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Women and Migration: Responses in Art and History

Women and Migration: Responses in Art and History Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson (eds)
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'Women and Migration' fonde una molteplicità di sguardi sulla complessità di un fenomeno e, attraverso le sue pagine, immerge il lettore nell’universo delle migrazioni. ['Women and Migration' fuses multiple glances on the complexity of the phenomenon and, through its pages, immerses the reader in the universe of migration.]
Laura Amigo, 328 Studi Emigrazione, LVII, n. 218, 2020 - ISSN 0039-2936


'Women and Migration' is not only rich in detailing women’s lives, daily life, and human agency in addition to memory, emotion, and culture but also multidisciplinary and a welcome focus on women’s diverse experiences with migration from the perspective of class, ethnicity, ‘race’, religion, and sexual identity. I particularly like the narratives showcasing women and migrations from political and geographical perspectives with regard to the fluidity and representations of borders and border crossings. It is especially relevant given the varied responses to migration in Europe and North America today. Their ‘voices’ rise from the pages of the manuscript! 
Dr Mary Anne Poutanen, McGill University

The essays in this book chart how women’s profound and turbulent experiences of migration have been articulated in writing, photography, art and film. As a whole, the volume gives an impression of a wide range of migratory events from women’s perspectives, covering the Caribbean Diaspora, refugees and slavery through the various lenses of politics and war, love and family.
The contributors, which include academics and artists, offer both personal and critical points of view on the artistic and historical repositories of these experiences. Selfies, motherhood, violence and Hollywood all feature in this substantial treasure-trove of women’s joy and suffering, disaster and delight, place, memory and identity.
This collection appeals to artists and scholars of the humanities, particularly within the social sciences; though there is much to recommend it to creatives seeking inspiration or counsel on the issue of migratory experiences.



Women and Migration: Responses in Art and History
Edited by Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson | March 2019
670 pp. | 156 colour illustrations | 6.14" x 9.21" (234 x 156 mm)
ISBN Paperback: 9781783745654
ISBN Hardback: 9781783745661
ISBN Digital (PDF): 9781783745678
ISBN Digital ebook (epub): 9781783745685
ISBN Digital ebook (mobi): 9781783745692
ISBN Digital (XML): 9781783746743
DOI: 10.11647/OBP.0153
Subject codes: BIC: AG (art treatments and subjects), AJ (Photography and photographs), JFFN (Migration, immigration and emigration), JFS (Social Groups); BISAC: SOC008000 (SOCIAL SCIENCE / Ethnic Studies / General), SOC007000 (SOCIAL SCIENCE / Emigration & Immigration), SOC028000 (SOCIAL SCIENCE / Women's Studies); OCLC Number: 1194546351.


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List of Contributors

Introduction: Women and Migration[s]
D. Willis, E. Toscano and K. Brooks Nelson

Part One: Imagining Family and Migration 11

  1. Between Self and Memory
    Ellyn Toscano
  2. Fragments of Memory: Writing the Migrant’s Story
    Anna Arabindan-Kesson
  3. A Congolese Woman’s Life in Europe: A Postcolonial Diptych of Migration
    Sandrine Colard
  4. Migrations
    Kathy Engel

Part Two: Mobility and Migration

  1. Carrying Memory
    Marianne Hirsch
  2. Making Through Motion
    Wangechi Mutu
  3. Strange Set of Circumstances: White Artistic Migration and Crazy Quilt
    Karen Finley
  4. Nora Holt: New Negro Composer and Jazz Age Goddess
    Cheryl A. Wall

Part Three: Understanding Pathways

  1. Silsila: Linking Bodies, Deserts, Water
    Sama Alshaibi
  2. My Baby Saved My Life: Migration and Motherhood in an American High School
    Jessica Ingram
  3. Visualizing Displacement Above The Fold
    Lorie Novak
  4. Unveiling Violence: Gender and Migration in the Discourse of Right-Wing Populism
    Debora Spini
  5. A Different Lens
    Maaza Mengiste
  6. Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi
    Isolde Brielmaier
  7. Swimming with E. C.
    Kellie Jones

Part Four: Reclaiming Our Time

  1. Kinship, the Middle Passage, and the Origins of Racial Slavery
    Jennifer L. Morgan
  2. Black Women’s Work: Resisting and Undoing Character Education and the ‘Good’ White Liberal Agenda
    Bettina L. Love
  3. Filipina Stories: Gabriela NY and Justice for Mary Jane Veloso
    Editha Mesina
  4. Women & Migrations: African Fashion’s Global Takeover
    Allana Finley
  5. What Would It Mean to Sing A Black Girl’s Song?: A Brief Statement on the Reality of Anti-Black Girl Terror
    Treva B. Lindsey

Part Five: Situated at the Edge

  1. Fredi’s Migration: Washington’s Forgotten War on Hollywood
    Pamela Newkirk
  2. Julia de Burgos: Cultural Crossing and Iconicity
    Vanessa Pérez-Rosario
  3. Sarah Parker Remond’s Black American Grand Tour
    Sirpa Salenius
  4. Making Latinx Art: Juana Valdes at the Crossroads of Latinx and Latin American Art
    Arlene Dávila
  5. Moving Mountains: Harriet Hosmer’s Nineteenth-Century Italian Migration to Become the First Professional Woman Sculptor
    Patricia Cronin

Part Six: Transit, Transiting, and Transition

  1. Urban Candy: Screens, Selfies and Imaginings
    Roshini Kempadoo
  2. Controlled Images and Cultural Reassembly: Material Black Girls Living in an Avatar World
    Joan Morgan
  3. Supershero Amrita Simla, Partitioned Once, Migrated Twice
    Sarah K. Khan
  4. Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement
    Gayatri Gopinath
  5. The Performance of Doubles: The Transposition of Gender and Race in Ming Wong’s Life of Imitation
    Kalia Brooks Nelson

Part Seven: The World is Ours, Too

  1. The Roots of Black American Women’s Internationalism: Migrations of the Spirit and the Heart
    Francille Rusan Wilson
  2. 'The World is Ours, Too': Millennial Women and the New Black Travel Movement
    Tiffany M. Gill
  3. Performing a Life: Mattie Allen McAdoo’s Odyssey from Ohio to South Africa, Australia and Beyond, 1890–1900
    Paulette Young
  4. 'I Don't Pay Those Borders No Mind At All': Audley E. Moore (‘Queen Mother’ Moore) - Grassroots Global Traveler and Activist
    Sharon Harley
  5. Löis Mailou Jones in the World
    Cheryl Finley

Part Eight: Emotional Cartography: Tracing the Personal

  1. The Ones Who Leave… the Ones Who Are Left: Guyanese Migration Story
    Grace Aneiza Ali
  2. The Acton Photograph Archive: Between Representation and Re-Interpretation
    Alessandra Capodacqua
  3. Reconciliations at Sea: Reclaiming the Lusophone Archipelago in Mónica de Miranda’s Video Works
    M. Neelika Jayawardane
  4. Transnational Minor Literature: Cristina Ali Farah’s Somali Italian Stories
    Alessandra Di Maio
  5. Seizing Control of the Narrative
    Misan Sagay
  6. Migration as a Woman’s Right: Stories from Comparative and Transnational Slavery Histories in the North Atlantic and Indian Ocean Worlds
    Gunja SenGupta
  7. The Sacred Migration of Sister Gertrude Morgan
    Imani Uzuri

List of Illustrations

Index

Kalia Brooks Nelson, PhD, is a New York based independent curator, educator and writer. Brooks is currently an Adjunct Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts. Brooks holds a Ph.D. in Aesthetics and Art Theory from the Institute for Doctoral Studies in the Visual Arts. She received her M.A. in Curatorial Practice from the California College of the Arts in 2006, and was a Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Study Program 2007/2008. She has served as a consulting curator with the City of New York through the Department of Cultural Affairs and Gracie Mansion Conservancy. Brooks is also currently an ex-officio trustee on the Board of the Museum of the City of New York.

