This narrative inquiry study explored the lived experiences of five Black male music educators in the New York Metropolitan area. The purpose of this study was to gain a deeper understanding of how Black male music educators theorized Blackness, disrupted anti-Blackness, and cultivated Black Joy within predominantly White K-12 learning spaces.This study sought to provide Black male music educators space to narratively display their genius, restore their humanity, and celebrate their Blackness and Black Joy. The researcher conducted two semi-structured interviews with each participant, focused on their identity, skills, intellect, criticality, and joy. This study used Abolitionist Pedagogy, Gholdy Muhammad’s Culturally and Historically Responsive Education Model, and Black Critical Theory frameworks as lenses to interpret the lived experiences. This study took place in two phases over four months, beginning October 2023 through January 2024. The participants’ responses to the interview questions helped generate the findings, narratives, and themes of their lived experiences within predominantly White K-12 learning spaces. The Black Male music educators in this study offered several ways on how they celebrate their Blackness and Black Joy, in the face of anti-Black sentiment. Their daily presence in their learning spaces, despite being the only Black male in some instances, was a conscious act of defying the inherent structures created to keep them out. Their overflowing expressions of Black Joy through family, faith, culture, and strength created learning spaces that support intersectional justice and uplifts the humanity of others.

This qualitative arts-based narrative inquiry explored and analyzed the experiences of five Black women dance educators who teach with micro-interventions of care, love, and mentorship toward racial uplift in Black youth. This inquiry’s data collection included participants’ journal entries, sent weekly via email; one-on-one, semi-structured interviews with the women; and roundtable sista’ circles convened within community dialogues. Participants were prompted to share stories of their lived experiences as community members, artists, educators, and scholars. The collected data was analyzed using thematic and narrative methods, beginning with deductive coding and continuing with chunked comparisons of the women’s narratives. This study’s findings revealed that the women’s narratives as educators, persons, and community leaders, centered Blackness, care and love for themselves and their community, and Afrofuturity extant in their dance education practices. The narratives themselves revealed anecdotes of community, artistry, spirituality, culture, and healing, told and retold in the form of storytelling and poetry. This study sheds light on the unique experiences and perspectives of Black women dance educators, highlighting the importance of their contributions to the field. This study also proposes future considerations for research and practice in unearthing more stories of dance education as a micro-intervention of care, love, and mentorship toward racial uplift in Black youth. The inquiry and its results hold ramifications for and suggest a new vision for Black youth as well as educators that is a joyful Afrofuturistic dance education praxis rooted in peace, love, harmony, and #JOY.

The path of Cuba’s cultural economy and patrimony deviated substantially during the “Special Period in the Time of Peace” (1991-1999), including the collapse of state sponsorship for the arts and the opening of the Cuban economy to foreign investment. This opening was slight but significant. Artists found themselves in a position where their work no longer solely existed as patrimony of the state but as personal methods of success and survival. My dissertation analyzes how three Black Cuban artists, René Peña, Belkis Ayón, and Elio Rodríguez, engineer and manipulate self-portraiture as a critical tool through which they can explore issues of belonging and place in connection to the Cuban national project. I attest that each artist positions representations of themselves, or their avatars, within their work to examine what it means to be Cuban, Black, and human. I begin my project by establishing how the figure of the White, hyper-masculine man has served as the ideal Cuban citizen following the revolution and independence. Cuban artists have explored themes of national identity and belonging since the mid-nineteenth century, in many instances reflecting on race and the presence of African descendants in Cuban society. The continued discourse on “racelessness” and the supposed eradication of racism in the country made the potential to be both Black and Cuban impossible. Official discourses on race after the 1959 revolution attempted to erase, and in many senses, whitewash, the historical legacy of racism in Cuba through the expressly public abolishment of discrimination and difference in Cuban society. An attempt to erase all forms of difference, or the visibility of difference, within Cuban society accompanied advances in equal opportunity to jobs, education, and housing for the Black Cuban community after the revolution. My project focuses on how Peña, Ayón, and Rodriguez contest the long-established hierarchy of race and gender in official cubanía [Cubanness] through visual discourses. I argue that the works of Peña, Ayón, and Rodríguez are not examples of a hybrid, creolized synthesis but instead working products of investigation and play. Considering identity as a process and project always in flux, I contend that these three artists use aesthetic strategies to represent Cubanness and Blackness as not mutually exclusive but simultaneously iterative and dynamic. Considering their artistic practices as performances of Blackness and self, I present these artists as critical interlocutors of the cultural moment. I argue that Peña, Rodríguez, and Ayón mobilize the Afro-diasporic conception of the self as external and multiple through their avatars as a form of self-fashioning. An avatar functions as a proxy for a person, acting as an extension of their self, traversing locations and discourses otherwise inaccessible to the primary self. Avatars blur the boundaries between the material and the virtual world and muddle the distinctions between subject and object, flesh and body. Peña, Rodríguez, and Ayón create portraits of their “other selves” to assert their subjectivity and personhood in realms that otherwise negate their presence. Through a close visual analysis of the work created by Peña, Ayón, and Rodríguez, I show how their use of alter-egos elucidates their experiences of the materiality of Blackness and the multiplicity of being. I argue that this is mainly present in the material processes inherent in the print-making and performative productions included in each. For example, in terms of color, Peña and Ayón use black and white critically, manipulating the various gray scales between the two tones to illustrate the many potentialities of cubanía. Rodríguez has interestingly moved into soft sculptural forms of blacks and whites, but the works discussed here use fixed colors to create a humorous play with traditional Cuban aesthetics. Each artist uses color differently, but through their processes, they imbue their works with a sense of materiality and personhood that is only possible through print. For these artists, the work’s creation becomes a performance of self-definition that parallels the many ways we perform race, nationhood, and belonging.

