DOCSLIB.ORG

Salamishah Tillet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Salamishah Tillet Manager, Student Inform From: CMC_Students Subject: FW: "Listening to Nina Simone: Myth, Meme, and the Icon of a Movement" On Behalf Of Amy Emmert Scripps College Humanities Institute invites you to an evening with Salamishah Tillet, associate professor of English at the University of Pennsylvania and co-founder of the nonprofit A Long Walk Home, as part of our spring 2014 series "Feminisms and the Radical Imagination." Tuesday, February 4, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Listening to Nina Simone: Myth, Meme, and the Icon of a Movement” SALAMISHAH TILLET Associate Professor of English at the University of Pennsylvania and co-founder of the nonprofit A Long Walk Home Generously co-sponsored by the Alexa Fullerton Hampton Fund Ten years after her death, Nina Simone is more popular today than when she was alive. In 2013, Beyonce name-dropped Simone as her sole predecessor in her documentary, Life is but a Dream. This same year, a character based on Simone appeared in the Broadway musical, Soul Doctor, while actress Zoe Saldana set off an Internet firestorm when she was cast in the title role in the upcoming biographical film, Nina. And no one has sampled her more than Kanye West, who has invoked her on all but one of his albums, including Yeezus’ most controversial track. In this talk, Professor Salamishah Tillet traces how Nina Simone, through her own act of self-fashioning and our subsequent reinventions of her, emerges as one of our most cherished and complicated symbols of "freedom." In 2003, Salamishah and her sister, Scheherazade Tillet, co-founded A Long Walk Home, Inc., a nonprofit that uses art therapy and the visual and performing arts to end violence against girls and women. Salamishah was also an associate producer of Aishah Shahidah Simmons' groundbreaking NO! The Rape Documentary and was featured in the award-winning Rape Is ... by Cambridge Documentary Films. She is the author of Sites of Slavery: Citizenship and Racial Democracy in the Post-Civil Rights Imagination. In 2011, she wrote the liner notes for the three-time Grammy-award-winning album, Wake Up! by John Legend and The Roots. This year, she publishedGloria Steinem: The Kindle Singles Interview with Amazon, and she is currently working on a book on Civil Rights icon Nina Simone. She earned her doctorate in the history of American civilization and master's in English and American literature from Harvard University and her master's in the art of teaching from Brown University. She has her bachelor's degree in English and African American studies from the University of Pennsylvania, from which she graduated Magna Cum Laude and Phi Beta Kappa. In 2010, she was awarded the Edmund J. and Louise W. Kahn Award for Distinguished Teaching by an Assistant Professor at the University of Pennsylvania. In 2010-11, she was the recipient of the Woodrow Wilson Foundation Fellow for Career Enhancement and served as a visiting fellow at the Center of African American Studies at Princeton University. In 2013-14, she was invited to be an inaugural member of the Project of the Advancement of Our Common Humanity, a think tank at New York University to focus on our crisis of 1 connection and creating a more just and humane world. She is also a scholar-in-residence at the New York Public Library's Schomburg Center for Research in Black Culture. Upcoming Events -- Tuesday, February 11, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Kinnie Starr Declares Sovereignty: Intersections of an Indigenous, Feminist, Activist, and Hip Hop Politics” CHARITY MARSH Canada Research Chair in Interactive Media and Popular Music Faculty of Fine Arts, University of Regina Tuesday, February 18, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Afrolez®femcentric Perspectives on Coloring and Queering Gender-Based Violence” AISHAH SHAHIDAH SIMMONS Erma O’Brien Distinguished Professor, Scripps College and Producer, Writer, and Director, NO! The Rape Documentary Tuesday, February 25, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center Film screening of My Left Breast by GERRY ROGERS Member of the House of Assembly, Newfoundland and Labrador and feminist filmmaker/activist (USA, 2002, 57 minutes) Tuesday, March 4, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Miss Rose Coyote plays her last Big Trick: catch her act down at the intersection of Gender, Ethnicity, Race, Power, and Social Justice” RAYNA GREEN Curator