” and view counts drop drastically. When they report racist responses to their work — sometimes with people “stitching” content to their initial video — they receive feedback that the posts do not violate community guidelines. While most of the responses to Erick’s video have been positive, he’s had some people jack his video sans credit and get over a million hits.
So, what might TikTok users – Black or otherwise – take away from the semi-official boycott and Black creators’ refusal to create easily-consumed “Thot Sh*t” dances? Dr. Matthew D. Morrison, an assistant professor in the Clive Davis Institute of Recorded Music at NYU’s Tisch School of the Arts at NYU, is the author of. “My work is on the history and continued legacy of blackface minstrelsy, so I see the relationship between the attempts to harvest Black creative practices without giving proper recognition or compensation on social media sites like TikTok as a direct through-line to this first original form of American pop ,” Morrison said via DM.
The process is a difficult one, he points out, since performances are taken more as “public domain” and “social dance” as opposed to choreography. Meanwhile, TikTok appropriation is part of a long history of Black cultural contributions being taken up by other groups and repackaged in a way that’s more acceptable and “accessible” to a wider audience. More than a discussion of a dance trend, these discussions are about entitlement to Black creators’ labor, creativity, and cultural consciousness.
And so Morrison hopes this latest move will be a fruitful step toward Black creators owning the power and influence they have on culture at large. “I hope they see the power in staging these sorts of boycotts and leaving large corporations and people outside of the community without our Black content to exploit,” he says, “until these practices and their original creators are properly honored and compensated .
kind of like Teen Vogue?
LeslieMac got a mention!
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