Tensions of Race, Gender, and Midwifery in Colonial Cuba

2017 ◽  
Author(s):  
Michele Reid-Vazquez
Keyword(s):  
Occupational Choice ◽  
African Descent ◽  
Codes Of Conduct ◽  
Colonial State ◽  
Race And Gender ◽  
The Social ◽  
Feminine Ideals ◽  
Women Of African Descent ◽  
And Gender ◽  
Free Women

This chapter examines representations of honor, gender, race, and labor in colonial Cuba through the lens of midwifery. More specifically, it considers how free women of African descent used occupational choice as a marker of identity and honor despite the limits of race and gender within Cuba's slave society. Using the tensions surrounding local and international debates over parteras (midwives) in the nineteenth century, the chapter looks at the ways that free women of color resisted the efforts of the colonial state to diminish their participation in midwifery. It also discusses the professionalization in medicine in the late eighteenth and early nineteenth centuries and its impact on midwifery in Cuba, along with the colonial state's attempts to regulate midwives. Finally, it considers how free black and mulatto women appropriated elite discourses of honor and created a labor niche that challenged established socioracial codes of conduct. It shows that medical professionalization, feminine ideals, honor, occupational whitening, and racial denigration converged to shape the social and economic parameters for free women of African descent in colonial Cuba.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

Impoliteness in hip-hop music

2021 ◽  
Author(s):  
Panagiotis Delis
Keyword(s):  
African American ◽  
Black Male ◽  
Hip Hop ◽  
Selection Process ◽  
White Male ◽  
White Female ◽  
Race And Gender ◽  
The Social ◽  
Determining Factors ◽  
And Gender

Abstract The aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on Spotify.com. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.

Dancing on the Edges of History, but Never Dancing Alone

2018 ◽  
pp. 85-97
Author(s):  
Barbara Ransby
Keyword(s):  
Graduate School ◽  
African Descent ◽  
Political Activism ◽  
Black Female ◽  
Institutional Racism ◽  
First Century ◽  
Race And Gender ◽  
Personal Experiences ◽  
Twenty First Century ◽  
And Gender

In this chapter the author reflects on what it means to be a black female historian in the twenty-first century. She challenges those who argue that it should simply mean being a good scholar and that notions of race and gender are anachronisms. She draws from her personal experiences in graduate school and in the academy as well as those of many other female historians of African descent to reflect on the slow and erratic progress but also persistent, intractable prejudice augmented by decades of institutional racism. She also elaborates on the significance of political activism, parenting, and mentors to her work and her life.

American Labor Unions in the Electoral Arena By Herbert B. Asher, Eric S. Heberlig, Randall B. Ripley, and Karen Snyder. Lanham, MD: Rowman & Littlefield, 2001. 207p. $69.00 cloth, $19.95 paper.

2002 ◽  
Vol 96 (3) ◽  
pp. 630-630
Author(s):  
Glenn Perusek
Keyword(s):  
The United States ◽  
Organized Labor ◽  
Social Scientists ◽  
Race And Gender ◽  
Union Movement ◽  
The Social ◽  
And Gender ◽  
The 1960S ◽  
The Impact ◽  
American Labor

For more than a generation, as the authors rightly point out, the impact of organized labor on electoral politics has been neglected in scholarly literature. Indeed, only a tiny minority of social scientists explicitly focuses on organized labor in the United States. Although the impact of the social movements of the 1960s appeared to heighten awareness of the importance of class, race, and gender, class and its organized expression, the union movement, has received less attention, while studies of race and gender have flourished.

scholarly journals “A Mulher é mais Delicada”: Um Estudo sobre a Associação da Figura Feminina à Área de Confeitaria Profissional

ILUMINURAS ◽  
2019 ◽  
Vol 20 (51) ◽  
Author(s):  
Letícia Madeira de Castro Santos ◽  
Daniela Alves Minuzzo
Keyword(s):  
Division Of Labor ◽  
Pierre Bourdieu ◽  
Close Relation ◽  
Female Representation ◽  
Race And Gender ◽  
Sexual Division ◽  
Sexual Division Of Labor ◽  
The Social ◽  
The Feminine ◽  
And Gender

