“Our Demand Is Simple: Stop Killing Us”

2017 ◽  
Author(s):  
Sean L. Malloy
Keyword(s):  
Early Years ◽  
Black Lives Matter ◽  
Angela Davis ◽  
The Everyday ◽  
Political Activist ◽  
Leadership Structure ◽  
The 1960S ◽  
Black Panther ◽  
American State

This concluding chapter discusses how Black Lives Matter and related groups are struggling with many of the same questions that animated the Panthers. Political activist Angela Davis suggests that the demands of the Black Panther Party's (BPP) Ten-Point Program are just as relevant—or perhaps even more relevant—in 2016 as during the 1960s, when they were first formulated. In identifying the problems facing the residents of places such as Ferguson as both systemic in nature and endemic to the everyday operation of the American state, these contemporary movements have embraced a version of the Panthers' domestic anticolonialism. In doing so, they have sought to avoid the patriarchal and hierarchical leadership structure that contributed to the downfall of the BPP while also downplaying the emphasis on anticolonial violence that characterized the early years of the party.

Angela Davis: political activist, radical intellectual and an inspiration for social work

2021 ◽  
Author(s):  
Dawn Belkin Martinez
Keyword(s):  
Social Work ◽  
Theory And Practice ◽  
Industrial Complex ◽  
Racial Capitalism ◽  
Angela Davis ◽  
Political Activist ◽  
The 1960S ◽  
Radical Intellectual ◽  
The Many ◽  
Social Causes

For many people, Angela Davis is, first and foremost, an icon of the 1960s, a near-mythic figure of that turbulent era and the many radical social causes we now associate with those years. She has spent five decades writing about racial capitalism, the political economy, woman and the prison–industrial complex. However, behind the icon and the image is a longer and more complicated story, one that today has important lessons for social workers and other activists alike. This article will trace her personal history, examine her political trajectory, provide an overview of a few of her principal writings and briefly discuss her connection with the theory and practice of social work.

The Genesis and Internal Dynamics of El Salvador's People's Revolutionary Army, 1970–1976

2014 ◽  
Vol 38 (01) ◽  
pp. 102-129
Author(s):  
ALBERTO MARTÍN ÁLVAREZ ◽  
EUDALD CORTINA ORERO
Keyword(s):  
Latin America ◽  
El Salvador ◽  
Early Years ◽  
Left Wing ◽  
Internal Dynamics ◽  
Internal Coherence ◽  
The 1960S

AbstractUsing interviews with former militants and previously unpublished documents, this article traces the genesis and internal dynamics of the Ejército Revolucionario del Pueblo (People's Revolutionary Army, ERP) in El Salvador during the early years of its existence (1970–6). This period was marked by the inability of the ERP to maintain internal coherence or any consensus on revolutionary strategy, which led to a series of splits and internal fights over control of the organisation. The evidence marshalled in this case study sheds new light on the origins of the armed Salvadorean Left and thus contributes to a wider understanding of the processes of formation and internal dynamics of armed left-wing groups that emerged from the 1960s onwards in Latin America.

Mod Pop Methods

2015 ◽  
Vol 1 (1) ◽  
pp. 64-88
Author(s):  
Quinlan Miller
Keyword(s):  
New Media ◽  
Real Life ◽  
Trans Content ◽  
Popular Entertainment ◽  
Television Industry ◽  
Production Studies ◽  
Feminist Media Studies ◽  
The Everyday ◽  
The 1960S ◽  
Gender Regulation

This article reconstructs queer popular culture as a way of exploring media production studies as a trans history project. It argues that queer and trans insights into gender are indispensible to feminist media studies. The article looks at The Ugliest Girl in Town series (ABC, 1968–69), a satire amplifying a purported real-life fad in flat chests, short haircuts, and mod wigs, to restore texture to the everyday landscape of popular entertainment. Approaching camp as a genderqueer practice, the article presents the program as one of many indications of simultaneously queer and trans representation in the new media moment of the late 1960s. Behind-the-scenes visions of excavated archival research inform an analysis of the series as a feminist text over and against its trans misogyny, which evaluates and ranks women based on their looks, bodies, and appearance while excessively sexualizing and even more stringently appraising, policing, and punishing trans women, women perceived to be trans, and oppositional forms of femininity. The program captures both the means of gender regulation and detachment from it, the experience of gender embodiment, and the promise of presenting and being perceived as many genders. Ugly is an awful word in the way it is usually wielded, but it can be reclaimed. Examining this rarely cited and often misconstrued Screen Gems series helps to demonstrate a more equitable distribution of creative credit for queer trans content across the television industry and the subcultures it commodified in the 1960s.

