Abstract

The conjure woman has long lived as a popular American cultural icon, so much so that it seemed destined that multimedia conglomerate the Walt Disney Company would eventually adopt and embrace her. The conjure woman’s likeness is reflected in the Disney feature films Pirates of the Caribbean: Dead Man’s Chest (2006) and Pirates of the Caribbean: At World’s End (2007). This essay investigates just what happens to black women and spirit work when placed in the hands of Disney, a corporation with a sordid history of pirating in another context. The work is particularly invested in complicating black female body politics by addressing the additional stigma against female spiritual autonomy. How is an association with African spiritual cosmologies inscribed on the physicality of black women in popular culture? I focus my attention on Tia Dalma, the minor black female character engaged in Vodou in the Pirates of the Caribbean franchise, applying a close reading of the spiritual iconography and other cinematic coding surrounding her performance of African-based spirituality. I assess Disney’s appropriation of black cultural forms in the construction of fantasy and fairytale.

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