Ellyn Toscano is Executive Director of New York University Florence. She directs NYU’s Villa La Pietra, a fifteenth-century villa and collection of six thousand objects dating from the Etruscans to the twentieth century. She founded and directs La Pietra Dialogues, a year-long series of conferences and talks, and founded and produces The Season, a summer cultural festival in the Villa’s expansive gardens. Before arriving at NYU Florence, Toscano served as Chief of Staff and Counsel to Congressman Jose Serrano of New York, was his chief policy advisor and directed his work on the Appropriations Committee. Toscano also served as counsel to the New York State Assembly Committee on Education for nine years. She has served on the boards of several prominent arts and cultural institutions including the Bronx Museum of the Arts and the Brooklyn Academy of Music (as the representative of the Brooklyn Borough President). In Italy, she serves on the board of the Museo Marino Marini in Florence, and the Italian Advisory Council of the Civitella Ranieri Foundation. A lawyer by training, Toscano earned an LLM in International Law from New York University School of Law.

Deborah Willis, PhD, is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the Department of Social & Cultural Analysis, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers and beauty. She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University and a John Simon Guggenheim Fellow. Professor Willis received the NAACP Image Award in 2014 for her co-authored book Envisioning Emancipation. Other notable projects include Reflections in Black: A History of Black Photographers – 1840 to the Present, Posing Beauty: African American Images from the 1890s to the Present, Michelle Obama: The First Lady in Photographs, an NAACP Image Award Literature Winner.



Part One: Imagining Family and Migration

1. Between Self and Memory (Ellyn Toscano)

Ellyn Toscano writes about silences and secrets within her family. She explores the story of her grandmother’s migration from South Carolina to New York in the early twentieth century, and her essay ‘Between Self and Memory’ looks at the consequences of deracination, concealment, and the self-fashioning of transitive identities. She questions the reasoning behind why people move away from the familiar into the unknown and in some cases choose to conceal their identity to fit in with society. Reading about Belle da Costa Greene, a librarian at Princeton University in 1905 who worked for J. P. Morgan, Toscano starts to unravel the truth about her own grandmother and ancestry, and what migration means to her.and the idea of memory as a form of narrative. She recalls the violent events of Sri Lanka’s ‘Black July’ in 1983 and how its legacies and impact have directly shaped her scholarship. She explores the power of photography as both a tool to reconstruct her early memories and as a way to reconnect her with her family’s past. She delves into the differences of her experience living in Australia compared to Sri Lanka and looks at this in the context of image-making, memory, beginnings, and endings.

2. Fragments of Memory: Writing the Migrant’s Story (Anna Arabindan-Kesson)

Reflecting on her journey from her birthplace in Sri Lanka to Australia, Anna Arabindan-Kesson’s essay ‘Fragments of Memory: Writing the Migrant’s Story’ looks at the relationship between her own experience of migration and the idea of memory as a form of narrative. She recalls the violent events of Sri Lanka’s ‘Black July’ in 1983 and how its legacies and impact have directly shaped her scholarship. She explores the power of photography as both a tool to reconstruct her early memories and as a way to reconnect her with her family’s past. She delves into the differences of her experience living in Australia compared to Sri Lanka and looks at this in the context of image-making, memory, beginnings, and endings.

3. A Congolese Woman’s Life in Europe: A Postcolonial Diptych of Migration (Sandrine Colard)

Sandrine Colard uses the photographs in her family photo album to tell the story of her mother leaving the Congo, of her studies in Europe, and then meeting and getting married to Colard’s Belgian father. She explores the difficulties her mother faced as a young woman migrating to a new country and the cultural attitudes towards her mother and father’s interracial marriage. Colard compares photographs of herself as both a student and a professional with those of her parents on their wedding day and reflects on her family’s past.

4. Migrations (Kathy Engel)

Kathy Engel’s ‘Migrations’ is a memoir-poem of the cultural work she has pursued over her lifetime working with women living in the United States, South America, the Caribbean, the Middle East, and in South Africa. Engel includes her own discovery of what it means to migrate, something she learned not by direct experience but by listening to stories as a child and working with women who were fleeing violence.

Part Two: Mobility and Migration

5. Carrying Memory (Marianne Hirsch)

Marianne Hirsch’s ‘Carrying Memory’ explores the connections between three distinctly twenty-first-century projects by women artists in response to mobility and migration: Argentinian artist Mirta Kupferminc, Kenyan/US artist Wangechi Mutu, and Chinese artist Yin Xiuzhen. All three turn to the archive to explore how women carry the burden of a painful past in a way that attempts to look to the future.

6. Making Through Motion (Wangechi Mutu)

In ‘Making Through Motion, Art Practice Manifesto’, Kenyan/US artist Wangechi Mutu explores how memory and metaphor have shaped her artistic practice. Mutu tells a deeply personal story of her life and connects her own experience of migration with that of three generations of women in her family, while drawing out themes of empowerment and independence.

7. Strange Set of Circumstances: White Artistic Migration and Crazy Quilt (Karen Finley)

Karen Finley’s ‘Strange Set of Circumstances: White Artistic Migration and Crazy Quilt’ is a personal reflection of her activism as an artist which was censored by the US during the 1990s. She discusses her own participation in the white migration that brought about the gentrification of low-income neighbourhoods and considers how she benefited from censorship, having received recognition at the expense of silencing of artists of colour, and the erasure of the cultural heritage of immigrant communities. In the second part of this essay, Finley shares a poetic text inspired by the image, work, and story of artist and fashion designer Gloria Vanderbilt.

8. Nora Holt: New Negro Composer and Jazz Age Goddess (Cheryl A. Wall)

Cheryl Wall’s ‘Nora Holt: New Negro Composer and Jazz Age Goddess’ reflects on Holt’s extraordinary life and achievements and the connections between movement and female self-invention.

Part Three: Understanding Pathways

9. Silsila: Linking Bodies, Deserts, Water (Sama Alshaibi)

‘Silsila: Linking Bodies, Deserts, Water’ is a series of photographs by the Palestinian-Iraqi artist Sama Alshaibi. Alshaibi, whose family was exiled from two homelands, spent her formative years migrating across Middle Eastern countries as a political refugee. She argues that any understanding of the socio-economic and political upheavals that Middle Eastern women experience is complicated by problematic historical and contemporary depictions of them in photographs, which often reduce their challenges to what they wear. Alshaibi’s photo essay offers an overview of various strategies she pursues in her own work to decode and subvert familiar images of Middle Eastern women, while using a personal vernacular to describe her relationship with the many countries and cultures that have formed her identity.

