{"title":"The Job I Never Wanted Was Exactly What I Needed","authors":"S. Adams","doi":"10.1353/pal.2021.0010","DOIUrl":"https://doi.org/10.1353/pal.2021.0010","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41468853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"We Do Not Have to Be White or Men to Lead: Redefining and Assessing Black Women's Leadership","authors":"T. Rajack-Talley","doi":"10.1353/pal.2021.0011","DOIUrl":"https://doi.org/10.1353/pal.2021.0011","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41418694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reflections of a Former Department Chair: A Path to University Service and Leadership Skills","authors":"J. L. Sumler-Edmond","doi":"10.1353/pal.2021.0019","DOIUrl":"https://doi.org/10.1353/pal.2021.0019","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46224890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"All Eyez on Me: On Being Black, Female, and a First-Gen Leader in the Academy","authors":"C. Henderson","doi":"10.1353/pal.2021.0016","DOIUrl":"https://doi.org/10.1353/pal.2021.0016","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44511434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Being One of the Chosen: Making Space for Students at the Table","authors":"T. Green","doi":"10.1353/pal.2021.0009","DOIUrl":"https://doi.org/10.1353/pal.2021.0009","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chairing as Self-Care: Strategies for Combatting the Cultural Identity Taxation Trap for Black Women Chairs","authors":"Donna J. Nicol","doi":"10.1353/pal.2021.0020","DOIUrl":"https://doi.org/10.1353/pal.2021.0020","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49617775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Guest Editors' Introduction: \"We've Been Lovers on a Mission\"","authors":"Stephanie Y. Evans","doi":"10.1353/pal.2021.0015","DOIUrl":"https://doi.org/10.1353/pal.2021.0015","url":null,"abstract":"","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44482951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eerily, the violence is familiar, familial. Nigerian author Chris Abani’s novella Becoming Abigail (2006) mobilizes the pornotropes of slave narratives to tell a story of contemporary human trafficking.1 Abigail, a fourteen-year-old Nigerian girl, is sent from her home in Lagos to London by her father, believing she will attend school under the care of her maternal aunt and uncle. Instead, she encounters physical abuse, forced sex work, punishment by starvation, rape, chains, and other bodily violations. Fighting her way out of imprisonment, Abigail appears to find solace in an interracial, intergenerational sexual affair with her social caseworker—until their sexual relations are discovered by his wife and he is sent to prison for statutory rape. After unsuccessfully petitioning for her caseworker’s release, the girl, Abigail, drowns herself in the Thames River—her life told through a grammar of abjection, erotics, and death. In short, the novella traces the structural violence through which Abigail becomes legible, elucidating how Black and African girls tend to be rendered visible as legal subjects in the global North only through a “salvationist gaze” activated by real or imagined sexual vulnerability.2 In that sense, Abani’s novella serves as a site through which the theft of the body—a “severing of the captive body from its motive will, its active desire,” in Hortense Spillers’s words—can be critically mapped.3 However, in deploying the dominant scripts of erotics and abjection used to simultaneously gaze at and erase Black and African migrant girls in the global North, the novella grapples with how to render visible that salvationist gaze while, at the same time, opening a space for Abigail’s humanness outside of the constraints of that gaze. Indeed, Abani’s prose marks the difficult work of hearing Abigail’s truth under these conditions. The novella attempts to navigate this narrative dilemma by developing
{"title":"Literacies of the Flesh in Chris Abani’s Becoming Abigail","authors":"Abigail E. Celis","doi":"10.1353/pal.2021.0005","DOIUrl":"https://doi.org/10.1353/pal.2021.0005","url":null,"abstract":"Eerily, the violence is familiar, familial. Nigerian author Chris Abani’s novella Becoming Abigail (2006) mobilizes the pornotropes of slave narratives to tell a story of contemporary human trafficking.1 Abigail, a fourteen-year-old Nigerian girl, is sent from her home in Lagos to London by her father, believing she will attend school under the care of her maternal aunt and uncle. Instead, she encounters physical abuse, forced sex work, punishment by starvation, rape, chains, and other bodily violations. Fighting her way out of imprisonment, Abigail appears to find solace in an interracial, intergenerational sexual affair with her social caseworker—until their sexual relations are discovered by his wife and he is sent to prison for statutory rape. After unsuccessfully petitioning for her caseworker’s release, the girl, Abigail, drowns