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This paper offers a brief yet comprehensive comparative analysis of historical and contemporary racial authoritarian violence in the United States and Brazil. Utilizing Black feminist historian and literary scholar Saidiya Hartman's theorization of the "afterlife of slavery" and Michael Dawson's linked fate, I examine how the processes of racialization and the racial logics of subordination have and continue to shape the contours of Black life in the United States and in Brazil. Moreover, in this work, I interrogate the afterlife of George Floyd and the afterlives of Black Brazilian victims and survivors of racial authoritarian violence; the political, transnational, and symbolic impacts of Floyd's death; and Diasporic understandings of linked fate on racial authoritarian violence between Black communities in the United States and in Brazil. [ABSTRACT FROM AUTHOR]

In the current qualitative study, we explored father (and varying father figures') ethnoracial and gendered socialization messages toward Latina and Black college women. We conducted six focus group interviews with Black (n = 3 groups) and Latina (n = 3 groups) college women. Guided by Chicana and Black feminist interpretive phenomenological analysis, we identified four clusters which detailed perceived paternal influences in the lives of these college women: (a) paternal caring, (b) gender socialization, (c) value of education, and (d) developing platonic and romantic relationships. [ABSTRACT FROM AUTHOR]

Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism's obfuscation of the past. The analysis focuses on Buchanan's defiance of memorial erasures, Nengudi's reenactment of labor, including in its historical forms, and Saar's adaptation of generational memory-making processes. Ultimately, these artists' rejection of a "timeless" modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences. [ABSTRACT FROM AUTHOR]

Some claim there is a lack of attention to black studies in current literary and academic fields in Spain. Even though there is an emerging wave of Afro-Spanish writers in the first quarter of the twenty-first century, many of them denounce the struggle they experienced to see their stories published and state that Afro-Spanish literature is absent from Spanish universities' curricula. Among the recent black voices that have achieved recognition in Spain is journalist and writer Lucía Mbomío, who condemns, in her debut novel Hija del camino (2019), the traumatic experiences that black women undergo with racism and sexism in Spain. With the aim of giving representation to the literature of Afro-Spanish women writers, the present article analyzes Mbomío's novel from the perspective of black studies, black feminism, and cultural studies. [ABSTRACT FROM AUTHOR]

Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat's exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century. [ABSTRACT FROM AUTHOR]

In 1974, the Pakistani Constitution was amended to declare Ahmadi Muslims as "non-Muslim", initiating a systematic and hegemonic structural attempt to restrict Ahmadi Muslims from professing and practicing the Islamic faith in Pakistan. This state-sanctioned exclusion led to the mass migration of Ahmadis out of Pakistan into diasporic contexts. Using autoethnography, this article examines how being an Ahmadi Muslim woman in Canada remains rooted in deeply divisive politico-religious conflicts that transcend temporal and spatial boundaries and result in multiple layers of marginalities in the diaspora. I am conscious that my self-formation is racialized, gendered, and classed across three primary intersections: as a Pakistani/South Asian; as an Ahmadi Muslim; and as a woman. This "triple consciousness", a term coined by Black feminist scholars and Afro-Latinx scholars in the United States to extend W. E. B. Du Bois' "double consciousness", produces a liminal and contradictory space of belonging—one that requires further reflection and analysis in the Canadian context where the racial continues to dominate our social world and proximity to Whiteness is privileged and rewarded. [ABSTRACT FROM AUTHOR]

Global citizenship is a popular concept that was fully embraced by UNESCO in 2015 with a framework for Global Citizenship Education (GCE). This pedagogical guidance can be characterized as transformative since it aims to foster reflective citizens who contribute to building a more inclusive, just, and peaceful world. Thus, GCE allows educators to take a critical approach to their teaching, hereby articulating a clear social justice orientation towards citizenship education. However, recent studies indicate that most interpretations and thus implementations of GCE do not translate into a social action approach. Therefore, this article conceptualizes an intersectional approach to GCE, to make a critical approach of GCE more likely by practitioners. Intersectionality was developed by Black feminists in the US, to highlight structural oppressions and privileges on the basis of analytical categories. Intersectionality, furthermore, allows for opportunities to recognize resilience and resistance in marginalized communities. Therefore, an intersectional approach to GCE would develop sensibilities among students to understand global structures of oppression and domination on the basis of analytical categories like race, gender, and class. This knowledge would lead to an awareness of one's own complicity and shared responsibility, resulting in deliberations and eventually political actions. The overall aim is to provide practitioners with a concrete suggestion of a critical interpretation of GCE, to show its potential as a social justice-orientated framework for educators in especially continental Europe. [ABSTRACT FROM AUTHOR]

This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting ways. The essay uses conceptual lenses from diaspora studies, Afro science fiction and Black feminist studies to critically engage the film and to critically question the notion of Black exceptionalism. [ABSTRACT FROM AUTHOR]