到吟游诗人,这是一种表演艺术领域,情景喜剧是其直接后裔。根据媒体学者罗宾·r·米恩·科尔曼(Robin R. Means Coleman)的观点,本文将舞蹈和喜剧形式追溯到19世纪中期,并将这些形式在威尔·史密斯(Will Smith)、阿方索·里贝罗(Alfonso Ribeiro)和《新鲜的贝艾尔王子》(the Fresh Prince of Bel-Air)等演员身上的当代构造联系起来。由于舞蹈、电影和媒体研究领域忽视了黑人情景喜剧中运动身体的重要性,这些领域错过了吟游诗人和现代表演艺术之间的联系,舞蹈不是一个独立的流派。舞蹈从来都不是黑人身体背景下的独立实践。总而言之,情景喜剧中的黑人舞蹈为观众提供了一个受欢迎的休息时间,从屏幕上经常描绘的创伤故事中解脱出来,同时仍然尊重黑人经历的复杂性,最值得注意的是,它迫使我们离开舒适的客厅,进入自己的状态。关键词:电视部长性别歧视性别因素披露声明作者未报告潜在的利益冲突。注释1《约翰·b·奎克的吟游诗人》,1920年《最黑暗的美国》中的吟游诗人广告最初的新奥尔良吟游诗人,1876年《约翰·b·奎克的吟游诗人》,1920年《阿莫斯和安迪》将节目形式从夜间节目改为每周节目,然后改为唱片骑师节目珍妮克雷格减肥,1995.7 Dexatrim减肥药,1990.8 Slimfast, 1999.9 Special K, 1990。
期刊介绍:
Cultural Studies is an international journal which explores the relation between cultural practices, everyday life, material, economic, political, geographical and historical contexts. It fosters more open analytic, critical and political conversations by encouraging people to push the dialogue into fresh, uncharted territory. It also aims to intervene in the processes by which the existing techniques, institutions and structures of power are reproduced, resisted and transformed. Cultural Studies understands the term "culture" inclusively rather than exclusively, and publishes essays which encourage significant intellectual and political experimentation, intervention and dialogue.