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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.

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