All Buzzed Off: The Ambiguities of Black Masculinity in Pelo malo (2013) and La playa D.C. (2012).
This article argues that hair modification by Black males in Latin America is both a resistance and reinscription of white cultural hegemony. Using the films Pelo malo (2013), by Mariana Rondón, and La playa D.C. (2012), by Juan Andrés Arango García, I demonstrate how socially constructed notions of...
| Published in: | Revista de Estudios Hispánicos Vol. 56; no. 1; pp. 51 - 77 |
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| Format: | Article |
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Washington University
mar2022
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=156948776&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 156948776 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0034818X 2BR jtl: Revista de Estudios Hispánicos issn: 0034818X maglogo: N pubinfo: dt: mar2022 vid: 56 iid: 1 pid: 11468 pub: Washington University artinfo: ui: 156948776 10.1353/rvs.2022.0002 ppf: 51 ppct: 26 formats: fmt: @attributes: type: P size: 962KB tig: atl: All Buzzed Off: The Ambiguities of Black Masculinity in Pelo malo (2013) and La playa D.C. (2012). aug: au: Ramos Flores, Nicolás affil: COLBY COLLEGE su: Black men Pelo Malo (Film) La Playa D.C. (Film) Masculinity Arango, Juan Andres Social defeat Race Rondon, Mariana Cultural hegemony Hairdressing sug: subj: Black men Pelo Malo (Film) La Playa D.C. (Film) Masculinity Arango, Juan Andres Social defeat Race Rondon, Mariana Cultural hegemony Hairdressing keyword: América Latina Black/Blackness hair Latin America masculinidad masculinity negridad pelo race raza América Latina masculinidad negridad pelo raza ab: This article argues that hair modification by Black males in Latin America is both a resistance and reinscription of white cultural hegemony. Using the films Pelo malo (2013), by Mariana Rondón, and La playa D.C. (2012), by Juan Andrés Arango García, I demonstrate how socially constructed notions of race and masculinity imposed on Black males are both reproduced and resisted as natural survival mechanisms. While Pelo malo's Junior is ultimately defeated by social expectations that subjugate Blackness, La playa D.C.'s Tomás triumphs in socially oppressive systems and becomes a barber through his hair. By evaluating the two films together, this article shows how hair for Black males can be both an object of oppression and a source of pride. In this examination, we see how Black males straddle an in-between existential reality that pushes against the one-dimensional subjectivity often imposed by hegemonic identity rhetoric. In the end, this analysis exposes how Black men use hair to dismantle racially imposed subjugations and masculinist definitions in order to decolonize toxic constructs of Blackness and manhood. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Revista de Estudios Hispánicos is the property of Washington University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Revista de Estudios Hispánicos holder: Washington University dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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