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Coloma Peñate, Patricia

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patricia.coloma@flog.uned.es
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Coloma Peñate
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Patricia
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2022 - 20232
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Mostrando 1 - 2 de 2
  • Miniatura
    Publicación
    The Erotic as a Marvelous Real Paradigm: Hurston and Conjure Feminism
    (1656-152X, 2023-01-01) Patricia Coloma Peñate; Coloma Peñate, Patricia
    The presence of conjuring in African American culture and artistic works in its relation to female identity has been recently addressed from an academic point of view as “Conjuring Feminism”: a term that centralizes its role as an intellectual tradition that works as a liberatory epistemology for women of African descent. In the definition of such term, Audre Lorde’s concept of the erotic has a central role. This paper analyzes Zora Neale Hurston’s works to explore how she engages in this tradition and its erotic nature. Lorde’s notion also functions as the paradigm at the base of Conjuring Feminism and provides an analysis of its applicability to address the African-based spiritual phenomenon of magic, one that engages Alejo Carpentier’s notion of the marvelous real. In this way, the erotic provides the space and momentum to enact both Conjure Feminism and the marvelous real as female liberatory epistemologies.
  • Miniatura
    Publicación
    From Lemonade To Homecoming: Beyoncé´s Visual Spaces
    (1989-6840, 2022-06-29) Coloma Peñate, Patricia
    With the publication of her visual album Lemonade (2016), pop singer Beyoncé transformed her career. In this album the artist defines her identity according to her own parameters, not those imposed by the politics of respectability. Her later visual productions continued with this unique departure from her previous works. In asserting her aesthetic, Beyoncé engages in a visual paradigm that centralizes the African American experience. In Lemonade, the singer performs on a plantation, adopting a powerful role; in “Apeshit” (2018), Queen Bey and her husband Jay-Z dance within the Louvre, making visible how this space excludes African art from its displayed pieces, and on her live album Homecoming (2019) Beyoncé uses the space of the Coachella festival to make visible this African American college celebration. This article reflects on the artist’s employment of these settings to destabilize and contend with the imposed norm, that of whiteness.