Analyzing the Combahee River Collective As a Social Movement
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An Intersectional Feminist Approach
GUIDING PRINCIPLE 1 AN INTERSECTIONAL FEMINIST APPROACH An intersectional approach to feminism acknowledges that while women share similar experiences of discrimination, harassment, sexism, inequality and oppression on the basis of their sex and gender, not all women are equally disadvantaged or have equal access to resources, power and privilege. An intersectional approach to feminism requires analysis and action that is not only gendered, but considers how other forms of systemic oppression and discrimination – such as racism, homophobia, transphobia, biphobia or ableism – can intersect with and impact on women’s experiences of gender, inequality, discrimination, harassment, violence or abuse. In the context of addressing violence against women, an intersectional approach recognises that the way women experience gender and inequality can be different based on a range of other cultural, individual, historical, environmental or structural factors including (but not limited to) race, age, geographic location, sexual orientation, ability or class. This approach also recognises that the drivers, dynamics and impacts of violence women experience can be compounded and magnified by their experience of other forms of oppression and inequality, resulting in some groups of women experiencing higher rates and/or more severe forms of violence, or facing barriers to support and safety that other women do not experience. DVRCV stands in solidarity with and supports work that addresses other forms of discrimination and oppression. We actively promote and give voice to this work and support those leading it to consider gender in their approach, just as we consider how our work to address violence against women can challenge other forms of oppression that women experience. -
Performing the Radical in Antisexist and Antiracist Work
The Seneca Falls Dialogues Journal Volume 3 Race and Intersecting Feminist Futures Article 4 2021 Doing the *: Performing the Radical in Antisexist and Antiracist Work Barbara LeSavoy The College at Brockport, State University of New York, [email protected] Angelica Whitehorne The College at Brockport, [email protected] Jasmine Mohamed [email protected] Mackenzie April [email protected] Kendra Pickett The College at Brockport, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/sfd Part of the Feminist, Gender, and Sexuality Studies Commons How has open access to Fisher Digital Publications benefited ou?y Repository Citation LeSavoy, Barbara; Whitehorne, Angelica; Mohamed, Jasmine; April, Mackenzie; and Pickett, Kendra (2021) "Doing the *: Performing the Radical in Antisexist and Antiracist Work," The Seneca Falls Dialogues Journal: Vol. 3 , Article 4. Available at: https://fisherpub.sjfc.edu/sfd/vol3/iss1/4 This document is posted at https://fisherpub.sjfc.edu/sfd/vol3/iss1/4 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Doing the *: Performing the Radical in Antisexist and Antiracist Work Abstract The essay summarizes excerpts from the 6th Biennial Seneca Falls Dialogue’s (SFD) session, “Doing the *: Performing the Radical in Antisexist and Antiracist Work.” In this dialogue, students read, displayed, or performed excerpts from feminist manifestos that they authored in a -
13 White Woman Listen! Black Feminism and the Boundaries of Sisterhood
13 White Woman Listen! Black Feminism and the Boundaries of Sisterhood Hazel V. Carby I'm leaving evidence. And you got to leave evidence too. And your children got to leave evidence.... They burned all the documents.... We got to burn out what they put in our minds, like you burn out a wound. Except we got to keep what we need to bear witness. That scar that's left to bear witness. We got to keep it as visible as our blood. (Jones 1975) The black women's critique of history has not only involved us in coming to terms with "absences"; we have also been outraged by the ways in which it has made us visible, when it has chosen to see us. History has constructed our sexuality and our femininity as deviating from those qualities with which white women, as the prize objects of the Western world, have been endowed. We have also been defined in less than human terms (Jordon 1969). Our continuing struggle with History began with its "discovery" of us. However, this chapter will be concerned with herstory rather than history. We wish to address questions to the feminist theories that have been developed during the last decade; a decade in which black women have been fighting, in the streets, in the schools, through the courts, inside and outside the wage relation. The significance of these struggles ought to inform the writing of the herstory of women in Britain. It is fundamental to the development of a feminist theory and practice that is meaningful for black women. -
The Digital Afterlives of This Bridge Called My Back: Woman of Color Feminism, Digital Labor, and Networked Pedagogy Cassius
