Afropunk’s digital imagined community on Instagram or the politics of disidentification and of sensing the Brown commons | Intellect Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Journal of Global Diaspora & Media
  4. Volume 3, Issue 1
  5. Article
Textures of Diaspora and (Post-)Digitality: A Cultural Studies Approach
  • ISSN: 2632-5853
  • E-ISSN: 2632-5861

Abstract

This article revolves around the old question of whether politics and punk can or should be seen in terms of aesthetic by analysing Afropunk’s transnational digital imagined community, more specifically, its Instagram page. Afropunk is a fluid term that embraces everyone in a wide spectrum of Blackness feeling addressed by the defining phrase ‘the other Black experience’ and therefore considering themselves non-normative in any axis of discrimination in respect to ‘Black’ and ‘White’ (hetero)normativity. Instagram as a popular social-media platform is characterized by a focus on highly aestheticized images. Drawing on an understanding of media as practice, my article discusses Afropunk’s political use of aesthetics on Instagram in light of José Esteban Muñoz’s theories. Adopting a cultural studies’ approach that offers a conceptual meta-reflection on Afropunk’s Instagram use based on exemplary entries of 2020 and 2021, it argues that, for this distinctive community within the afro-diaspora, aesthetic works as a mode of articulating the politics of ‘disidentification’ (Muñoz 1999) and of sensing the ‘Brown commons’ (Muñoz 2009) that open up alternative ways of both facing the majoritarian society and enacting community beyond identitarian paradigms.

© 2022 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/gdm_00025_1
2022-06-01
2024-04-26
Loading full text...

Full text loading...

References

  1. Afroféminas ( 2022;), ‘ Twitter account description. ’, Twitter, 28 February, https://twitter.com/Afrofeminas. Accessed 28 February 2022.
     [Google Scholar]
  2. Afropunk ( 2020a;), ‘ beautiful @sadistitt . ’, Instagram, 18 May, https://www.instagram.com/p/CAvGirRJZMt/. Accessed 8 April 2021.
     [Google Scholar]
  3. Afropunk ( 2020b;), ‘ can we marry these looks? : @darealclickclak. ’, Instagram, 3 January, https://www.instagram.com/p/B63c8Kgpnyh/. Accessed 8 April 2021.
     [Google Scholar]
  4. Afropunk ( 2020c;), ‘ @darrinanderson_ @tru_freedom + @giwlo. ’, Instagram, 17 January, https://www.instagram.com/p/B7ZtI4KJFvh/. Accessed 8 April 2021.
     [Google Scholar]
  5. Afropunk ( 2020d;), ‘ “Hunter” (2019) by @shikeith . ’, Instagram, 29 April, https://www.instagram.com/p/B_ksx8OpZMz/. Accessed 8 April 2021.
     [Google Scholar]
  6. Afropunk ( 2020e;), ‘ “I want people to hear my music and make a stank face cause it’s just so good. Give the people a feeling they will always remember” @bostonchery is setting the Juneteenth vibes off for our Happy Hour Live Mix! A Brooklyn native influenced by Hip-Hop, R&B, Zouk, and synth-infused 90’s music, Boston Chery is a purveyor of infectious, dance grooves, good vibes, and freedom. ’, Instagram, 18 June, https://www.instagram.com/p/CBlxHlTJugc/. Accessed 8 April 2021.
     [Google Scholar]
  7. Afropunk ( 2020f;), ‘ IN HONOR OF #TransDayOfRemembrance @WILLIEtheGENIUS SPREADS LIGHT WITH HIS #LISTOFDEMANDS! “We are here to shine light, to illuminate, and to let the world know that Black lives matter. Black Trans lives are beautiful and we are worthy.” – @qween_jean Read up and listen to the song on afropunk.com right now! Clothing design/styling:@corrinehuhnke Set/art direction: @kelseyhannahwalsh Photo: @frankiealduino. ’, Instagram, 20 November, https://www.instagram.com/p/CH0oY0vJt4O/. Accessed 8 April 2021.