10. My Baby Saved My Life: Migration and Motherhood in an American High School (Jessica Ingram)

Jessica Ingram’s ‘My Baby Saved My Life: Migration and Motherhood in an American High School’, expands on her social practice as a photographer committed to social change. Ingram photographed and worked closely with students at Hilltop High, a public high school for pregnant teenagers in the Mission District of San Francisco. Ingram portrays Hilltop as a crucial safe space for young women and their children who have emigrated to the United States.

11. Visualizing Displacement Above The Fold (Lorie Novak)

Lorie Novak’s ‘Visualizing Displacement Above The Fold’ looks at the placement of articles in the New York Times to explore how gender, displacement, and migration are visualised and, at the same time, to highlight what is not photographed.

12. Unveiling Violence: Gender and Migration in the Discourse of Right-Wing Populism (Debora Spini)

In ‘Unveiling Violence: Gender and Migration in the Discourse of Right-Wing Populism’, Debora Spini emphasises how migrant women are constructed as ‘others’ and further how their bodies become the locus of discourses of domination that either turn them into prey or commodities.

13. A Different Lens (Maaza Mengiste)

Maaza Mengiste’s ‘A Different Lens’ is a meditation on how photography reshapes memory, using photographs taken by Italian colonial forces in Ethiopia from 1935-41 to understand more about how war was experienced by women and children – those villagers who did not make it into the history books.

14. Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi (Isolde Brielmaier)

Isolde Brielmaier in ‘Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi’, highlights the critical role of the artist and her engagement with women in setting the stage for a broader discussion about migration.

15. Swimming with E. C. (Kellie Jones)

Kellie Jones’s ‘Swimming with E.C.’ places the artwork of Elizabeth Catlett in the context of the political history of artists and others who worked between Mexico and the United States. Catlett’s themes have remained consistent over time: celebrations of women – their power, their politics, their bodies, their bond with their children, and their culture.  Her contribution can, in many ways, be considered part of the recent history of self-portraiture in art through the lens of migration, photography and performance.

Part Four: Reclaiming Our Time

16. Kinship, the Middle Passage, and the Origins of Racial Slavery (Jennifer L. Morgan)

In ‘Kinship, the Middle Passage, and the Origins of Racial Slavery’ Jennifer L. Morgan offers a revised perspective of the forced migration of women. She is concerned with how the seventeenth-century slave trade sets in motion a set of violent practices and assumptions that have particular implications for enslaved women.

17. Black Women’s Work: Resisting and Undoing Character Education and the ‘Good’ White Liberal Agenda (Bettina L. Love)

Bettina Love’s ‘Black Women’s Work: Resisting and Undoing Character Education’ critiques concepts of civic engagement by Black women as they marshal new possibilities that focus on Black joy and Black radical imagination.

18. Filipina Stories: Gabriela NY and Justice for Mary Jane Veloso (Editha Mesina)

Editha Mesina’s photographic essay ‘Gabriela NY and Justice for Mary Jane Veloso’ focuses on a Filipina organisation called Gabriela NY, a grassroots human rights feminist organisation that advocates for migrant workers.

19. Women & Migrations: African Fashion’s Global Takeover (Allana Finley)

In ‘Women & Migrations: African Fashion’s Global Takeover’, Allana Finley shares her journey through Africa’s diverse fashion industry, and chronicles her dedication to bringing African creatives into the global market.

20. What Would It Mean to Sing A Black Girl’s Song?: A Brief Statement on the Reality of Anti-Black Girl Terror (Treva B. Lindsey)

Treva B. Lindsey’s ‘What Would It Mean to Sing A Black Girl’s Song?: A Brief Statement on the Reality of Anti-Black Girl Terror’ focuses on Black femme insurgency as a contemporary liberation praxis that advocates for justice for Black women.

Part Five: Situated at the Edge

21. Fredi’s Migration: Washington’s Forgotten War on Hollywood (Pamela Newkirk)

Pamela Newkirk’s ‘Fredi’s Migration: Washington’s Forgotten War on Hollywood’ is a revelatory account on this overlooked actress who was one of Hollywood’s and Broadway’s pioneering African-American leading ladies. Newkirk highlights aspects of her noteworthy civil rights activism in the United States and abroad.

22. Julia de Burgos: Cultural Crossing and Iconicity (Vanessa Pérez-Rosario)

In ‘Cultural Crossing and Iconicity’ Vanessa Pérez-Rosario focuses on Julia de Burgos’s life, death, poetry, activism and legacy, while highlighting the escape routes she created to transcend the rigid confines of gender in Puerto Rico in the 1930s.

23. Sarah Parker Remond’s Black American Grand Tour (Sirpa Salenius)

Sirpa Salenius examines a Black American female abolitionist’s European travel in the nineteenth century in ‘Sarah Parker Remond’s Black American Grand Tour’. Remond participated in transatlantic struggles for social justice, moving beyond the borders of her nationality, race, and gender. Her travels and her detachment from her previous set of social conditions enabled her to propose a progressive model of Black womanhood – one of independence, intellectualism, and personal and professional success.

24. Making Latinx Art: Juana Valdes at the Crossroads of Latinx and Latin American Art (Arlene Dávila)

Arlene Dávila ‘Making Latinx Art: Juana Valdes at the Crossroads of Latinx and Latin American Art’ addresses how the political economy of contemporary art markets impact the making of Latinx and Latin American art.

25. Moving Mountains: Harriet Hosmer’s Nineteenth-Century Italian Migration to Become the First Professional Woman Sculptor (Patricia Cronin)

Patricia Cronin’s essay ‘Moving Mountains: Harriet Hosmer’s Nineteenth-Century Italian Migration to Become the First Professional Woman Sculptor’ is a pioneering work that combines hand-painted images with art historical research to reveal the complexities f Hosmer’s career, reputation, and legacy.

Part Six: Transit, Transiting, and Transition

26. Urban Candy: Screens, Selfies and Imaginings (Roshini Kempadoo)

Roshini Kempadoo’s ‘Urban Candy: Screens, Selfies and Imaginings’ explores the itinerant imagery of her art project Face Up for the appropriateness of its response to current neoliberal politics and popular media. Kempadoo questions how difference is viewed when focusing on the Black women’s body across the world.

27. Controlled Images and Cultural Reassembly: Material Black Girls Living in an Avatar World (Joan Morgan)

In ‘Controlled Images and Cultural Reassembly: Material Black Girls Living in an Avatar World’ Joan Morgan analyses the line between what is considered ‘the real’ self and what exists in digital space, suggesting that this division is at best blurred and more likely illusory.