Emerita, National Museum of American History, Smithsonian Institution Tuesday, March 11, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Eldridge Cleaver Visits Pyongyang, Hanoi, and Peking: Afro-Asian Internationalism, Radical Orientalism, and Global Feminism” JUDY TZU-CHUN WU Professor of History and Women’s, Gender, and Sexuality Studies, Ohio State University Generously co-sponsored by the Intercollegiate Department of Africana Studies Tuesday, March 25, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Contextualizing Womanhood and Blackness in Gershwin's Porgy and Bess” NAOMI ANDRÉ Associate Professor of Women's Studies, Department of Afroamerican and African Studies, and the Residential College, University of Michigan Wednesday, April 2, noon 2 Hampton Room, Malott Commons "Chicana Borderlands Sonic Imaginaries" DEBORAH R. VARGAS, Ph.D. Associate Professor of Ethnic Studies, University of California, Riverside Bring your lunch or purchase lunch in Malott Commons Dining Hall. Dessert and coffee provided. Wednesday, April 9, noon Hampton Room, Malott Commons "Hawaiian Women and the Nationalist Politics of Indigeneity" J. KĒHAULANI KAUANUI Associate Professor of American Studies and Anthropology, Wesleyan University Bring your lunch or purchase lunch in Malott Commons Dining Hall. Dessert and coffee provided. Tuesday, April 15, 7:30 p.m. Garrison Theater, Scripps College Performing Arts Center “Entre Mujeres (Between Women): Embodied Knowledges” CÁNDIDA F. JÁQUEZ Director, Scripps College Humanities Institute Associate Professor of Music, Scripps College Adjunct Faculty, Claremont Graduate University MARTHA GONZALEZ Assistant Professor of Chicano Studies, Scripps College ALMA MARTINEZ Actress and Author HELENA MARÍA VIRAMONTES Author and Professor of Creative Writing, Cornell University ************************** "FEMINISMS AND THE RADICAL IMAGINATION" Join us this semester as we explore multiple feminist narratives and trajectories, addressing the intersections of gender, ethnicity, race, power, and social justice within and beyond the academy. Events are free and open to the public. For more details, visit www.scrippscollege.edu/hi or www.Facebook.com/Scripps.Humanities.Institute. Driving directions and parking information can be found here at http://www.scrippscollege.edu/about/directions.php. Events are FREE and open to the public. No tickets required. Doors open at 7:00 p.m. Amy Emmert Program Administrator Scripps College Humanities Institute 1030 Columbia Avenue Claremont, CA 91711-3905 Office location: Steele 204 P: 909.621.8237 F: 909.621.8845 [email protected] http://www.scrippscollege.edu/hi 3.
Load more

Recommended publications
  • Fellowship, Spring 2018
    feThe Newsletterll of the Woodrowow Wilson National Fellowshipsh Foundationip SPRING 2018 New Fellowship Program Focusing on Excellence in Teaching xceptional teaching has the ability to change the lives of Estudents from elementary school through college—bringing subjects alive and opening doors to new understandings and life- long interests. At the university level, teaching plays a central role in students’ path to graduation and life success. In an effort to support rising postsecondary education “stars” who love teaching, demonstrate excellence as educators, and are making their mark as exceptional researchers, poised to shape their fields, the Woodrow Wilson National Fellowship Foundation is administering a new Fellowship program through the support of the online learning library Course Hero. The Course Hero-Woodrow Wilson Fellowship for Excellence in Teaching is designed for scholars working toward tenure. Conceived as a “genius grant,” the Fellowship supports the importance of balancing scholarly excellence and outstanding undergraduate teaching practices. “Course Hero-WW Fellows will be the emerging heroes in their Neil Garg is a professor of organic fields,” Course Hero CEO and Co-Founder Andrew Grauer said. chemistry at UCLA and a Course “Educators are regularly recognized for their research and Hero Master Teacher. publications but not nearly as frequently or to the same extent for their classroom teaching. Being an exceptional educator requires more than being the leading research mind; it also requires a “The Woodrow Wilson Foundation was built on a commitment unique ability to engage, inspire, and build student confidence and to provide educators with the encouragement, supports, and mastery. The selected Fellows will be up and coming academics guidance to succeed in the academy,” said Stephanie J.
