This groundbreaking text is one of the first collections to exclusively explore, develop, and evaluate theories of Black girls and Black girlhoods. This contributed volume brings together emerging and established scholars from North America to discuss what Black girlhood means historically and in the 21st century, and how concepts of race, ethnicity, gender, sexuality, class, religion, and nationality inform or affect identities of Black girls beyond school or urban settings. Divided into two sections, special topics covered include Black feminism, intersectionality, pleasure and erotic agency, media and fan activism, construction of self, leadership, social change, toxic masculinity, and self-care. The Black Girlhood Studies Collection is a vital resource that will evoke meaningful discussion and change for students in African studies, Black studies, child and youth studies, gender and women studies, media studies, and sociology courses globally.
Now a writer and performer on Late Night with Seth Meyers and host of The Amber Ruffin Show, Amber Ruffin lives in New York, where she is no one's First Black Friend and everyone is, as she puts it, "stark raving normal." But Amber's sister Lacey? She's still living in their home state of Nebraska, and trust us, you'll never believe what happened to Lacey. From racist donut shops to strangers putting their whole hand in her hair, from being mistaken for a prostitute to being mistaken for Harriet Tubman, Lacey is a lightning rod for hilariously ridiculous yet all-too-real anecdotes. She's the perfect mix of polite, beautiful, petite, and Black that apparently makes people think "I can say whatever I want to this woman." And now, Amber and Lacey share these entertainingly horrifying stories through their laugh-out-loud sisterly banter. Painfully relatable or shockingly eye-opening (depending on how often you have personally been followed by security at department stores), this book tackles modern-day racism with the perfect balance of levity and gravity.
Morgan Jerkins is only in her twenties, but she has already established herself as an insightful, brutally honest writer who isn’t afraid of tackling tough, controversial subjects. In This Will Be My Undoing, she takes on perhaps one of the most provocative contemporary topics: What does it mean to “be”—to live as, to exist as—a black woman today? This is a book about black women, but it’s necessary reading for all Americans. Doubly disenfranchised by race and gender, often deprived of a place within the mostly white mainstream feminist movement, black women are objectified, silenced, and marginalized with devastating consequences, in ways both obvious and subtle, that are rarely acknowledged in our country’s larger discussion about inequality. In This Will Be My Undoing, Jerkins becomes both narrator and subject to expose the social, cultural, and historical story of black female oppression that influences the black community as well as the white, male-dominated world at large.
In her searing collection of essays, Mikki Kendall takes aim at the legitimacy of the modern feminist movement, arguing that it has chronically failed to address the needs of all but a few women. Drawing on her own experiences with hunger, violence, and hypersexualization, along with incisive commentary on reproductive rights, politics, pop culture, the stigma of mental health, and more, Hood Feminism delivers an irrefutable indictment of a movement in flux. An unforgettable debut, Kendall has written a ferocious clarion call to all would-be feminists to live out the true mandate of the movement in thought and in deed.
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. Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Fronting the "picaninny choruses" of African American child performers who toured Britain and the Continent in the early 1900s, and singing and dancing in The Creole Show (1890), Darktown Follies (1913), and Shuffle Along (1921), black women variety-show performers of the early twentieth century paved the way for later generations of African American performers. Brown shows not only how these artists influenced transnational ideas of the modern woman but also how their artistry was an essential element in the development of jazz.
The history of Black Women in Canada is long and complex and largely unknown. This book attempts to uncover some of this history. This collection of teaching resources, revised and expanded in 2004 includes: an introduction, five life stories, primary documents, 13 brief biographies, selections from the Narratives of Fugitive Slaves first published in 1856, records of the teaching career of Ada Kelly, first Black woman to teach in a public school board in Ontario, a "Who Am I" quiz, an historical overview by Afua Cooper, classroom activities and a bibliography and filmography.
