A landmark anthology on British art history, bringing together overlooked and marginalized perspectives from 'the critical decade' What is Black art and why don't we know more about it? This bookpresents the histories, methodologies and sociopolitical perspectives of a generation of artists and writers who operated with and against the mainstream British art systems during the 1980s. Featuring the writings of artists such as Rasheed Araeen, Sonia Boyce, Eddie Chambers and Lubaina Himid, this anthology will provide access to a rich and multifaceted set of voices that have been locked away in archives until now. In reflecting on their artistic practices, identities and the role of creative institutions, these pioneering artists of African, Caribbean and South Asian descent offer incisive commentary on social and political struggles that resonate powerfully today and a compelling vision for the future.
From the #1 New York Times bestselling series comes the latest title in the Who HQ Now format for trending topics. It tells the history of a political and social movement that advocates for non-violent civil disobedience and protests against incidents of police brutality--and all racially motivated violence--against Black people. When a Black teenager named Trayvon Martin was senselessly killed in 2012, the African American community called for his murderer to be held accountable. But like many other racially sparked incidents in the past, his killer walked free. People looked for justice and healing in the moment. They turned to social media and a simple yet powerful hashtag emerged, #BlackLivesMatter. The message grew into an international movement and has now become the rallying cry during protests against police brutality and racial acts of violence. The movement gained even more attention and support in 2020 when it called for police reform in the United States after the police-related murder of George Floyd.
BLACK ENTERPRISE is the ultimate source for wealth creation for African American professionals, entrepreneurs and corporate executives. Every month, BLACK ENTERPRISE delivers timely, useful information on careers, small business and personal finance.
Empower black boys to dream, believe, achieve Schools that routinely fail Black boys are not extraordinary. In fact, they are all-too ordinary. If we are to succeed in positively shifting outcomes for Black boys and young men, we must first change the way school is “done.” That’s where the eight in ten teachers who are White women fit in . . . and this urgently needed resource is written specifically for them as a way to help them understand, respect and connect with all of their students. So much more than a call to call to action—but that, too!—The Guide for White Women Who Teach Black Boys brings together research, activities, personal stories, and video interviews to help us all embrace the deep realities and thrilling potential of this crucial American task. With Eddie, Ali, and Marguerite as your mentors, you will learn how to: Develop learning environments that help Black boys feel a sense of belonging, nurturance, challenge, and love at school Change school culture so that Black boys can show up in the wholeness of their selves Overcome your unconscious bias and forge authentic connections with your Black male students If you are a teacher who is afraid to talk about race, that’s okay. Fear is a normal human emotion and racial competence is a skill that can be learned. We promise that reading this extraordinary guide will be a life-changing first step forward . . . for both you and the students you serve. About the Authors Dr. Eddie Moore, Jr., has pursued and achieved success in academia, business, diversity, leadership, and community service. In 1996, he started America & MOORE, LLC to provide comprehensive diversity, privilege, and leadership trainings/workshops. Dr. Moore is recognized as one of the nation’s top motivational speakers and educators, especially for his work with students K–16. Dr. Moore is the Founder/Program Director for the White Privilege Conference, one of the top national and international conferences for participants who want to move beyond dialogue and into action around issues of diversity, power, privilege, and leadership. Ali Michael, Ph.D., is the co-founder and director of the Race Institute for K–12 Educators, and the author of Raising Race Questions: Whiteness, Inquiry, and Education, winner of the 2017 Society of Professors of Education Outstanding Book Award. She is co-editor of the bestselling Everyday White People Confront Racial and Social Injustice and sits on the editorial board of the journal, Whiteness and Education. Dr. Michael teaches in the mid-career doctoral program at the University of Pennsylvania’s Graduate School of Education, as well as the Graduate Counseling Program at Arcadia University. Dr. Marguerite W. Penick-Parks currently serves as Chair of Educational Leadership and Policy at the University of Wisconsin, Oshkosh. Her work centers on issues of power, privilege, and oppression in relationship to issues of curriculum with a special emphasis on the incorporation of quality literature in K–12 classrooms. She appears in the movie, “Mirrors of Privilege: Making Whiteness Visible,” by the World Trust Organization. Her most recent work includes a joint article on creating safe spaces for discussing White privilege with preservice teachers.
As a race, we can no longer hold the entire Caucasian race responsible for what their parents and grandparents did to our parents and grandparents because they had nothing to do with it. Through the actions of many men and women who happened to be white, I have learned that love has no color. Only racism, prejudice, and hate recognize color. We can't change the prejudice and attitudes of other people; we can change their attitudes by not living up to their prejudice. If we, as a human race, would forgive others just one-third of how much Jesus forgives us, there would be very little prejudice, racism, jealousy, and envy. As a race, many of must get out of this poverty mentality and realize that speaking proper English, getting an education and becoming successful are not limited to one race but open to all races. Many African Americans feel like they have to be defined by their race when in actuality, we should all be defined by our individuality. We have to come to the conclusion that we are one race; before we were defined by our color, we were the human race. We must understand that the best way to prove you are a man is to simply be a man. A real man doesn't feel like he has to prove he's a man, because he already knows he's a man.
In this controversial national bestseller, former NBA star and author of I May Be Wrong But I Doubt It Charles Barkley takes on the major issue of our time. Who's Afraid of a Large Black Man is a series of charged, in-your-face conversations about race with some of America's most prominent figures, including Bill Clinton, Barack Obama, Jesse Jackson, Samuel L. Jackson, Morgan Freeman, Ice Cube, Marian Wright Edelman, Tiger Woods, Peter Guber, and Robert Johnson.
Founded in 1943, Negro Digest (later “Black World”) was the publication that launched Johnson Publishing. During the most turbulent years of the civil rights movement, Negro Digest/Black World served as a critical vehicle for political thought for supporters of the movement.
Television scholarship has substantially ignored programming aimed at Black audiences despite a few sweeping histories and critiques. In this volume, the first of its kind, contributors examine the televisual diversity, complexity, and cultural imperatives manifest in programming directed at a Black and marginalized audience. Watching While Black considers its subject from an entirely new angle in an attempt to understand the lives, motivations, distinctions, kindred lines, and individuality of various Black groups and suggest what television might be like if such diversity permeated beyond specialized enclaves. It looks at the macro structures of ownership, producing, casting, and advertising that all inform production, and then delves into television programming crafted to appeal to black audiences—historic and contemporary, domestic and worldwide. Chapters rethink such historically significant programs as Roots and Black Journal, such seemingly innocuous programs as Fat Albert and bro’Town, and such contemporary and culturally complicated programs as Noah’s Arc, Treme, and The Boondocks. The book makes a case for the centrality of these programs while always recognizing the racial dynamics that continue to shape Black representation on the small screen. Painting a decidedly introspective portrait across forty years of Black television, Watching While Black sheds much-needed light on under-examined demographics, broadens common audience considerations, and gives deference to the the preferences of audiences and producers of Black-targeted programming.