    [Show full text]
  • Fellowship: the Newsletter of the Woodrow Wilson National
    NON-PROFIT ORGANIZATION U.S. POSTAGE PAID P.O. Box 5281 PRINCETON, NJ Princeton, NJ 08543-5281 FEFALL 2011 LLOWTHE NEWSLETTER OF THESHIP WOODROW WILSON NATIONAL FELLOWSHIP FOUNDATION PERMIT #315 INSIDE WW SPEARHEADS INNOVATIVE TEACHING THE WOODROW WILSON PARTNERSHIP IN DETROIT TEACHING FELLOWSHIP WW Ohio Teaching Fellowship Expands . .3 Teaching Fellows Receive Early Accolades . .4 WW Hosts Second Teaching Fellows’ Convening . .5 The Game Changers . .5 Salamishah Tillet MN ’99, CEF ’10: The Arts: Weapon of Change, Tool of Healing . .6 DIGITAL INTELLECTUALS Edward Tenner WF ’65 . .7 Alycia Meriweather of DPS guides discussion at a late August session with new mentors and the WKKF-WW Michigan Teaching Alice Dreger CN ’94 . .8 Fellows in Detroit. Photo: Woodrow Wilson Foundation JOIN A VIRTUAL COMMUNITY OF FELLOWS BOOK SPOTLIGHT . .10 “ o matter what university you’re from,” says clinical placement,” says Constance K. Bond, the Follow the Woodrow Wilson Foundation Online! Rachel Brownstein WF ’58 NAlycia Meriweather, “you’re part of this De- Foundation’s Vice President for Teaching Fellowships. “It would be a distraction that none of us could afford, Stephanie Coontz WF ’66 troit project. I have to feel comfortable that you’re working with my kids. I have to see the evidence of or manage. o make the most of the remarkable network of Woodrow Wilson Fellows, the Foun- Carol Gilligan WF ’58 your effectiveness. If Fellows from one campus fail, Tdation has expanded its online presence. Please come join our virtual community. “Beyond that, Detroit really needs these teachers—every Mary Beth Norton WF ’64 everyone fails—and we cannot afford to fail.” The Woodrow Wilson Foundation has Facebook pages for both the Foundation as a whole one of them—to be fully prepared to make a significant impact in some challenging classrooms,” Dr.
    [Show full text]
  • The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture
    Acts of Public Survival: The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Tess Elizabeth Cumpstone, MA Graduate Program in Women’s, Gender, and Sexuality Studies The Ohio State University 2018 Thesis Committee: Dr. Guisela Latorre, Advisor Dr. Margaret Price Copyright by Tess Elizabeth Cumpstone 2018 2 Abstract “Acts of Public Survival” analyzes how community-based, anti-rape art projects on college campuses challenge the sexist-ableist rhetorical maneuvers that pathologize survivors and position them as outliers requiring special treatment. This violent rhetoric is evident in messages that have been circulated by prominent public figures, as well as entrenched in the policies and administrative responses addressing sexual violence on college campuses. The impact of such rhetoric is the perpetuation and affirmation of the sub-humanization of survivors of sexual trauma. In this thesis, I put disability studies scholarship in conversation with feminist theories on sexual violence and public art in order to highlight the interconnected history of sexism-ableism in the U.S. and the function of anti-rape art projects as artivist practices on college campuses. Specifically, I will be considering Duke University’s Breaking Out Campaign, the University of Chicago’s Clothesline Project, and Emma Sulkowicz’s Mattress Performance (undertaken at Columbia University). I use grounded theory and discourse analysis to interpret digital articles written in reaction to the art projects and to track three common trends in sexist-ableist campus community responses: the narrative of special treatment, the narrative of pathology, and the narrative of willful ignorance.
    [Show full text]
  • Soyica Diggs Colbert
    Theatre Survey 57:3 (September 2016) © American Society for Theatre Research 2016 doi:10.1017/S0040557416000314 Soyica Diggs Colbert BLACK RAGE:ON CULTIVATING BLACK NATIONAL BELONGING In performances in Atlanta; Philadelphia; Washington, DC; Los Angeles; Rio de Janeiro; Chicago; and Denver in 2012, Ms. Lauryn Hill carved out space to voice black rage.1 In videos uploaded to YouTube, Hill sings, raps, talks, and riffs varied renditions of the song “Black Rage (Sketch),” a remix of Richard Rodgers and Oscar Hammerstein II’s “My Favorite Things.” During her November performance at the Electric Factory in Philadelphia, drumbeats punctu- ated Hill’s rapping and singing. Her performance took the audience on a journey meant to leave no one behind; it moved from the highly choreographed rendition of the song with musical accompaniment and Hill acting as lead vocalist and band conductor to her slowly speaking the lyrics of the song and occasionally offering analysis of her words over the shouts and applause of audience members. She explains the line “when I’m feeling sad,” saying “that’s a depressive mood.”2 As the title of her song suggests, in each reiteration Hill issues a different draft of the song, sketching her sound, mood, tempo, and emphasis with each new au- dience. Although renditions of the song shift, the lyrics consistently recount the physical, psychic, economic, and environmental vulnerability of black people in the United States. The lyrics transform the original song’s references to beloved objects—“blue satin sashes” and “snowflakes”—into ironic things such as “Black human packages tied up in strings,” which Hill described in her Philadelphia performance as a reference to bureaucracy but which also resonates with familiar images of lynching.3 Shifting from the original song’s depiction Soyica Diggs Colbert is an associate professor of African American Studies and Theater and Performance Studies at Georgetown University.
