An Ode to Black British Girls

This article delves into Michaela Coel’s Chewing Gum, examining how the cultural text builds upon Black feminist media discourse, and intimately grapples with the nuances of Black women’s sexuality while explicitly challenging misogynoir. This work illustrates how Coel is helping develop a Black British cultural aesthetic that centers Black women’s liberation, specifically from an African immigrant perspective, by using satire, all the beauty, pain, and struggles that come with #blackgirlmagic, eccentric adornments, and ‘awkward’ ostentatious characters that at times play into racist images and tropes of Black womanhood to expose the absurdity of life in an anti-Black, sexist, and xenophobic society. In sum, this article understands Coel’s work in Chewing Gum to be Black girl surrealism – the intersection of Afro-surrealism, British dark comedy, and Black feminism.

Making Limeade: Finding Home in Othering, Isolation, and Life at the Border

This autoethnographic piece highlights the tensions inherent in my experiences as a second-generation immigrant of Jamaican descent. I draw on my experiences to address how my positionalities as Black, immigrant, and woman push up against the politics of U.S. academic institutions. Specifically, I explore (a) the ways in which I experienced othering in educational institutions as a transnational Black girl/woman and how those experiences informed my career path, (b) how I have navigated tensions related to my minoritized identities as a university professor, and (c) ways that I attempt to resist my displacement through my presence and pedagogy.

BLACK GIRL TRIES KOREAN MAKEUP: RACE, GENDER, AND TRANSNATIONAL PLATFORM

This study aims to theorize how YouTube fundamentally capitalizes the racial and gender identity of women of color and local culture in a way it facilitates inter-racial and inter-cultural conflicts. I specifically focus on so-called K-beauty (Korean beauty), a catchy trend on YouTube which encompasses aesthetics, cosmetic products, and beauty ideals from South Korea, characterized by pursuing glowing, dewy, and light skin tone featuring a variety of skincare products. K-beauty is now being adopted by non-Koreans in North America including Black women influencers on the borderless platform of YouTube, who created the Black Girl Tries Korean Makeup video series. By using a Critical Technocultural Discourse Analysis approach, I examined YouTube videos, comments, as well as the module titled “Building a Global Channel” to analyze not only the contents and discourses around that but also the platform that might have shaped this intercultural flow on YouTube. Black women YouTubers actively critiqued the light skin preference, as well as anti-Blackness reflected in K-beauty brands through the Black Girls, Tries Korean Makeup video series. Korean viewers, on the other hand, strongly rejected these accusations of the anti-Black aspect of K-beauty, explaining distinctive Korean racial dynamic as a one-ethnic country where the light skin preference is not translated to the anti-Blackness. I argue that this inter-cultural and inter-racial conflict arguably has been shaped by YouTube’s digital infrastructure that prioritizes short, trendy, how-to-style videos, that do not require a lengthy contextualization of each culture’s beauty practices, and history of oppressions.

Witnessing Wonderland: Research with Black girls imagining freer futures

Purpose This paper aims to contribute to a growing body of work (re)imagining the future for Black girls by calling Western notions of time into question. At its core, this paper argues that all Black girls are imaginative beings and that it is essential that Black girlhood imagination as a mode of future-making praxis be considered an integral component in the pursuit of Black liberation. To do such the author engages Black feminist futurity Campt (2017) and Black Quantum Futurity Phillips (2015) to illuminate ways a reconceptualization of time provides us with an analytical tool to amplify Black girls’ liberatory fantasies. Design/methodology/approach A literature review was conducted to synthesize Black girls’ freedom dreams (Kelley, 2002) across time in an effort to demonstrate that Black girls, despite their conditions, are experts in self-defining their dreams of the future. It also highlights methods that researchers use to elucidate the freedom dreams of Black girls years past. Findings This paper underscores the urgency in applying future-oriented research practices in the attempt to create a new world for Black girls. It also demonstrates that Black girls have always been and always be, imaginative beings that engaged in future-making dreaming. Research limitations/implications The author offers a conceptual framework for researchers committed to witnessing Black girl imaginations and in an effort to work in concert with Black girls to get them freer, faster. Originality/value This paper makes the argument that studying the imaginations and freedom dreams of Black girls requires the employment of future-oriented theories that have a racial, gender and age-based analysis.

And Who Will Revere the Black Girl

While the mainstream media continues to narrowly define justice and reduce the site of its presence or absence to murder scenes and court cases, justice is often foreclosed long before someone is murdered and we must #SayHerName. To expand the project of Black mattering beyond race and physical death, this essay animates how body policing through school dress code policy sanctions racial-sexual violence and provide girls with an ultimatum: either abandon body sovereignty and self-expression, or accept the consequences of being read as a distraction, a problem. (Re)membering classic Black feminist theory and the 2013 case of Vanessa Van Dyke, this essay locates these underrecognized facets of state violence as an extension of the #SayHerName project. Through a Black girlhood studies framework, the author underscores embodiment as an essential measure of justice and reframes mattering through the importance of Black girls’ crowns.