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In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

How do we engage a contemporary visual archive of blackness that is saturated by the proliferation and mass circulation of images of violence, antiblackness, and premature death? This article explores the labor required by visual enactments of black precarity in the work of filmmaker and cinematographer Arthur Jafa. The labor of black precarity—specifically, the work required to cultivate, maintain, or articulate our relationship to black precarity—is the effort required to position oneself in proximity to, or in a place of discomfort and, for some, potential complicity with, black precarity. The article stages an encounter with the affective registers of refusal enacted in a genre of black visuality defined as still-moving-images. Still-moving-images hover between still and moving images and require the affective labor of feeling with or through them. The article concludes by expanding the discussion of Jafa's still-moving-images into a broader enunciation of the author's theory of hapticity, a term that articulates the labor of feeling across difference and suffering as an effortful practice of exertion and struggle to remain in relation to or in contact or connection with another.

What changes in our understanding of the experience of black communities in diaspora when we move beyond the binaries of stillness and motion to engage black life through the lens of stasis? This essay explores a collection of vernacular photos of a black German family in the Third Reich using the concept of stasis to unpack the social, historical, political, and visual tensions that structure these images' depiction of their black German subjects. Viewing these images as complex depictions of stasis (defined not as the cessation of movement but as motion held in suspension and a balancing of multiple forces) offers a generative framework for theorizing the quotidian practices of refusal that constitute black fugitivity.

In den frühen fünfziger Jahren sah sich die bundesrepublikanische Gesellschaft mit einer neuen, ethisch definierten Minderheit mit deutscher Staatsbürgerschaft konfrontiert. Es handelte sich hierbei um etwa 5000 Kinder von schwarzen amerikanischen Soldaten und weißen deutschen Müttern, die nach 1945 geboren wurden. Im Verlauf der fünfziger Jahre wurden diese Kinder Gegenstand wissenschaftlicher Untersuchungen aus den Bereichen der Sozialanthropologie und der Sozialpsychologie. Im Mittelpunkt stand die Auseinandersetzung mit den Konzeptionen von Rasse und Andersartigkeit als Definitionskriterien dieser neuen gesellschaftlichen Gruppe. Je zwei anthropologische und sozialpsyhcologische Studien aus der Zeit zwischen 1952 und 1960 werden aus psychologiegeschichtlicher Perspektive hinsichtlich ihrer Fragestellung und Methodik untersucht. Hierbei wird deutlich, dass sich die deutsche Nachkriegsanthropologie fast ausschließlich auf das biologistische Gesellschaftsmodell der Vorkriegszeit bezieht. Die sozialpädagogisch-sozialpsychologischen Studien zeigen hingegen einen variablen gedanklichen Ansatz und thematisieren teils die Kinder, teils die Gesellschaft, in der sie leben, als das Kernproblem ihrer sozialen Stellung. Die kritische Auseinandersetzung in diesen Studien wird in ihren historischen Kontext eingebettet, der in den anthropologischen Studien zur sogenannten Rassemischung von 1900 bis 1940 und in der breitangelegten internationalen Kampagne der UNESCO zu Beginn der fünfziger Jahre zur Neudefinition der Kategorie "Rasse" als Reaktion auf die nationalsozialistische Rassenpolitik seinen sinnfälligsten Ausdruck fand. ; peerReviewed ; publishedVersion

Intro -- Cover Page -- Title Page -- Copyright Page -- Contents -- Foreword -- Notes -- Preface -- Acknowledgments -- Introduction: The Empire Strikes Back -- The Decline of the British Empire -- Conceptualizing "Black Europeans" and "Black Europe" -- Class, Inequality, and the State -- Gender Ideologies and the Experiences of Black Women -- (Dubious!) Comparisons with the United States -- Establishing Our Priorities -- The Structure of the Book -- Conclusion -- Notes -- Section 1. Historical Dimensions of Blackness in Europe -- 1. The Emergence of Afro-Europe: A Preliminary Sketch -- Transition from Africans in Europe to Afro-Europe -- The Challenges and Responses -- The Question of Identity and Future Prospects -- Notes -- 2. Blacks in Early Modern Europe: New Research from the Netherlands -- African-European Encounters: The Repetition of Surprise -- African Men, Women, and Children in Middelburg in 1596 -- "All Baptized Christians" -- Exhibition Day in Middelburg -- Most Likely from Angola -- What Became of Them? -- No Traces in the Archives -- Shipowner Pieter van der Haegen and Captain Melchior van den Kerckhoven -- Carte Blanche: Obtaining Permission from the National Government -- Slavery: Not Here in Europe -- Keeping Slavery an Ocean Away -- Temporary Stay -- Africans in Amsterdam: Rembrandt's View -- Notes -- 3. Now You See It, Now You Don't: Josephine Baker's Films of the 1930s and the Problem of Color -- Notes -- References -- 4. Pictures of "US"? Blackness, Diaspora, and the Afro-German Subject -- Diasporic Vision: Visualizing Black Europe and the Indexicality of Race -- Family Matters: Race, Gender, and Belonging in Black German Photography -- Acknowledgments -- References -- 5. The Conundrum of Geography, Europe d'outre mer, and Transcontinental Diasporic Identity -- Anxious Identities and Black European Diasporic Subjectivity.

Frontmatter -- CONTENTS -- Acknowledgments -- Introduction: Globalization and the Transformations of Race -- PART I DIASPORIC MOVEMENTS, MISSIONS, AND MODERNITIES -- Missionary Positions -- History at the Crossroads: Vodú and the Modernization of the Dominican Borderlands -- Diaspora and Desire: Gendering ''Black America'' in Black Liverpool -- Diaspora Space, Ethnographic Space: Writing History Between the Lines -- ''Mama, I'm Walking to Canada'': Black Geopolitics and Invisible Empires -- PART II GEOGRAPHIES OF RACIAL BELONGING -- Mapping Transnationality: Roots Tourism and the Institutionalization of Ethnic Heritage -- Emigration and the Spatial Production of Difference from Cape Verde -- Folkloric ''Others'': Blanqueamiento and the Celebration of Blackness as an Exception in Puerto Rico -- Gentrification, Globalization, and Georaciality -- Recasting ''Black Venus'' in the ''New'' African Diaspora -- ''Shooting the White Girl First'': Race in Post-apartheid South Africa -- PART III POPULAR BLACKNESSES, ''AUTHENTICITY,'' AND NEW MEASURES OF LEGITIMACY -- Havana's Timba: A Macho Sound for Black Sex -- Reading Bu√y and ''Looking Proper'': Race, Gender, and Consumption among West Indian Girls in Brooklyn -- The Homegrown: Rap, Race, and Class in London -- Racialization, Gender, and the Negotiation of Power in Stockholm's African Dance Courses -- Modern Blackness: Progress, ''America,'' and the Politics of Popular Culture in Jamaica -- Bibliography -- Contributors -- Index