    [Show full text]
  • When Whispers Enter the Cloud
    University of Pennsylvania Carey Law School Penn Law: Legal Scholarship Repository Faculty Scholarship at Penn Law 2018 When Whispers Enter the Cloud Heidi H. Liu University of Pennsylvania Carey Law School Follow this and additional works at: https://scholarship.law.upenn.edu/faculty_scholarship Part of the Law and Gender Commons, Privacy Law Commons, and the Science and Technology Law Commons Repository Citation Liu, Heidi H., "When Whispers Enter the Cloud" (2018). Faculty Scholarship at Penn Law. 2528. https://scholarship.law.upenn.edu/faculty_scholarship/2528 This Article is brought to you for free and open access by Penn Law: Legal Scholarship Repository. It has been accepted for inclusion in Faculty Scholarship at Penn Law by an authorized administrator of Penn Law: Legal Scholarship Repository. For more information, please contact [email protected]. HarvardJournal of Law & Technology Volume 31, Number 2 Spring 2018 WHEN WHISPERS ENTER THE CLOUD: EVALUATING TECHNOLOGY To PREVENT AND REPORT SEXUAL ASSAULT Heidi Liu* TABLE OF CONTENTS I. IN TR O D U CTIO N .............................................................................. 939 II. TECHNOLOGIES FOR SEXUAL MISCONDUCT PREVENTION ........... 942 A . P reven tion ................................................................................ 9 4 2 B. R esp o n se ................................................................................... 9 4 4 C. P redictio n ................................................................................. 9 4 6 III. EVALUATION
    [Show full text]
  • Tyler Mitchell
    513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY TYLER MITCHELL Born in 1995, Atlanta, GA Lives and works in Brooklyn, NY EDUCATION 2017 BFA, New York University Tisch School of the Arts SELECTED ONE AND TWO-ARTIST EXHIBITIONS 2021 Upcoming: Dreaming in Real Time, Jack Shainman Gallery, New York, Sept 9-Oct 30 Upcoming: I Can Make You Feel Good, Jack Shainman Gallery, New York, Sept 9-Oct 30 Upcoming: An Imaginative Arrangement of the Things Before Me, The Gordon Parks Foundation, Pleasantville, NY, September 25, 2021 - January 2, 2022 2020 I Can Make You Feel Good Pt. 2, The International Center of Photography, New York, NY 2019 I Can Make You Feel Good, Foam Fotografiemuseum Amsterdam, Amsterdam, NL SELECTED GROUP EXHIBITIONS 2019 The New BlaCk Vanguard, Aperture Foundation, October 24, 2019 -Jan 18, 2020. Traveled to: Arles, France as part of Recontres d'Arles, July 4, 2021 - September 26, 2021. 2018 The Way We Live Now, Aperture Foundation, New York, NY Labs New Artists II, Red Hook Labs, Brooklyn, NY 2016 D E E P: A Best of Vimeo ShowCase, Wish This Was Real, Brooklyn, NY WWW.JACKSHAINMAN.COM [email protected] 2015 I Feel You, Group Video Show, Wish This Was Real, Roll Gate, Brooklyn, NY Daydreamers, Alt Space, Brooklyn, NY SELECTED PRESS/BIBLIOGRAPHY 2021 Enuma Okoro, “Tyler Mitchell: visions of an American utopia” Financial Times: July 30 Amy Sherald and Tyler Mitchell, “The Epic Banal” Art in America: May 7 2020 Christiane Amanpour, “How Tyler Mitchell Creates His Black
    [Show full text]
  • AFRAMER 131Y: Enslaved Black Women Narratives and the 21St Century #Metoo Movement: a Conversation Dr
    AFRAMER 131Y: Enslaved Black Women Narratives and the 21st Century #MeToo Movement: A Conversation Dr. Linda Chavers Barker Center, 114 Mondays, 12-2:45pm Note: we will not usually use all 165 minutes of class, I suggest blocking off 12-2 as absolute Contact: [email protected] Office Hours: By Appointment Office Location: 12 Quincy Street Communication Policy: If you email me on a weekday (Monday thru Thursday) I should respond within 24 hours. Any emails sent during the weekend or on holidays will be answered within 72 hours Course Description: What would happen if we genuinely paid attention to the history of American slavery? What threads could we pull from it about gender, sex and power? This course examines the current discourse around sexual harassment and assault from the #MeToo movement through the