herself in the Thames River—her life told through a grammar of abjection, erotics, and death. In short, the novella traces the structural violence through which Abigail becomes legible, elucidating how Black and African girls tend to be rendered visible as legal subjects in the global North only through a “salvationist gaze” activated by real or imagined sexual vulnerability.2 In that sense, Abani’s novella serves as a site through which the theft of the body—a “severing of the captive body from its motive will, its active desire,” in Hortense Spillers’s words—can be critically mapped.3 However, in deploying the dominant scripts of erotics and abjection used to simultaneously gaze at and erase Black and African migrant girls in the global North, the novella grapples with how to render visible that salvationist gaze while, at the same time, opening a space for Abigail’s humanness outside of the constraints of that gaze. Indeed, Abani’s prose marks the difficult work of hearing Abigail’s truth under these conditions. The novella attempts to navigate this narrative dilemma by developing","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49305206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On january 3, 1932, the performer florence emery jones died of heart failure in her Manhattan apartment.1 She was thirty-nine years old. Her death certificate declared that she was an “actress” and that she had been a resident of New York City for twenty-five years.2 It mentions nothing of the fact that she had spent most of the 1920s in Paris, nor that she was once celebrated as one of the most glamorous entertainers of the Parisian nightclub scene. This same Florence who died in a New York tenement once strolled between champagne-laden tables in a Parisian nightclub that bore her name, crooning sweetly; this same Florence once coerced a British prince into dancing the black bottom; this same Florence was, according to Langston Hughes, the first person of color he ever saw “deliberately and openly snubbing white people.”3 Florence walked a delicate balance between white admiration and white hatred, as evidenced by her interactions with Ernest Hemingway, a frequent visitor to her establishments. Hemingway describes her as “a typical Negro dancer, jolly, funny, and wonderful on her feet.”4 That is, until she “acquired an English accent and a languid manner” as a result of dancing with European nobility, and for Hemingway, “another of the really amusing after-midnight places was ruined by prosperity.”5 Hemingway’s characterization of Florence has multiple racist overtones: the assumption that she is solely a dancer, the idea that a black woman’s usefulness is only insofar as she provides him with amusement, and the derision of any black affect other than servile jolliness as a ridiculous putting on of airs. However, what is most remarkable about the themes brought up by Hemingway is the way they were used by other black expatriates of the time period to paint Florence as a cautionary tale of black women’s haughtiness.
{"title":"Florence’s Place: Host(ess)ing Revolution in Interwar Black Paris","authors":"M. Magloire","doi":"10.1353/pal.2021.0002","DOIUrl":"https://doi.org/10.1353/pal.2021.0002","url":null,"abstract":"On january 3, 1932, the performer florence emery jones died of heart failure in her Manhattan apartment.1 She was thirty-nine years old. Her death certificate declared that she was an “actress” and that she had been a resident of New York City for twenty-five years.2 It mentions nothing of the fact that she had spent most of the 1920s in Paris, nor that she was once celebrated as one of the most glamorous entertainers of the Parisian nightclub scene. This same Florence who died in a New York tenement once strolled between champagne-laden tables in a Parisian nightclub that bore her name, crooning sweetly; this same Florence once coerced a British prince into dancing the black bottom; this same Florence was, according to Langston Hughes, the first person of color he ever saw “deliberately and openly snubbing white people.”3 Florence walked a delicate balance between white admiration and white hatred, as evidenced by her interactions with Ernest Hemingway, a frequent visitor to her establishments. Hemingway describes her as “a typical Negro dancer, jolly, funny, and wonderful on her feet.”4 That is, until she “acquired an English accent and a languid manner” as a result of dancing with European nobility, and for Hemingway, “another of the really amusing after-midnight places was ruined by prosperity.”5 Hemingway’s characterization of Florence has multiple racist overtones: the assumption that she is solely a dancer, the idea that a black woman’s usefulness is only insofar as she provides him with amusement, and the derision of any black affect other than servile jolliness as a ridiculous putting on of airs. However, what is most remarkable about the themes brought up by Hemingway is the way they were used by other black expatriates of the time period to paint Florence as a cautionary tale of black women’s haughtiness.","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pal.