RESUMO Há uma estreita relação das mulheres com a produção de alimentos, suscitando debates acerca dessa relação, dentre elas uma suposta propensão a realizar determinados trabalhos na cozinha por associação com estereótipos ligados ao gênero feminino, como é o caso da confeitaria. O principal objetivo, portanto, foi analisar a associação entre a figura feminina e a área de confeitaria profissional. O trabalho discutiu questões de gênero e construção da mulher, passando pelo machismo na cozinha profissional e a relação da mulher com a confeitaria. A partir da análise do conteúdo de entrevistas realizadas com sete profissionais da área de cozinha e confeitaria, verificou-se questões relativas à divisão sexual do trabalho, raça e gênero, associação do homem confeiteiro à homossexualidade, discutidos com base em conceitos de Pierre Bourdieu, como o poder simbólico, a violência simbólica e o habitus. Observou-se uma associação estereotipada de gênero, reconhecendo-se a necessidade de uma remodelação dessas relações de representação feminina na área de gastronomia profissional.Palavras-chave: Confeitaria. Feminismo. Cozinha profissional. Divisão sexual do trabalho. “WOMEN ARE MORE DELICATE”: a study on the association of female figure to the field of professional confectionary arts ABSTRACTThere is a close relation of women and food production, rising debates around it, among those a supposed propensity for some kinds of labor on gastronomy by association with gender steriotypes, such as on the field of professional confectionary arts. Therefore, the main objective of this study was to analyze the association made between the feminine figure and the field of professional confectionary arts. The article discusses gender issues and the social construction of women, passing through machismo at professional kitchen and women at confectionary field. Based on the content analysis of interviews with seven kitchen and confectionery professionals, questions related to the sexual division of labor, race and gender, confectioner's association with homosexuality were observed. The discussion was based on Pierre Bourdieu concepts including symbolic power, symbolic violence and the habitus. A gender stereotypical association was observed, recognizing the need for a remodeling of these relationships of female representation in the area of professional gastronomy.Keywords: Confectionary arts. Feminism. Professional kitchen. Sexual division of labor.

scholarly journals A LITERATURA COMO MECANISMO DE LUTA PELO RECONHECIMENTO SOCIAL DE MULHERES NEGRAS NA OBRA UM DEFEITO DE COR

Afro-Ásia ◽  
2017 ◽  
Author(s):  
Luciana Da Trindades Prestes ◽  
Emília Maria Da Trindade Prestes
Keyword(s):  
Black Women ◽  
Black People ◽  
Literary Work ◽  
Social Recognition ◽  
Brazilian Literature ◽  
Race And Gender ◽  
The Social ◽  
De Se ◽  
Women Literature ◽  
And Gender

<p class="abstract">O texto descreve e analisa a obra <em>Um defeito de cor </em>(2006), da brasileira Ana Maria Gonçalves, considerado um dos livros mais importantes da literatura do século XXI. A ideia é demonstrar, por meio das memórias de Kahinde/Luísa, uma mulher negra, ex-escrava, cega e à beira da morte, como a atual literatura produzida por escritoras afrodescendentes, ao plasmar em suas obras um modelo original de raça e de gênero, permite explorar a história sob um ângulo diferente daquele usualmente adotado pela literatura tradicional, possibilitando novas representações valorativas e a superação de estereótipos preconceituosos e excludentes relacionados com raça e gênero. A obra em análise, por transcender as narrativas tradicionais e ser portadora de mensagens capazes de traduzir desejos de valorização, superação de condições concretas de existência e de emancipação de pessoas oprimidas, abre caminho para descentralizar os discursos conservadores que fomentaram, historicamente, estereótipos preconceituosos e invisibilizaram as identidades de indivíduos negros e as lutas para conquistar direitos historicamente negados. Consideramos que esta literatura histórica contemporânea e crítica é capaz de se converter em um poderoso mecanismo de luta em favor do reconhecimento social da raça negra, particularmente da mulher.</p><p class="abstract"><strong>Palavras-chave</strong>: Literatura de mulheres negras - histórias de escravas - reconhecimento social de negras.</p><p class="abstract"><strong>Abstract</strong></p><p class="abstract">The text describes and analyzes the work Um defeito de Cor (2006) by the Brazilian author Ana Maria Gonçalves, considered one of the most important books of 21st century Brazilian literature. The idea is to demonstrate, through the memories of Kahinde / Luisa, a black woman, ex-slave, blind and on the verge of death, how the current literature produced by Afro-descendant women writers, by translating into their works an original model of race and gender, allows us to explore history from a different angle than those models usually adopted in traditional literature, making possible new representations of value and overcoming biased and exclusionary stereotypes related to race and gender.  By transcending traditional narratives, carrying messages capable of translating desires for valorization and overcoming the concrete conditions of existence and emancipation of oppressed people, the literary work under analysis paves the way for decentralizing conservative discourses that historically fostered prejudiced stereotypes and made invisible the identities of black people and their struggles to conquer historically denied rights. We consider that this historical and critical literature can become a powerful mechanism of struggle in favor of the social recognition of the black race, particularly women.</p><p class="abstract"><strong>Keywords</strong>: Black women literature - slave stories - black people - social recognition.</p>

