Ink on [their] hands like bomb residue: poetics of war in the writings of Dionne Brand and June Jordan

2021 ◽  
Author(s):  
G. E. BRUM
Keyword(s):  
Dionne Brand ◽  
June Jordan

scholarly journals Black Feminist Triptych

Homiletic ◽  
2020 ◽  
Vol 45 (2) ◽  
pp. 5-13
Author(s):  
Donyelle C. McCray
Keyword(s):  
Black Feminism ◽  
Alice Walker ◽  
Black Feminist ◽  
Speech Event ◽  
Angela Davis ◽  
June Jordan

Two driving features of Black feminism are care and collectivity. This article considers them as vectors for Christian preaching. I focus on a specific speech event that involves Alice Walker, Angela Davis, and June Jordan, and treat it as a case study for Black feminist preaching. Ultimately, I propose a triptych approach to preaching that entails layering sermonic messages, accommodating dissonance, and foregrounding mutuality.

Introduction: Troubling Spaces

2018 ◽  
pp. 3-14
Author(s):  
Timo Müller
Keyword(s):  
African American ◽  
Cultural Heritage ◽  
Ethnic Group ◽  
Intellectual Life ◽  
Western Literature ◽  
Oral Transmission ◽  
Remarkable Event ◽  
June Jordan

When Albery Allson Whitman, a minister and former slave, published his first collection of poetry in 1877, he inaugurated an unlikely genre: the African American sonnet.1 This was an altogether remarkable event. An ethnic group that had largely been excluded from intellectual life was beginning to appropriate one of the most venerable traditions in Western literature. A group whose capabilities had widely been disparaged was demonstrating its mastery of one of the most complex poetic forms in the language. A group whose cultural heritage had mainly relied on oral transmission was turning to one of the most durable genres in written literature. It was a development few were prepared to acknowledge or accept—as June Jordan, herself a writer of sonnets, would put it many years later, it was “not natural” (...

Stories, Bodies, Movements

2019 ◽  
pp. 197-240
Author(s):  
Richa Nagar ◽  
Sangtin Kisan Mazdoor Sangathan ◽  
Parakh Theatre
Keyword(s):  
Research University ◽  
Ways Of Knowing ◽  
The Self ◽  
Public Research ◽  
Graduate Course ◽  
Self In Relation ◽  
Du Bois ◽  
Public Research University ◽  
June Jordan ◽  
Nina Simone

Can the ways of knowing and being co-developed with SKMS and Parakh be reworked pedagogically in a public research university? This exploration births a combined undergraduate and graduate course, 'Stories, Bodies, Movements,' which unfolds in the form of fifteen weekly 'Acts' and uses storytelling, writing, and theatre as modes of collective relearning. In absorbing the writing of W.E.B. Du Bois, June Jordan, Nina Simone, Sujatha Gidla, Om Prakash Valmiki, Viet Thanh Nguyen, and others, the Syllabus asks: What of ourselves must each member of the class offer in order to become an ethical receiver of the stories we are reading? And how might this commitment to ethically receive stories translate into an embodied journey that seeks to transform the self in relation to the collective?

The Door of No Return: An Africana Reading of Complexity

2017 ◽  
Author(s):  
Elías Ortega-Aponte
Keyword(s):  
Complexity Theory ◽  
Edouard Glissant ◽  
Dionne Brand ◽  
Affect Studies ◽  
Material Reality

This chapter traces how ancestral fragments evidenced in the embodied epistemology of afro-Caribbean “bomba” dancing and drumming haunt social and material reality as well as their theorization. Opening a space in affect studies for conversation between complexity theory, Dionne Brand, and Édouard Glissant, the chapter argues that the ghosts created by trauma, and the knowledge-fragments they keep, not only inform justice claims fragments, but may shape the fabric of reality.

