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Getting “Woke” with Each Joke: Black Comediennes and Representational Resistance on Youtube

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Getting “Woke” with Each Joke: Black Comediennes and Representational Resistance on Youtube Getting “Woke” With Each Joke: Black Comediennes and Representational Resistance on YouTube by Shaunel London A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Communication Carleton University Ottawa, Ontario ©2019 Shaunel London i Abstract This research looks at the relationship between comedy, alternative media, and representations of Blackness. Using case studies Akilah Hughes and Franchesca Ramsey, two Black comediennes on YouTube, this thesis asks: how do Black women use both political comedy and alternative media to challenge the stereotypical and racialized representations of themselves in traditional media? A theoretical framework of critical race studies, post-colonialism, intersectional and Black feminisms, postmodernism, and theories of comedy in conjunction with the thematic qualitative text analysis of 30 YouTube videos were used to answer the question. My findings determined that Black women use political comedy and alternative media platforms to satirize oppressive and discriminatory ideologies and behaviours, framing instances of every day racism in absurd and exaggerated terms, which ultimately provides nuanced representations of Black womanhood that affirm the sexist, racist, and racially charged experiences and microaggressions that Black women endure on a daily basis. ii Acknowledgements Thanks be to God for Your mercies these past two years and to my family, friends, colleagues, mentors, and church family for their continued support. Merlyna, thank you for believing in me and believing in this project. It’s been an intense year for us, but I am so privileged to have made this journey with you. Your feedback has sought to make the best of my research and your jokes have made our meetings fun. I couldn’t have asked for a better supervisor for myself and this research project. To my second reader, Rena, thank you for supporting me in all my academic endeavours over the years. Your guidance and feedback on this project have been tough but realistic and it has honestly made my work more rigorous and grounded. Thank you. Dr. Nduka, thank you for being such an amazing external examiner. Your feedback has been so thoughtful, seeking to make this work the best it can be, and your encouragement about this thesis and future research means so much to me. Thank you. To the faculty and staff of the Communication and media studies department here, thank you for your knowledge, support, and encouragement. You were all open to hearing my thoughts and ideas and I am truly sad to leave this environment. A very special thank you to Sandra Robinson. You saw more in me than I thought I was capable of. Without your guidance and encouragement, I don’t know if I would have seen a future for myself in graduate studies. I am so grateful. I would like to thank the incoming 2017-18 PhD and MA cohort for all the writing boot camps, Mike’s Place breaks, and conversations that helped bring this research to fruition. It’s been a pleasure working beside you all. A special thanks to iii Carla and Alyssa for all the days of co-working, listening to me talk about comedy, and helping me work through my thoughts. Chelsea, you’ve been a constant in this process, talking me down from panic texts and exploring the (academic) world with me. Thank you for your friendship, and I am richer for having known you. Thank you to my D&D groups. From Barovia, to the Shadowfell, to Itharia – our sessions and Monday night shenanigans were a welcome distraction throughout this process. Rolling dice with you all has been a balm in the hectic weeks. To my many friends who supported me even though I was completely missing in action, thank you. I look forward to sharing with you all the work I’ve done. To my family: cousins, aunts, uncles. Thank you for checking in on me and praying for me. Auntie Valerie, your support is immeasurable. I love you so very much. I am so grateful. Lastly, a heartfelt thank you to my Dad and my sister, you are my rocks. Twelve years ago, I didn’t see myself here, but even throughout all our losses, your love, support, and encouragement helped me through, for once I think we’ve got a win. My gratitude and love for you both is truly beyond words. iv Table of Contents Abstract ..................................................................................................................................... ii Acknowledgements .................................................................................................................. iii Table of Contents ...................................................................................................................... v List of Tables ......................................................................................................................... viii Chapter 1: Introduction ...................................................................................................................1 1.1 Context .................................................................................................................. 1 1.2 Research Question ................................................................................................. 7 1.3 Researcher Identity, Intersectionality, and Positionality .......................................... 8 1.4 Thesis Outline ...................................................................................................... 10 Chapter 2: Literature Review and Theoretical Framework.......................................................... 12 2.1 Introduction ......................................................................................................... 12 2.2 Literature Review................................................................................................. 12 2.2.1 Humour as a Practice of Resistance in the Black Community ........................... 12 2.2.2 Black Women in Comedy on YouTube .............................................................. 15 2.3 Theoretical Framework ........................................................................................ 18 2.3.1 Intersectionality, Critical Race Theory, and Colonial Ideologies ...................... 18 2.3.2 Feminine Beauty, Fetishization, and Respectability Politics in the Colonialist Context 24 2.3.3 Self-Definition and Postmodern Representation ............................................... 28 2.3.4 Comedy and Postmodernism ............................................................................ 30 2.4 Summary ............................................................................................................. 34 Chapter 3: Methodology ................................................................................................................. 36 3.1 Research Design .................................................................................................. 36 v 3.2 YouTube and Case Studies Selection.................................................................... 38 3.3 Data Selection and Collection............................................................................... 42 3.4 Data Analysis ....................................................................................................... 44 3.5 Thematic Categories............................................................................................. 48 Chapter 4: Analyzing Akilah Hughes and Franchesca Ramsey .................................................... 49 4.1 Introduction ......................................................................................................... 49 4.2 “Here’s Thirty Seconds of Self-Indulgent Hair Angles” – YouTube and Perpetuations of the White Feminine Beauty Ideal ............................................................ 50 4.2.1 Black Hair and the White Feminine Ideal ......................................................... 52 4.2.2 Patriarchal Expectations of Beauty .................................................................. 57 4.2.3 The Commodification of Beauty ....................................................................... 60 4.3 “If white people can say cracker, why can’t I? – Rejection of Homophobia, Colonialism and Racism ................................................................................................... 65 4.3.1 The Rejection of Homophobic Ideologies ......................................................... 67 4.3.2 Rejection of Cultural Appropriation ................................................................. 71 4.3.3 Racist Ideologies and Anti-Blackness ............................................................... 76 4.4 A (New) Black Womanhood: Displaying and Interrogating Notions of Self .......... 85 4.4.1 Microaggressions, Fetishization, and the Everyday .......................................... 88 4.4.2 Navigating Social Expectations as a Black Woman .......................................... 94 4.4.3 Everyday Black Womanhood and the Banal ..................................................... 99 4.5 Summary ........................................................................................................... 103 Chapter 5: Conclusion .................................................................................................................. 108 5.1 Research Questions, Argument, and Methodology .............................................. 109 5.2 Summary of Key Empirical Findings.................................................................
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