scholarly journals Political correctness: back then and now

2020 ◽  
Vol 40 ◽  
pp. 7-34
Author(s):  
I.I. Valuitseva ◽  
◽  
M.O. Krukovskaia ◽  
Keyword(s):  
New York ◽  
Public Space ◽  
Political Correctness ◽  
New York Times ◽  
Black Population ◽  
Time Intervals ◽  
Race And Gender ◽  
Social Events ◽  
The Social ◽  
And Gender

ork Age, Atlanta Voice, The Atlantic and others. Materials from early newspapers were taken from the New York Times official archives. The presented research aims, among other things, to identify the social factors that affect certain politically taboo vocabulary units in relation to the black population in America, how the environment and social events have influenced the politically correct language. The following analysis has identified the most frequently tabooed lexical units for a given period of time and the frequency of their occurrence in American public opinion at different time intervals. The article provides concrete examples of language changes at the morphological and lexical level as a response to an existing social demand in society, such as combating discrimination on the grounds of race and gender in public space, in employment or in personal interaction, combating xenophobia and segregation at the level of politically correct language. Projections, concerning the derivation in ethically appropriate language, are made on the basis of the obtained data about the future development vector of political correctness indicators.

scholarly journals Gender, Family, Race, and the Colonial State in Early Nineteenth-Century Jamaica

2021 ◽  
pp. 1-24
Author(s):  
Aaron Graham
Keyword(s):  
White Women ◽  
White Men ◽  
People Of Color ◽  
Colonial State ◽  
Race And Gender ◽  
Women And Children ◽  
The Caribbean ◽  
And Gender

Abstract Recent work has emphasized the role of colonial state structures in the construction and enforcement of race and gender in the British Empire from the seventeenth century onward, particularly among people of color. But work on the parallel phenomenon of “Whiteness” has focused on White men rather than White women and children, on elites rather than those below them, and on North America rather than the Caribbean. This article, using the records of a “Clergy Fund” established in Jamaica in 1797 as an insurance scheme for the (White) widows and orphans of clergymen, therefore addresses a gap in this literature by providing a case study of how a colonial state in the Caribbean tried—and failed—to construct and enforce race and gender among White women and children from outside the elite, during a period when White society in the region seemed under threat.

scholarly journals Liquid culture, the art of life and dancing with Tracey Emin: A feminist art historian/cultural analyst’s perspective on Bauman’s missing cultural hermeneutics

Thesis Eleven ◽  
2020 ◽  
Vol 156 (1) ◽  
pp. 10-26
Author(s):  
Griselda Pollock
Keyword(s):  
Cultural Analysis ◽  
British Society ◽  
Feminist Art ◽  
Cultural Experience ◽  
Race And Gender ◽  
Social Violence ◽  
Liquid Modernity ◽  
Social Forms ◽  
The Social ◽  
And Gender

In this article I chart an indirect if not oblique path through my own theoretical formation as a social and feminist art historian, informed by Marxist cultural studies but deeply engaged with issues of difference and gender, to the response Zygmunt Bauman made to a book I gave him that I had reason to believe would resonate with his work. It did not. Indeed, my kind of theoretically informed visual and cultural analysis was indecipherable despite the influence of his writing after 1989 on my work. Gender was not a topic for Bauman. Feminist theory remained an impenetrable territory. Art (as opposed to culture) was not to be theorized. Yet, in his later work on liquid modernity, Bauman incorporated the idea that we are all now artists of life. Here I recognized an oblique and unjustified if not misdirected dismissal of the working-class British artist Tracey Emin. My article concludes with my reading of her video work, Why I Never Became a Dancer, which poignantly and defiantly exposes the social violence and violations of class, race and gender in British society which she experienced. I seek to demonstrate how Bauman’s acute, but often academically devalued, attentiveness to the vernacular and quotidian forms of cultural experience and its ability to register and reveal changing social forms and forces should have enabled him to see Emin’s work as equally acute and culturally significant.

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