informed lens of Harriet Jacobs’s slave narrative Incidents in the Life of a Slave Girl. Both “texts” involve navigating spaces of subjugation and supremacy and yet one voice has remained steadily ignored in mainstream audiences. We will also look at the intersection of race and gender that Incidents reveals and trace how these remain intact or not through today. While there isn’t yet a week to week schedule you should know that we will generally be reading a 50-100 page book per week with smaller secondary articles, there will be required weekly blog posts, three open book quizzes, leading class discussion and no final. **Explicit Content Statement** Over the course of the semester you will be introduced to texts that may be explicit in nature (i.e.
    [Show full text]
  • I Never Called It Rape
    I NEVER CALLED IT RAPE UPDATED EDITION The Ms. Report on Recognizing, Fighting, and Surviving Date and Acquaintance Rape ROBIN WARSHAW Preface by Gloria Steinem Foreword to the 2019 Edition by Salamishah Tillet, PhD Afterword and Epilogue by Mary P. Koss, PhD Ms. Foundation/Sarah Lazin Books Previous editions of this book were published in 1988 and 1994 by Harper & Row, Publishers. I NEVER CALLED IT RAPE. Copyright © 1988, 1994, 2019 by the Ms. Foundation for Education and Communication, Inc., and Sarah Lazin Books. Foreword to the HarperPerennial edition copyright © 1994, 2019 by Robin Warshaw. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quota- tions embodied in critical articles and reviews. For information, address HarperCollins Publishers, 195 Broadway, New York, NY 10007. HarperCollins books may be purchased for educational, business, or sales pro- motional use. For information, please e-mail the Special Market Department at [email protected]. FIRST HARPER PERENNIAL EDITION PUBLISHED 1994, UPDATED 2019. Designer: Joan Greenfield Library of Congress Cataloging-in-Publication Data Warshaw, Robin I never called it rape. “Ms. magazine/Sarah Lazin Books.” Includes index. 1. Acquaintance rape—United States—Case studies. 2. Rape victims—United States—Case studies. 3. Rape—United States—Prevention. 1. Koss, Mary P. I. Ms. III. Title. HV6561.W38 1988 362.8’8 87-46180 ISBN 0-06-092572-8 ISBN 978-0-06-284430-9 19 20 21 22 23 LSC 10 9 8 7 6 5 4 3 2 1 RESOURCES Books Ask: Building Consent Culture by Kitty Stryker.
    [Show full text]
  • The Wolfe Institute the Ethyle R
    The Wolfe Institute The Ethyle R. Wolfe Institute for the Humanities, in collaboration with the Departments of Africana Studies, English, and Puerto Rican and Latino Studies, the American Studies Program, the Women’s and Gender Studies Program, and the Office of Diversity and Equity Programs, presents Remixing Nina Simone: Myth, Meme, and Icon of a Movement Salamishah Tillet is an associate professor of English and Africana Studies at the University of Pennsylvania. Her research interests include twentieth-century African American literature, film, popular music, cultural studies, and feminist theory. Her book Sites of Slavery: Citizenship and Racial Democracy in the Post-Civil Rights Imagination (Duke University Press, 2012) examines why and how contemporary African American artists, writers, and intellectuals remember antebellum slavery within post-Civil Rights America. She co-edited Callaloo: A Journal of African Diaspora Arts and Letters Special Issue on Ethiopia and her work has appeared in American Quarterly, Callaloo, Novel, Research in African Literatures, Savoring the Salt: The Legacy of Toni Cade Bambara, Violence in the Lives of Black Women: Battered, Black, and Blue, and Women’s Review of Books. She is currently working on a book on the civil rights icon, Nina Simone. Tillet guest blogs for The Nation and has appeared on BBC, CNN, MSNBC, and NPR, and has written editorials for The Chicago Tribune and Washington Post magazine, The Root. In 2010, she wrote the liner notes for John Legend and The Roots’ three-time Grammy award-winning album, Wake Up! In 2013, she published Gloria Steinem: The Kindle Singles Interview and was a featured speaker at the TEDxWomen conference.
