Ce mémoire explore les liens intertextuels existants entre les féminismes noirs et les œuvres afrofuturistes Metropolis de Janelle Monáe et Pumzi de Wanari Kahiu. Une revue de la littérature a permis de montrer que des personnages incarnés par des femmes noires dans des rôles principaux sont peu présents dans le genre cinématographique de la science-fiction, mais qu’ils tiennent une place centrale dans l’afrofuturisme. Cette recherche s’interroge ainsi sur le manque de représentation des femmes noires dans la science-fiction et offre une étude de l’évolution du courant afrofuturiste, de ses modalités intermédiales, et des conséquences de sa récente popularisation. Cette recherche propose donc une analyse textuelle de Pumzi et de Metropolis et une exploration de l’interaction de ces deux objets culturels avec les courants féministes noirs en relation avec le principe de l’intertextualité. Il émerge de cette analyse une étude sur la récente marchandisation et édulcoration subséquente des motivations sociales radicales du courant afrofuturiste, entraînant un questionnement sur les possibilités d’une redéfinition. / This thesis explores the intertextual links between black feminism and the afrofuturist works Metropolis by Janelle Monae and Pumzi by Wanari Kahiu. A literature review showed that characters played by black women in protagonist roles had a minimal presence in the cinematic genre of science fiction but that they had a central place in afrofuturism. This research interrogates black women lack of representation in science fiction and futurism and studies the evolution of the afrofuturist movement, its intermediality and the consequences of its recent popularization. This research proposes a textual analysis of Pumzi and Metropolis and an exploration of the interaction between those two cultural objects and black feminism movements in relation with the concept of intertextuality. Out of this investigation emerges a study of the recent commodification of the afrofuturist movement and the subsequent weakening of its radical and social motivations, leading to a questioning on the possibility of a redefinition.

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Brazil is in the 132nd position in the ranking for female parliamentary participation according to the Inter-Parliamentary Union’s latest report (2019). Black women are the ones least involved in national politics. In the state of São Paulo 94 state Deputies were elected in 2018, of these only 11 are women and only 3 are black. This research looks at black female political participation in Brazil, focusing on political engagement in the state and municipality of São Paulo. It employs black feminist theory to investigate the hindrances for black women’s political participation. Intersectionality and political science theories were used as part of the theoretical framework. The research question explored was: “What are the obstacles for black female political participation in Brazil?”. This question is connected to larger issues of gender, race, class, political representation and participation. Semi-structured interviews with black women engaged with institutional politics were conducted, followed by a thematic analysis. The research found four main obstacles preventing a greater participation of black women in politics. The issue of visibility, that is, having enough social capital to gain attention from voters, prevents many black women from receiving support by their political parties. Having a network is also said to be important for those starting in politics, as it can give them the necessary visibility to grow in their political parties. Political education is considered an important tool to have a successful candidacy and is currently overlooked by political parties. Finally, financial investment is said to be underprovided to black female candidates. The interviews show that the obstacles presented are linked to structural racism and sexism within the political parties and in society. Despite their personal investment and engagement, black women are often demeaned. They are perceived as not capable of being good politicians. The oppressions they suffer for their race, gender and class are also experienced in the political arena. They are often silenced as political subjects, but they keep fighting back.

