Politics and aesthetics, race and gender: Georgia Douglas Johnson's lynching dramas as black feminist cultural performance

2000 ◽  
Vol 20 (3) ◽  
pp. 251-267 ◽  
Author(s):  
Judith L. Stephens
Keyword(s):  
Cultural Performance ◽  
Black Feminist ◽  
Race And Gender ◽  
And Gender

Rethinking Spaces of Confinement Through Black Girl Embodiment

2021 ◽  
Author(s):  
Dominique C. Hill
Keyword(s):  
Juvenile Justice System ◽  
Black Girls ◽  
Social Identities ◽  
Black Feminist ◽  
High Stakes ◽  
Late 20Th Century ◽  
Race And Gender ◽  
And Gender ◽  
Feminist Organizing ◽  
The Relationship

Carcerality in educational settings tends to focus on the school-to-prison pipeline and other ways that bodies differentially marked by race, gender, and, more recently, sexuality and ability are punished and tracked into the juvenile justice system. The ongoing chain between marginalized bodies and criminality is evident in rates of incarceration based on race and gender specifically. Black lesbian feminist organizing of the late 20th century called attention to the relationship between social identities and carcerality. Expanding on this work, Black feminist scholarship argues that Black womxn and girls are inherently valuable and that liberation is necessary for autonomy. Scholarship, however, illustrates how freedom for Black womxn and girls are directly mediated by systems of race, gender, sexuality, class, as well as by the discourses created to maintain order through institutions such as schools and prisons. Building on the preceding connections between social identities and confinement, Black girls’ specific encounters with high-stakes policies, such as zero-tolerance, and school discipline reveal new textures and distinct qualities of carcerality that expand education’s understanding of carceral spaces and experiences. In a society that presumes Black girls need no protection because their Blackness is feared while their femininity remains unrealized, Black girls’ bodily deliberations and embodied choices are acts of resistance and self-definition.

The Unspeakable Speculative, Spoken

2019 ◽  
Vol 31 (3) ◽  
pp. 564-574
Author(s):  
Rebecca Wanzo
Keyword(s):  
American Literature ◽  
African American Literature ◽  
Popular Fiction ◽  
Literary Canon ◽  
Black Feminist ◽  
Race And Gender ◽  
Racial Representations ◽  
The Us ◽  
And Gender ◽  
Paradigm Shifting

Abstract Exploring various absences—what is or should not be represented in addition to the unspeakable in terms of racial representations—is the through line of three recent books about race and speculative fictions. Mark C. Jerng’s Racial Worldmaking: The Power of Popular Fiction (2018) argues racial worldmaking has been at the center of speculative fictions in the US. In Posthuman Blackness and the Black Female Imagination (2017), Kristen Lillvis takes one of the primary thematic concerns of black speculative fictions—the posthuman—and rereads some of the most canonical works in the black feminist literary canon through that lens. Lillvis addresses a traditional problem in the turn to discussions of the posthuman and nonhuman, namely, what does it mean to rethink black people’s humanity when they have traditionally been categorized as nonhuman? Sami Schalk’s Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction (2018) speaks to the absence of a framework of disability in African American literature and cultural criticism. In addressing absence—or, perhaps silence—Schalk offers the most paradigm-shifting challenge to what is speakable and unspeakable: the problem of linking blackness with disability and how to reframe our treatment of these categories.

A matter of race and gender: An examination of an undergraduate music program through the lens of feminist pedagogy and Black feminist pedagogy

2019 ◽  
Vol 42 (2) ◽  
pp. 160-176
Author(s):  
Paula A Grissom-Broughton
Keyword(s):  
Course Design ◽  
Feminist Pedagogy ◽  
Shared Responsibility ◽  
Black College ◽  
Instructional Approach ◽  
Black Feminist ◽  
Race And Gender ◽  
Music Program ◽  
And Gender ◽  
Black Feminist Pedagogy

Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. This study examines ways feminist pedagogy and Black feminist pedagogy are integrated into the undergraduate music program at Spelman College, a historically Black college for women. Using Barbara Coeyman’s four principles of traditional feminist pedagogy for women’s studies in music and the general music curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action) as a theoretical framework, the following three components were examined for this study: content (curriculum and course design), context (structural influences of gender and race), and pedagogy (classroom instruction and learning outcomes). The analysis of data ascertained through triangulated measures of interviews, observations, and document collection provided suggestions as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

scholarly journals Critical race theory and black feminist insights into “race” and gender equality

2019 ◽  
Vol 43 (7) ◽  
pp. 1111-1129
Author(s):  
Alexandra J. Rankin-Wright ◽  
Kevin Hylton ◽  
Leanne Norman
Keyword(s):  
Critical Race Theory ◽  
Gender Equality ◽  
Critical Race ◽  
Race Theory ◽  
Black Feminist ◽  
Race And Gender ◽  
And Gender

“I Felt Like I Was Part of the Troop”: Satire, Feminist Narratology, and Community

2014 ◽  
Author(s):  
Brandon Manning
Keyword(s):  
Black Feminist ◽  
Race And Gender ◽  
Feminist Narratology ◽  
Community Identification ◽  
And Gender

This chapter argues for the need of developing a “black feminist narratology” in order to understand the complex role of the racialized narrator in Post-Soul fiction. Building off of the work of feminist narratology, this chapter applies the black feminist narratology – with its dual focus on race and gender – to ZZ Packer’s recent story “Brownies.” Packer’s satire works to emphasize the need for marginalized peoples to foster positive approaches to community identification, while also suggesting the need to develop such communal identification between reader and writer.

