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With the Jena Six incident as a catalyst, this auto-ethnographic performance uses Foucault's Discipline and Punish to assert that the theatrical performance of lynching bleeds into our conceptual understanding of race. Consequently, blackness is understood in terms of what Watts and Orbe term “spectacular consumption,” the pleasurable consumption of the other. Each of the four characters struggle to define their black male identity outside the limits of the spectacular, ultimately forcing the audience to reconsider America's racial past, present, and future.
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Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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