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In Ta-Nehisi Coates's Between the World and Me
“OVERPOLICED AND UNDERPROTECTED”:1 RACIALIZED GENDERED VIOLENCE(S) IN TA-NEHISI COATES’S BETWEEN THE WORLD AND ME “SOBREVIGILADAS Y DESPROTEGIDAS”: VIOLENCIA(S) DE GÉNERO RACIALIZADA(S) EN BETWEEN THE WORLD AND ME, DE TA-NEHISI COATES EVA PUYUELO UREÑA Universidad de Barcelona [email protected] 13 Abstract Ta-Nehisi Coates’s Between the World and Me (2015) evidences the lack of visibility of black women in discourses on racial profiling. Far from tracing a complete representation of the dimensions of racism, Coates presents a masculinized portrayal of its victims, relegating black women to liminal positions even though they are one of the most overpoliced groups in US society, and disregarding the fact that they are also subject to other forms of harassment, such as sexual fondling and other forms of abusive frisking. In the face of this situation, many women have struggled, both from an academic and a political-activist angle, to raise the visibility of the role of black women in contemporary discourses on racism. Keywords: police brutality, racism, gender, silencing, black women. Resumen Con la publicación de la obra de Ta-Nehisi Coates Between the World and Me (2015) se puso de manifiesto un problema que hacía tiempo acechaba a los discursos sobre racismo institucional: ¿dónde estaban las mujeres de color? Lejos de trazar un esbozo fiel de las dimensiones de la discriminación racial, la obra de Coates aboga por una representación masculinizada de las víctimas, relegando a las miscelánea: a journal of english and american studies 62 (2020): pp. 13-28 ISSN: 1137-6368 Eva Puyuelo Ureña mujeres a posiciones marginales y obviando formas de acoso que ellas, a diferencia de los hombres, son más propensas a experimentar. -
This Bridge Called My Back Writings by Radical Women of Color Editors: Cherrie Moraga Gloria Anzaldua Foreword: Toni Cade Bambara
Winner0fThe 1986 BEFORECOLTJMBUS FOTJNDATION AMERICANBOOK THIS BRIDGE CALLED MY BACK WRITINGS BY RADICAL WOMEN OF COLOR EDITORS: _ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA KITCHEN TABLE: Women of Color Press a New York Copyright © 198 L 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas, ed. with Alma Gomez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. Loving in the War Years: Lo Que Nunca Paso Por Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L. Yung Second Edition, Sixth Printing. ISBN 0-913175-03-X, paper. ISBN 0-913175-18-8, cloth. This bridge called my back : writings by radical women of color / editors, Cherrie Moraga, Gloria Anzaldua ; foreword, Toni Cade Bambara. — 1st ed. — Watertown, Mass. : Persephone Press, cl981.[*] xxvi, 261 p. : ill. ; 22 cm. Bibliography: p. 251-261. ISBN 0-930436-10-5 (pbk.) : S9.95 1. Feminism—Literary collections. 2. Radicalism—Literary collections. 3. Minority women—United States—Literary collections. 4. American literature —Women authors. 5. American literature—Minority authors. 6. American literature—20th century. I. Moraga, Cherrie II. -
Policing, Protest, and Politics Syllabus
Policing, Protest, and Politics: Queers, Feminists, and #BlackLivesMatter WOMENSST 295P / AFROAM 295P Fall 2015 T/Th 4:00 – 5:15pm 212 Bartlett Hall Instructor: Dr. Eli Vitulli Office: 7D Bartlett Email: [email protected] Office hours: Th 1:30-3:30pm (& by appointment only) COURSE OVERVIEW Over the past year few years, a powerful social movement has emerged to affirm to the country and world that Black Lives Matter. Sparked by the killing of Trayvon Martin by George Zimmerman in Stanford, Florida, and Zimmerman’s acquittal as well as the police killings of other black men and women, including Michael Brown, Rekia Boyd, and Freddie Gray, this movement challenges police violence and other policing that makes black communities unsafe as well as social constructions of black people as inherently dangerous and criminal. Police violence against black people and the interrelated criminalization of black communities have a long history, older than the US itself. There is a similarly long and important history of activism and social movements against police violence and criminalization. Today, black people are disproportionately subject to police surveillance and violence, arrest, and incarceration. So, too, are other people of color (both men and women) and queer, trans, and gender nonconforming people of all races but especially those of color. This course will examine the history of policing and criminalization of black, queer, and trans people and communities and related anti-racist, feminist, and queer/trans activism. In doing so, we will interrogate how policing and understandings of criminality—or the view that certain people or groups are inherently dangerous or criminal—in the US have long been deeply shaped by race, gender, and sexuality. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