Madam President

2020 ◽  
Vol 1 (2) ◽  
pp. 229-250
Author(s):  
Ashley Daniels
Keyword(s):  
Black Women ◽  
Women Presidents ◽  
Black Feminist ◽  
Written Narratives ◽  
Academic Organizations ◽  
Race And Gender ◽  
Study Approach ◽  
History Of ◽  
And Gender ◽  
Life History Study

Throughout the fifty-year history of the National Conference of Black Political Scientists (NCOBPS), fourteen women have served as president. In honor of the golden anniversary of NCOBPS and to highlight the experience of Black women as presidents of professional academic organizations, six of the twelve living former Black women presidents reflect on the triumphs and challenges of their tenures as former leaders through the lens of race and gender. Using a Black feminist/womanist life history study approach, this article features the written narratives of these leaders, spanning the period from 1980 to 2019. The semi-structured email interviews were conducted between May 2018 and July 2019. This article enhances our understanding of how race and gender identity can influence the decision-making of Black women presidents and how that impacts the direction of an institution like NCOBPS.

“Strange What Cosmopolites Music Makes of Us”: Classical Music, the Black Press, and Nora Douglas Holt's Black Feminist Audiotopia

2020 ◽  
Vol 14 (3) ◽  
pp. 308-336
Author(s):  
LUCY CAPLAN
Keyword(s):  
Classical Music ◽  
Jim Crow ◽  
African American Woman ◽  
American Woman ◽  
Black Press ◽  
Black Feminist ◽  
Race And Gender ◽  
Jim Crow Era ◽  
And Gender ◽  
Chicago Defender

AbstractThis article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted dominant notions of classical music's putative race- and gender-transcending universalism; instead, she acknowledged the generative possibilities of racial difference in general and blackness in particular. I analyze Holt's intellectual commitments by situating her ideas within the context of early twentieth-century black feminist thought; analyzing the principal themes of her writing in the Chicago Defender and Music and Poetry; and assessing her engagement with a single musical work, Tchaikovsky's Symphony No. 4 in F Minor, op. 36. Ultimately, Holt's criticism offers new insight into how race, gender, and musical activity intersected in the Jim Crow era and invites a more nuanced and capacious understanding of black women's manifold contributions to US musical culture.

Research on the Leadership of Black Women Principals: Implications for Black Students

2019 ◽  
Vol 48 (6) ◽  
pp. 336-348 ◽  
Author(s):  
Kofi Lomotey
Keyword(s):  
Black Women ◽  
Critical Race Theory ◽  
Quantitative Methods ◽  
Women Principals ◽  
Future Research ◽  
Black Feminist ◽  
Race And Gender ◽  
Aspiring Principals ◽  
And Gender ◽  
Black Women Principals

In this exploratory review, I consider research on Black women principals for the period 1993 to 2017, using 57 research reports obtained from dissertations, journal articles, and a book chapter. This exploration is of particular significance given the continuous disenfranchisement and subsequent underachievement of Black children in U.S. schools and the importance of black women principals in addressing this quagmire. I highlight the methodological and theoretical traits of these studies, single out overstressed approaches, and highlight the most significant gaps in research on Black women principals. Major findings are (1) the large majority of studies on Black women principals appear in dissertations; (2) researchers studying Black women principals explore the lived experiences of Black women principals (e.g., race, gender) and aspects of the leadership of these women (e.g., transformational leadership); (3) the most common theoretical framework in these studies is Black Feminist Thought, followed by Critical Race Theory and Standpoint Theory; (4) all of the studies employed qualitative methods, while a few also included quantitative methods; (5) the principals who were studied served in elementary, middle, and high schools; and (6) spirituality, race, and gender are important to these leaders. Following a discussion of the findings, I conclude with implications for (1) future research, (2) the preparation of aspiring principals, and (3) the professional development of practicing principals.

#LaughingWhileBlack

2017 ◽  
Vol 3 (2) ◽  
pp. 15-35 ◽  
Author(s):  
Brandy Monk-Payton
Keyword(s):  
Social Networking ◽  
Digital Media ◽  
The Internet ◽  
Expressive Culture ◽  
Black Feminist ◽  
Web Based ◽  
Race And Gender ◽  
The Social ◽  
And Gender ◽  
Black Queer

This article examines humor as it intersects with race and gender in digital media. It takes up the idea of laughter to explore how Black expressive culture emerges online, both individually and collectively, in the contemporary moment, arguing that web-based objects such as blogs and podcasts as well as tweets, hashtags, and memes that exist and circulate on social media produce racialized and gendered humor predicated on ridicule. Such ridicule is tied to a genealogy of Black feminist and Black queer enactments of “sass” and “shade” as affective strategies of social scrutiny. By detailing the humor associated with the popular viral personalities Luvvie Ajayi and Crissle West as well as the social networking platform Twitter, this article begins the work of archiving Black women's daily comedic performances on the Internet.

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