Twenty percent of all women coming into the New York state prison system either have AIDS or are HIV positive. In response to this very real scenario, a group of inmates at the women's prison at Bedford Hills, New York, created the A.C.E. (AIDS Counseling and Education) Program. This book documents the A.C.E. Program from its beginnings, recorded in the women's own voices, and details nine workshops that anyone can use. 35 illustrations and photos.

Human trafficking constitutes one of the most serious human rights violations of our time. However, many social work practitioners still have a poor and incomplete understanding of the experiences of children and young people who have been trafficked. In Trafficked Young People, the authors call for a more sophisticated, informed and better developed understanding of the range of issues facing trafficked young people. In the first work of its kind to combine an up-to-date overview of the current policy context with related theoretical concerns and practitioner experiences, Pearce, Hynes & Bovarnick demonstrate how the trafficking of children and young people should be regarded as a child protection, rather than an immigration concern. Drawing on focus group and interview research with 72 practitioners and covering the cases of 37 individuals, Trafficked Young People explores the way child care practitioners identify, understand and work with the problems faced by people who have been trafficked. The book looks at how practitioners interpret and use definitions of trafficking in their day to day work; at their experiences of exposing the needs of trafficked children and young people and at their efforts to find appropriate resources to meet these needs. Trafficked Young People will be of interest to practitioners working in support housing and social work, along with solicitors and sociologists, particularly those working within discourses of child agency, self determination and victimhood. With its emphasis on the legal and policy framework, and integrated throughout with case histories, practitioner interviews and recommendations for best practice, Trafficked Young People is essential reading for anyone working within a Social Policy Development context.

The authoe describes the fates of SWAPO members who were branded dissidents during the fight for Namibis independence: shattering accounts of torture and interrogation, sufferings and deaths in SWAPO camps and dungeons.

DIVExamines how notions of femininity and masculinity and heterosexual norms produced ethnicity in the disintegration of former Yugoslavia and also looks at how words and images created by the media are just as influential as violent practices in constructin/div

Groundbreaking historical and international anthology of women's prison writings.

Born into slavery on an Alabama plantation in 1853, Bill Traylor worked as a sharecropper for most of his life. But in 1928 he moved to Montgomery and changed his life, becoming a self-taught lyric painter of extraordinary ability and power. From 1936 to 1946, he sat on a street corner—old, ill, and homeless—and created well over 1,200 paintings. Collected and later promoted by Charles Shannon, a young Montgomery artist, his work received star placement in the Corcoran Gallery’s 1982 exhibition “Black Folk Art in America.” From then on, the spare and powerful “radical modernity” of Traylor’s work helped place him among the rising stars of twentieth-century American artists. Most critics and art historians who analyze Traylor’s paintings emphasize his extraordinary form and evaluate the content as either simple or enigmatic narratives of black life. In Painting a Hidden Life, historian Mechal Sobel’s trenchant analysis reveals a previously unrecognized central core of meaning in Traylor’s near-hidden symbolism—a call for retribution in response to acts of lynching and other violence toward blacks. Drawing on historical records and oral histories, Sobel carefully explores the relationship between Traylor’s life and his paintings and arrives at new interpretations of his art. From an interview with Traylor’s great-granddaughter, Sobel learned that Traylor believed the Birmingham policemen who killed his son in 1929 in fact lynched him—a story that neither Traylor nor his family had previously disclosed. The trauma of this event, Sobel explains, propelled Traylor to find a way to voice his rage and spurred the creation of his powerful, mysterious visual language. Traylor’s encoded paintings tell a vibrant, multilayered story of conjure power, sexual rivalry, and violence. Revealing an extraordinarily diverse visual universe, the symbols in Traylor’s paintings reflect the worlds he lived in between 1853 and 1949: the plantation conjure milieu into which he was born, the blues culture in which he matured, the world of Jim Crow he learned to secretly violate, and the Catholic values he adopted in his final years. From his African heritage, Traylor drew symbols not readily understood by whites. He mixed traditional African images with conjure signs, with symbols of black Baptists and Freemasons, and with images central to the hidden black protest movement—the cross and the lynching tree. In this groundbreaking examination of an extraordinary artist, Sobel uncovers the internalized pain of several generations and traces the paths African Americans blazed long before the march down the Selma–Montgomery highway.

Williams traces the South West Africa People's Organization of Namibia across three decades in exile in Tanzania, Zambia, and Angola.