28. Supershero Amrita Simla, Partitioned Once, Migrated Twice (Sarah K. Khan)

Sarah K. Khan’s ‘Supershero Amrita Simla, Partitioned Once, Migrated Twice’ is an exploration of migrant stories through food. She illustrates Indian women farmers in their working environments and tells the story of farmers through the eyes of a seriously playful and playfully serious super shero, Amrita Simla. The Shero is neither oversexualised nor over-covered. She demonstrates agency based on her own experience, intellect, and humanity.

29. Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement (Gayatri Gopinath)

In the essay ‘Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement’ by Gayatri Gopinath we experience identity and aesthetics through the same frame of different histories of dispossession and displacement, colonialism and radicalisation – without rendering them equivalent.

30. The Performance of Doubles: The Transposition of Gender and Race in Ming Wong’s Life of Imitation (Kalia Brooks Nelson)

Kalia Brooks Nelson’s ‘The Performance of Doubles: The Transposition of Gender and Race in Ming Wong’s Life of Imitation’ highlights Wong’s work and the reception of gendered-racial narratives that are distributed through the international reach of Hollywood image culture, and received by audiences in other parts of the world. Wong’s video intervenes in the cinematic depiction of racial passing, and the limitations that are enacted through this form of psychological doubling.

Part Seven: The World is Ours, Too

31. The Roots of Black American Women’s Internationalism: Migrations of the Spirit and the Heart (Francille Rusan Wilson)

Francille Rusan Wilson’s ‘The Roots of Black American Women’s Internationalism: Migrations of the Spirit and the Heart’ examines Black women activists’ travel and writing from the late nineteenth to the mid twentieth century. She considers how their exposure to international debates on decolonisation, women’s rights, and missionary work helped to reshape the worldviews of Black American women’s organisations, and expanded their conception of the possibility of sisterhood and common struggles across continents.

32. 'The World is Ours, Too': Millennial Women and the New Black Travel Movement (Tiffany M. Gill)

In '"The World is Ours, Too”: Millennial Women and the New Black Travel Movement', Tiffany M. Gill recounts how Black women in the early years of the civil rights movement built a ‘travel movement’ and explores how, in the early twenty-first century, the Black Lives Matter crusade has seen its resurgence. In this iteration, Black millennial women, those 18–35-year-olds who, in true millennial fashion, think they are the first to engage in this phenomenon, are at the forefront. Gill’s essay explores the history of a movement that began in the 1940s and has a great deal to teach us about the tensions between political activism, leisure culture, and global freedom struggles.

33. Performing a Life: Mattie Allen McAdoo’s Odyssey from Ohio to South Africa, Australia and Beyond, 1890–1900 (Paulette Young)

Paulette Young’s essay ‘Performing a Life: Mattie Allen McAdoo’s Odyssey from Ohio to South Africa, Australia and Beyond, 1890–1900’ on musician Mattie Allen McAdoo, explores the ways in which Mattie navigated her role as wife, performer, and African-American women during the late nineteenth and early twentieth century. Young examines her migration from a student and musical prodigy in Ohio and a teacher in Washington, D.C., to her travels as an international performer and her return to the US as a race woman. Her presentation of self through photographic portraits taken in South Africa, Tasmania and the United States is a central visual component of this effort.

34. 'I Don't Pay Those Borders No Mind At All': Audley E. Moore (‘Queen Mother’ Moore) - Grassroots Global Traveler and Activist (Sharon Harley)

Sharon Harley’s chapter ‘"I Don't Pay Those Borders No Mind At All”: Audley E. Moore (‘Queen Mother’ Moore) - Grassroots Global Traveler and Activist’ expands the conversation about female activism by showing that gender roles and class identity played a major part in shaping Black women’s activism, vision, and travel at home and abroad.

35. Löis Mailou Jones in the World (Cheryl Finley)

Cheryl Finley’s ‘Löis Mailou Jones in the World’ examines the work, life and influence of Löis Mailou Jones as they relate to the themes of travel and migration – both literally and figuratively. As an artist and designer, Jones practiced, taught and utilised theories of travel and migration, most notably in her Art-Deco-era textile designs inspired by Art Nouveau and Chinoiseries, and the paintings from her Africa Series (1950s-1980s) inspired by her travels to Haiti in the 1950s and Africa in the 1960s and 1970s.

Part Eight: Emotional Cartography: Tracing the Personal

36. The Ones Who Leave… the Ones Who Are Left: Guyanese Migration Story (Grace Aneiza Ali)

Grace Aneiza Ali’s ‘The Ones Who Leave… the Ones Who Are Left: Guyanese Migration Story’ offers a personal reflection on artists’ experiences in Guyana. These particular experiences reveal universal tensions; they unveil the act of migration as a constant site of engagement and angst and explore what it means to be an immigrant in our twenty-first century world. Through three distinct approaches – conceptual, portraiture, and documentary – four Guyanese artists unpack what drives one from their homeland as well as what keeps one emotionally and physically tethered to it.

37. The Acton Photograph Archive: Between Representation and Re-Interpretation (Alessandra Capodacqua)

Photographer Alessandra Capodacqua’s ‘The Acton Photograph Archive: Between Representation and Re-Interpretation’ mines a unique photography collection by selecting portraits of women that align with the standards of mid-nineteenth and early-twentieth-century portraiture whereby women were represented as symbols of beauty and purity. She focuses on the gaze of these women, arguing that it conveys different messages because their expressions could not be controlled by the photographer as they could by a painter, for instance.

38. Reconciliations at Sea: Reclaiming the Lusophone Archipelago in Mónica de Miranda’s Video Works (M. Neelika Jayawardane)

M. Neelika Jayawardane’s ‘Reconciliations at Sea: Reclaiming the Lusophone Archipelago in Mónica de Miranda’s Video Works’ explores traditions of travel writing via memoir and film.

39. Transnational Minor Literature: Cristina Ali Farah’s Somali Italian Stories (Alessandra Di Maio)

In ‘Transnational Minor Literature: Cristina Ali Farah’s Somali Italian Stories’, Alessandra Di Maio investigates Farah’s narratives and her use of language.

40. Seizing Control of the Narrative (Misan Sagay)

Misan Sagay reflects on her scripting of a love story for an international television series in ‘GUERILLA – Black Resistance Narrative Reinvented’, which tells the story of a politically active couple whose relationship and values are tested when they liberate a political prisoner and form a radical underground cell in 1970s London.

41. Migration as a Woman’s Right: Stories from Comparative and Transnational Slavery Histories in the North Atlantic and Indian Ocean Worlds (Gunja SenGupta)

Gurja SenGupta’s ‘Migration as a Woman’s Right: Stories from Comparative and Transnational Slavery Histories in the North Atlantic and Indian Ocean Worlds’ explains that transnational history has yielded the important insight that migration makes meaning and that civic identities transform in transit from one place to another. This essay is woven from the archival traces of women on the margins, enslaved, and free, who, through flight or emigration, appeared to seek reinvention. By nudging, navigating, narrating, and sometimes reshaping the contours of international borderlands, these women rewrote themselves into the records that made and make history.