Download a PDF of the Toolkit Here
This toolkit was created through a collaboration with MediaJustice's Disinfo Defense League as a resource for people and organizations engaging in work to dismantle, defund, and abolish systems of policing and carceral punishment, while also navigating trials of police officers who murder people in our communities. Trials are not tools of abolition; rather, they are a (rarely) enforced consequence within the current system under the Prison Industrial Complex (PIC) for people who murder while working as police officers. Police are rarely charged when they commit these murders and even less so when the victim is Black. We at MPD150 are committed to the deconstruction of the PIC in its entirety and until this is accomplished, we also honor the need for people who are employed as police officers to be held to the same laws they weaponize against our communities. We began working on this project in March of 2021 as our city was bracing for the trial of Derek Chauvin, the white police officer who murdered George Floyd, a Black man, along with officers J. Alexander Kueng and Thomas Lane while Tou Thao stood guard on May 25th, 2020. During the uprising that followed, Chauvin was charged with, and on April 20th, 2021 ultimately found guilty of, second-degree unintentional murder, third-degree murder, and second-degree manslaughter. Municipalities will often use increased police presence in an attempt to assert control and further criminalize Black and brown bodies leading up to trials of police officers, and that is exactly what we experienced in Minneapolis. During the early days of the Chauvin trial, Daunte Wright, a 20-year-old Black man was murdered by Kim Potter, a white Brooklyn Center police officer, during a traffic stop on April 11th, 2021. -
Notes for the Downloaders
NOTES FOR THE DOWNLOADERS: This book is made of different sources. First, we got the scanned pages from fuckyeahradicalliterature.tumblr.com. Second, we cleaned them up and scanned the missing chapters (Entering the Lives of Others and El Mundo Zurdo). Also, we replaced the images for new better ones. Unfortunately, our copy of the book has La Prieta, from El Mundo Zurdo, in a bad quality, so we got it from scribd.com. Be aware it’s the same text but from another edition of the book, so it has other pagination. Enjoy and share it everywhere! Winner0fThe 1986 BEFORECOLTJMBUS FOTJNDATION AMERICANBOOK THIS BRIDGE CALLED MY BACK WRITINGS BY RADICAL WOMEN OF COLOR EDITORS: _ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA KITCHEN TABLE: Women of Color Press a New York Copyright © 198 L 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas, ed. with Alma Gomez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. Loving in the War Years: Lo Que Nunca Paso Por Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L. -
Ethnic Studies Review
esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 2 COLOR IS FOR APPROXIMATION ONLY – DO NOT USE FOR COLOR APPROVAL Volumes 37 and 38 Volumes National Association For Ethnic Studies Ethnic Studies Review Ethnic Studies Review Pages 1–154 Pages 2014-2015 2014-2015 Volumes 37 and 38 ISSN: 1555-1881 esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 3 The National Association For Ethnic Studies Ethnic Studies Review (ESR) is the journal of the National Association For Ethnic Studies (NAES). ESR is a multi-disciplinary international journal devoted to the study of ethnicity, ethnic groups and their cultures, and inter-group relations. NAES has as its basic purpose the promotion of activities and scholarship in the field of Ethnic Studies. The Association is open to any person or institution and serves as a forum for its members in promoting research, study, and curriculum as well as producing publications of interest in the field. NAES sponsors an annual spring Ethnic Studies Review conference. Journal Information Editorial Board Editor Associate Editors Ron Scapp, College of Mount Saint Vincent David Aliano, College of Mount Saint Vincent Guidelines for Submitting Manuscripts Ravi Perry, Virginia Commonwealth University ESR uses a policy of blind peer review. All papers are read by at least two Book Review Editor reviewers who are experts in the area. Manuscripts must not have been Emily M. Drew, Willamette University published previously or be under consideration by other publications. ESR seeks manuscripts of 7500 words or less, inclusive of notes and works cited. Editorial Advisory Board Endnotes rather than footnotes should be utilized, although these should be Edna Acosta-Belen Rosanne Kanhai kept to a minimum. -
