Suchergebnisse

Continuing Laurel Richardson's call to use writing as my method and specifically utilizing poetic inquiry, "For Trayvon Martin" represents my interpretation of this tragedy filtered through a lens shaped by an epistemology of color, the history of racism, and local and national news reports both in print and on-line, as well as informal conversations with a wide variety of family, friends, and colleagues. The work's theoretical frame incorporates critical pedagogy, critical race theory, and imagination-intellect theory. This piece investigates the impact of racial profiling and a Stand your Ground law supposedly designed to protect Florida citizens who are instead falling victim to it.

Continuing Laurel Richardson's call to use writing as my method (1994, 2000) Race is 'not' an additive uses the African American woman author's experience during a visit to a lynching memorial to frame a discussion about racism in the United States, including whether or not this country is post-racial since the election of President Barack Obama.

This autoethnographic text takes a critical look at the aftermath of the George W. Bush era from an African American female's, lived experience perspective. It references three specific and unforgettable defining moments: No Child Left Behind, The War on Terror and Hurricane Katrina.

This auto/ethnographic performance text is my critical response to Lee Mun Wah's documentary The Color of Fear. The film records one focus group's weekend long journey to face their fears regarding racism and sexism. To create the piece, I watched the film with a group of students and noted lines of dialogue I wanted to include in my response. I share it in the hope that it will inspire more people to begin to face their own fears around issues of race and gender.

Mitch Albom's book, Tuesdays with Morrie: An Old Man, A Young Man and Life's Greatest Lesson (1997), entered the poet's life during a time when death and terminal illness were affecting her immediate family and one of her closest friends. This life-affirming case study, the result of a series of taped conversations between Albom and his beloved undergraduate professor, the late Morrie Schwartz, represents good art in the Deweyian sense because it flows from everyday life experience. It inspired the poet to interact with the book through her own hybrid African American cultural lens and create new work.

Intro -- Endorsements -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- 1. Introduction: Collaborative Spirit-Writing -- Notes -- 2. Exploring Self with/for Others -- Prologue -- A Performative Response -- Epilogue -- Notes -- 3. Spirit-Writing: Creating from the Collective/Collaborative Vibe -- 4. Suggestions to Further Engage with This Book -- Section I: Introduction to Revolution -- 5. The Revolution Will Be Televised (with Apologies to Gil Scott-Heron) -- Notes -- 6. Freedom -- 7. "Common Sense" and "Oh Freedom -- Common Sense -- Notes -- 8. The Devolution of Gil Scott-Heron -- Notes -- 9. Dreamscapes and Escapedreams: An Autoethnography Through the Art of Jerry Weems -- Notes -- Section II: Introduction to Resistance -- 10. Unprecedented Times (January 6, 2021), or: The Insurrection Was Televised and New Normal (January 6, 2021) -- Notes -- 11. Cultural Capita(o)l -- Notes -- 12. 119 -- 13. Black Trauma -- Notes -- Section III: Introduction to Reimagining -- 14. Talkin' on a 20 Dolla Bill -- Note -- 15. Lagniappe -- Notes -- 16. I Am a Woman of Prayer -- 17. O' for My Grand/Mother -- Note -- 18. O! Say Can You See? -- Notes -- Section IV: Introduction to Reparations -- 19. The Payback -- Notes -- 20. Say It: Or Reparations My Ass? -- Notes -- Section V: Introduction to Redemption -- 21. Black Notes -- Notes -- 22. Black, Black Notes - 2-24-2021 -- Note -- 23. Tail End and Spirits-Free -- 24. 3-4-2021 Early A.M. Dream.

"The current socio-political climate in the United States sheds a critical, glaring light on the racism and white supremacy which has been part of the fabric of this country since the seventeenth century. Barack Obama's tenure as president resulted in a major increase in white hate groups, hate crimes, and unrelenting violence against innocent Black men and women by police. In response, people of different races, ethnicities, genders, sexual orientations, religions, ages and classes have taken to the streets in protest, and increased decades long efforts to organize against racism and for a more empathetic, just, democratic society. Social change about racism must begin with acknowledgement followed by open, focused, critical dialogue. Still Hanging: Using Performance Texts to Deconstruct Racism, referencing both the resilience of Black people in the face of institutionalized racism and systemic oppression, and the fact that Black people continue to be literally and metaphorically lynched in 2020, is designed to use the power of lived experience specific performance texts as frames for engaging faculty, students and others interested in beginning to deconstruct racism and construct an anti-racist way of being"--

The essays in this Special Issue respond in part to a call to acknowledge the multiple crises we now face: the global covid-19 virus pandemic; natural disasters caused by climate change and more. The essays call for a critical collaborative engagement over issues of trauma and survival, to build new templates of sociality towards progressive futures.