42. The Sacred Migration of Sister Gertrude Morgan (Imani Uzuri)

Iman Uzuri’s ‘The Sacred Migration of Sister Gertrude Morgan’ is based on the New Orleans street preacher, visual artist, musician and mystic who migrated from Georgia to New Orleans in 1939.
Sama Alshaibi’s work explores spaces of conflict and the power struggles that arise in the aftermath of war and exile. Drawing from her experiences as a Palestinian-Iraqi naturalized US citizen, she uses her body as an allegorical site that makes the byproducts of such struggles visible. Alshaibi’s monograph, Sand Rushes In (2015) presents her Silsila series, which probes the human dimensions of migration, borders, and environmental demise. Silsila was exhibited at venues including the Venice Biennale, Honolulu Biennale, and Scottsdale Museum of Contemporary Art. Alshaibi has also exhibited in solo and group shows at MoMA, Bronx Museum, Denver Museum of Contemporary Art, Ayyam Gallery, and the Thessaloniki International Film Festival. She received a Fulbright Fellowship to Palestine (2014-2015), and was named University of Arizona’s 1885 Distinguished Scholar as a Professor of Photography.

Grace Aneiza Ali is an independent curator and a faculty member in the Department of Art and Public Policy, Tisch School of the Arts, NYU. She has organized two major exhibitions in the US focused on contemporary Guyanese artists at Aljira, a Center for Contemporary Art and the Caribbean Cultural Center African Diaspora Institute. Ali is also the Editorial Director of the award-winning OF NOTE magazine, an online magazine that features global artists using the arts as catalysts for activism and social change. Ali is a Fulbright Scholar, World Economic Forum Global Shaper, and Andy Warhol Foundation for the Visual Arts Curatorial Fellow. She was born in Guyana and lives in New York City.

Anna Arabindan-Kesson is an assistant professor of African American and Black Diasporic art with a joint appointment in the Departments of African American Studies and Art and Archaeology at Princeton University. Born in Sri Lanka, she completed undergraduate degrees in New Zealand and Australia, worked as a Registered Nurse in the UK and finally moved to the United States in 2007 to begin a PhD in African American Studies and Art History at Yale University. In her teaching and research, she focuses on African American, Caribbean, and British Art, with an emphasis on histories of race, empire, and transatlantic visual culture in the long nineteenth century. She is currently completing a book entitled The Currency of Cotton: Art, Empire and Commerce 1780–1900 examining processes of cultural exchange underpinned by histories of colonialism, and the legacies of these encounters in contemporary art practice. She has been the recipient of several fellowships, including from the Smithsonian American Art Museum, Winterthur Library, Museum and Gardens and the Paul Mellon Center for Research in British Art. She was awarded an ACLS Collaborative Research Fellowship along with Professor Mia Bagneris of Tulane University, to complete a book entitled Beyond Recovery: Reframing the Dialogues of Early African Diasporic Art and Visual Culture 1700-1900.

Isolde Brielmaier, a scholar and curator, is Assistant Professor of Critical Studies in the Department of Photography, Imaging and Emerging Media at Tisch School of the Arts at New York University where she focuses on contemporary art and global visual culture, as well as media and technology as platforms within which to rethink storytelling, the politics of representation, and mobility in its broadest sense. She also serves as Curator-at-Large at the Tang Museum. Isolde has written extensively on contemporary art and culture, including numerous exhibition catalogue essays, journal articles, and reviews as well as books. Among her distinctions, Isolde has received fellowships from the Mellon and Ford foundations as well as the Social Science Research Council (SSRC). She serves on several non-profit boards and sits on the Board of Trustees of the New Museum. Isolde is deeply committed to the promotion of arts education, global women’s issues, and criminal justice reform. She holds a PhD from Columbia University.

Kalia Brooks Nelson is a New-York-based independent curator and educator. Brooks Nelson is currently an Adjunct Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts. Brooks Nelson holds a PhD in Aesthetics and Art Theory from the Institute for Doctoral Studies in the Visual Arts. She received her MA in Curatorial Practice from the California College of the Arts in 2006, and was a Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Study Program 2007/2008. She has served as a consulting curator with the City of New York through the Department of Cultural Affairs and Gracie Mansion Conservancy. Brooks Nelson is also an ex-officio trustee on the Board of the Museum of the City of New York.

Alessandra Capodacqua is a photographer, teacher and a curator who lives and works in Florence, Italy. As an artist, she works with a variety of devices, from pinhole, toy, and digital cameras, to mobile to alternative printing process. She teaches photography in Italian and in English for national and international schools and colleges. Alessandra has curated exhibitions of photography and helped organize festivals of photography in Italy and abroad, such as the International Triennial Festival of Photography Backlight in Tampere, Finland and SI Fest 2016 in Savignano sul Rubicone. Her main area of interest is documentary photography, photojournalism, street photography, and visual story-telling. She is frequently invited to jury International Photo Awards and Prizes, and is a regular contributor to the LensCulture website. Her photographs are shown nationally and internationally. Her work is in private and public collections, including the Galleria degli Uffizi in Florence, the Maison Européenne de la Photographie in Paris, the MUSINF in Senigallia, and the Museo di Montelupone. Major publications include: Autoritratto in Assenza (2016); Il Palazzo Magnifico (2009); Autori – Esperienze di fotografa stenopeica; Zone di Frontiera Urbana (2007); Valdarno, una visione in movimento (2005); Firenze Fotografa (2000). www.alessandracapodacqua.com.

Sandrine Colard holds a PhD in Art History from Columbia University, and a MA in Africana Studies from New York University. She is a historian of Modern and Contemporary African Arts and Photography, with a focus on Central Africa. Based on research conducted in Belgium, Kinshasa and Lubumbashi (DRC), her current book project examines the history of photography in the colonial Congo (1885-1960). She has also published on the ‘archival turn’ in African arts, and in particular on the work of contemporary Congolese artist Sammy Baloji. She has taught and lectured at Columbia University and Barnard College, and has co-curated the exhibition 'The Expanded Subject: New Perspectives in Photographic Portraiture from Africa at the Wallach Art Gallery' (2016). Among others, Sandrine’s research was supported by fellowships from the Belgian-American Educational Foundation (BAEF), the Musée du Quai Branly, and the Pierre and Maria-Gaetana Matisse Fellowship Fund for 20th Century Art. Before joining NYU, Sandrine was a post-doctoral fellow at the Institut National d'Histoire de l'Art in Paris, affiliated with the ‘Globalization and Emergence of New Creative Scenes in Africa’ project.

Patricia Cronin’s work examines issues of gender, sexuality and social justice and has been exhibited in the US and abroad, including 'Shrine For Girls' at the 56th Venice Biennale that traveled to The FLAG Art Foundation, NYC and The LAB, Dublin, Ireland. Other solo exhibitions were presented at the Capitoline Museum’s Centrale Montemartini Museum; Newcomb Art Museum, Tulane University; and Brooklyn Museum. Cronin is the recipient of numerous awards including: the Rome Prize from the American Academy in Rome, Louis Comfort Tiffany Foundation Grant and two Pollock-Krasner Grants. Her works are in numerous museum collections, including the National Gallery of Art and Smithsonian National Portrait Gallery, Washington, DC and Gallery of Modern Art and Kelvingrove Museum, Glasgow, Scotland. She is the author of Harriet Hosmer: Lost and Found, A Catalogue Raisonné (2009) and The Zenobia Scandal: A Meditation on Male Jealousy (2013) and is Professor of Art at Brooklyn College/CUNY.

