Abstract

I am interested in looking at Krumpin’ through what I am calling the “politics of submergence.” If my world is chaotic, if my Blackness is my murderer, can I be expected to create beauty? Can my art be transformative? My paper argues that Krumpin’ is in fact transformative, not to the extent that it perpetuates hope, but maintains its social pessimism. In accepting both the conditions that have sustained the racial marginalization of African descended people, and the impotence of this marginalized group to change the systemic social structures that continue racial subordination in the United States, Krumpin’ announces a reflective mode of racial identity and cultural existence that attends to the suffering of African-descended people in American ghettos.