Abstract

This essay argues that critical rhetorical work on race needs to account for how racist ideas are maintained and enacted via expectations about which kinesiologies are appropriate for which bodies. In the music video "This Is America," artist Childish Gambino performs the contradictory expectations for Black male embodiment as both hyper-violent and hyper-talented by juxtaposing African and African American dance forms with gun violence. Analysis of this juxtaposition demonstrates how the expectation that the Black body must always remain in motion while in the public sphere creates an atmosphere of ontological exhaustion. These understandings of "appropriate" kinesiologies might be less prominent in discourse but no less influential on understandings of race. As the rhetorical analyst's own body does not exist outside these societal biases, critical rhetorical analyses that seek to address racial divides should explicitly account for kinesthetic assumptions embedded in performance and viewership.