     [Google Scholar]
  8. Afropunk ( 2020g;), ‘ Intimacy. Vulnerable. Reframing Toxic Masculinity. Repost: @thecounternarrative @swbxwsle. ’, Instagram, 18 January, https://www.instagram.com/p/B7eG381JtHm/. Accessed 8 April 2021.
     [Google Scholar]
  9. Afropunk ( 2020h;), ‘ Loveeeeee @muofhe.r.m / @ememyear. ’, Instagram, 18 August, https://www.instagram.com/p/CEC5tnxpems/. Accessed 8 April 2021.
     [Google Scholar]
  10. Afropunk ( 2020i;), ‘ Mais uma noite cheia de energia agora sob o comando do @baianasystem!. ’, Instagram, 24 February, https://www.instagram.com/p/B89JvmjpKHB/. Accessed 8 April 2021.
     [Google Scholar]
  11. Afropunk ( 2020j;), ‘ “Men in Water” RP from @cherrydeck Work by @denisseaps . ’, Instagram, 8 June, https://www.instagram.com/p/CBOV931pKA4/. Accessed 8 April 2021.
     [Google Scholar]
  12. Afropunk ( 2020k;), ‘ @princessmicah1 selfie check some beauty on this fine Friday. ’, Instagram, 1 October, https://www.instagram.com/p/CF2qARpJdH3/. Accessed 8 April 2021.
     [Google Scholar]
  13. Afropunk ( 2020l;), ‘ Que noite! Nossa estreia no Carnaval de Salvador foi mágica! Uma multidão desfilou com orgulho e excelência junto aos nossos artistas. Se prepare que hoje tem mais! Às 21h00, o Navio Pirata entra no circuito Barra-Ondina.com @baianasystem e convidados. O Carnaval Afropunk Bahia tem patrocínio da @bahiatursa e @devassa. ’, Instagram, 23 February, https://www.instagram.com/p/B86pz4qJRkj/. Accessed 8 April 2021.
     [Google Scholar]
  14. Afropunk ( 2020m;), ‘ Queer Revolution Repost @gloriamariagallery via @rossocaravaggio. ’, Instagram, 18 January, https://www.instagram.com/p/B7eIT6YpYbf/. Accessed 8 April 2021.
     [Google Scholar]
  15. Afropunk ( 2020n;), ‘ Still obsessed with this @renellaice photography for @officemagazinenyc @ianisiah!! Styling – @simonrasmussen Talent – Johan Galaxy; Mello; Jay; Justin; Malachai Spivey; David; Imani; Ira; Sargent Makeup – @makeupbyzeniajaeger Special Effects Makeup – @stellasensel_fx Hair – #ShingoShibata Associate Fashion Editor – @sebjective Tailor – Connie Byun Producer – @brietolina. ’, Instagram, 24 January, https://www.instagram.com/p/B7tqbTnp721/. Accessed 8 April 2021.
     [Google Scholar]
  16. Afropunk ( 2020o;), ‘ THESE THREE ARTISTS COLLABORATE ON BLACK MASCULINITY – MORE ONAFROPUNK.COM “It goes in contrast by what’s imposed by society showing affection and non-toxic-masculinity that has always been around us, getting us free from what blocked us for a long time.” Creds – @pewerneck @figartur @rafarodriguss. ’, Instagram, 30 July, https://www.instagram.com/p/CDR9jgfpsKU/. Accessed 8 April 2021.
     [Google Scholar]
  17. Afropunk ( 2020p;), ‘ We’re baaack. More than a decade ago our AFROPUNK community gathered on message boards to connect. In lieu of our fabulous physical festival we plan to keep the connection alive by honoring our past. Understanding that the best part about AFROPUNK festivals are the opportunities to interact with one another, and thanks to wifi, we’ve decided to go digital. Please join us for guided meditations, dance meditations, deep mantras and more! Thank you to @target for making this possible. RSVP now at planetafropunk.com (link in bio). #PlanetAFROPUNK #IDEAVILLE #Target #BlackBeyondMeasure. ’, Instagram, 22 October, https://www.instagram.com/p/CGpfez5JkHJ/. Accessed 8 April 2021.