scholarly journals ‘Smash the patriarchy’: the changing meanings and work of ‘patriarchy’ online

2021 ◽  
Vol 22 (2) ◽  
pp. 165-189
Author(s):  
Rosemary Lucy Hill ◽  
Kim Allen
Keyword(s):  
Social Media ◽  
Online Communities ◽  
Digital Culture ◽  
The Everyday ◽  
The 1960S

This article discusses the resurgence of the term ‘patriarchy’ in digital culture and reflects on the everyday online meanings of the term in distinction to academic theorisations. In the 1960s–1980s, feminists theorised patriarchy as the systematic oppression of women, with differing approaches to how it worked. Criticisms that the concept was unable to account for intersectional experiences of oppression, alongside the ‘turn to culture’, resulted in a fall from academic grace. However, ‘patriarchy’ has found new life through Internet memes (humorous, mutational images that circulate widely on social media). This article aims to investigate the resurgence of the term ‘patriarchy’ in digital culture. Based on an analysis of memes with the phrase ‘patriarchy’ and ‘smash the patriarchy’, we identify how patriarchy memes are used by two different online communities (feminists and anti-feminists) and consider what this means for the ongoing usefulness of the concept of patriarchy. We argue that, whilst performing important community-forming work, using the term is a risky strategy for feminists for two reasons: first, because memes are by their nature brief, there is little opportunity to address intersections of oppression; secondly, the underlying logic of feminism is omitted in favour of brevity, leaving it exposed to being undermined by the more mainstream logic of masculinism.

The Americanisation of C. L. R. James

Race & Class ◽  
2018 ◽  
Vol 60 (2) ◽  
pp. 3-20 ◽  
Author(s):  
Jonathan Scott
Keyword(s):  
Cultural Identity ◽  
Global Impact ◽  
Theoretical Approaches ◽  
Wide Range ◽  
Cultural Climate ◽  
The Us ◽  
Political Activist ◽  
The 1960S ◽  
The Individual ◽  
To Receive

The writings of the Black Marxist-Leninist thinker and activist C. L. R. James are now widely known and studied, although most of his long career was passed in obscurity. His two most influential books, The Black Jacobins (1938) and Beyond a Boundary (1963) now have a global impact. But his work did not begin to receive wide recognition until the 1980s and 1990s. And it is the nature of that recognition, and the ends to which his work has been put in the US academy, that this article explores. In critiquing a wide range of influential theoretical approaches to James’ work, the author relates current interpretations of it to the wider political and cultural climate engendered by neoliberalism, with its emphasis on the individual not as a historical agent, but as primarily concerned with self-fashioning and cultural identity. In the process, the article demonstrates how the political activist thrust of James’ analyses and work, and its concerns with imperialism and resistance, has been set aside as part of the corporate world’s continuing appropriation of the ‘alternative and adversarial culture of the 1960s’.

scholarly journals The Image of a Woman in Everyday Works of E. Kontratovych

2019 ◽  
pp. 243-249
Author(s):  
A. Cheipesh
Keyword(s):  
Early Period ◽  
Main Theme ◽  
Special Role ◽  
Disadvantaged Women ◽  
The Everyday ◽  
World Economic ◽  
Compositional Changes ◽  
The 1960S ◽  
World Economic Crisis ◽  
Original Female

