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.

中文翻译：

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过度眨眼：幼稚甘比诺的“这就是美国”中的种族主义运动机能学

摘要本文认为，关于种族的批判性修辞工作需要说明种族主义思想是如何通过对哪些运动学适合哪些身体的期望来维持和实施的。在音乐录影带“This Is America”中，艺术家 Childish Gambino 通过将非裔和非裔美国人的舞蹈形式与枪支暴力并置，表现出对黑人男性化身既超暴力又超才华横溢的相互矛盾的期望。对这种并置的分析表明，黑人身体在公共领域必须始终保持运动的期望是如何创造出一种本体论用尽的气氛。这些对“适当”运动机能学的理解在话语中可能不那么突出，但对种族理解的影响也不小。