Eyesontheprize-Studyguide 207.Pdf
A Blackside Publication A Study Guide Written by Facing History and Ourselves Copyright © 2006 Blackside, Inc. All rights reserved. Cover photos:(Signature march image) James Karales; (Front cover, left inset image) © Will Counts, Used with permission of Vivian Counts; (All other inset images) © Bettmann/Corbis Design by Planet Studio For permissions information, please see page 225 FOREWORD REP. JOHN LEWIS 5th Congressional District, Georgia The documentary series you are about to view is the story of how ordinary people with extraordinary vision redeemed “If you will protest courageously and democracy in America. It is a testament to nonviolent passive yet with dignity and …. love, when resistance and its power to reshape the destiny of a nation and the history books are written in future generations, the historians will the world. And it is the chronicle of a people who challenged have to pause and say, ‘There lies a one nation’s government to meet its moral obligation to great people, a black people, who humanity. injected new meaning and dignity We, the men, women, and children of the civil rights move- into the very veins of civilization.’ ment, truly believed that if we adhered to the discipline and This is our challenge and our philosophy of nonviolence, we could help transform America. responsibility.” We wanted to realize what I like to call, the Beloved Martin Luther King, Jr., Community, an all-inclusive, truly interracial democracy based Dec. 31, 1955 on simple justice, which respects the dignity and worth of every Montgomery, Alabama. human being. Central to our philosophical concept of the Beloved Community was the willingness to believe that every human being has the moral capacity to respect each other. -
Appendix B. Scoping Report
Appendix B. Scoping Report VALERO CRUDE BY RAIL PROJECT Scoping Report Prepared for November 2013 City of Benicia VALERO CRUDE BY RAIL PROJECT Scoping Report Prepared for November 2013 City of Benicia 550 Kearny Street Suite 800 San Francisco, CA 94104 415.896.5900 www.esassoc.com Los Angeles Oakland Olympia Petaluma Portland Sacramento San Diego Seattle Tampa Woodland Hills 202115.01 TABLE OF CONTENTS Valero Crude By Rail Project Scoping Report Page 1. Introduction .................................................................................................................. 1 2. Description of the Project ........................................................................................... 2 Project Summary ........................................................................................................... 2 3. Opportunities for Public Comment ............................................................................ 2 Notification ..................................................................................................................... 2 Public Scoping Meeting ................................................................................................. 3 4. Summary of Scoping Comments ................................................................................ 3 Commenting Parties ...................................................................................................... 3 Comments Received During the Scoping Process ........................................................ 4 Appendices -
Stay Woke, Give Back Virtual Tour Day of Empowerment Featuring Justin Michael Williams
