This dissertation centers the complicated interplay of history, racial politics, and community sensemaking to explore how antiblackness is reproduced over time and in different public school contexts within Philadelphia. By exploring the intergenerational educational experiences of Black Philadelphians, I document current and former Black students’ understandings of the different manifestations of antiblackness in educational policy and practice over several decades. This research, therefore, brings the voices of Black current and former students into a historical analysis of the role of antiblackness in shaping schooling experiences and what it means (and meant) to be Black in different school contexts during different time periods. I examine this meaning of Blackness over time and across school buildings through interviews with current and former Black high school students, followed by more in-depth intergenerational interviews of three families to understand how memories of schooling shape intergenerational understandings of and experiences in schools. I contextualize this qualitative data through a review of published historical literature and archival research on the history of Black education in Philadelphia. Studying education through the intergenerational experiences of families is an under-utilized approach within educational research. Yet, through this study, I demonstrate that it is an approach that reveals how various processes of social reproduction—particularly antiblackness—both persist and morph within the educational system over time as well as how family schooling memories and perspectives shape students’ educational journeys. Through the eyes of multiple generations of Black families in a northern city that was a destination for millions of Black people who moved from the South during the Great Black Migration, my dissertation contributes to the research on the enduring racial inequality in our schools from the early-20th century to today by showing the evolution of antiblackness over time.

This dissertation examines the (chaotic) experiences and perspectives of Afro-diasporic peoples (particularly those living in the United States) through an Afrofuturist lens. In so doing, I neologize and situate the concept of “Chaotic Blackness”. To that end, I interrogate the ways in which the legacy of colonization, enslavement, and racial capitalism have collectively contributed to the experience of a racialized chaos for Afro-diasporic peoples and communities. Consisting of a network of patterns, signals, and gestures that are meant to signify, represent, or articulate the experience racial chaos, I offer Chaotic Blackness as a framework for understanding and examining the influence of racialized chaos on Black identity and personhood within the context of Afrofuturist music. In this way, my research calls attention to the ways in which Afrofuturist practitioners articulate and negotiate experiences of a racialized chaos within their music in the endeavor to both communicate or express Black subjectivities or perspectives and to establish critical sites of meaning-making for the community. Further, this dissertation examines the epistemological linkages between Afrofuturist and Black posthumanist strands of thought. I suggest that both frameworks offer new ways of conceptualizing or understanding the Black identity and the (Black) human within the contexts of technomodernity, racial capitalism, and contemporary issues such as climate change. Overall, this dissertation offers an analysis of the ways in which Black individuals navigate and express their experiences of chaos, suggesting that Afrofuturism and Black posthumanism are both key frames though which to understand and (re)define Black identity in the contemporary world.

𝐶𝑢𝑙𝑡𝑖𝑣𝑎𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝐹𝑢𝑡𝑢𝑟𝑒 offers an ethnographic analysis of the project to revive 𝐴𝑟𝑎𝑏𝑖𝑐𝑎 𝑡𝑦𝑝𝑖𝑐𝑎 coffee production in Martinique, originally introduced during the colonial period. The heritage initiative aims to use Martinique’s coffee history as a narrative touchstone, connecting the island’s natural and cultural heritage with sustainable economic development. By examining how the project seeks to shape a transformed future from an unresolved colonial past, this dissertation argues that the romanticization of agricultural heritage can obscure contemporary challenges, such as climate change, and hinder imaginative and practical future planning. The dissertation explores various orientations toward the future that are cultivated within the coffee revival project, including expectation and promise, possibility and hope, anticipation and speculation. Interludes woven through the text highlight the interconnectedness of the environment and the experience of becoming and being Black. These interludes lead to the concluding epilogue that introduces the conceptual methodology of attending to Black Atlantic Elements—it foregrounds fluidity and relationality among various cultural, ecological, and social elements, a counterpoint to the essentializing tendencies of Western ontological paradigms. The research utilizes a multi-methodological approach, including ethnographic fieldwork, archival research, and qualitative interviews, complemented by critical textual analysis. Over ten months of fieldwork in Martinique, interactions with coffee farmers, Island Parks Service officials, local residents, and other collaborators provided firsthand insights into the coffee revival project. Archival research conducted in both France and Martinique supplied historical context on the introduction and decline of coffee production on the island. The study also draws on contemporary scientific, journalistic, and policy texts to understand how these narratives are currently used to shape both local and global perceptions of Martinican coffee. Overall, this dissertation takes heritage seriously to understand the people and places that mobilize it, focusing on the histories they choose to bequeath and their visions of the future. The findings highlight the complex temporality involved in bringing material pasts into the present to shape future visions. This vexation of time troubles not only this ethnography and its interlocutors but also the Caribbean as a whole, where theories of Caribbean temporality often explore how futures are shaped and constrained by the past and its afterlives. Through critical attention to the parallel temporalities and future orientations within Martinique’s coffee revival project, this work reveals how interpretations of the past and present are shaped by the ends pursued.