    [Show full text]
  • Girl/Friends Leadership Institutes in Chicago in 2009
    BACKGROUND The history of A Long Walk Home is based on the story of sisters and co-founders Scheherazade and Salamishah Tillet. Salamishah was sexually assaulted as a teenager; and in 1998, Scheherazade began to photo document the impact of sexual assault on Salamishah’s life, launching the awarding winning, Story of A Rape Survivor (SOARS) multimedia performance for college youth leaders and administrators. Over the last eleven years, ALWH's SOARS college campaign has presented at over 300 colleges and served as an essential bridge between traditional victims' advocacy groups and low- income students and students of color. Building on this model of art, advocacy, and survivor’s leadership, ALWH expanded the programming to include the Girl/Friends Leadership Institutes in Chicago in 2009. GIRL/FRIENDS LEADERSHIP INSTITUTE Girl/Friends Leadership Institutes has partnered with two different sites in Chicago: the charter school, North Lawndale College Preparatory High School (NLCP) and the residential treatment center, Mercy Home for Boys and Girls. At NLCP, teen girls can participate in Girl/Friends through: (1) a selective yearlong afterschool program (25 youth leaders per year) and receive college credit; or (2) credits classes in school curriculum (60 youth leaders per year). BACKGROUND ABOUT NLCP NLCP is located in one of the most under-resourced neighborhoods in Chicago. NLCP has two campuses and has 950 students. The North Lawndale neighborhood is in particular need of violence prevention programming because it has the 3rd highest number of reported criminal sexual assault among Chicago’s 77 neighborhoods. Despite the prevalence of sex crimes that affect young girls in North Lawndale, there are no mental health facilities to serve survivors of domestic and sexual violence in the community.
    [Show full text]
  • Salamishah Tillet's
    Salamishah Tillet’s The Penn alumna and English professor—survivor of two rapes while an undergraduate— has become a lauded scholar and teacher and a leading activist in the effort to end violence against women and girls. Byy Kathryn Leevyy Feldman an undergraduate at Penn in the 1990s, Salamishah the Edward W. Kane Professor of English and current department Tillet C’96 experienced some of the best and very chair. “We see her very much as the future of our department.” AS worst that a young person’s college years can offer. Much of Tillet’s work as an activist is channeled through A Long It was here that she made lasting friendships and found the Walk Home, a nonprofit she co-founded in 2003 with her sister inspiring classes and mentors that sparked her ambition to Scheherazade, which uses art therapy and the visual and perform- become a scholar and teacher herself. And it was also here that, ing arts to counter violence against girls and women. A Long Walk during her freshman year, she was sexually assaulted by a fel- Home’s programs include the multimedia performance Story of a low student—a trauma compounded by a second rape while she Rape Survivor (SOARS), based on her own story of healing. was on a study-abroad program in Kenya during her junior year. Tillet has appeared on the BBC, CNN, MSNBC, and NPR, written The rapes left her suffering from post-traumatic stress, but for The Chicago Tribune and The Root, and currently guest blogs for with the support of her family and friends, and successful The Nation.
    [Show full text]
  • The Protest Song: Bridge Leadership, Sonic Innovation, and the Long Civil Rights Movement
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Julia Cox University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the African American Studies Commons, American Studies Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Cox, Julia, "The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement" (2018). Publicly Accessible Penn Dissertations. 2951. https://repository.upenn.edu/edissertations/2951 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2951 For more information, please contact [email protected]. The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Abstract This dissertation tells a new story of the American Civil Rights Movement through the woman’s singing voice. The dissertation explores what is possible when political music is disentangled from patriarchal narratives of leadership and artistic genius. “The Protest Song” contends that women across the color line were pioneering new types of lyrical expressions, musical aesthetics, and performance practices that sought to articulate feminist identities inside the long black freedom movement, harnessing the power of music to push for a broader and simultaneous liberation from racial and gendered oppression. While the project prioritizes
    [Show full text]