American Literature Cassius The Digital Afterlives Adair of This Bridge Called My Back: and Woman of Color Feminism, Digital Labor, Lisa and Networked Pedagogy Nakamura Abstract This article traces the publication history of the canonical woman of color feminist anthology This Bridge Called My Back through its official and unofficial editions as it has migrated from licensed paper to PDF format. The digital edition that circulated on the social blogging platform Tumblr.com and other informal social networks constitutes a new and impor- tant form of versioning that reaches different audiences and opens up new pedagogical opportu- nities. Though separated by decades, Tumblr and This Bridge both represent vernacular pedagogy networks that value open access and have operated in opposition to hierarchically controlled con- tent distribution and educational systems. Both analog and digital forms of open-access woman of color pedagogy promote the free circulation of knowledge and call attention to the literary and social labor of networked marginalized readers and writers who produce it, at once urging new considerations of academic labor and modeling alternatives to neoliberal university systems. Keywords digital pedagogy, social media, free labor, publishing, open access, Gloria Anzaldúa, Cherríe Moraga Despite encountering the book more than two decades apart, both authors of this article view the edited collection This Bridge Called My Back: Writings by Radical Women of Color (Mor- aga and Anzaldúa 1981) as a cornerstone of our feminist conscious- ness. Perhaps this is not surprising: published in 1981 by the collec- tively run woman of color press Kitchen Table, This Bridge is now countercultural canon, one of many radical interventions into white feminist theory that now undergirds much intersectional work on gender, race, class, and homophobia. -
Black Feminism and Radical Planning
PLT0010.1177/1473095218763221Planning TheoryJacobs 763221research-article2018 Article Planning Theory 2019, Vol. 18(1) 24 –39 Black feminism and radical © The Author(s) 2018 Article reuse guidelines: planning: New directions for sagepub.com/journals-permissions https://doi.org/10.1177/1473095218763221DOI: 10.1177/1473095218763221 disaster planning research journals.sagepub.com/home/plt Fayola Jacobs Texas A&M University, USA Abstract After Hurricane Katrina’s devastation of the United States’ Gulf Coast, conversations about flooding became focused on the interconnections between so-called “natural” disasters, poverty, gender and race. Although research has long shown that women, people of color and low- income communities are more vulnerable to natural hazards, the disproportionate effects of Hurricane Katrina and subsequent federal and state disaster response efforts forced the national spotlight on the institutional and systemic nature of racism, classism and sexism. Using Black feminism and radical planning theory, two lenses that provides a comprehensive framework for understanding racism, classism and sexism, this article examines the concept and literature of social vulnerability. I argue while social vulnerability research has made significant contributions to planners’ understandings of disasters and inequity, it fails to center community knowledge, identify intersectional oppressions and name them as such and encourage community activism, all of which are keys to making meaningful change. Keywords Black feminism, disasters, environmental justice, feminism, social vulnerability, urban planning In the wake of Hurricane Katrina’s devastation and the images that emerged from the Gulf Coast in general and New Orleans in particular, the nation began to pay attention to the inequitable impacts of disasters on poor communities and communities of color. -
Biographies of the Contributors Norma Alarcon Born in Monclova, Coahuila, Mexico and Raised in Chicago
246 Biographies of the Contributors Norma Alarcon Born in Monclova, Coahuila, Mexico and raised in Chicago. Will receive Ph.D. in Hispanic Literatures in 1981 from Indiana University where she is presently employed as Visiting Lecturer in Chicano- Riqueno Studies. Gloria Evangelina Anzaldtia I'm a Tejana Chicana poet, hija de Amalia, Hecate y Yemaya. I am a Libra (Virgo cusp) with VI – The Lovers destiny. One day I will walk through walls, grow wings and fly, but for now I want to play Hermit and write my novel, Andrea. In my spare time I teach, read the Tarot, and doodle in my journal. Barbara M. Cameron Lakota patriot, Hunkpapa, politically non-promiscuous, born with a caul. Will not forget Buffalo Manhattan Hat and Mani. Love Marti, Maxine, Leonie and my family. Still beading a belt for Pat. In love with Robin. Will someday raise chickens in New Mexico. Andrea R. Canaan Born in New Orleans, Louisiana in 1950. Black woman, mother and daughter. Director of Women And Employment which develops and places women on non-traditional jobs. Therapist and counselor to bat- tered women, rape victims, and families in stress. Poetry is major writing expression. Speaker, reader, and community organizer. Black feminist writer. Jo Carrillo Died and born 6000 feet above the sea in Las Vegas, New Mexico. Have never left; will never leave. But for now, I'm living in San Fran- cisco. I'm loving and believing in the land, my extended family (which includes Angie, Mame and B. B. Yawn) and my sisters. Would never consider owning a souvenir chunk of uranium. -