Thesis (Ph.D. Communication Studies)) -- University of Limpopo, 2020 / Hair has been a marker of identity that communicates issues of race, acceptability, class and beauty. Evidence of this was during colonialism and apartheid where South African identities were defined by physical characteristics such as the texture of one’s hair, and the colour of one’s skin. Whiteness was the epitome of beauty which came with certain privileges. Non-White bodies were defined as part of a particular narrative that saw them as well as their hair as inferior to that of White bodies. Academic literature continues to engage African hair from the perspective of a colonial legacy through a postcolonial lens. This study, however, asserts a shift in engaging African hair and introduces an African identity which is re-empowered and liberated through agency and choice, and active participation in the construction of its own identity. This shift in engagement also relinquishes the African identity’s association with the dominant narrative of its conformity to a single European ideology of beauty and identity by introducing a (post)colonial, postmodern theory of a Multi-flex, Neo-hybrid identity which forms part of the theoretical framework of this study. This study draws on the theoretical positions of postmodern theory about the concepts of ‘self’ and identity. It engages interpretations of postmodernism and ‘self’ through the works of Kenneth Gergen and Robert Lifton who provide critical theoretical insight into postmodernism and identity. It also engages critical scholars such as Homi Bhabha, Franz Fanon, Kwame Appiah, Charles Ngwenya and Achille Mbembe, amongst others. Through this theoretical lens, I examine the role of the media in the presentation of the panoply of hair (styles) to South African women in the process of constructing a fluid, flexible and hybrid identity that decentres the ideology of rigid racial identity. I also critically investigate whether non-White women who lived during the colonial-apartheid era and those born in a free democratic era share this multi-flex, neo-hybrid identity of the postmodern woman. Thus this study aims to critically explore social narratives of South African women’s hair and how the media perpetuate the construction of a new postmodern African female identity within the backdrop of the commodification of hair and identity in a globalised market and media environment. Coupled with an interpretivist paradigm, a phenomenological v approach was adopted for this study. Data was collected from print media content material namely, DRUM Hair magazine (editions 2014-2019) due to the assortment of hairstyles and identities it provides for African women. Data was also collected in the form of semi-structured interviews/personal accounts/stories presented as phenomenological narratives from colonial-born Coloured and colonial-born Black female participants. Focus group interviews were conducted on post-apartheid/born-free Coloured and Black female South African participants to understand how these women construct their identities through hairstyle choices and the impact this has on the (re)presentation of their identities within the global beauty market environment. These diverse participants aged from 18 to 104 allow me to trace, if any, the changes in perception of hair and hairstyles from colonial-apartheid South Africa to the new and free post-apartheid South Africa. The results of the study show that media enable the African woman to construct a postmodern identity through the multiplicity of hairstyles/identities available to her. It also provides the African woman with the tools to create various identities for herself through the diversity of hairstyles available to her. The African woman who is exposed to an assortment of hairstyles can navigate from one identity to the next without being loyal to one identity which is typical of the postmodern self. Another finding is that coloniality seems to continue to shape the identities of women born during the colonial apartheid era. But for those born during the (post)colonial and post-apartheid era, they embrace a navigatory form of hybridity that is not loyal to one identity but explores various forms of identity, which the market place affords them and the media perpetuate in the construction of multi-flex, neo-hybrid and postmodern identities. The implication of this study is that it is liberating since it allows us to critically review our identity and what we deem as beautiful and to question the daily choices we make not only with our hairstyles but with fashion, food and other cultural elements that shape our performance of identities. / National Institute for the Humanities and Social Sciences (NIHSS) and South African Humanities Deans Association (SAHUDA)

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.