M. Tech. (Department of Visual Arts and Design: Fine Art, Faculty of Human Sciences), Vaal University of Technology. / My practice-based research aimed to produce commemorative portraits of black women in key positions who are associated with the Vaal Region. The study was undertaken in order to contribute to the empowering, positive and growing body of creative research on the visual representation of black women in the visual art field. My concern lies in the dearth of artistic representation of black women, particularly from the Vaal Region and with the hegemonic Westernised portrayal of black women in a Visual Arts discipline dominated by prejudiced attitudes towards issues of race and gender. This was accomplished in two steps. Firstly, through the examination of black feminist theories which underpin my theoretical framework, and further challenge and draw attention to the omissions, invisibility, non-recognition and negative portrayal of black women. In addition selected techniques in artworks of Zanele Muholi, Karina Turok, Sue Williamson and Bongi Bengu have been appropriated to create my body of work. Secondly, I utilise commemorative portraiture to produce iconic portraits of advocate Faith Pansy Tlakula, Professor Ntombekayise Irene Moutlana, Professor Kholeka Constance Moloi, Avitha Sooful, Lerato Moloi, Terry Pheto, Lira, Palesa Mokubung and the late mama Adelaide Tambo which were exhibited in the bodutu gallery accompanied by a catalogue and a comment book. Both of these methods are qualitatively explored as creative strategies to portray and award agency positively to black women through Third World readings of gendered perspectives.

M. Tech. (Department of Visual Arts and Design: Fine Arts, Faculty of Human Sciences), Vaal University of Technology. / Problem statement This study investigates black women’s diverse hairstyles through art. The main research question is: How can black women’s diverse hairstyles be understood through art to appreciate the meaning attached to these hairstyles? The research question is informed by a black feminist theory. Objectives of the study Based on the research problem, the objectives of the study were first, to find out how black women’s diverse hairstyles could be understood through art to appreciate the meanings attached to these hairstyles. Secondly, to examine similarities and/or differences between how Lebohang Motaung (hereinafter referred to as Motaung) and Lorna Simpson (hereinafter referred to as Simpson) construct and express meanings of diverse hairstyles in their artworks. This was done by means of analysing the two artists’ artworks. Thirdly, to find out what or who influences Motaung’s choice of hairstyles, which was done by conducting an in-depth individual interview with Motaung. Fourthly, to find out what or who influences Simpson’s choice of hairstyles, which was done by reviewing the literature on Simpson. Fifthly, to explore how Motaung and Simpson interpret their physical appearance based on their hairstyles. Research design and methodology The empirical investigation focused on analysing black women’s diverse hairstyles by means of analysing artworks of Motaung (black South African female artist) and Simpson (black American female artist). This study contextualises black women’s artworks as visual responses to patriarchal, social subjugation and objectification of black women’s hair, by using black feminist epistemology through artistic production. Data collected through visual material were analysed using Barnet’s (2011:37-38) critical analysis of artefacts strategy. Barnet’s steps of critical analysis include description of the artefact, interpretation of the artefact, analysis of the artefact and personal report. The analysis of the artworks enabled the researcher to compare and contrast the artworks of the two selected participants. The researcher first analysed the black South African contemporary female artist, Motaung’s (b.1992), work as a visual form of resistance to masculine control of images of black women’s hairstyle representations and self-definition. The researcher believes that Motaung creates self-defined artworks that appreciate the beauty of black women’s hair and she demystifies the ambiguous meaning attached to black hairstyles. Secondly, Simpson’s (b.1960) artworks were analysed in the study to understand what or who influences her choice of hairstyles. The researcher found it appropriate, for her study, to focus on Simpson, because she is a prominent contemporary black American feminist artist, who explores the concept of black hairstyles, focusing on themes such as race, gender and identity formation. Furthermore, one in-depth, individual interview was conducted with Motaung. The analysis was based on black feminism that enabled the researcher to listen to Motaung’s views and be part of her portrayal of black women’s diverse hairstyles. The qualitative data collection and methodology were guided by ethical considerations of the Vaal University of Technology for undertaking research. Ethical procedures were followed regarding selected participants for both artwork analysis and the interview. Five themes emerged from this analysis, namely Motaung’s personal background, black hair politics, conceptual work, choice of medium and working process, art influencers and artwork clarification. Black women’s diverse hairstyles In contemporary times, black women’s hairstyle representations are highly politicised as black people strive to reclaim their identities. The changing meaning of what is good hair for black women is highly controversial; some black women consider natural hairstyles as good and authentic hair for black women, because they embrace the Afrocentric beauty standard that was degraded by whites since the colonial era. On the other hand, other black women are comfortable with altered hair that is viewed as a European beauty standard, because altered hair has become