Arlene Davila’s work explores cultural politics in Latinx/Latin America focusing on issues of consumption, visual culture, urbanity and political economy. Davila is Professor of Anthropology and American Studies at New York University.

Alessandra Di Maio is Associate Professor of English and Postcolonial Studies at the University of Palermo, Italy. She divides her time between Italy and the US, where she taught at several universities after earning her PhD in Comparative Literature at the University of Massachusetts Amherst. Her research includes postcolonial, black, diasporic, migratory, gender studies and transnational cultural identities. Her recent projects include a study of African Italian literature and the Black Mediterranean. She has been the recipient of a Fulbright scholarship, a UCLA Mellon postdoctoral fellowship, and a MacArthur Research and Writing Grant. Among her publications are Tutuola at the University. The Italian Voice of a Yoruba Ancestor (2000); An African Renaissance (2006); Wor(l)ds in Progress. A Study of Contemporary Migrant Writings (2008); and Dedica a Wole Soyinka (2012). She has translated into Italian Nuruddin Farah, Chris Abani, Caryl Phillips, and Nobel Laureate Wole Soyinka.

Kathy Engel is Associate Arts Professor and Chair of the Department of Art & Public Policy, Tisch School of the Arts, New York University. Between 1980 and 2008, she co-founded and worked as an organizer, director, cultural worker, producer, communications and strategic consultant for numerous social justice projects and organizations, locally, nationally, and internationally. Her poems and essays have appeared widely in journals and anthologies. Books include Ruth’s Skirts (2007); The Kitchen, accompanying the art of German Perez (2011), and Banish the Tentative (1987). She co-edited We Begin Here: Poems for Palestine and Lebanon with Kamal Boullata (2007). She is co-producer of the videos talking nicaragua (1983), and On The Cusp (2008). For more information, visit www.kathyengelpoet.com

Allana Finley hails from Philadelphia, Pennsylvania. Before moving to Johannesburg in 2001 from Los Angeles/New York, she worked in fashion for such brands as Eileen Fisher, Tiffany & Co and Gucci America. While living in Los Angeles, she honed her skills as a fashion stylist, focusing on product placement and the marketing of fashion brands through celebrity client relationships. She served as Head of Wardrobe in Oxygen Media’s inaugural year of operation, and dressed the likes of Candice Bergen and Tasha Smith during that time. Over the past fifteen years, her focus has been on business development and strategic marketing for leading event and designer development platform African Fashion International; a malaria elimination initiative founded by Robert Brozin, Goodbye Malaria; founding board member of the first ever South African Menswear Week; leading African designers Stoned Cherrie, CHULAAP, Rich Mnisi and online platforms oxosi.com and KISUA.com. She is a contributor to the book African Catwalk by Per Anders Pettersson (2016) which showcases an unexpected side of the African continent as it examines the fast growing fashion industry in Africa. This book is the first time the emerging African fashion industry has been documented in exclusive behind-the-scenes photographs.

Cheryl Finley is Associate Professor and Director of Visual Studies in the Department of the History of Art at Cornell University. She was trained in the History of Art and African American Studies at Yale University. Her chapter in this volume, ‘Löis Mailou Jones in the World’, is taken from her work examining the global art economy, focusing upon artists, museums, pedagogy, biennials and tourism. A longtime scholar of travel, tourism and migration, Finley is also engaged in the collaborative project 'Visualizing Travel, Gendering Diaspora' with Leigh Raiford (University of California, Berkeley) and Heike Raphael-Hernandez (University of Würtzburg) funded by the American Council of Learned Societies. Finley’s research has been supported by the Hutchins Center for African and African American Research, the Ford Foundation, the Center for Advanced Study in the Visual Arts, and the American Academy of Arts and Sciences.

Karen Finley works in a variety of mediums such as installation, video, performance, public and visual art, music, and literature. She has performed and exhibited internationally. She is the author of eight books, including her latest, the twenty-fifth-anniversary edition of Shock Treatment (2015). Her work includes 'Mandala: Reimagined Columbus Circle', an interactive walk that examines the symbols and history of Columbus Circle; 'Artist Anonymous' – a self-help meeting for those addicted to art; 'Written in Sand', a performance of her writings on AIDS; 'Open Heart', a Holocaust memorial at Camp Gusen, Austria; 'Unicorn, Gratitude Mystery', a solo performance that explores the psychological portrayals of power that drives American election politics; and 'Sext Me if You Can', where Finley creates commissioned portraits inspired by ‘sexts’ received from the public. Grabbing Pussy was published in 2018. A recipient of many awards and grants, including a Guggenheim Fellowship, she is an arts professor in Art and Public Policy at New York University.

Tiffany M. Gill is the inaugural Cochran Scholar and Associate Professor in the Department of Black American Studies and the Department of History at the University of Delaware. Her research and teaching interests include African American History, Women’s History, the history of black entrepreneurship, fashion and beauty studies, and travel and migration throughout the African Diaspora. A graduate of Georgetown and Rutgers Universities, she is the author of Beauty Shop Politics: African American Women's Activism in the Beauty Industry (2010) which was awarded the 2010 Letitia Woods Brown Memorial Book Prize by the Association of Black Women Historians. In addition, she has served as a subject editor for African American National Biography, and has had her work published and reprinted in several journals and edited volumes. Before joining the faculty of the University of Delaware, Gill taught at the University of Texas at Austin and was a recipient of the 2010 Regents' Outstanding Teaching Award for excellence in undergraduate education. Currently, she is at work on a book manuscript chronicling the history of black international leisure travel since World War I.

Gayatri Gopinath is Associate Professor of Gender and Sexuality Studies in the Department of Social and Cultural Analysis at New York University, and Director of the Center for the Study of Gender and Sexuality. She is the author of Impossible Desires: Queer Diasporas and South Asian Public Cultures (2005), and has published numerous essays on gender, sexuality and diaspora in journals such as GLQ, Social Text, positions, and Diaspora. Her book, Unruly Visions: The Aesthetic Practices of Queer Diaspora, was published in 2018. Her recent articles and book chapters related to this project include: ‘Queer Visual Excavations: Akram Zaatari, Hashem El Madani, and the Reframing of History in Lebanon’ (2017); ‘"Who’s Your Daddy?" Queer Diasporic Reframings of the Region’ (2013); ‘Archive, Affect and the Everyday: Queer Diasporic Re-Visions’ (2010) and ‘Queer Regions: Locating Lesbians in Sancharram’ (2007).
Sharon Harley, Associate Professor in the African American Studies Department at the University of Maryland, College Park, researches and teaches black women’s labor history and racial and gender politics in the African Diaspora. A leading scholar in the field of black women’s history, she is the editor and a contributor to the noted anthologies Sister Circle: Black Women and Work (2002) and Women’s Labor in the Global Economy: Speaking in Multiple Voices (2007). Her most recent essay is titled ‘The Solidarity of Humanity: Anna Julia Cooper’s Personal Encounters and Thinking about the Intersectionality of Race, Gender, and Oppression.’ As a fellow at the Harvard’s Hutchins Center, she examined the political activism and romance between W. E. B. Du Bois and his second wife, international political and cultural activist Shirley Graham.