The phenomenal true story of the black female mathematicians at NASA whose calculations helped fuel some of America’s greatest achievements in space—a powerful, revelatory history essential to our understanding of race, discrimination, and achievement in modern America. Before John Glenn orbited the earth, or Neil Armstrong walked on the moon, a group of dedicated female mathematicians known as “human computers” used pencils, slide rules and adding machines to calculate the numbers that would launch rockets, and astronauts, into space. Among these problem-solvers were a group of exceptionally talented African American women, some of the brightest minds of their generation. Originally relegated to teaching math in the South’s segregated public schools, they were called into service during the labor shortages of World War II, when America’s aeronautics industry was in dire need of anyone who had the right stuff. Suddenly, these overlooked math whizzes had a shot at jobs worthy of their skills, and they answered Uncle Sam’s call, moving to Hampton, Virginia and the fascinating, high-energy world of the Langley Memorial Aeronautical Laboratory. Even as Virginia’s Jim Crow laws required them to be segregated from their white counterparts, the women of Langley’s all-black “West Computing” group helped America achieve one of the things it desired most: a decisive victory over the Soviet Union in the Cold War, and complete domination of the heavens. Starting in World War II and moving through to the Cold War, the Civil Rights Movement and the Space Race, Hidden Figures follows the interwoven accounts of Dorothy Vaughan, Mary Jackson, Katherine Johnson and Christine Darden, four African American women who participated in some of NASA’s greatest successes. It chronicles their careers over nearly three decades they faced challenges, forged alliances and used their intellect to change their own lives, and their country’s future.
It's estimated that six out of ten Panther Party members were women. While these remarkable women of all ages and diverse backgrounds were regularly making headlines agitating, protesting, and organizing, off-stage these same women were building communities and enacting social justice, providing food, housing, education, healthcare, and more. Comrade Sisters is their story. The book combines photos by Stephen Shames, who at the time was a 20-year-old college student at Berkeley. With the complete trust of the Black Panther Party, Shames took intimate, behind-the-scenes photographs that fully portrayed Party members' lives. This marks his third photo book about the Black Panthers and includes many never before published images. Ericka Huggins, an early Party member and leader along with Bobby Seale and Huey Newton, has written a moving text, sharing what drew so many women to the Party and focusing on their monumental work on behalf of the most vulnerable citizens. Most importantly, the book includes contributions from over fifty former women members – some well-known, others not – who vividly recall their personal experiences from that time.
"Women in the "Promised Land" places African Canadian women's lived experiences, identities, and histories at the centre of Canada's past. This collection of original research edited by leading scholars in the field encourages readers to interrogate the idea of Canada as a "Promised Land" by examining the rich and varied history of African Canadian women. The nine chapters span the period from slavery and abolition through to late 20th-century activism. This interdisciplinary collection draws on existing research from cultural studies, literary studies, communications, and visual culture to reframe familiar figures in African Canadian women's history, such as feminist Mary Ann Shadd and civil rights activist Viola Desmond, in the wider African diaspora. This invaluable text sheds light on questions of the past, present, and future in the field, and is best suited for undergraduate courses in women's studies, African studies, sociology, and history. Features: contains interdisciplinary, accessible, and original work that examines African Canadian women's history through a visual culture lens, includes a creative piece by Afua Cooper, chapter abstracts, questions for discussion, and a bibliographic appendix, encourages readers to make connections between African Canadian women's history and emerging scholarship on race, indigeneity, and queer histories."
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. Organized by the years the contributors earned their Ph.D.'s, these essays follow the black women who entered the field of history during and after the civil rights and black power movements, endured the turbulent 1970s, and opened up the field of black women's history in the 1980s. By comparing the experiences of older and younger generations, this collection makes visible the benefits and drawbacks of the institutionalization of African American and African American women's history.
In spite of the double burden of racial and gender discrimination, African-American women have developed a rich intellectual tradition that is not widely known. In Black Feminist Thought, originally published in 1990, Patricia Hill Collins set out to explore the words and ideas of Black feminist intellectuals and writers, both within the academy and without. Here Collins provides an interpretive framework for the work of such prominent Black feminist thinkers as Angela Davis, bell hooks, Alice Walker, and Audre Lorde. Drawing from fiction, poetry, music and oral history, the result is a superbly crafted and revolutionary book that provided the first synthetic overview of Black feminist thought and its canon.