Despite evidence highlighting the crucial role of principals in driving school change and creating equitable learning environments, there remains a need for more robust research and operational guidance concerning principal anti-racist leadership development and practice. Recent studies have indicated Principals were not only unprepared to lead in schools with predominantly minoritized students and unable to articulate meaningful discourse around racial equity and implement policy that would respond to racial issues, but they also had not received anti-racist leadership preparation and support. (Gooden & O’Doherty, 2015; Khalifa et al., 2016; Miller, 2021; Young et al., 2010). Therefore, the purpose of this exploratory study is to partly address this issue and contribute to the existing body of research on principal anti-racist leadership development and practice. I posed the following questions to guide my research: 1. How do urban secondary school principals say they have been prepared and supported to be anti-racist leaders? 2. How, if at all, do these principals say they implemented anti-racist practices in their schools? 3. How, if at all, do these principals say it is having impact on reducing racial disparities in their schools? This study examines principal perceptions and experiences receiving preparation and support to be anti-racist leaders, and the extent to which it may be used to inform practice and pedagogy for reducing racial disparities in schools. Specifically, as six principals attempt to enact anti-racist leadership in low-income urban secondary school settings serving a majority of students of color, this study utilizes insights from Welton et al. (2018) and draws upon a significant body of literature to examine their journey, reflecting on their anti-racist leadership development, practice, and impact. This study draws on the essential nature of anti-racist leadership, which involves recognizing the significance of race within educational settings, elevating racial awareness, and actively working towards dismantling racial disparities (Aveling, 2007; Brooks & Watson, 2019; Diem & Welton, 2020; Lewis et al., 2023). It examines racial identity development and self-reflection as integral components of anti-racist leadership preparation and development, and classifies participants’ interview data according to Cross’ (1995) The Psychology of Becoming Black" (Tatum, 1997) racial identity model and Helm’s (1995) White racial identity model. The study further explores the extent to which participants engage in anti-racist leadership practices and how they say it is having impact on reducing racial disparities in schools, by referencing Welton et al.'s (2018) anti-racist leadership conceptual framework. This framework, encompassing both individual and systemic levels - attitudes, beliefs, policies, and practices - guided my investigation into informing anti-racist principal practice for reducing racial disparities in schools. The study concludes by theorizing how its findings can be used to better understand the intersection between principals’ anti-racist leadership development, practice, and impact. This study is significant because it contributes towards operationalizing Welton et al.’s (2018) anti-racist leadership conceptual framework, elucidating principal anti-racist preparation, development, and practice, and methods to accomplish it. By investigating the extent to which participants engage in anti-racist leadership practices and their impact on reducing racial disparities within schools, this research offers practical insights for advancing racial equity in predominantly Black and Brown secondary schools. Such contributions not only provide valuable guidance for current principal anti-racist leadership practices, but may also spark new thinking and approaches for further research and ongoing efforts towards systemic improvement in anti-racist educational leadership.

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.

Historically Black colleges and universities served as primary sites of modernist artmaking. In 1920, however, no HBCU offered an art major or employed full-time fine arts faculty. This dissertation examines that swift transformation, demonstrating it not as a simple evolution, but rather as a contested site of Black thought and protest. I show this not through an institutional history or "timeline" of Black college art departments, but rather in a sustained attention towards Black colleges as nodes within a larger network of publics constituting Black modernism as sites for subjectivity. In doing so, this dissertation examines the conjuncture between two coincident forms: that of modernist art and of the same era's radical modes of racial exclusion. I ask what is at stake in art as lived experience, at a moment in which modernist aesthetics made claims as a means of producing novel ways of inhabiting being human while simultaneous modes of racial formation devalued Blackness within that conceptual category as life. Through this, I track aesthetic production as a relation and set of experiences occurring through specific sites and publics as an asymmetric arena for contestation, with an emphasis on historically Black colleges and universities. My first chapter, "Organize, Strike, Paint: Making Modern Art at Historically Black Colleges," charts that shift in a set of breaks in art-making at HBCUs, arguing for a student-driven movement away from industrial education towards a modernist visual arts, one embedded within a larger constellation of sites. My second chapter, "Aaron Douglas and a Liberatory History of the Senses," looks closely at Fisk University through the work of painter Aaron Douglas in a set of site-specific murals he made which visualize a long narrative of Black history, art, and labor. I argue that Douglas interrogated in those paintings central questions of visual modernism, placing the radical exclusion of Black subjects in slavery and its afterlives in the Jim Crow era as central to an understanding of modern vision and subjectivity. Through such works, HBCUs stand as necessary sites for theorizing a history of vision and its relation to the "human," as a rejoinder to histories of visual modernism that do not meaningfully account for racialization. In my final chapter, "Black Study in the White Cube: Racialized Subjectivities and the Museum of Modern Art, ca. 1935," I demonstrate the circulation and exclusions that structured Black audiences and art viewing. I do so through an examination of the Museum of Modern Art’s African Negro Art exhibition, which Black artists engaged with as visitors at MoMA, through mediated forms in print and photography, as well as in circulating satellite shows presented at HBCUs. In doing so, I attend to both the modes of viewership at the museum proper as well as the ways it interacted within a broader network of Black publics. Similarly, I examine the specific content of that MoMA exhibit in its primitivist imagination of an African past, one which might be used as a ground for "modern" white subjects. I track how Black artists confronted that continued legacy of anti-Blackness and addressed the immense dislocations inherent in it. Throughout, I provided sustained attention to artists including Hale Woodruff, Loïs Mailou Jones, Aaron Douglas, John Biggers, Romare Bearden, Norman Lewis, Amaza Lee Meredith, William H. Johnson, Augusta Savage, and Elizabeth Catlett.