Marianne Hirsch writes about the transmission of memories of violence across generations, combining feminist theory with memory studies in global perspective. Her recent books include The Generation of Postmemory: Writing and Visual Culture After the Holocaust (2012); Ghosts of Home: The Afterlife of Czernowitz in Jewish Memory (2010), co-authored with Leo Spitzer; and Rites of Return: Diaspora Poetics and the Politics of Memory (2011), co-edited with Nancy K. Miller. Hirsch is the William Peterfield Trent Professor of Comparative Literature and Gender Studies at Columbia University. She is one of the founders of Columbia’s Center for the Study of Social Difference. She is a former President of the Modern Language Association of America and a member of the American Academy of Arts and Sciences.

Jessica Ingram is a photo-conceptual artist working primarily with themes related to power, race, and American history. She uses photography, video, and audio to explore the ethos of communities and the power of belonging. She received her BFA from New York University’s Tisch School of the Arts and her MFA from California College of Arts & Crafts in San Francisco. Her traveling solo exhibition ‘Road Through Midnight’ was exhibited at the National Civil Rights Museum in Memphis, The Tennessee State Museum in Nashville, and the Center for Documentary Studies at Duke University. She was included in the exhibition ‘Southern Accent: Seeking the American South in Contemporary Art’ at the Nasher Museum, traveling to the Speed Museum in Louisville. Her collaborative projects have been featured at the Sundance Film Festival and installed publicly at the Oakland International Airport, The Birmingham International Airport, and The Oakland Museum of California.

M. Neelika Jayawardane is Associate Professor of English at the State University of New York-Oswego, and an Honorary Research Associate at the Centre for Indian Studies in Africa (CISA), University of the Witwatersrand (South Africa). She is a founding member of the online magazine, Africa is a Country, where she was Senior Editor from 2010-2016. Her scholarly publications focus on the nexus between South African literature, photography, and the transnational/transhistorical implications of colonialism and apartheid on the body. Jayawardane contributed the introductory essay for the South Africa pavilion's 57th Venice Biennale catalogue, and essays for The Walther Collection’s publication (2017) and other artists’ catalogues. Her writing is featured in Al Jazeera English, Transitions, Aperture, Contemporary&, Art South Africa, Contemporary Practices: Visual Art from the Middle East, Even Magazine, and Research in African Literatures. 

Kellie Jones is Associate Professor in Art History and Archaeology and a Faculty Fellow with the Institute for Research in African American Studies (IRAAS) at Columbia University. Her research interests include African American and African Diaspora artists, Latinx and Latin American Artists, and issues in contemporary art and museum theory. Jones has received numerous awards for her work from the Hutchins Center for African and African American Research, Harvard University; Creative Capital | Warhol Foundation Arts Writers Grant and a term as Scholar-in-Residence at the Terra Foundation for American Art in Europe in Giverny, France. In 2016 she was named a MacArthur Foundation Fellow. Jones’s writings have appeared in exhibition catalogues and such journals as NKA, Artforum, Flash Art, Atlantica, and Third Text. She is the author of two books, EyeMinded: Living and Writing Contemporary Art (2011), and South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017). Jones has also worked as a curator for over three decades and has numerous major national and international exhibitions to her credit. Her exhibition ‘Now Dig This! Art and Black Los Angeles, 1960-1980’, at the Hammer Museum, Los Angeles, was named one of the best exhibitions of 2011 and 2012 by Artforum, and best thematic show nationally by the International Association of Art Critics (AICA). She was co-curator of ‘Witness: Art and Civil Rights in the 1960s’ (Brooklyn Museum), named one the best exhibitions of 2014 by Artforum.

Roshini Kempadoo is an international photographer, media artist and Reader at the University of Westminster, London, creating photographs, artworks and writings that interpret, analyse and reimagine historical experiences and memories as women’s visual narratives. Central to this is to reconceptualise the visual archive, the subject of her monograph Creole in the Archive: Imagery, Presence and Location of the Caribbean Figure (2016). Roshini is a cultural activist and advocate. She was instrumental in establishing the association of black photographers Autograph ABP, established at Rivington Place, London and contributed to the development of Ten.8 International Photographic Magazine (1986-1990). Roshini studied visual communications and photography, creating photographs for exhibition including the seminal digital montage series 'ECU: European Currency Unfolds' (1992), Laing Gallery, Newcastle. She was a member of Format Women’s Picture Agency (1983-2003). Roshini’s artwork FaceUp explores taking selfies, mobile technology and diasporic urban life for the exhibition ‘Ghosts: Keith Piper and Roshini Kempadoo’ (2015), Lethaby Gallery, London. Her project 'Follow the Money' revisits the question of economic migration and inequality, women’s bodies and European diaspora narratives. She is an editorial board member of Small Axe: A Caribbean Journal of Criticism

Sarah K. Khan, a multimedia artist/journalist, focuses on women, migrants and food. Sarah makes visible their invisible lives via photography, cartography, film and writing. She partners with like-minded organizations and individuals to provoke thought about social injustices related to food, gender, culture, and the environment. Her arts training includes drawing in Mughal/Persian miniature techniques under Bashir Ahmed, Pakistan and The Prince’s School, London, UK; paper- and bookmaking at Haystack Mountain School of Art, Maine; and with Mary Hark, Madison WI; letterpress printmaking intensives with Amos Paul Kennedy Jr., Gordo AL; photography mentoring from Faisal Abdu’Allah, Madison WI; collaborations with Meeta Mastani on handmade paper, block prints and textiles, Rajasthan India. Sarah earned a BA in Middle Eastern history/Arabic (Smith College), two Masters (public health, nutrition, Columbia University) and a PhD (plant sciences, NY Botanical Garden/ CUNY). She has received grants and fellowships to pursue her work. She is fluent in French, proficient in Urdu/Hindi and Arabic and is based in NY, NY/Madison, WI.

Treva Lindsey is an Associate Professor of Women’s, Gender, and Sexuality Studies at The Ohio State University. Her research and teaching interests include African American women’s history, and black popular and expressive culture, black feminism(s). Her first book is entitled Colored No More: Reinventing Black Womanhood in Washington D.C. (2017). She is the inaugural Equity for Women and Girls of Color Fellow at Harvard University (2016-2017). She is currently working on a book project tentatively titled 'Hear Our Screams: Black Women, Violence, and The Struggle for Justice'. She is the recipient of several awards and fellowships from the Woodrow Wilson Foundation, the Social Science Research Council, the National Women’s Studies Association, and the Coca Cola Critical Difference for Women Committee. She is a guest contributor to forums such as Al Jazeera, BET, Complex Magazine, and Cosmopolitan.

