Abstract
In this essay, the author argues 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, the author focuses 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. An Afrofuturity sonically, visually, and textually reflected in his video for “Chasing Rainbows,” a track on his recently released PosTer Boy album that complicates our understanding of race, gender, and sexuality.
Copyright © 2017 by Duke University Press
2017
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