Volume 12, Issue 2
  • ISSN: 1750-3159
  • E-ISSN: 1750-3167



Using an intersectional Marxist analysis, this brief article surveys issues of, and related to, class in Lin-Manuel Miranda’s hit musical , including questions of aesthetics, race, narrative, politics and history, as well as how class impacts access to the musical. Sekellick argues that, through its use of hip hop and colour-conscious casting, deploys the affects and aesthetics of people of colour, as well as of revolution, to give an otherwise conservative bootstraps narrative about a white founding father a progressive feeling sheen. The author reads as a neo-liberal version of America’s founding myths, a retelling of the American dream to suit diversified capitalist and political classes.


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