Bettina L. Love is an award-winning professor at University of Georgia. Her research focuses on the ways in which urban youth negotiate Hip-Hop music and culture to form social, cultural, and political identities to create new and sustaining ways of thinking about urban education and intersectional social justice. For her work in the field, in 2016 Love was named the Nasir Jones Hiphop Fellow at the Hutchins Center for African and African American Research at Harvard University. In April 2017, Love participated in a one-on-one public lecture with bell hooks focused on the liberatory education practices of Black and Brown children. In 2014, she was invited to the White House Research Conference on Girls to discuss her work focused on the lives of Black girls. She is the author of the book Hip Hop’s Li’l Sistas Speak: Negotiating Hip Hop Identities and Politics in the New South (2012).

Maaza Mengiste is a novelist and essayist. Her debut novel, Beneath the Lion's Gaze, was selected by the Guardian as one of the ten best contemporary African books and named one of the best books of 2010 by Christian Science Monitor, Boston Globe and other publications. Maaza's fiction and nonfiction examines the individual lives at stake during migration, war, and exile, and considers the intersections of photography and violence. Her work can be found in The New Yorker, Granta, the Guardian, the New York Times, BBC Radio, World Literature Today, Words Without Borders, Lo straniero, and Lettre International, among other places.

Editha Mesina was born in Quezon City, Philippines. Her photographs have been exhibited at the Cuchifritos Gallery, New York, Artist Space, New York; Clocktower Gallery, New York; Ceres Gallery, New York; A.I.R. Gallery, New York; Parrish Art Museum, Southampton; Fenimore Art Museum, Cooperstown; Philip Slein Gallery, St. Louis; Palais De Glace, Buenos Aires. Mesina is a member of the Faculty at NYU, Tisch's Department of Photography and Imaging. She is a 2006 Alex G. Nason New York Foundation for the Arts Fellow in Photography.

Jennifer L. Morgan is Professor of History in the department of Social and Cultural Analysis at New York University where she also serves as Chair. She is the author of Laboring Women: Gender and Reproduction in the Making of New World Slavery (2004) and the co-editor of Connexions: Histories of Race and Sex in America (2016). Her research examines the intersections of gender and race in in the Black Atlantic world. She has published articles on women in the trans-Atlantic Slave Trade entitled ‘Accounting for Excruciating Torment: Trans-Atlantic Passages’ and ‘Archives and Histories of Racial Capitalism’. She is currently at work on a project that considers colonial numeracy, racism and the rise of the trans-Atlantic Slave Trade tentatively entitled 'Accounting for the Women in Slavery'.

Joan Morgan is an award-winning feminist author and a doctoral candidate in NYU’s American Studies program. A pioneering hip-hop journalist, Morgan coined the term ‘hip-hop feminism’ in 1999, when she published the groundbreaking book, When Chickenheads Come Home to Roost. Her book has been used in college coursework across the country. Regarded internationally as an expert on the topics of hip-hop and gender, Morgan has made numerous television and radio appearances — among them MTV, BET, VH-1, CNN, WBAI’s The Spin: The All Women’s Media Panel and The Melissa Harris Perry Show. Morgan has been a Visiting Instructor at Duke University where she taught ‘The History of Hip-Hop Journalism’, a Visiting Research Scholar at Vanderbilt University and Visiting Lecturer at Stanford University’s Institute for the Diversity of the Arts where she was the recipient of the prestigious 2013 Dr. St. Clair Drake Teaching Award for her course ‘The Pleasure Principle: A Post-Hip Hop Search for a Black Feminist Politics of Pleasure’. She is the first Visiting Scholar to ever receive the award. She is also a recipient of the 2015 Woodrow Wilson Women’s Studies Dissertation Fellowship, the 2015 Penfield Fellowship and the 2016 American Fellowship Award. Morgan’s dissertation is entitled ‘It’s About Time We Got Off: Claiming a Pleasure Politic in Black Feminist Thought’.

Wangechi Mutu, a Kenyan born artist working between New York and Nairobi, studied at The Cooper Union and Yale University School of Art. Mutu participated in the 56th International Exhibition of Contemporary Art, Venice Biennale (2015) and has exhibited in solo shows worldwide including the Deutsche Guggenheim Museum, Berlin; Musée D'art Contemporain de Montréal; the Museum of Contemporary Art, Sydney; the Brooklyn Museum, amongst others. Mutu has presented solo exhibitions at Museum Dhondt-Dhaenens, Deurle, Belgium and The Contemporary Austin, TX. Through a variety of media, including painting-collage, sculpture, performance and video, her work explores questions about self-image, gender constructs, cultural trauma and environmental destruction.

Pamela Newkirk is an award-winning journalist and multifaceted scholar whose work addresses the historical absence of multidimensional portraits of African descendants in scholarship and popular culture. Her latest book Spectacle: The Astonishing Life of Ota Benga (2015) examines how prevalent and pernicious racial attitudes contributed to the 1906 exhibition of a young Congolese man in the Bronx Zoo monkey house. Spectacle was listed among the Best Books of 2015 by NPR, The San Francisco Chronicle, The Boston Globe, The Huffington Post Black Voices and The Root, and won the NAACP Image Award for Outstanding Non-Fiction Literature and the Zora Neale Hurston/Richard Wright Foundation Legacy Award. Newkirk is the editor of Letters from Black America (2011) and A Love No Less: More Than Two Centuries of African American Love Letters (2003), and is the author of Within the Veil: Black Journalists, White Media (2002). The book, which examines how race overtly and covertly influences news coverage, won the National Press Club Award for Media Criticism. Newkirk holds undergraduate and graduate degrees from New York University and Columbia University, respectively, and is professor of journalism and director of undergraduate studies in New York University's Arthur Carter Journalism Institute. She previously worked at four successive news organizations, including New York Newsday where she was part of a Pulitzer Prize-winning team. Her articles on media, race and African American art and culture have appeared in numerous publications including The New York Times, The Washington Post, The Guardian, The Nation and Artnews.

Lorie Novak is an artist and Professor of Photography & Imaging at NYU Tisch School of the Arts and Associate Faculty at The Hemispheric Institute of Performance and Politics. Her photographs, installations, and Internet projects explore issues of memory and transmission, the relationship between the intimate and the public, and the shifting cultural meanings of photographs. Her work has been shown in numerous solo and group exhibitions, and she is the recipient of a 2016 New York Foundation for the Arts Fellowship in Photography. In her 'Above The Fold' project, she has saved the front-page sections of the New York Times from 1999 to the present and categorized them according to content of the photograph above the fold. She is also Director and Founder, Tisch Future Imagemakers, a participatory photography project offering free digital photography classes to NYC area high school students. For more information, see www.lorienovak.com  

Vanessa Pérez-Rosario is Associate Professor of Puerto Rican and Latino Studies and managing editor of Small Axe: A Caribbean Journal of Criticism. She is author of Becoming Julia de Burgos: The Making of a Puerto Rican Icon (2014) and editor of Hispanic Caribbean Literature of Migration: Narratives of Displacement (2010). She recently completed a translation manuscript of Mayra Santos-Febres's ