Black History Month Resources

The field of black women's history gained recognition as a legitimate field of study only late in the twentieth century. Collecting stories that are both deeply personal and powerfully political,Telling Histories compiles seventeen personal narratives by leading black women historians at various stages in their careers. Their essays illuminate how--first as graduate students and then as professional historians--they entered and navigated the realm of higher education, a world concerned with and dominated by whites and men. In distinct voices and from different vantage points, the personal histories revealed here also tell the story of the struggle to establish a new scholarly field.Black women, alleged by affirmative-action supporters and opponents to be "twofers," recount how they have confronted racism, sexism, and homophobia on college campuses. They explore how the personal and the political intersect in historical research and writing and in the academy

In 'Membering, Clarke shares his own experiences growing up in Barbados and moving to Toronto to attend university in 1955 before becoming a journalist. With vivid realism he describes Harlem of the '60s, meeting and interviewing Malcolm X, and writers Chinua Achebe and LeRoi Jones. Clarke went on to become a pioneering instructor of Afro-American Literature at Yale University and inspired a new generation of African-American writers.

Babylon Girls is a groundbreaking cultural history of the African American women who performed in variety shows—chorus lines, burlesque revues, cabaret acts, and the like—between 1890 and 1945. Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an emerging urban popular culture. In an era of U.S. and British imperialism, these women challenged and played with constructions of race, gender, and the body as they moved across stages and geographic space. They pioneered dance movements including the cakewalk, the shimmy, and the Charleston—black dances by which the “New Woman” defined herself. These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences.

An anthology of writing addressing the most urgent issues facing the Black community in Canada. The killing of Trayvon Martin in 2012 by a white assailant inspired the Black Lives Matter movement, which quickly spread outside the borders of the United States. The movement's message found fertile ground in Canada, where Black activists speak of generations of injustice and continue the work of the Black liberators who have come before them. Until We Are Free contains some of the very best African-Canadian writing on the hottest issues facing the Black community in Canada. It describes the latest developments in Canadian Black activism, organizing efforts through the use of social media, Black-Indigenous alliances, and more.

A historical work of non-fiction that chronicles the little-known stories of black railway porters – the so-called “Pullmen” of the Canadian rail lines. The actions and spirit of these men helped define Canada as a nation in surprising ways; effecting race relations, human rights, North American multiculturalism, community building, the shape and structure of unions, and the nature of travel and business across the US and Canada. Drawing on the stories and legends of several of these influential early black Canadians, this book narrates the history of a very visible, but rarely considered, aspect of black life in railway-age Canada. These porters, who fought against the idea of Canada as White Man’s Country, open only to immigrants from Europe, fought for and won a Canada that would provide opportunities for all its citizens.

Rinaldo Walcott's groundbreaking study of black culture in Canada, Black Like Who?, caused such an uproar upon its publication in 1997 that Insomniac Press has decided to publish a second revised edition of this perennial best-seller. With its incisive readings of hip-hop, film, literature, social unrest, sports, music and the electronic media, Walcott's book not only assesses the role of black Canadians in defining Canada, it also argues strenuously against any notion of an essentialist Canadian blackness.

In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis. Both Cole’s activism and journalism find vibrant expression in his first book, The Skin We’re In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year—2017—in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada’s 150th birthday, police across the country rallying around an officer accused of murder, and more.

In What's a Black Critic to Do II, literary critic Donna Bailey Nurse once again gathers together profiles, reviews, interviews, and essays that examine race, culture, and multiculturalism through the lens of literature. This collection, featuring well-known writers, such as Lawrence Hill, Afua Cooper, Christopher Paul Curtis, Natasha Trethewey, Toni Morrison, David Chariandy, Joseph Boyden, and Kwame Dawes. What's a Black Critic to Do II is of especial interest to black readers as well as teachers, librarians, and book clubs. This companion to 2003's What's a Black Critic to Do? constitutes a candid conversation about race in an ostensibly "post-racial" world.

North of the Color Line examines life in Canada for the estimated 5,000 blacks, both African Americans and West Indians, who immigrated to Canada after the end of Reconstruction in the United States. Through the experiences of black railway workers and their union, the Order of Sleeping Car Porters, Sarah-Jane Mathieu connects social, political, labor, immigration, and black diaspora history during the Jim Crow era.

