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.

Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South

Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?

Olive and me in the archive: a Black British woman in an archival space

This article aims to explore how the archival life of Olive Morris might radically rebuff the devaluation of Black womanhood and identity in Britain. Harnessing a Black feminist framework, I approach Lambeth Archives, where the Olive Morris Collection is found as a therapeutic space. Through an understanding of Olive as complex, I disrupt hegemonic expectations of Black women and propose that within the space of this research, Black womanhood be allowed the freedom of self-definition. In a conglomeration of the documents and voices of the community that remembers Olive, marginalised epistemologies are legitimised. Their sometimes-conflicting accounts generate an unbounded image of Olive as a figure of Black British women’s history that harbours meaning as it is mobilised in social consciousness. Incorporating my own auto-ethnographic reflections, I explore the internal and external impact of Olive and my existence in this archival space.

Conjuring Caliban's Woman: Moving beyond Cinema's Memory of Man in Praise House (1991)

Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man. I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences rather than rely on representational narrative alone. Following the scholarship of Sylvia Wynter, I use Man to refer to the representational body of the Western episteme that defines value through mass accumulation. It is through Wynter's scholarship that we find the ontological emancipation from Man that is Caliban's woman, who represents discourse beyond our normative, colonial mode of feeling/knowing/being. Through an analysis of Praise House that foregrounds film's ability to generate affect via its aesthetics, this article argues that aesthetics can similarly enact the same power of conjure as found in Praise House's narrative, and as such conjures an epistemological rupture to our normative order that is Caliban's woman.

What about Black Women?

Using the Urban and Economic Mobility initiative undertaken by President Obama, I explore how and if race-gender is recognized in the framing of urban policy during the Obama administration. There is a distinctive race-gender dimension to urban policy. In urban areas, data suggests that poverty is both raced and gendered. The purpose of this chapter is to engage in an analysis of the relationship between race-gender and space in relation to urban policy-making. This analysis specifically looks at how Black women are treated in the urban policy-making process of the Obama administration. However, it also serves as an analysis into how Black women are understood in Black politics more specifically as it grapples with the larger question of how ideologies of gender, which often engage a rather masculinist approach, influence the quest for freedom and equality. An analysis of the Obama administration is somewhat of a proxy for an analysis of how gender, particularly Black womanhood, is treated in Black politics. As I argue, the ideologies of gender that influence urban policy, resulting in the invisibility of Black womanhood, are also prevalent in Black politics. What should Black politics look like beyond Obama?

Living on the Margin:

This article uncovers the hidden stepdaughter’s odyssey to Black African Feminism against the backdrop of Kigandan subservient womanhood and Euro-Canadian racism. The first section recounts early childhood experiences of an othered stepchild, followed by teenage anti-misogynist resistance to structural second-class citizenship in a majoritized boy’s school. Subsequent sections narratively capture the lived experiences of transitioning to racialized and subjugated Black womanhood in Germany and Canada, and the becoming of a proud Black African Anti-racist Feminist. Using personal photographs in the narratives makes the experience more present while the Luganda proverbs call forth the uniqueness of an African experience. This article uncovers different strategies of how a young Black African female combats multiple layers of Kigandan cultural subordination and systemic racism in order to excel as a professional immigration consultant and emerging anti-racism and Black feminism scholar.

I Was Taught to be Bold in My Black Womanhood

Julia Jordan-Zachery discusses her origins in Barbados, her early notions of social justice, and how those connect to her work as an academic in Ethnic Studies. In this interview by Ron Scapp, Jordan-Zachery explains her vision of the Association for Ethnic Studies.