In the works of E. Kontratovych in the early period and the period of heyday, there are the everyday works, the main character of which is a woman. In the early period (1930–1943), the image of woman plays in the main theme of begging – disadvantaged women, suffered beggars. This is connected with the showing the fate of the Verkhovyna population, which suffered because of the World Economic Crisis of the 1930s. At that time, the artist was also interested in the folklore and mysterious world of the legends and myths of the Carpathians, embodied in the original female types. The works of the early period are executed mainly in the expressionist style, which are characterized by roughness and deformation of the form, dramatic, contrasting colors. A special role was assigned to the landscape, which the artist used as a means of enhancing of the emotional color. In some of the works, the main characters are depicted against the background of ruined houses, bare trees, which increases the sense of tragedy, drama. In others, the landscape is neutral or conditional, which suggests the indifference to the fate of the depicted women. With the beginning of the period of heyday (1944–1990), the range of topics devoted to the life of the Transcarpathian peasantry is expanding considerably. In works, the woman acts in the characted of a mother ("Transcarpathian Madonna"), a reaper, a laundress, a harvester. Launched in the 1930s, a series devoted to the fate of women, became more significant in the 1960s–1970s. The works of the period of heyday are mainly executed in the style of "Carpathian" expressionism. Forms of objects are molded with a soft brush stroke, the rhythm of the composition is built on the motion of brushwork, rounded lines. The artist prefers rich, vivid color that enhances the life-affirming emotions. The landscape also takes on an uplifting mood. Regardless of color, stylistic preferences and compositional changes, E. Kontratovych's works, devoted to the image of women are designed to glorify a woman as a mother and a worker, to create her idealized image for inspiration and admiration.

Gozareshhayi az Enqelab-e Mashrutiyyat-e Iran [Reports on the Iranian Constitutional Revolution] Mohammad Amin Rasulzadeh (trans. Rahim Ra’isniya, introduction by Kaveh Bayat) (1998). Tehran, Iran: Shirazeh, 360 pages. ISBN 964-6578, 228

2021 ◽  
Vol 24 (1) ◽  
pp. 82-91
Author(s):  
Evan Siegel
Keyword(s):  
Early Years ◽  
National Council ◽  
Political Activist ◽  
The One ◽  
Constitutional Revolution

Mohammad Amin Rasulzadeh’s Journalism Mohammad Amin Rasulzadeh (1884-1954) was a prominent journalist and political activist from the present-day Republic of Azerbaijan who would also become the first head of the Azerbaijani National Council. He apparently got his start in journalism, contributing to Hemmat, a magazine sponsored by Muslim socialists and other progressives. In the one surviving article from that period which illustrates his political outlook, he writes, in the floral and colorful style of his early years, about four people, a nationalist, a democrat, a reactionary, and a progressive, and how it is only by them joining hands and avoiding division that anything will be accomplished. One of the first of his journalistic campaigns was healing the wounds opened by the Armenian-Muslim massacres of 1905, which he blamed on the Russian imperial bureaucracy. However, the Armenian left-nationalist Dashnaks did not escape reproach for betraying socialism by engaging in nationalist provocations. He also campaigned for European-style reading rooms to raise the level of culture among the Muslims.

Introduction and Related Research

1995 ◽  
Author(s):  
William L. Graf
Keyword(s):  
National Laboratory ◽  
Manhattan Project ◽  
Rio Grande ◽  
Vertical Movement ◽  
General Purpose ◽  
Early Years ◽  
Los Alamos ◽  
Atomic Weapons ◽  
The 1960S ◽  
Almost All

