Migrating the Black Body explores how visual media—from painting to photography, from global independent cinema to Hollywood movies, from posters and broadsides to digital media, from public art to graphic novels—has shaped diasporic imaginings of the individual and collective self. How is the travel of black bodies reflected in reciprocal black images? How is blackness forged and remade through diasporic visual encounters and reimagined through revisitations with the past? And how do visual technologies structure the way we see African subjects and subjectivity? This volume brings together an international group of scholars and artists who explore these questions in visual culture for the historical and contemporary African diaspora. Examining subjects as wide-ranging as the appearance of blackamoors in Russian and Swedish imperialist paintings, the appropriation of African and African American liberation images for Chinese Communist Party propaganda, and the role of YouTube videos in establishing connections between Ghana and its international diaspora, these essays investigate routes of migration, both voluntary and forced, stretching across space, place, and time.

Migrating the Black Body explores how visual media--from painting to photography, from global independent cinema to Hollywood movies, from posters and broadsides to digital media, from public art to graphic novels--has shaped diasporic imaginings of the individual and collective self. How is the travel of black bodies reflected in reciprocal black images? How is blackness forged and remade through diasporic visual encounters and reimagined through revisitations with the past? And how do visual technologies structure the way we see African subjects and subjectivity? This volume brings together an international group of scholars and artists who explore these questions in visual culture for the historical and contemporary African diaspora. Examining subjects as wide-ranging as the appearance of blackamoors in Russian and Swedish imperialist paintings, the appropriation of African and African American liberation images for Chinese Communist Party propaganda, and the role of YouTube videos in establishing connections between Ghana and its international diaspora, these essays investigate routes of migration, both voluntary and forced, stretching across space, place, and time.

Punishing the Black Body examines the punitive and disciplinary technologies and ideologies embraced by ruling white elites in nineteenth-century Barbados and Jamaica. Among studies of the Caribbean on similar topics, this is the first to look at the meanings inscribed on the raced, gendered, and classed bodies on the receiving end of punishment. Dawn P. Harris uses theories of the body to detail the ways colonial states and their agents appropriated physicality to debase the black body, assert the inviolability of the white body, and demarcate the social boundaries between them. Noting marked demographic and geographic differences between Jamaica and Barbados, as well as any number of changes within the separate economic, political, and social trajectories of each island, Harris still finds that societal infractions by the subaltern populations of both islands brought on draconian forms of punishments aimed at maintaining the socio-racial hierarchy. Her investigation ranges across such topics as hair-cropping, the 1836 Emigration Act of Barbados and other punitive legislation, the state reprisals following the 1865 Morant Bay Rebellion in Jamaica, the use of the whip and the treadmill in jails and houses of correction, and methods of surveillance, policing, and limiting free movement. By focusing on meanings ascribed to the disciplined and punished body, Harris reminds us that the transitions between slavery, apprenticeship, and post-emancipation were not just a series of abstract phenomena signaling shifts in the prevailing order of things. For a large part of these islands’ populations, these times of dramatic change were physically felt.

INSTANT NEW YORK TIMES BESTSELLER A New York Times Editor’s Choice | A Kirkus Best Nonfiction Book of the Year The Inspiration for the HBO Original Documentary South to Black Power From journalist and New York Times bestselling author Charles Blow comes a powerful manifesto and call to action, "a must-read in the effort to dismantle deep-seated poisons of systemic racism and white supremacy" (San Francisco Chronicle). Race, as we have come to understand it, is a fiction; but, racism, as we have come to live it, is a fact. The point here is not to impose a new racial hierarchy, but to remove an existing one. After centuries of waiting for white majorities to overturn white supremacy, it seems to me that it has fallen to Black people to do it themselves. Acclaimed columnist and author Charles Blow never wanted to write a “race book.” But as violence against Black people—both physical and psychological—seemed only to increase in recent years, culminating in the historic pandemic and protests of the summer of 2020, he felt compelled to write a new story for Black Americans. He envisioned a succinct, counterintuitive, and impassioned corrective to the myths that have for too long governed our thinking about race and geography in America. Drawing on both political observations and personal experience as a Black son of the South, Charles set out to offer a call to action by which Black people can finally achieve equality, on their own terms. So what will it take to make lasting change when small steps have so frequently failed? It’s going to take an unprecedented shift in power. The Devil You Know is a groundbreaking manifesto, proposing nothing short of the most audacious power play by Black people in the history of this country. This book is a grand exhortation to generations of a people, offering a road map to true and lasting freedom.

During the Cold War, several prominent African American radical activist-intellectuals—including W.E.B. and Shirley Graham Du Bois, journalist William Worthy, Marxist feminist Vicki Garvin, and freedom fighters Mabel and Robert Williams—traveled and lived in China. There, they used a variety of media to express their solidarity with Chinese communism and to redefine the relationship between Asian struggles against imperialism and black American movements against social, racial, and economic injustice. In The East Is Black, Taj Frazier examines the ways in which these figures and the Chinese government embraced the idea of shared struggle against U.S. policies at home and abroad. He analyzes their diverse cultural output (newsletters, print journalism, radio broadcasts, political cartoons, lectures, and documentaries) to document how they imagined communist China’s role within a broader vision of a worldwide anticapitalist coalition against racism and imperialism.

In The Unfinished Revolution, Salt examines post-revolutionary (and contemporary) sovereignty in Haiti, noting the many international responses to the arrival of a nation born from blood, fire and revolution. Using blackness as a lens, Salt charts the impact of Haiti's sovereignty - and its blackness - in the Atlantic world.

This Ain't Chicago: Race, Class, and Regional Identity in the Post-Soul South