One of the first volumes dedicated to exploring and developing theories of Black girls and girlhoods, The Black Girlhood Studies Collection foregrounds the experiences of Black girls in Canada, the US, the Caribbean, and the African continent. This timely contributed volume brings together emerging and established scholars to discuss what Black girlhood means historically and in the 21st century, and how concepts of race, gender, sexuality, class, and nationality inform or affect identities of Black girls. From self-care and fan activism to political role models and new media, this interdisciplinary collection engages with Black feminist and womanist theory, hip-hop pedagogy, resistance theory, and ethnography. Featuring chapter overviews, glossaries, and discussion questions, this vital resource will evoke meaningful conversation and provide the theoretical, practical, and pedagogical tools necessary for the advancement of the field and the imagining of new worlds for Black girls.

Long portrayed as a masculine endeavor, the African American struggle for progress often found expression through an unlikely literary figure: the black girl. Nazera Sadiq Wright uses heavy archival research on a wide range of texts about African American girls to explore this understudied phenomenon. As Wright shows, the figure of the black girl in African American literature provided a powerful avenue for exploring issues like domesticity, femininity, and proper conduct. The characters' actions, however fictional, became a rubric for African American citizenship and racial progress. At the same time, their seeming dependence and insignificance allegorized the unjust treatment of African Americans. Wright reveals fascinating girls who, possessed of a premature knowing and wisdom beyond their years, projected a courage and resiliency that made them exemplary representations of the project of racial advance and citizenship.

The Global History of Black Girlhood boldly claims that Black girls are so important we should know their histories. Yet, how do we find the stories and materials we need to hear Black girls’ voices and understand their lives? Corinne T. Field and LaKisha Michelle Simmons edit a collection of writings that explores the many ways scholars, artists, and activists think and write about Black girls' pasts. The contributors engage in interdisciplinary conversations that consider what it means to be a girl; the meaning of Blackness when seen from the perspectives of girls in different times and places; and the ways Black girls have imagined themselves as part of a global African diaspora. Thought-provoking and original, The Global History of Black Girlhood opens up new possibilities for understanding Black girls in the past while offering useful tools for present-day Black girls eager to explore the histories of those who came before them. Contributors: Janaé E. Bonsu, Ruth Nicole Brown, Tara Bynum, Casidy Campbell, Katherine Capshaw, Bev Palesa Ditsie, Sarah Duff, Cynthia Greenlee, Claudrena Harold, Anasa Hicks, Lindsey Jones, Phindile Kunene, Denise Oliver-Velez, Jennifer Palmer, Vanessa Plumly, Shani Roper, SA Smythe, Nastassja Swift, Dara Walker, Najya Williams, and Nazera Wright

Black Girlhood, Punishment, and Resistance: Reimagining Justice for Black Girls in Virginia provides a historical comprehensive examination of racialized, classed, and gendered punishment of Black girls in Virginia during the early twentieth century. It looks at the ways in which the court system punished Black girls based upon societal accepted norms of punishment, hinged on a notion that they were to be viewed and treated as adults within the criminal legal system. Further, the book explores the role of Black Club women and girls as agents of resistance against injustice by shaping a social justice framework and praxis for Black girls and by examining the establishment of the Virginia Industrial School for Colored Girls. This school was established by the Virginia State Federation of Colored Women’s Clubs and its first President, Janie Porter Barrett. This book advances contemporary criminological understanding of punishment by locating the historical origins of an environment normalizing unequal justice. It draws from a specific focus on Janie Porter Barrett and the Virginia Industrial School for Colored Girls; a groundbreaking court case of the first female to be executed in Virginia; historical newspapers; and Black Women’s Club archives to highlight the complexities of Black girls’ experiences within the criminal justice system and spaces created to promote social justice for these girls. The historical approach unearths the justice system’s role in crafting the pervasive devaluation of Black girlhood through racialized, gendered, and economic-based punishment. Second, it offers insight into the ways in which, historically, Black women have contributed to what the book conceptualizes as “resistance criminology,” offering policy implications for transformative social and legal justice for Black girls and girls of color impacted by violence and punishment. Finally, it offers a lens to explore Black girl resistance strategies, through the lens of the Black Girlhood Justice framework. Black Girlhood, Punishment, and Resistance uses a historical intersectionality framework to provide a comprehensive overview of cultural, socioeconomic, and legal infrastructures as they relate to the punishment of Black girls. The research illustrates how the presumption of guilt of Black people shaped the ways that punishment and the creation of deviant Black female identities were legally sanctioned. It is essential reading for academics and students researching and studying crime, criminal justice, theoretical criminology, women’s studies, Black girlhood studies, history, gender, race, and socioeconomic class. It is also intended for social justice organizations, community leaders, and activists engaged in promoting social and legal justice for the youth.

This volume examines how Saving Our Lives Hear Our Truths, or SOLHOT, a radical youth intervention, provides a space for the creative performance and expression of Black girlhood and how this creativity informs other realizations about Black girlhood and womanhood. Founded in 2006 and co-organized by the author, SOLHOT is an intergenerational collective organizing effort that celebrates and recognizes Black girls as producers of culture and knowledge. Girls discuss diverse expressions of Black girlhood, critique the issues that are important to them, and create art that keeps their lived experiences at its center. Drawing directly from her experiences in SOLHOT, Ruth Nicole Brown argues that when Black girls reflect on their own lives, they articulate radically unique ideas about their lived experiences. She documents the creative potential of Black girls and women who are working together to advance original theories, practices, and performances that affirm complexity, interrogate power, and produce humanizing representation of Black girls' lives. Emotionally and intellectually powerful, this book expands on the work of Black feminists and feminists of color and breaks intriguing new ground in Black feminist thought and methodology.

San Francisco is the endgame of gentrification, where racialized displacement means that the Black population of the city hovers at just over 3 percent. The Robeson Justice Academy opened to serve the few remaining low-income neighborhoods of the city, with the mission of offering liberatory, social justice--themed education to youth of color. While it features a progressive curriculum including Frantz Fanon and Audre Lorde, the majority Latinx school also has the district's highest suspension rates for Black students. In Progressive Dystopia Savannah Shange explores the potential for reconciling the school's marginalization of Black students with its sincere pursuit of multiracial uplift and solidarity. Drawing on ethnographic fieldwork and six years of experience teaching at the school, Shange outlines how the school fails its students and the community because it operates within a space predicated on antiblackness. Seeing San Francisco as a social laboratory for how Black communities survive the end of their worlds, Shange argues for abolition over revolution or progressive reform as the needed path toward Black freedom.

In Shapeshifters Aimee Meredith Cox explores how young Black women in a Detroit homeless shelter contest stereotypes, critique their status as partial citizens, and negotiate poverty, racism, and gender violence to create and imagine lives for themselves. Based on eight years of fieldwork at the Fresh Start shelter, Cox shows how the shelter's residents—who range in age from fifteen to twenty-two—employ strategic methods she characterizes as choreography to disrupt the social hierarchies and prescriptive narratives that work to marginalize them. Among these are dance and poetry, which residents learn in shelter workshops. These outlets for performance and self-expression, Cox shows, are key to the residents exercising their agency, while their creation of alternative family structures demands a rethinking of notions of care, protection, and love. Cox also uses these young women's experiences to tell larger stories: of Detroit's history, the Great Migration, deindustrialization, the politics of respectability, and the construction of Black girls and women as social problems. With Shapeshifters Cox gives a voice to young Black women who find creative and non-normative solutions to the problems that come with being young, Black, and female in America.