表演尼日利亚：白人女喜剧演员的模糊身份和数字可视性

IF 0.8 2区社会学 Q2 AREA STUDIES

African Studies Review Pub Date : 2024-05-13 DOI:10.1017/asr.2024.47

R. Amaefula

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引用次数: 0

摘要

萨宾娜-尤哈斯（@Overszabi）和朱莉安娜-贝洛娃（@juliewanderz 或 Oyibo Marlian）分别是匈牙利和俄罗斯女性，她们对尼日利亚的流行文化非常着迷。尽管她们成功地利用黑人文化在尼日利亚媒体界获得了财富和名声，但她们的作品几乎没有被研究过。对她们所选 TikTok 短剧的细读和细致分析表明，她们的形象具有多重性，既不完全是欧洲人，也不完全是尼日利亚人--等同于身份中介的他者性。然而，非洲与欧洲之间长期存在的权力不对称使他们的表演成为黑人的商品化，这也是表演 "欧洲性 "的尼日利亚人没有取得相应成功的原因。

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Performing Nigerianness: Equivocal Identities and Digital Legibility of White Women Comedians

Sabina Yuhas (@Overszabi) and Juliana Belova (@juliewanderz or Oyibo Marlian) are Hungarian and Russian women, respectively, who are fascinated by Nigerian popular culture. Despite their successes in exploiting Black culture to attain wealth and fame in the Nigerian mediasphere, their works have hardly been studied. Close readings and nuanced analyses of their selected TikTok skits show a multiplicity of images that are neither fully European nor Nigerian—equivocal identities—mediating Otherness. However, the longstanding power asymmetries between Africa and Europe characterize their enactments as commodification of Blackness, accounting for why Nigerians who perform “Europeanness” do not attain corresponding success.

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来源期刊

African Studies Review AREA STUDIES-

CiteScore

1.60

自引率

43.80%

发文量

159

期刊介绍： African Studies Review (ASR) is the flagship scholarly journal of the African Studies Association (USA). The ASR publishes the highest quality African studies scholarship in all academic disciplines. The ASR’s rigorous interdisciplinary peer review seeks to contribute to the development of scholarly conversations of interest to the diverse audience of the Association’s membership and to the growth of African studies in North America, on the African continent, and in a global comparative context.