‘The slave servant’: Guerrilla Memorialisation and Multi-accented Performances in Naming the Money (2004)

2019 ◽  
pp. 201-216
Author(s):  
Celeste-Marie Bernier ◽  
Alan Rice ◽  
Lubaina Himid ◽  
Hannah Durkin
Keyword(s):  
Paul Ricoeur ◽  
Dionne Brand ◽  
Giorgio Agamben ◽  
Paul Ricœur ◽  
Stuart Hall ◽  
History Of

‘Naming the Money’ has become Himid’s signature installation, consisting of 100 colourfully painted figures interacting with each other across a large gallery space accompanied by a soundscape. It speaks to the history of Transatlantic Slavery and to modern modes of labour, which have in common the destruction of identities through the movement across geographies. Scraps of text on accounting paper on the backs of each figure tell poetically the journey of these people through the change in their names when in the new place. The figures act as a guerrilla memorialisation of multiple African diasporic figures who have been forgotten by history. Through the theoretical writings of Paul Ricoeur, Michael Rothberg, Stuart Hall, Dionne Brand, Hershini Bhana Young, Saidiya Hartman and Giorgio Agamben the chapter explicated the ways in which Himid uses her installation to comment on historical and contemporary trauma and those who are lost and displaced, then and now.

Nobody Mean More to Me Than You And the Future Life of Willie Jordan

1988 ◽  
Vol 58 (3) ◽  
pp. 363-375 ◽  
Author(s):  
June Jordan
Keyword(s):  
New York ◽  
Subject Matter ◽  
Police Officers ◽  
Black English ◽  
Special Issue ◽  
World Views ◽  
Controversial Subject ◽  
The Future ◽  
June Jordan

Progressive teachers often face the problem of making education in the schools relevant to life outside of the schools. They are confronted regularly with the challenge of introducing controversial subject matter that often forces students to examine critically their values and world views, and their positions in this society. In this essay, June Jordan describes the experiences in her undergraduate course on Black English in which both she and her students mounted the charge of making education and schooling truly relevant and useful when they decided to mobilize themselves on behalf of a Black classmate whose unarmed brother had been killed by White police officers in Brooklyn, New York. The Editors have decided to reprint this essay because of its particular relevance to the theme of this Special Issue. We wish to thank June Jordan for granting us permission to reprint her essay in our pages.

scholarly journals Mobilité des féminins dans quelques récits dystopiques franco-québécois et anglo-canadiens: indice d’agentivité ?

2013 ◽  
Vol 3 (1-2) ◽  
Author(s):  
Nicole Côté
Keyword(s):  
Margaret Atwood ◽  
Dionne Brand ◽  
De Se ◽  
Nalo Hopkinson ◽  
Oryx And Crake

Je comparerai ici les espaces tels qu’ils sont représentés dans divers récits dystopiques (ou comportant des noyaux dystopiques) franco-québécois et  anglo-canadiens en me concentrant sur la mobilité des personnages féminins comme indice d’agentivité. Dans le corpus comparatif que j’étudie se dessinent certaines tendances : réticents à imaginer un avenir même immédiat, divers personnages féminins recourent le plus souvent aux déplacements dans l’espace pour ouvrir l’horizon du présent (Tarmac (Nicolas Dickner), Les larmes de Saint Laurent (Dominique Fortier), Il pleuvait des oiseaux (Jocelyne Saucier), Le sablier des solitudes (Jean-Simon Desrochers). Le parcours remarquable de l’espace  par des personnages féminins, que l’auteur du récit soit masculin ou féminin, semble représenter un changement récent de paradigme. Mais peut-on pour autant dire de ces parcours qu’ils permettent une certaine agentivité? Les œuvres anglo-canadiennes étudiées (Oryx and Crake, Year of the Flood (Margaret Atwood), Brown Girl in the Ring (Nalo Hopkinson), Ossuaries (Dionne Brand) présentent des parcours féminins très contrastés dans chacun des cas : le passage de la quasi-immobilité à la mobilité est forcé par un événement perturbateur. Souvent, ce sont de petites collectivités mixtes, représentant les plus grandes, qui sont mises en scène. On peut penser qu’en raison des diverses crises que traverse l’extrême contemporain, de nouveaux paradigmes émergent, dont celui d’un parcours effréné de l’espace du côté féminin afin d’esquisser des repères qu’un avenir bloqué empêche de se créer du côté de la temporalité. Néanmoins, on peut conclure qu’il s’agit pour ces deux littératures d’une tentative de cartographier ces temps troubles afin d’offrir des repères à la collectivité. Cependant cette cartographie est particulièrement genrée ou sexuée, car si les personnages de femmes ont acquis une grande mobilité dans l’espace, la garantie de leur agentivité dans cet espace semble résider dans un dévouement auprès de collectivités, qui restreint leur liberté individuelle.

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