JOURNAL ARTICLES
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In this article, I analyze the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie, a mixed-race butch lesbian male impersonator. I challenge narratives forecasting the inevitable butch disappearance and, instead, propose that DeLarverie's transtemporal embodiment and performance of a racialized female masculinity helps us to imagine future possibilities for butch survival.
QED: A Journal in GLBTQ Worldmaking, “Special Issue: The Queer 1990s.”
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In this article, I analyze rapper, songwriter, and personality Cardi B’s music, Instagram videos, and interviews to argue that her ratchet, trap, and hood songs function as sonic feminist strategies, enacting a sounding of diasporic feminism.
Performance Matters, “Special Issue: Sound Acts, Part 2: Receiving and Reflecting Vibration.”
https://performancematters-thejournal.com/index.php/pm/article/view/307/445
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In this interview of Black queer photographer and activist, Lola Flash, she and I discuss how they use their self-portraiture series Syzygy, The Vision (formerly titled afrofuturisum) as a visual meditation on the Black Lives Matter movement, mass incarceration, continued State violence against Black people in the U.S., and the impact of COVID-19 on marginalized communities.
ASAP/J
http://asapjournal.com/talking-about-joy-legacies-and-afrofuturity-an-interview-with-lola-flash/
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In this article, I argue that Ellison Renee Glenn as Black Cracker performs what LaMonda H. Stallings, drawing on the work of C. Riley Snorton, defines as a “transworld identity,” or as an “identity across possible worlds.” Specifically, I focus on how the move between the politics of the United States and abroad, evidenced in Glenn's cultural productions, also temporally shifts his work toward the creation of a queer, trans Afrofuture.
TSQ: Transgender Studies Quarterly, “Special Issue: The Issue of Blackness.”
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In this essay, I argue that in her music video “Da pa' lo' do',” or “There Is Enough for Both”, Dominican lesbian performance artist Rita Indiana signals a move toward a way of being in the Dominican Republic where the literal and figurative borders are porous enough to allow for the queer, the female, the Black, and the Other to coexist.
Small Axe: A Caribbean Journal of Criticism