Crushed Black

2018 ◽  
pp. 46-75
Author(s):  
Tavia Nyong'o
Keyword(s):  

This chapter engages queer and black feminist debates over recovery, reparation, and the archive to offer a new account of the controversial film Portrait of Jason and its afterlives. Taking the metaphor of “crushed blacks” to consider the value of obscurity, blur, and opacity in the archive, the chapter critiques positivist demands for historical legibility and veracity as hostile to the world-making survival stratagems of afro-fabulation.

2020 ◽  
Vol 30 (3) ◽  
pp. 381-390 ◽  
Author(s):  
Lindsay Lee Miller ◽  
Michael J Miller

Guided by Denise Ferreira da Silva’s contributions to decolonization through a black feminist poethical mode of intervention, this article overall offers the provocation: Is decolonization possible in this world as we know it? Having been provoked by this question and its implications ourselves, we deem this provocation both necessary and an important contribution to the topic of this special issue. Within this provocation we briefly consider decolonization of the psy-disciplines, decolonization of the psy-curriculum, and decolonization as the end of the world as we know it, particularly through a praxivist imaginary. With this, we furthermore consider the radical potentials of abolition pedagogies that guide us to state that mental health, or the psyche, or the professions that take the psyche as their object of study, cannot be decolonized in the context of the world as we know it.


2019 ◽  
Vol 5 (4) ◽  
pp. 76-86
Author(s):  
Yvonne Welbon ◽  
Alexis Pauline Gumbs

Yvonne Welbon, an award-winning filmmaker and founder of the Chicago-based nonprofit Sisters in Cinema, interviews Alexis Pauline Gumbs, cofounder of the Black Feminist Film School, as part of a larger trans-media project on the history of queer Black lesbian media makers, SistersintheLife.com. Gumbs speaks about Black feminist practices of education and filmmaking, delving into the founding and inspiration of the Black Feminist Film School and its mission to “create the world anew.” She explains her “community accountable practice” that is connected to traditions of Black intellectualism, her position as provost of a “tiny Black feminist university” that she calls Eternal Summer of the Black Feminist Mind, as well as how she and her collaborators have been inspired by QWOCMAP (Queer Women of Color Media Arts Project).


2018 ◽  
pp. 129-150
Author(s):  
Tavia Nyong'o

Intervening in debates over post-humanist responses to climate change, this chapter engages black feminist and indigenous critique to explore the role afro-fabulation plays in contemporary catastrophism. Reading the play and film Beasts of the Southern Wild in relation to a Foucauldian and indigenous critique of sovereignty, this chapter argues that our dreams of rewilding the world after racial capitalism will still need to be decolonized.


Author(s):  
John Lowney

This chapter addresses the significance of jazz in Ann Petry’s 1940s writing, especially The Street. Widely recognized as an influential black feminist novel, The Street is also an important jazz novel, in its characterization of its female protagonist as a jazz singer as well as its inventive dramatic structure. This chapter investigates Petry’s critical engagement with the racial and gender politics of jazz, and specifically swing, during the World War II years, as a radical journalist with the Harlem People’s Voice as well as a novelist. The Street dramatically exemplifies her engagement with jazz as a distinctively African American musical form and a presumed vehicle for black upward mobility, but also as a commercial form subject to the economic and racial politics that limit the novel’s female working-class protagonist. Petry underscores how the nationalist ideology of “the American dream” obscures the recognition of a meaningful African heritage as well as any internationalist vision of working-class solidarity.


E-Structural ◽  
2021 ◽  
Vol 4 (01) ◽  
pp. 68-79
Author(s):  
Neni Kurniawati

Song is one of the propaganda media for ideolgy. Beyonce Knowless's song “Run the World (girls)” is an example of a song that raises the issue of Black Feminism Thought. This paper will discuss how textual and discursive practices through the signs in the text of the song lyrics and video clips of the song in constructing the paradigm of black women power or black feminism thought. By interpreting the structure of the text in the lyrics of the song and the visual signs in the video clip of the song "Run the World (girls)" to find meaning and ideology reproduced in the song. The results show that the dialectic of verbal and visual signs represents black women power and to bolster black women to become well-respected women especially by black men. The presence of this song is also related to the black feminist movement which propagates their ideology through song media. The independence of black women in the economic and educational aspectss, as well as the ability to bare children are discourses that are reproduced by the singer to make social changes in black women’s live.Keywords: Black woman, discourse, hermeneutics, ideology, Paul Ricouer


Hypatia ◽  
2021 ◽  
pp. 1-15
Author(s):  
Gloria J. Wilson ◽  
Joni Boyd Acuff ◽  
Venessa López

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1. When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color (WoC) founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things.


Author(s):  
Patricia Hamilton

In this Open Space piece, my aim is to meditate on the current moment, to draw connections between relationality and black feminist theory and to harness the strategies and tools they might offer; a praxis for living and being in the world as well as changing it. In particular, I will use my project, an intersectional examination of parental leave in the UK, as a lens through which to discover what intellectual and methodological possibilities a relational approach might offer, especially as I carry out research in a post-COVID-19 world, a world in which black lives appear to matter.


Popular Music ◽  
2013 ◽  
Vol 32 (3) ◽  
pp. 471-496
Author(s):  
Shana Goldin-Perschbacher

AbstractSinger, bass player and songwriter Meshell Ndegeocello has inspired a growing body of scholarship addressing her funky, political, ‘othered’ musical personae. Existing work celebrates Ndegeocello in the context of identity politics (most commonly feminist, Black Feminist/Womanist, Black Nationalist or Africanist). This tactic not only defies Ndegeocello's rejection of identity politics, but also oversimplifies her complex, sometimes divergent musical negotiations of selfhood. This article highlights the discursive tensions of engaging ‘Black’ with ‘queer’ with ‘woman’ with ‘musician’ by exploring her most contradictory performances of self, particularly those which other scholars argue are ‘feminist’ or ‘queer’. Identifying a scholarly gap around Ndegeocello's strikingly conflicted performances of Black queer gender in songs about same- and opposite-sex relationships, this queer of colour critique explores manner and process over essence, articulating experiential, situational, non-linear and even incoherent perspectives. In doing so, it offers an affect-oriented, politically and musically attentive alternative conceptual frame to identity politics.


2018 ◽  
Vol 41 ◽  
Author(s):  
Ana Gantman ◽  
Robin Gomila ◽  
Joel E. Martinez ◽  
J. Nathan Matias ◽  
Elizabeth Levy Paluck ◽  
...  

AbstractA pragmatist philosophy of psychological science offers to the direct replication debate concrete recommendations and novel benefits that are not discussed in Zwaan et al. This philosophy guides our work as field experimentalists interested in behavioral measurement. Furthermore, all psychologists can relate to its ultimate aim set out by William James: to study mental processes that provide explanations for why people behave as they do in the world.


2020 ◽  
Vol 43 ◽  
Author(s):  
Michael Lifshitz ◽  
T. M. Luhrmann

Abstract Culture shapes our basic sensory experience of the world. This is particularly striking in the study of religion and psychosis, where we and others have shown that cultural context determines both the structure and content of hallucination-like events. The cultural shaping of hallucinations may provide a rich case-study for linking cultural learning with emerging prediction-based models of perception.


Sign in / Sign up

Export Citation Format

Share Document