Plutonium occurs throughout the earth’s environmental systems, though usually in quantities so small that they are barely detectable. Because this artificial element is so toxic, it is necessary to identify those few locations where the concentrations are likely to be the highest. Because almost all plutonium released into the environment is ultimately attached to soil and sediment particles, the behavior of constantly changing natural transport systems such as water and sediment flows provide the key to understanding the ultimate geographic disposition of the element. The general purpose of the work discussed in this book is to explain the distribution of plutonium in the Northern Rio Grande system of northern New Mexico and southwestern Colorado by forging a link among the available data and general principles of environmental sciences such as hydrology, geomorphology, and radioecology. Between 1945 and 1952, Los Alamos National Laboratory handled large amounts of plutonium as part of the Manhattan Project (the effort to construct the first atomic weapons) and as part of the weapons programs related to the early years of the cold war. During this time, the laboratory emptied untreated plutonium waste into the alluvium of Los Alamos Canyon. After 1952, the laboratory released relatively small amounts of treated plutonium waste. Although the vertical movement of plutonium through the alluvial materials has been largely limited to the upper 10 m,4 the horizontal movement of the contaminants has had much larger dimensions. The plutonium was adsorbed onto sedimentary particles, and so the fate of those sediments is also the fate of the plutonium. Natural processes of erosion have resulted in substantial movement of contaminated sediments through the canyons. Research during the 1960s and early 1970s showed that since the war years, surface flows within the laboratory’s boundaries had redistributed at least some of plutonium. Laboratory researchers later estimated that fluvial (river-related) processes in Los Alamos Canyon had probably removed significant quantities from the laboratory area by carrying the plutonium into the Rio Grande. They predicted that early in the twenty-first century almost all of the plutonium would have been emptied from Los Alamos Canyon into the Rio Grande.

Halprin, Anna (Schuman) (1920--)

2018 ◽  
Author(s):  
Janice Ross
Keyword(s):  
Dance Education ◽  
Early Years ◽  
Urban Life ◽  
Community Leader ◽  
Experimental Theater ◽  
Dance Theater ◽  
Healing Ritual ◽  
And Performance ◽  
Experimental Dance ◽  
The 1960S

A dancer, choreographer, community leader, and educator, Anna Halprin helped to pioneer what she called "experimental dance" in the 1960s. After training with the modern dance performer and choreographer Doris Humphrey, she turned to dance education, fusing these dual tracks of performance and pedagogy into a practice where dance changed the dancer. Her experimental dance theater events helped prefigure happenings, performance art, and experimental theater works. Located at the boundaries between art and life, healing, ritual, and performance, Halprin created participatory site-specific dances, art events situated in the midst of urban life. Breaking down the boundaries between spectator and performer, her dance events deliberately reconfigured socially marginalized individuals as the subject and medium of performance, including people with HIV/AIDS and the aged. Beginning in the early 1960s, Halprin started offering dance workshops on the "dance deck," the dramatic outdoor wooden dance studio designed in 1953 by Arch Lauterer, the theater designer, and Lawrence Halprin, Halprin’s husband and a renowned urban designer. Halprin’s students in these early years included several who would become founders of dance minimalism, including Simone Forti, Yvonne Rainer, Trisha Brown, and Meredith Monk—artists who were inspired by her precedent for framing pedestrian actions as dance, relinquishing control, and embracing difficult personal history as legitimate subject matter for dance.

scholarly journals “You can't be an atheist here”: Christianity and Outward Bound in Britain, c.1941–1965

2020 ◽  
Vol 49 (1) ◽  
pp. 67-84
Author(s):  
Mark Freeman
Keyword(s):  
Religious Education ◽  
Outdoor Education ◽  
Early Years ◽  
Outward Bound ◽  
Central Feature ◽  
Content Type ◽  
The United Kingdom ◽  
Religious Influences ◽  
The 1960S ◽  
Second World

PurposeThe purpose of this study is to explore the role of formal religion in the early years of Outward Bound, a significant outdoor education organisation in Britain, from the 1940s to the 1960s.Design/methodology/approachThis article is based on archival and other documentary research in various archives and libraries, mostly in the United Kingdom.FindingsThe article shows that religious “instruction” was a central feature of the outdoor education that Outward Bound provided. The nature and extent of this aspect of the training was a matter of considerable debate within the Outward Bound Trust and was influenced by older traditions of muscular Christianity as well as the specific context of the early post–Second World War period. However, the religious influences at the schools were marginalised by the 1960s; although formal Christian observances did not disappear, the emphasis shifted to the promotion of a vaguer spirituality associated with the idea that “the mountains speak for themselves”.Originality/valueThe article establishes the importance of organised Christianity and formal religious observances in the early years of Outward Bound, a feature which has generally been overlooked in the historical literature. It contributes to wider analyses of outdoor education, religious education and secularisation in the mid-twentieth century.

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