     [Google Scholar]
  18. Afropunk ( 2021a;), ‘ A daily reminder…. Be nice, or be quiet. These are our house rules. #AFROPUNKWeGotUs. ’, Instagram, 29 March, https://www.instagram.com/p/CNAMfUqJG4S/. Accessed 8 April 2021.
     [Google Scholar]
  19. Afropunk ( 2021b;), ‘ Afropunk Black Spring is Coming! Everything You Need to Know About the First Call to Action of 2021. ’, 15 March, https://afropunk.com/2021/03/welcomtoblackspring/. Accessed 6 April 2021.
  20. Afropunk ( 2021c;), ‘ Beaming straight to you – live and direct – from Miami, Bahia, and the Dominican Republic, #BlackSpring is a one-day virtual carnival you DON’T WANT TO MISS! On April 23, a true celebration of diasporadic love and beauty, #AFROPUNKBlackSpring will take you on an audio adventure deep into the music, history, beauty, and strength of our community. Hosted by @SantanaCaress and powered by Planet @AfroPunk, be sure to sign up to our newsletter so you’ll be the first to learn who is performing on the bill. ’, Instagram, 6 April, https://www.instagram.com/p/CNTXauYp5ib/. Accessed 8 April 2021.
     [Google Scholar]
  21. Afropunk ( 2021d;), ‘ Hey it’s Monday, act like yo’ nana and pop pop raised you with some home training. These are our HOUSE RULES. Now take yo’ shoes off before you bring the outside in. ’, Instagram, 6 April, https://www.instagram.com/p/CNTWmXlJGJE/. Accessed 8 April 2021.
     [Google Scholar]
  22. Afropunk ( 2021e;), ‘ If you don’t know, now you know. . We are AFROPUNK. Dedicated to telling the stories and amplify the voices of the diaspora. If you’ve been rocking with us for a while raise your beautiful, melanated hands. Drop your flag! Where y’all at?!? We’re gearing up for an all new festival event. Stay tuned this month for #AFROPUNKBlackSpring. Music produced by @snatraraps6. ’, Instagram, 6 April, https://www.instagram.com/p/CNTTPzaJeyQ/. Accessed 8 April 2021.
     [Google Scholar]
  23. Afropunk ( 2021f;), ‘ If you love the skin you’re in, than the rest of the voices in the world fall silent. We see y’all @jayjaybol @powerfulcurves WORK! Hair by @cyndiaharvey Shot by @harleyweir. Posted by @jiggygya. ’, Instagram, 10 March, https://www.instagram.com/p/CMQSrwRpgre/. Accessed 8 April 2021.
     [Google Scholar]
  24. Afropunk ( 2021g;), ‘ 🚨🔊!!NEW FEST ALERT!!🔊🚨 The beauty of being born BLACK unites us as one Planet under a groove. Circle the date and stay tuned for more about #AFROPUNKBlackSpring via @afropunk. Scale of 1–100 how much are you missing “outside”? <swipe>#AFROPUNKWeGotUs #BlackVibeTribe. ’, Instagram, 16 March, https://www.instagram.com/p/CMdkz9epqXc/. Accessed 13 April 2021.
     [Google Scholar]
  25. Afropunk ( 2021h;), ‘ On April 23, a true celebration of diasporadic love and beauty, #AFROPUNKBlackSpring will take you on an audio adventure deep into the music, history, beauty, and strength of our community. ’, Instagram, 6 April, https://www.instagram.com/p/CNTXauYp5ib/. Accessed 8 April 2021.
     [Google Scholar]
  26. Afropunk ( 2021i;), ‘ Our experiences aren’t that different. A history of DR via @kiiluah. ’, Instagram, 21 March, https://www.instagram.com/p/CMSwmM9Lt-n/. Accessed 8 April 2021.