Understanding Black Feminist Theory and the Representation of African American Women's Art in Museums
UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN B.A., Mercer University, 2014 An Applied Project Submitted to the Lamar Dodd School of Art of the University of Georgia In Partial Fulfillment of the Requirements for the Degree MASTERS OF ART EDUCATION Athens, Georgia 2018 ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE ii UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN Approved: ________________________________________________ MAJOR PROFESSOR _________________________________________________ DATE ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE iii UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN (Under the Direction of Christina Hanawalt) ABSTRACT This applied project, Understanding Black Feminist Theory and the Representation of African American Women’s Art in Museums: Engaging in Critical Dialogue, investigates how exposure to critical theories like Black feminist theory can inform a critical pedagogical experience about the representation of African American women’s art in museums. In regard to art and museum education, black women can address their marginalization to articulate their experiences through art-making and hosting an exhibition. This report serves as evidence of a project that allowed a group of black women to explore Black feminist theory and African American women’s art in museums in order to create an exhibition about that exploration. ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE iv DEDICATION The project was a collaborative effort from the beginning. -
Black Feminism Reimagined After Intersectionality Jennifer C. Nash
black feminism reimagined after intersectionality jennifer c. nash next wave New Directions in Women’s Studies A series edited by Inderpal Grewal, Caren Kaplan, and Robyn Wiegman jennifer c. nash black feminism reimagined after intersectionality Duke University Press Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Courtney Leigh Baker and typeset in Whitman and Futura by Graphic Composition, Inc., Bogart, Georgia Library of Congress Cataloging- in- Publication Data Names: Nash, Jennifer C., [date] author. Title: Black feminism reimagined : after intersectionality / Jennifer C. Nash. Description: Durham : Duke University Press, 2019. | Series: Next wave | Includes bibliographical references and index. Identifiers: lccn 2018026166 (print) lccn 2018034093 (ebook) isbn 9781478002253 (ebook) isbn 9781478000433 (hardcover : alk. paper) isbn 9781478000594 (pbk. : alk. paper) Subjects: lcsh: Womanism—United States. | Feminism— United States. | Intersectionality (Sociology) | Feminist theory. | Women’s studies—United States. | Universities and colleges— United States—Sociological aspects. Classification: lcc hq1197 (ebook) | lcc hq1197 .n37 2019 (print) | ddc 305.420973—dc23 lc record available at https://lccn.loc.gov/2018026166 cover art: Toyin Ojih Odutola, The Uncertainty Principle, 2014. © Toyin Ojih Odutola. Courtesy of the artist and Jack Shainman Gallery, New York. contents Acknowledgments vii introduction. feeling black feminism 1 1. a love letter from a critic, or notes on the intersectionality wars 33 2. the politics of reading 59 3. surrender 81 4. love in the time of death 111 coda. some of us are tired 133 Notes 139 Bibliography 157 Index 165 acknowledgments Over the course of writing this book, I moved to a new city, started a new job, and welcomed a new life into the world. -
Three Waves of Feminism
01-Krolokke-4666.qxd 6/10/2005 2:21 PM Page 1 1 Three Waves of Feminism From Suffragettes to Grrls e now ask our readers to join us in an exploration of the history of W feminism or, rather, feminisms: How have they evolved in time and space? How have they framed feminist communication scholarship in terms of what we see as a significant interplay between theory and politics? And how have they raised questions of gender, power, and communication? We shall focus our journey on the modern feminist waves from the 19th to the 21st century and underscore continuities as well as disruptions. Our starting point is what most feminist scholars consider the “first wave.” First-wave feminism arose in the context of industrial society and liberal politics but is connected to both the liberal women’s rights movement and early socialist feminism in the late 19th and early 20th century in the United States and Europe. Concerned with access and equal opportunities for women, the first wave continued to influence feminism in both Western and Eastern societies throughout the 20th century. We then move on to the sec- ond wave of feminism, which emerged in the 1960s to 1970s in postwar Western welfare societies, when other “oppressed” groups such as Blacks and homosexuals were being defined and the New Left was on the rise. Second-wave feminism is closely linked to the radical voices of women’s empowerment and differential rights and, during the 1980s to 1990s, also to a crucial differentiation of second-wave feminism itself, initiated by women of color and third-world women. -
Why Black Feminism?