part of black women’s culture and identity. The literature review suggests that historically, narrow European-centric beauty standards have deemed black women’s natural features as unattractive and unprofessional, especially their textured, curly to kinky hair. These restrictive ideals have left black women in a compromised position, having to adhere to certain societal norms for the sake of upward mobility, whether that is getting ahead professionally or fitting into a myriad of social environments in which they can be accepted. Main findings From the literature review, the study found that there are controversial viewpoints regarding what is or is not suitable for black women in terms of their hairstyles. The controversy led to black women’s hairstyles being discussed constantly in binary opposition of good/ bad hair, natural/ unnatural, Afro-centric/ Eurocentric, authentic/ inauthentic, African/ Western, low/ high self-esteem, amongst others. The literature further indicates that there is a need to conduct a study that embraces diverse (both natural and unnatural) hairstyles to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. From the analysis of the two artists, Simpson’s works were found suitable for this study because her body of work links with that of Motaung’s, in terms of concept, style, theory, content and technique, despite the fact that these artists are located in different geographical contexts and settings. From the individual interview, the study found that Motaung was prompted by black hair politics, such as the politics of exclusion of black hairstyles, such as afros and braids in educational institutions and work places. Such politics inspired her to create artworks on black women’s diverse hairstyles. Motaung focused on natural hairstyles because she wanted black women to see what they can do with their natural hair. By using natural hairstyles, Motaung wanted to challenge the misconception that natural hair is not beautiful. The study also found that Motaung focused on unnatural hairstyles because there is bias against black women who wear synthetic hair. Motaung created artworks using synthetic hair to make a bold statement that synthetic hair is not fake hair but rather extra hair, which black women can use to self-express and self-define. Recommendations ● The study recommends that self-definition is a black feminist strategy that black women can use to self-insert and self-represent using diverse hairstyles. The act of insisting on black women’s self-definition validates black women’s power as human subjects, against structural patriarchal forces and beauty standards that are continuously set for black women. ● The study recommends that it is significant for black women to embrace diverse hairstyles, to get rid of the politics, oppressions and binary oppositions placed on black women’s hairstyles. ● From the artworks of Motaung and Simpson, the study recommends that it is significant for black female artists to produce artworks on diverse hairstyles to diminish oppressive structures that are placed on black women’s hairstyle representations.

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[pt] O título desta dissertação Um novo momento para narrativas plurais é inspirado nas questões que envolvem a obra literária da autora nigeriana Chimamanda Adichie “O perigo de uma história única”. O livro surgiu de uma palestra dada pela autora nigeriana que viralizou em plataformas digitais de vídeo, em redes sociais do mundo inteiro e se transformou em obra literária traduzida para diversos idiomas. Esse fenômeno guiou a temática desta pesquisa que busca entender como as narrativas do feminismo negro contemporâneo repercutem na construção social da realidade, provocando uma aproximação dos discursos de empoderamento nas mídias sociais, dando maior visibilidade para mulheres negras no mercado editorial. Este estudo traz considerações sobre o movimento feminista negro e propõe uma reflexão sobre o mercado editorial a partir desta perspectiva. Para isso, coloca em diálogo os conceitos de violência, necropolítica, biopoder e sociedade de rede com as questões que permeiam as lutas contra o machismo e o racismo. Tendo como conteúdo de pesquisa as trajetórias profissionais de Chimamanda Adichie, Conceição Evaristo e Djamila Ribeiro. A pesquisa também aponta questões sobre a diáspora africana, as tecnologias digitais no campo da arte e da literatura, apresentando eixos do mercado editorial, empreendedorismos possíveis e reflexões acerca das oportunidades para a diversidade. / [en] The title of this dissertation A new moment for plural narratives is inspired by the questions surrounding the literary work of the Nigerian author Chimamanda Adichie The danger of a unique story. The book emerged from a lecture given by the Nigerian author that went viral on digital video platforms, on social networks around the world and became a literary work translated into several languages. This phenomenon guided the theme of this research that seeks to understand how the narratives of contemporary black feminism have an impact on the social construction of reality, causing an approximation of empowerment discourses on social media, giving greater visibility to black women in the publishing market. This study brings considerations about the black feminist movement and proposes a reflection on the publishing market from this perspective. To this end, it puts the concepts of violence, necropolitics, biopower and network society into dialogue with the issues that permeate the struggles against chauvinism and racism. Having as research content the professional trajectories of Chimamanda Adichie, Conceição Evaristo and Djamila Ribeiro. The research also points out questions about african diaspora, digital technologies in the field of art and literature, presenting axes of the publishing market, possible entrepreneurship and reflections on opportunities for diversity.