     [Google Scholar]
  27. Afropunk ( 2021j;), ‘ We miss you, do you miss us? (say it back). ’, Instagram, 6 April, https://www.instagram.com/p/CNTUJ1PhmIi/. Accessed 8 April 2021.
     [Google Scholar]
  28. Alinejad, Donya,, Candidatu, Laura,, Mevsimler, Melis,, Minchilli, Claudia,, Ponzanesi, Sandra, and Van der Vlist, Fernando N.. ( 2019;), ‘ Diaspora and mapping methodologies: Tracing transnational digital connections with “mattering maps”. ’, Global Networks: A Journal of Transnational Affairs, 19:1, pp. 21–43.
     [Google Scholar]
  29. Álvarez, D.-L.. ( 2014;), ‘ José Esteban Muñoz, in memory and futurity. ’, San Francisco Museum of Modern Art: Open Space, 20 January, http://openspace.sfmoma.org/2014/01/jose-esteban-munoz-in-memory-and-futurity/. Accessed 8 August 2020.
     [Google Scholar]
  30. Anderson, Benedict. ( 1983), Imagined Communities: Reflections on the Origin and Spread of Nationalism, London:: Verso;.
     [Google Scholar]
  31. Baulch, Emma, and Pramiyanti, Alila. ( 2018;), ‘ Hijabers on Instagram: Visualising the ideal Muslim woman. ’, in A. Atique, and E. Baulch. (eds), Digital Transactions in Asia: Economic, Informational, and Social Exchanges, New York:: Routledge;, n.pag.
     [Google Scholar]
  32. Benjamin, Walter. ( [1930] 1963), Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit: drei Studien zur Kunstsoziologie, Frankfurt am Main:: Suhrkamp Verlag;.
     [Google Scholar]
  33. Blair, Ian F.. ( 2015;), ‘ A weekend at Afropunk. ’, Pitchfork, 1 September, https://pitchfork.com/thepitch/890-a-weekend-at-afropunk/. Accessed 27 August 2020.
     [Google Scholar]
  34. Borst, Julia, and Gallo González, Danae. ( 2019;), ‘ Narrative constructions of online imagined Afro-diasporic communities in Spain and Portugal. ’, Open Cultural Studies, 3:1, pp. 286–307.
     [Google Scholar]
  35. Briana. ( 2018;), ‘ Afropunk 2018: Celebrating Blackness or selling out?. ’, Blackher, 4 September, https://blackher.us/afropunk-2018-celebrating-blackness-or-selling-out/. Accessed 10 April 2021.
     [Google Scholar]
  36. Clifford, James. ( 1994;), ‘ Diasporas. ’, Cultural Anthropology, 9:3, pp. 302–38.
     [Google Scholar]
  37. Couldry, Nick. ( 2004;), ‘ Theorising media as practice. ’, Social Semiotics, 14:2, pp. 115–32.
     [Google Scholar]
  38. Cvetkovich, Ann. ( 2014;), ‘ Turning in to the sense of Brown. ’, b2 Review, Special Issue: ‘José Esteban Muñoz (1967–2013): A Collage’, 10 March, http://www.boundary2.org/2014/03/turning-in-to-the-sense-of-brown/. Accessed 15 March 2021.
     [Google Scholar]
  39. David, Mario D.. ( 2019;), ‘ What does Blackgirlmagic look like? The aesthetics of Black women’s Afropunk citizenship. ’, in J. S. Jordan-Zachery, and D. Harris. (eds), Blackgirl Magic Beyond the Hashtag: Twenty First Century Acts of Self-Definition, Tucson, AZ:: University of Arizona Press;, pp. 147–69.
     [Google Scholar]
  40. Davidjants, Jaana, and Tiidenberg, Katrin. ( 2021;), ‘ Activist memory narration on social media: Armenian genocide on Instagram. ’, New Media and Society, article first, pp. 1–16, https://doi.org/10.1177/1461444821989634. Accessed 28 February 2022.
