scholarly journals Protests and blood on the streets: repressive state, police brutality and #EndSARS protest in Nigeria

2021 ◽  
Author(s):  
Victor Chidubem Iwuoha ◽  
Ernest Toochi Aniche
Somatechnics ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 87-123 ◽  
Author(s):  
Sherene H. Razack

Paul Alphonse, a 67 year-old Aboriginal died in hospital while in police custody. A significant contributing factor to his death was that he was stomped on so hard that there was a boot print on his chest and several ribs were broken. His family alleged police brutality. The inquest into the death of Paul Alphonse offers an opportunity to explore the contemporary relationship between Aboriginal people and Canadian society and, significantly, how law operates as a site for managing that relationship. I suggest that we consider the boot print on Alphonse's chest and its significance at the inquest in these two different ways. First, although it cannot be traced to the boot of the arresting officer, we can examine the boot print as an event around which swirls Aboriginal/police relations in Williams Lake, both the specific relation between the arresting officer and Alphonse, and the wider relations between the Aboriginal community and the police. Second, the response to the boot print at the inquest sheds light on how law is a site for obscuring the violence in Aboriginal people's lives. A boot print on the chest of an Aboriginal man, a clear sign of violence, comes to mean little because Aboriginal bodies are considered violable – both prone to violence, and bodies that can be violated with impunity. Law, in this instance in the form of an inquest, stages Aboriginal abjection, installing Aboriginal bodies as too damaged to be helped and, simultaneously to harm. In this sense, the Aboriginal body is homo sacer, the body that maybe killed but not murdered. I propose that the construction of the Aboriginal body as inherently violable is required in order for settlers to become owners of the land.


2020 ◽  
Vol 1 (1) ◽  
pp. 69-79
Author(s):  
Matthew B. Platt

This paper examines how black members of Congress (MCs) have recognized police brutality as an issue on the congressional agenda from 1973 to 2016. Using a dataset of every bill introduced by black members of Congress during the period of study, I show that, in general, police brutality has not been an important component of black MCs’ legislative portfolios. Instead, it is an occasional focus of bill sponsorship in response to discrete, highly salient incidents of brutality and murder. These findings are contextualized through a broader discussion of black representation as a tactic for black liberation and the similarities between the history of anti-lynching legislation and the contemporary fight against police brutality.


2020 ◽  
Vol 47 (3) ◽  
pp. 66-84
Author(s):  
Betty Wilson ◽  
Terry A. Wolfer

In the last decade, there have been a shocking number of police killings of unarmed African Americans, and advancements in technology have made these incidents more visible to the general public. The increasing public awareness of police brutality in African American communities creates a critical and urgent need to understand and improve police-community relationships. Congregational social workers (and other social workers who are part of religious congregations) have a potentially significant role in addressing the problem of police brutality. This manuscript explores and describes possible contributions by social workers, with differential consideration for those in predominantly Black or White congregations.


Author(s):  
Sirry Alang ◽  
Taylor B. Rogers ◽  
Lillie D. Wiliamson ◽  
Cherrell Green ◽  
April J. Bell

2021 ◽  
pp. 002216782110086
Author(s):  
Dennis Leroy Kangalee ◽  
Eric Greene ◽  
Nisha Gupta

In this edited interview, psychologists Eric Greene and Nisha Gupta interview filmmaker Dennis Leroy Kangalee about his film As an Act of Protest (2002), which is about a young African American actor named Cairo Medina who goes through a station-of-the-cross journey to find the meaning of his life and eradicate the racism and police brutality that continue to plague the world. In this conversation, Dennis shares the genesis of the film as a response to the police brutality occurring in New York in the late 1990s, the psychological struggles he experienced while making this film and enduring backlash to it, and his desire to convey raw emotional truths about the ugliness of racism and racial trauma through a style of radically honest filmmaking that can foster catharsis, reflection, and transformation.


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