This dissertation theorizes the synthesis of solidarities around queer embodied performativities as a mode of making-resistant the everyday experiences of exploitation under transnational capitalism. These solidarities, I argue, are cultivated around the affective, embodied experiences of what José Esteban Muñoz terms "queer time," which I extend to denote the ephemeral, experiential sensations of being "out of sync" with the structures and norms of capital-space-time power assemblages. I theorize "emulsion" as a heuristic for envisioning synthetic solidarities as making space and time for the importantly distinct experiences of queer spatio-temporalities of those at the various intersections of marginalized/minoritized identities to coagulate and coalesce into something new – at once remaining beautifully fragmented and becoming grotesquely amalgamated beyond distinction. I suggest that such trans-spatial/temporal/material solidarities, formed via antinormative performativities and the curation of "revolting archives," existent and not-yet-formed alike, can and indeed already do resist the totalizing and unplaceable ether of increasingly transnational capitalism across scales. This dissertation takes form and transdisciplinarity to be a part of the praxis/theory of cultivating such synthetic solidarities that confound the structures of capital-space-time. As such, I (gender)fuck with genre, and format throughout, interweaving theoretical and autotheoretical writing with prose, poetics, and altered text to create a visceral sense of disruption of spatiotemporality in not only content, but the affective experience of reading the piece itself. This dissertation thus moves across disciplines via a theoretical constellation of critical scholarship including affect theory, queer theory, (neo)Marxist theory, Black feminist theory, post- and de-colonial theory, disability theory, and transnational feminism. / Doctor of Philosophy / In this dissertation, I attend to two primary concerns: first, the ways in which the power structures of transnational capitalism are fundamentally affective in nature, such that they act unevenly on and are accordingly felt/sensed/experienced unevenly by embodied subjects through processes of exploitation, subjugation, and marginalization necessary to maintain and perpetuate capitalist structures; and secondly, the ways in which emergent movements attempting to resist structures of global capitalism/the effects thereof have failed to do so, in that the most marginalized have been continuously, violently excluded from those same movements which (cl)aim to include them, or be in solidarity with them, all under some unilateral and exclusionary notion of "we/us." This dissertation works with a curated collection affect theory, queer theory, auto-theory (neo)Marxist theory, Black feminist theory, post- and de-colonial theory, disability theory, and transnational feminism to theorize transnational capitalism as always already affective and embodied, an important dimension of global power structures that has been left largely unaddressed in global politics/international studies. I argue that global capitalism itself is comprised of linear capital-space-time power assemblages which act to exploit embodied subjects – disproportionately acting on/experienced by historically marginalized and minoritized bodies – across scale, space, and time in order to maintain itself and ensure its perpetuation into futurity. I take particular interest in the affective/sensed, everyday, varied lived experiences of nonlinearity by subjugated bodies – theorized in this project as an expanded notion of "queer time" as conceived of by José Esteban Muñoz – by the most marginalized under those structures, and further argue using playfulness with form and the heuristic of emulsification that those affective experiences of queer spatiotemporalities can be taken up as that around which meaningful, resistant solidarities under global capitalism can be synthesized.

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