     [Google Scholar]
  41. Duncombe, Stephen, and Tremblay, Maxwell. ( 2011), White Riot: Punk Rock and the Politics of Race, London and New York:: Verso;.
     [Google Scholar]
  42. Edelman, Lee. ( 2004), No Future: Queer Theory and the Death Drive, Durham, NC:: Duke University Press;.
     [Google Scholar]
  43. Ehrlén, Veera, and Villi, Mikko. ( 2020;), ‘ “I shared the joy”: Sport-related social support and communality on Instagram. ’, Visual Studies, 35:2&3, pp. 1–13, https://doi.org/10.1080/1472586X.2020.1790304. Accessed 10 April 2020.
     [Google Scholar]
  44. Fields, Rob. ( 2016;), ‘ The evolution of Afropunk. ’, Forbes, 1 September, http://www.forbes.com/sites/robfields/2016/09/01/the-evolution-of-afropunk/2/‘42464fbd20d5/. Accessed 9 August 2020.
     [Google Scholar]
  45. Halberstam, Jack. ( 2013;), ‘ Go gaga: Anarchy, chaos, and the wild. ’, Social Text, 31:3, 116, pp. 123–31.
     [Google Scholar]
  46. Hall, Stuart. ( 1993;), ‘ What is “Black” in Black popular culture. ’, Social Justice, 20:1&2, pp. 104–14.
     [Google Scholar]
  47. Hosking, Taylor. ( 2018;), ‘ Former Afropunk employees reveal the messy underbelly of the organization. ’, Vice, 13 September, https://www.vice.com/en/article/zm5v44/inside-the-messy-saga-that-led-to-the-resignation-of-afropunks-editor-in-chief. Accessed 10 April 2021.
     [Google Scholar]
  48. Hussein, Wandera. ( 2018;), ‘ Afropunk attendees say they were kicked out of VIP over handwritten T-shirt. ’, Fader, 28 August, https://www.thefader.com/2018/08/28/afropunk-fest-three-attendees-kicked-out. Accessed 10 April 2021.
     [Google Scholar]
  49. Kameir, Rawiya. ( 2015;), ‘ The true story of how Afropunk turned a message board into a movement. ’, Fader, 21 August, https://www.thefader.com/2015/08/21/james-spooner-afropunk. Accessed 10 April 2021.
     [Google Scholar]
  50. Landzelius, Kyra. ( 2006), Native on the Net: Indigenous and Diasporic Peoples in the Virtual Age, New York:: Routledge;.
     [Google Scholar]
  51. Lao-Montes, Agustín. ( 2007;), ‘ Hilos decoloniales: Trans-localizando los espacios de la diáspora africana. ’, Tabula Rasa, 7, July/December, pp. 47–79.
     [Google Scholar]
  52. Lee, Chei Sian, and Ma, Long. ( 2011;), ‘ News sharing in social media: The effect of gratifications and prior experience. ’, Computers in Human Behavior, 28:2, pp. 331–39.
     [Google Scholar]
  53. Lifter, Rachel. ( 2021), Fashioning Indie: Popular Fashion, Music and Gender, New York:: Bloomsbury Visual Arts;.
     [Google Scholar]
  54. Lin, Yu-Hsun. ( 2022;), ‘ Compulsive Instagram use: Roles of stickiness, gratifications, and mindfulness. ’, Cyberpsychology: Journal of Psychosocial Research on Cyberspace, 16:1, pp. 1–23, https://doi.org/10.5817/CP2022-1-3. Accessed 1 March 2022.
     [Google Scholar]
  55. Lobinger, Katharina. ( 2016;), ‘ Photographs as things: Photographs of things: A texto-material perspective on photo-sharing practices. ’, Information, Communication & Society, 19:4, pp. 475–88.
     [Google Scholar]
  56. Maloney, Devon. ( 2013;), ‘ Afropunk started with a documentary: Ten years, two websites, and eight festivals later…. ’, Voice, 21 August, https://www.villagevoice.com/2013/08/21/afropunk-started-with-a-documentary-ten-years-two-websites-and-eight-festivals-later/. Accessed 10 April 2021.