This study investigated the communication rules in the family structures of the Maasai and the Akamba cultures with the aim of comparing the core symbols emanating from the rules. The researcher used the qualitative design to identify and compare the communication rules of the rural Maasai of the Rift Valley Province and the rural Akamba of the Eastern Province of Kenya. The study focused on male and female adult individuals in family situations who were familiar with the traditional expectations of their cultures. Data was collected through focus group and in-depth interviews. From the data it was concluded that although the Maasai and the Akamba are from two different ethnic groups of Africa, namely the Nilo-Hamitic and Bantu respectively, the core symbols of their communication rules that are similar far outnumber those that are different. This phenomenon was noted when comparing the different levels of relationship within the family structures, namely, communication between spouses, communication between parents and children, and communication between siblings. One of the important findings of this study is that there are more similarities than differences in the cultures of the Maasai and the Akamba at family level. Therefore, the similarities of core symbols could imply that ethnic differences should not lead to the assumption that cultural practices will be significantly different. However, similar cultural practices or core symbols might not necessarily rule out conflict, as was indeed the case with the Maasai and the Akamba.Another finding was that the most outstanding core symbol in both cultures was respect, which was the fulcrum of most of the other core symbols in the communication rules. / Communication Science / D. Litt. et Phil. (Communication)

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This thesis is not structured as a conventional empirical study (theoretical background, method, results, discussion), but instead consists of an iterative series of attempts at making sense of same-race prejudice – hopefully systematically homing in on a richer and more acute understanding of the phenomenon. The chapters are grouped together in pairs or triplets – each grouping addressing different but related perspectives on the problem. Chapters 1 and 2 are contextual, setting the scene historically and conceptually. Chapters 3, 4 and 5 introduce three different perspectives on using phenomenology as a means of approaching the issue of same-race prejudice. Chapters 6 and 7 are dedicated to looking at the themes of same-race prejudice, a critical interrogation of the themes from the interview discussions, the literature and how same-race prejudice is experienced, played out and sustained. Chapter 8 links back to Chapter 1 by casting another look at sensitivity and responsiveness to same-race prejudice by organisations whose work is supposedly on prejudice eradication. The chapter further links with both Chapters 3 and 4 by calling upon a phenomenological understanding to humanity as what can bring a liveable change to humanity regarding same-race prejudice. Chapter 9 serves as a summary of all the chapters, what each individually and collectively hoped to achieve, and the general findings and statements about same-race prejudice from the chapters’ theoretical discussions, research interviews, and critical interrogation of both the mundane and theoretical understanding. / Psychology / D. Phil. (Psychology)

This study investigated the communication rules in the family structures of the Maasai and the Akamba cultures with the aim of comparing the core symbols emanating from the rules. The researcher used the qualitative design to identify and compare the communication rules of the rural Maasai of the Rift Valley Province and the rural Akamba of the Eastern Province of Kenya. The study focused on male and female adult individuals in family situations who were familiar with the traditional expectations of their cultures. Data was collected through focus group and in-depth interviews. From the data it was concluded that although the Maasai and the Akamba are from two different ethnic groups of Africa, namely the Nilo-Hamitic and Bantu respectively, the core symbols of their communication rules that are similar far outnumber those that are different. This phenomenon was noted when comparing the different levels of relationship within the family structures, namely, communication between spouses, communication between parents and children, and communication between siblings. One of the important findings of this study is that there are more similarities than differences in the cultures of the Maasai and the Akamba at family level. Therefore, the similarities of core symbols could imply that ethnic differences should not lead to the assumption that cultural practices will be significantly different. However, similar cultural practices or core symbols might not necessarily rule out conflict, as was indeed the case with the Maasai and the Akamba.Another finding was that the most outstanding core symbol in both cultures was respect, which was the fulcrum of most of the other core symbols in the communication rules. / Communication Science / D. Litt. et Phil. (Communication)

