'Groundbreaking . . . a scintillating, intellectual investigation into black women and the very serious business of our hair, as it pertains to race, gender, social codes, tradition, culture, cosmology, maths, politics, philosophy and history' Bernardine Evaristo Straightened. Stigmatized. 'Tamed'. Celebrated. Erased. Managed. Appropriated. Forever misunderstood. Black hair is never 'just hair'. This book is about why black hair matters and how it can be viewed as a blueprint for decolonisation. Over a series of wry, informed essays, Emma Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, Black Power and on to today's Natural Hair Movement, the Cultural Appropriation Wars and beyond. We look everything from hair capitalists like Madam C.J. Walker in the early 1900s to the rise of Shea Moisture today, from women's solidarity and friendship to 'black people time', forgotten African scholars and the dubious provenance of Kim Kardashian's braids. The scope of black hairstyling ranges from pop culture to cosmology, from prehistoric times to the (afro)futuristic. Uncovering sophisticated indigenous mathematical systems in black hairstyles, alongside styles that served as secret intelligence networks leading enslaved Africans to freedom, Don't Touch My Hair proves that far from being only hair, black hairstyling culture can be understood as an allegory for black oppression and, ultimately, liberation.
Black Futures
Check out Black Futures - <b><b>“A literary experience unlike any I’ve had in recent memory . . . a blueprint for this moment and the next, for where Black folks have been and where they might be going.”—<i>The New York Times Book Review</i> (Editors’ Choice)</b><br><br></b><i><b>What does it mean to be Black and alive right now?</b></i><br><br>Kimberly Drew and Jenna Wortham have brought together this collection of work—images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more—to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm: Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.<br><br> In answering the question of what it means to be Black and alive, <i>Black Futures</i> opens a prismatic vision of possibility for every reader. by Jenna Wortham and Kimberly Drew on Bookshop.org UK!
Fearing the Black Body
Winner, 2020 Body and Embodiment Best Publication Award, given by the American Sociological AssociationHonorable Mention, 2020 Sociology of Sex and Gender Di...
Being Black: Selections from "Soledad Brother" by Georg…
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Skin in the game: hidden asymmetries in daily life
From the New York Times bestselling author of The Black…
Post by Anna E. Cook (@annaecook.com) on Bluesky — View on Aturi
The lady who does my nails said something I've been thinking about all weekend She said something along the lines of "Artists have so much power to move people
Dr. Omekongo Dibinga
Voluptuous Disintegration: A Future History of Black Computational Thought
I really think that I know that Americans now are simply overwhelmed; like what is happening, what can we do. Everybody's tendency is understandably to try to take care of yourself; cover your back, make sure you have a house, a door for the key. I say that as understandable as that is, it seems to me that we cannot afford to divorce ourselves from what is happening in South Africa, for example, or for that matter, what is happening in West Germany, or Poland any more than the Reagan administration divides these issues. I think that the Reagan Administration and people in that; they see everything in global terms. From Brooklyn to Angola is not a big jump for them at all. I think that unless we, the people, begin to think in the same way, to make these connections, really on a visceral level, I feel for the survival of the species [Jordan 1981]
Not a genuine black man : my life as an outsider : [a true story] : Copeland, Brian
xviii, 245 pages ; 23 cm
Take My Hand
Winner of the 2023 NAACP Image Award for Outstanding Literary Work - FictionDeeply empathetic yet unflinching in its gaze…an unforgettable exploration of responsibility and redemption. - Celeste NgInspired by true events that rocked the nation, a searing and compassionate new novel about a Black nurse in post-segregation Alabama who blows the whistle on a terrible injustice done to her patients, from the New York ...
Dark Matters: On the Surveillance of Blackness
In Dark Matters Simone Browne locates the conditions of…
Black Feminist Thought, 30th Anniversary Edition: Knowledge, Consciousness, and the Politics of Empowerment
Knowledge, Consciousness, and the Politics of Empowerment
United Black Library
Discover, read, and save Black History and African Diaspora content—ebooks, lectures, documentaries, and films. Access a vast catalog, subscribe or purchase content, and join a community of learners.
The Root – Black News, Opinions, Politics and Culture
Oakland is a Vibe: Blackness, Cultural Framings and Emancipations of The Town
Author(s): Heitz, Kaily | Advisor(s): Scott Lewis, Jovan | Abstract: In this dissertation, I examine the ways that developers and Black community organizers in Oakland, California, utilize a situated concept of Black culture to produce value in the city. This value is constituted by a politics of Blackness rooted both in racial capitalism, shifting structures of community care, and their affective articulations. The affective qualities of Black Oakland – which includes a sense of relationality, creativity, and resistance – are understood colloquially as “vibe.” While representations of vibe are mobilized by both developers and community organizations to respectively advance and resist gentrification, I argue that the vibe of the city is constituted by a Black sense of place that cannot be reproduced through capitalist representations of cultural value alone. This study of vibe presents an opportunity to take seriously the invitation of Black geographic scholarship to work at the intersection of poetics and historical materialism by exploring relationality as a site that coproduces racialized space and experience. Where developers leverage notions of vibe to generate value through private investment, Black organizers utilize such representations in order to reclaim the physical space necessary to the very production of vibe. The latter strategy is, I suggest, an enactment of what I call “emancipatory framing,” in which hegemonic framing is mobilized in order to create alternative spaces for liberatory praxes. This dissertation explores vibe and emancipatory framing at three different scales: the Black body, the independent business, and the grassroots collective. I conclude that vibe as a material and metaphorical asset of Blackness, is at the root of contestations over place, and sometimes contradictory imaginaries of freedom.