     [Google Scholar]
  57. Manovich, Lev. ( 2017;), ‘ Instagram and contemporary image. ’, Manovich, http://manovich.net/index.php/projects/instagram-and-contemporary-image. Accessed 7 August 2020.
     [Google Scholar]
  58. McCormack, Karen M.. ( 2017;), ‘ Inclusion and identity in the mountain biking community: Can subcultural identity and inclusivity coexist?. ’, Sociology of Sport Journal, 34:4, pp. 344–53, https://doi.org/10.1123/ssj.2016-0160. Accessed 10 April 2021.
     [Google Scholar]
  59. McCormack, Karen M.. ( 2018;), ‘ Building community online and on the trail: Communication, coordination, and trust among mountain bikers. ’, Information, Communication & Society, 21:4, pp. 564–77, https://doi.org/10.1080/1369118x.2017.1290128. Accessed 10 April 2021.
     [Google Scholar]
  60. Mercer, Kobena. ( 1994), Welcome to the Jungle: New Positions in Black Cultural Studies, New York:: Routledge;.
     [Google Scholar]
  61. Muñoz, José Esteban. ( 1999), Disidentifications: Queers of Color and the Performance of Politics, Minneapolis, MN:: University of Minnesota Press;.
     [Google Scholar]
  62. Muñoz, José Esteban. ( 2000;), ‘ Feeling Brown: Ethnicity and affect in Ricardo Bracho’s The Sweetest Hangover (and other STDs). ’, Theatre Journal, 52:1, pp. 67–79.
     [Google Scholar]
  63. Muñoz, José Esteban. ( 2006;), ‘ Feeling Brown, feeling down: Latina affect, the performativity of race, and the depressive position. ’, Signs, 31:3, pp. 675–88.
     [Google Scholar]
  64. Muñoz, José Esteban. ( 2009), Cruising Utopia: The Then and There of Queer Futurity, New York:: University Press;.
     [Google Scholar]
  65. Muñoz, José Esteban. ( 2011;), ‘ Vitalism’s after-burn: The sense of Ana Mendieta. ’, Women & Performance: A Journal of Feminist Theory, 21:2, pp. 191–98.
     [Google Scholar]
  66. Muñoz, José Esteban. ( 2012;), ‘ The Brown commons: The sense of wildness. ’, Sexing the Borderlands Symposium, Harry Ransom Humanities Research Center (HRC), Prothro Theatre, Austin, 12 October, https://liberalarts.utexas.edu/cwgs/events/the-brown-commons-the-sense-of-wildness-jose-esteban-munoz-professor-of-performance-studies-new-york-university. Accessed 9 August 2020.
     [Google Scholar]
  67. Muñoz, José Esteban. ( 2018;), ‘ Fragment from the Sense of Brown manuscript. ’, GLQ: A Journal of Lesbian and Gay Studies, 24:2, pp. 395–97.
     [Google Scholar]
  68. Muñoz, José Esteban. ( 2020), The Sense of Brown, Durham, NC:: Duke University Press;.
     [Google Scholar]
  69. Nylander, Lynette. ( 2017;), ‘ Power to the party: Meet the people who make Afropunk so special. ’, i-D, 21 July, https://i-d.vice.com/en_us/article/wjddmb/power-to-the-party-meet-the-people-who-make-afropunk-so-special. Accessed 10 April 2021.
     [Google Scholar]
  70. O’Rourke, Michael. ( 2014), Queer Insists (for José Esteban Muñoz), Brooklyn, NY:: Punctum Books;.
     [Google Scholar]
  71. Pritchard, Eric Darnell. ( 2017;), ‘ Grace Jones, Afro punk, and other fierce provocations: An introduction to “Sartorial Politics, Intersectionality, and Queer Worldmaking”. ’, QED: A Journal in GLBTQ Worldmaking, 4:3, pp. 1–11.