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48094131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Today, singer gal costa is widely considered one of Brazil ’s national treasures, a performer whose voice, musical stylings, and overall persona are lauded as essential to the legacy of Brazilian Popular Music (MPB), which is itself considered one of Brazil ’s greatest cultural exports. In a 2015 TV Globo television special celebrating her f ifty-year career as a popular music singer and performer, Costa was declared Brazil ’s greatest female singer. Affectionately referring to Costa by her childhood name, “Graçinha,” the special ’s host opens by ref lecting that “Gal Costa singing is poetry.”1 She continues to describe Costa as “extremely ref ined, and versatile,” a singer who “perfectly dominates technique and has one of the most beautiful voices in [Brazilian] music.” Some twenty years prior, a similar special aired on another of Brazil ’s major news programs, SBT Reporter, in which Costa was likewise declared to have “one of the most beautiful voices in [Brazilian] music.”2 While such tributes to Costa’s musical legacy follow different narrative threads, most tend to arrive at similar destinations: the assertion of Costa as a central piece of Brazil ’s sonic history, both at home and abroad. They also overwhelmingly tend to focus on Costa’s later career, and on the delicate and ref ined vocal tones that became her trademark. Beginning with her 1980 album Aquarela do Brasil, Costa has shaped both her performative and vocal character around a ballad-heavy, soft and sultry persona, taking up the lead of legendary Brazilian singers such as Astrud Gilberto and Nara Leão. Lost in these portrayals of Costa as a musical ambassador are the often contradictory, dissonant, and ambiguous performances that marked her early career. In the f irst decade of her career, Costa experimented with myriad musical and performative styles, borrowing from an assortment of
今天，歌手加尔·科斯塔被广泛认为是巴西的国宝之一，他的声音、音乐风格和整体形象被誉为巴西流行音乐(MPB)遗产的重要组成部分，而MPB本身也被认为是巴西最伟大的文化输出之一。在2015年环球电视台庆祝她作为流行音乐歌手和表演者的50年职业生涯的特别节目中，科斯塔被宣布为巴西最伟大的女歌手。特别节目的主持人亲切地用她童年时的名字“格拉帕琳哈”来称呼科斯塔，他在节目开头就说:“盖尔·科斯塔的歌声是诗歌。”她继续形容科斯塔“极其优雅，多才多艺”，是一位“完全掌握技巧，拥有(巴西)音乐界最美丽嗓音之一”的歌手。大约20年前，巴西另一个主要新闻节目《SBT记者》播出了一个类似的特别节目，科斯塔同样被誉为“巴西音乐界最美丽的声音之一”。虽然这些对Costa音乐遗产的致敬遵循着不同的叙事线索，但大多数都倾向于到达相似的目的地:无论在国内还是国外，Costa都是巴西音乐历史的核心部分。他们也压倒性地倾向于关注科斯塔后来的职业生涯，以及成为她标志的精致和精炼的音调。从1980年的专辑《Aquarela do Brasil》开始，科斯塔就将自己的表演和演唱风格塑造成民谣式的、柔和而性感的形象，成为阿斯特鲁德·吉尔伯托和奈良·莱奥等巴西传奇歌手的榜样。在这些关于科斯塔作为音乐大使的描述中，我们看不到她早期职业生涯中经常出现的矛盾、不和谐和模棱两可的表演。在她职业生涯的头十年，科斯塔尝试了无数的音乐和表演风格，借鉴了各种各样的
{"title":"Não Identificado: Racial Ambiguity and the Sonic Blackness of Gal Costa","authors":"Edward R. Piñuelas","doi":"10.1353/pal.2021.0004","DOIUrl":"https://doi.org/10.1353/pal.2021.0004","url":null,"abstract":"Today, singer gal costa is widely considered one of Brazil ’s national treasures, a performer whose voice, musical stylings, and overall persona are lauded as essential to the legacy of Brazilian Popular Music (MPB), which is itself considered one of Brazil ’s greatest cultural exports. In a 2015 TV Globo television special celebrating her f ifty-year career as a popular music singer and performer, Costa was declared Brazil ’s greatest female singer. Affectionately referring to Costa by her childhood name, “Graçinha,” the special ’s host opens by ref lecting that “Gal Costa singing is poetry.”1 She continues to describe Costa as “extremely ref ined, and versatile,” a singer who “perfectly dominates technique and has one of the most beautiful voices in [Brazilian] music.” Some twenty years prior, a similar special aired on another of Brazil ’s major news programs, SBT Reporter, in which Costa was likewise declared to have “one of the most beautiful voices in [Brazilian] music.”2 While such tributes to Costa’s musical legacy follow different narrative threads, most tend to arrive at similar destinations: the assertion of Costa as a central piece of Brazil ’s sonic history, both at home and abroad. They also overwhelmingly tend to focus on Costa’s later career, and on the delicate and ref ined vocal tones that became her trademark. Beginning with her 1980 album Aquarela do Brasil, Costa has shaped both her performative and vocal character around a ballad-heavy, soft and sultry persona, taking up the lead of legendary Brazilian singers such as Astrud Gilberto and Nara Leão. Lost in these portrayals of Costa as a musical ambassador are the often contradictory, dissonant, and ambiguous performances that marked her early career. In the f irst decade of her career, Costa experimented with myriad musical and performative styles, borrowing from an assortment of","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pal.2021.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44355454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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