For researchers seeking detailed information about the black diaspora in North America, this authoritative reference provides more than 300 years of black Canadian history, from the first migration of slaves, black loyalists, and Civil War refugees to the expansive movement brought about by the establishment of the point system in 1967. Venturing beyond established orthodoxies and simplistic solutions to discuss contentious ethno-racial problems in Canada, this critique addresses housing, the labor market, sports management, and race and ethnic relations. This new edition expands the regional coverage of black history, updates all the statistics with the 2006 census data, and adds important new material on multiculturalism and employment equity.

Through close examination of archival and contemporary sources, Mackey uncovers largely unknown aspects of the black transition from slavery to freedom. While he considers the changing legal status of slavery, much of the book provides a detailed and nuanced reconstruction of the circumstances of black Montrealers and their lived experience. The resulting picture is remarkably complex, showing the variety of occupations held by blacks, the relationships they had with those they served, their encounters with the judicial and political systems, and the racial mingling that came with intermarriage and apprenticeships. Done with Slavery casts the categories of blackness and slavery in a new light, showing that broad histories of the phenomenon must begin to take into account the specifics of the lives of "marginal" black populations

The Underground Railroad: Next Stop, Toronto! , a richly illustrated book, examines the urban connection of the clandestine system of secret routes, safe houses and "conductors." Not only does it trace the story of the Underground Railroad itself and how people courageously made the trip north to Canada and freedom, but it also explores what happened to them after they arrived. And it does so using never-before-published information on the African-Canadian community of Toronto. Based entirely on new research carried out for the experiential theatre show "The Underground Railroad: Next Stop, Freedom!" at the Royal Ontario Museum, this volume offers new insights into the rich heritage of the Black people who made Toronto their home before the Civil War. It portrays life in the city during the nineteenth century in considerable detail.

On New Year's Eve in 1862, blacks from across British North America joined in spirit with their American fellows in silent vigils to await the enactment of President Lincoln’s Emancipation Proclamation. The terms declared that slaves who were held in the districts that were in rebellion would be free and that blacks would now be allowed to enlist in the Union Army and participate in the civil war that had then raged for more than a year and a half. African Canadians who had fled from the United States had not forgotten their past and eagerly sought to do their part in securing rights and liberty for all. Leaving behind their freedom in Canada, many enlisted in the Union cause. Most served as soldiers or sailors while others became recruiters, surgeons, or regimental chaplains. Entire black communities were deeply affected by this war that profoundly and irrevocably changed North American history.

In the 1980s—at the height of Thatcherism and in the wake of civil unrest and rioting in a number of British cities—the Black Arts Movement burst onto the British art scene with breathtaking intensity, changing the nature and perception of British culture irreversibly. This richly illustrated volume presents a history of that movement. It brings together in a lively dialogue leading artists, curators, art historians, and critics, many of whom were actively involved in the Black Arts Movement. Combining cultural theory with anecdote and experience, the contributors debate how the work of the black British artists of the 1980s should be viewed historically. They consider the political, cultural, and artistic developments that sparked the movement even as they explore the extent to which such a diverse body of work can be said to constitute a distinct artistic movement—particularly given that “black” in Britain in the 1980s encompassed those of South Asian, North and sub-Saharan African, and Caribbean descent, referring as much to shared experiences of disenfranchisement as to shades of skin.

This powerful book covers the vast and various terrain of African American music, from bebop to hip-hop. Guthrie P. Ramsey, Jr., begins with an absorbing account of his own musical experiences with family and friends on the South Side of Chicago, evoking Sunday-morning worship services, family gatherings with food and dancing, and jam sessions at local nightclubs. This lays the foundation for a brilliant discussion of how musical meaning emerges in the private and communal realms of lived experience and how African American music has shaped and reflected identities in the black community. Deeply informed by Ramsey's experience as an accomplished musician, a sophisticated cultural theorist, and an enthusiast brought up in the community he discusses, Race Music explores the global influence and popularity of African American music, its social relevance, and key questions regarding its interpretation and criticism.