     [Google Scholar]
  72. Ramírez-Sánchez, Rubén. ( 2008;), ‘ Marginalization from within: Expanding co-cultural theory through the experience of the Afro punk. ’, Howard Journal of Communications, 19:2, pp. 89–104.
     [Google Scholar]
  73. Ruggiero, Thomas E.. ( 2000;), ‘ Uses and gratifications theory in the 21st century. ’, Mass Communication & Society, 3:1, pp. 3–37.
     [Google Scholar]
  74. Safran, William. ( 2015;), ‘ Diasporas in modern societies: Myths of homeland and return. ’, Diaspora: A Journal of Transnational Studies, 1:1, pp. 83–99.
     [Google Scholar]
  75. Serafinelli, Elisa, and Villi, Mikko. ( 2017;), ‘ Mobile mediated visualities: An empirical study of visual practices on Instagram. ’, Digital Culture and Society, Special Issue: ‘Mobile Digital Practices’, 3:2, pp. 165–81.
     [Google Scholar]
  76. Spooner, James. ( 2003), Afropunk: The Movie, USA:: Ayanna Mackins, James Spooner and Matthew Morgan;.
     [Google Scholar]
  77. Spooner, James, and Greene, Shane. ( 2021;), ‘ This is not what Afro-punk is about. ’, in O. Rodríguez-Ulloa,, R. Quijano, and S. Greene. (eds), PUNK! Las Américas Edition, Bristol:: Intellect;, n.pag.
     [Google Scholar]
  78. Stadler, Gustavus. ( 2014;), ‘ Listening, ephemerality, and queer fidelity. ’, b2 Review, Special Issue: ‘José Esteban Muñoz (1967–2013): A Collage’, 10 March, http://boundary2.org/2014/03/10/listening-ephemerality-and-queer-fidelity/. Accessed 18 March 2021.
     [Google Scholar]
  79. Valero, Silvia. ( 2015;), ‘ La construcción del “sujeto afrodiaspórico” como sujeto político en “Un mensaje de Rosa” (2004) y “El pueblo afrodescendiente” (2012), de Quince Duncan. ’, Revista de crítica literaria latinoamericana: Crónicas mestizas, 81, 1st Semester, pp. 83–107.
     [Google Scholar]
  80. Villi, Mikko, and Noguera-Vivo, José Manuel. ( 2017;), ‘ Sharing media content in social media: The challenges and opportunities of UDC (user-distributed content). ’, Journal of Applied Journalism & Media Studies, 6:2, pp. 207–23.
     [Google Scholar]
  81. Wiedlack, Maria Katharina. ( 2015), Queer-Feminist Punk: An Anti-Social History, Vienna:: Zaglossus;.
     [Google Scholar]
  82. Willoughby, Vanessa. ( 2018;), ‘ Who owns Afropunk. ’, bitchmedia, 6 September, https://www.bitchmedia.org/article/the-misguided-evolution-of-afropunk. Accessed 10 April 2021.
     [Google Scholar]
  83. Zhang, Yin,, Shing Tung Tang, Leo, and Leung, Louis. ( 2011;), ‘ Gratifications, collective self-esteem, online emotional openness, and traitlike communication apprehension as predictors of Facebook. ’, Cyberpsychology, Behavior, and Social Networking, 14:12, pp. 733–39.
     [Google Scholar]
  84. Gallo González, Danae. ( 2022;), ‘ Afropunk’s digital imagined community on Instagram or the politics of disidentification and of sensing the Brown commons. ’, Journal of Global Diaspora & Media, 3:1, pp. 71–86, https://doi.org/10.1386/gdm_00025_1
     [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/gdm_00025_1
Loading
Afropunk’s digital imagined community on Instagram or the politics of disidentification and of sensing the Brown commons
Journal of Global Diaspora & Media 3, 71 (2022); https://doi.org/10.1386/gdm_00025_1
/content/journals/10.1386/gdm_00025_1
/content/journals/10.1386/gdm_00025_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): aesthetic; affect; Black; José E. Muñoz; politics; social media; visual

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error