First-Gen Voices: Creative and Critical Narratives on the First- Generation College Experience Volume 5 Issue 1 New Vistas Article 13 February 2016 Black Lives Matter: Why Black Feminism? AnaLexicis T. Bridewell Loyola Marymount University Follow this and additional works at: https://digitalcommons.lmu.edu/fgv Part of the African American Studies Commons, American Studies Commons, Critical and Cultural Studies Commons, Curriculum and Social Inquiry Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Bridewell, AnaLexicis T. (2016) "Black Lives Matter: Why Black Feminism?," First-Gen Voices: Creative and Critical Narratives on the First-Generation College Experience: Vol. 5 : Iss. 1 , Article 13. Available at: https://digitalcommons.lmu.edu/fgv/vol5/iss1/13 This Scholarship and Research is brought to you for free and open access by the Academic Resource Center at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in First-Gen Voices: Creative and Critical Narratives on the First-Generation College Experience by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Introduction Black Lives Matter is an organization and movement created in 2012 in response to George Zimmerman’s acquittal for the murder of Trayvon Martin. This event created a platform for Black women to address the inequalities and injustices marginalized groups experience in America. Because of the inclusive nature and wide range of focuses in Black Lives Matter, it is evident that this organization and movement is based in Black feminism, rather than feminism. This distinction can be seen in the comparison between feminism and Black feminism frameworks in regards to the structure and actions of Black Lives Matter. -
Introduction (Part 1)
Alexis Pauline Gumbs from “We Can Learn to Mother Ourselves”: The Queer Survival of Black 1 Feminism Introduction (Part 1) 1979 ...as Black women, as Lesbians and feminists, there is no guarantee that our lives will ever be looked at with the kind of respect given to certain people from other races, sexes or classes. There is similarly no guarantee that we or our movement will survive... -“I am Not Meant to Be Alone and Without You Who Understand: Letters from Black Feminists 1972-1978” in Conditions Four, 1979 Living in Boston, we worked on CONDITIONS: FIVE this year under yet more stringent and draining circumstances. As we did all the things mentioned above, twelve Black women were being murdered in Boston’s Third World communities between January 29 and May 28, 1979. While we were working to create a place for celebration of Black women’s lives, our sisters were dying. -“Introduction” Conditions Five: The Black Women’s Issue, Barbara Smith and Lorraine Bethel Quiet as its kept, 1979 was an apocalyptic year. The world ended in small, significant and brutal ways. And another world was born. In 1968 Black Feminism had dared to name itself; by 1981 every Black feminist organization in the United States had fallen apart, but in 1979 enough was lost and enough was gained to shift the context through which Black feminism could survive. On November 19th 1979 Audre Lorde wrote in her journal “We have been sad long enough to make this earth either weep or grow fertile. I am an anachronism, a sport, like the bee that was never meant to fly. -
This Bridge Called My Back Writings by Radical Women of Color £‘2002 Chenic- L
This Bridge Called My Back writings by radical women of color £‘2002 Chenic- L. Moiaga and Gloria E. Anzaldua. All rights reserved. Expanded and Re vised Third Edition, First Pr nLing 2002 First Edition {'.'1981 Cherrie L. Moraga and Gloria E. Anzaldua Second Edition C 1983 Cherne L. Moraga and Gloria E. Anzaldua All rights reserved under International an d Pan American Copyright Conventions. Published by Third Woman Press. Manufactured in the United Stales o( America. Printed and b ound by M c Na ugh ton & Gunn, Saline, Ml No p art of this book may be reproduced by any me chani cal photographic, or electronic process, or in the form of a phonographic recording nor may it be stored in a retrieval system, transmitted, or otherwise copied, for public or private use, without tne prior written permission of the publisher. Address inquiries to: Third Woman Press. Rights and Permissions, 1329 9th Street, Berkeley, CA 94710 or www.thirdwomanpress.com Cover art: Ana Mendieta, Body Tracks (1974), perfomied bv the artist, blood on white fabric, University of Iowa. Courtesy of the Estate of Ana Mendieta and Galerie Lelong, NYC. Cover design: Robert Barkaloff, Coatli Design, www.coatli.com Library of Congress Cataloging-in-Publication Data This b ridge called my back : writ ines by radical women of color / edi tors, Cherne L. Moraga, Gloria E. AnzaTdua; foreword, Toni Cade Bambara. rev an d expanded 3rd ed. p.cm. (Women of Color Series) Includes bibliographical references. ISBN 0-943219-22-1 (alk. paper) I. Feminism-Literary collections. 2. Women-United States-Literary collections.