The dissertation is titled: “Blackness as the way to and state of salvation: A search for true salvation in South Africa today”. The research was prompted by the question of salvation and what it means for blacks. The provocation arose out of the problem and/or interpretation of classical theology on the subject of soteriology. The biblical text of the Song of Songs 1:5: “I am black and beautiful, O daughters of Jerusalem, like the tents Qedar, like the curtains of Solomon”, is used as key to the argument. Origen (an early Christian theologian, who was born and spent the first half of his career in Alexandria) interpretation of the preceding biblical text is identified as problematic for blackness and African salvation. The problem identified with his interpretation of the said text and its theology and/or soteriology is that, first; he identifies and affirms the “ugliness’ of the black external and physical colour and/or conditions. Secondly, his theology and/or soteriology is identified as dualistic, separating the physical and the soul, which the researcher challenges and is against it as does not reflect the understanding of soteriology and/or theology by Africans. The researcher attacks and argues against the ugliness of blackness and dualism as a white and Eurocentric logic and problem. The researcher in his argument exposes whiteness and eurocentrism as problematic. The problem associated with whiteness is its claim that it is beautiful and positions itself as the way of and to salvation. Moreover, whiteness is problematised as a racial identity, position of power, structural evil and sin, exploitative, oppressive, and as related to capitalism. In response, the researcher, a black theologian argues against the theology of Origen and labelling it as European and white. The researcher exposes blackness as beautiful, powerful, and as a way of life. For the researcher, salvation must be understood as holistic and as here and now, situated in the black conditions. The researcher argues against dualism and individualism in favour of a holistic and a communal African approach that is not exclusive and self-centered. This approach is inclusive of the belief in God, the self, others human beings and the natural environment. He is propagating a black theology that is in favour of blackness as life, beautiful, powerful, liberating, and socialistic. / D. Th. (Systematic Theology)

Indiana University-Purdue University Indianapolis (IUPUI)

This thesis examines the political thought of Achille Mbembe. It deploys decolonial critical analysis to unmask traces of coloniality with regard to the African existential conditions foregrounded in the conception of the African subject, its subjection, and subjectivity. The theoretical foundation of this thesis is decolonial epistemic perspective—the epistemic intervention that serves as a lens to understand Mbembe’s work and—that is the theoretical foundation outside the Euro-North American “mainstream” canon foregrounded in coloniality. Decolonial epistemic perspective in this thesis is deployed to expose three kinds of coloniality in Mbembe’s work, namely: coloniality of power, coloniality of knowledge and coloniality of being. The thrust of this thesis is that Mbembe’s political thought is inadequate for the understanding of the African existential condition in that it does not fully take coloniality into account. In order to acknowledge the existence of coloniality through decolonial critical analysis, the political thought of Mbembe is examined in relation to modes of self-writing, power in the postcolony, the politics of violence in Africa, Frantz Fanon’s political thought, and the idea of South Africa as major themes undertaken in this thesis. Decolonial critical analysis deals with foundational questions that have relevance to the existential condition of the African subject and the manner in which such an existential crisis can be brought to an end. These foundational questions confront issues like—who is speaking or writing, from where, for whom and why? This thesis reveals that Mbembe is writing and thinking Africa from outside the problematic ontology of the African subject and, as such, Mbembe precludes any form of African subjectivity that challenges the Euro-North American canon. This then reveals that Mbembe is not critical of coloniality and this has the implications in that subjection is left on the wayside and not accounted for. Having explored the genealogy, trajectory and horisons of decolonial critical analysis to understand the political thought of Mbembe, this thesis highlights that it is essential to take a detour through the shifting of the geography of reason. Herein lies the originality of this thesis, and it is here that Africa is thought from within a standpoint of decolonial critical analysis and not Africa that is thought from the Euro-North American canon. Therefore, the shifting of the geography of reason is necessary for the authorisation of the subjectivity of the African subject in order to combat subjection. / Political Sciences / D. Litt. et Phil. (African Politics)