11 1 STAY WOKE, GIVE BACK VIRTUAL TOUR DAY OF EMPOWERMENT FEATURING JUSTIN MICHAEL WILLIAMS On the STAY WOKE, GIVE BACK TOUR, Justin empowers students to take charge of their lives, and their physical and mental wellbeing with mass meditation events at high schools, colleges, and cultural centers across the country. The tour began LIVE in-person in 2020, but now with the Covid crisis—and students and teachers dealing with the stressors of distance learning—we’ve taken the tour virtual, with mass Virtual Assemblies to engage, enliven, and inspire students when they need us most. From growing up with gunshot holes outside of his bedroom window, to sharing the stage with Deepak Chopra, Justin Michael Williams knows the power of healing to overcome. Justin Michael Williams More: StayWokeGiveBack.org Justin is an author, top 20 recording artist, and transformational speaker whose work has been featured by The Wall Street Journal, Grammy.com, Yoga Journal, Billboard, Wanderlust, and South by Southwest. With over a decade of teaching experience, Justin has become a pioneering millennial voice for diversity and inclusion in wellness. What is the Stay Woke Give Back Tour? Even before the start of Covid-19, anxiety and emotional unrest have been plaguing our youth, with suicide rates at an all-time high. Our mission is to disrupt that pattern. We strive to be a part of the solution before the problem starts—and even prevent it from starting in the first place. Instead of going on a traditional “book tour,” Justin is on a “GIVE BACK” tour. At these dynamic Virtual Assemblies—think TED talk meets a music concert—students will receive: • EVENT: private, school-wide Virtual Assembly for entire staff and student body (all tech setup covered by Sounds True Foundation) • LONG-TERM SUPPORT: free access to a 40-day guided audio meditation program, delivered directly to students daily via SMS message every morning, requiring no staff or administrative support. -
Charter Commission Public Safety Comments July 20
7/20/2020 4:04:40 PM My name is 00000 00000000, and I am a resident of Minneapolis. I support divestment from police and reinvestment in our communities, and I am calling on the Charter Commission to let the people vote on the charter amendment. Over-policing and police violence have destroyed Black, brown and Indigenous communities while failing to keep us safe. Voters like me should have a role in determining the future of public safety in our city, because we know best what will allow all our neighborhoods to really thrive. This initiative is our best chance to build stronger, safer communities for everyone in Minneapolis. Please pass the charter amendment along to voters, and respect our democratic right to decide the future of our city. Ward 3 7/20/2020 4:04:51 PM I'm a member of Kenwood community, and I’d like to voice my support for the charter amendment to change the way our city handles public safety. To push the vote back another year is an act of disrespect and hate toward the marginalized people who are most impacted by the oppressive nature of our current system. Any member of the commission who thinks that waiting is best will lose the respect of the people they represent. Please listen to the calls of the people and allow this change to go through this year. Let the people decide for themselves! Ward 7 7/20/2020 4:06:35 PM I support the charter commission moving the current language of the amendment to a ballot vote in November. -
Larouche Youth Join Amelia Boynton Robinson
Click here for Full Issue of EIR Volume 32, Number 11, March 18, 2005 EIRCivil Rights 40TH ANNIVERSARY OF SELMA’S ‘BLOODY SUNDAY’ LaRouche Youth Join Amelia Boynton Robinson by Bonnie James and Katherine Notley On the 40th anniversary of the historic crossing of Edmund 1965 Voting Rights Act was signed. Mr. Boynton died on Pettus Bridge in the Selma-to-Montgomery march for voting May 13, 1963, after suffering a series of strokes brought on rights, one of the movement’s great heroines, Amelia by the relentless threats to his and his family’s lives, to stop Boynton Robinson, invited four representatives of the him from organizing, as Mrs. Robinson describes in the inter- LaRouche Youth Movement to join her in Selma, Alabama view below, “for the ballot and the buck”—to secure voting to participate. The annual “Bridge Crossing Jubilee” to com- rights and economic independence for the county’s black citi- memorate “Bloody Sunday” on March 7, 1965, when state zens, many of them sharecroppers kept in a condition of vir- troopers attacked the demonstrators attempting to march tual slavery. His last words to his wife Amelia, were to ensure from Selma to the state capital in Montgomery, giving the that every African-American in Dallas County was registered date its infamous name, was hosted on March 3-6 by the to vote. National Voting Rights Museum in Selma, and culminated The LYM organizers joined Mrs. Robinson for a TV inter- on Sunday, March 6, with a re-enactment of the bridge view, in she which recounted her experiences in the voting crossing.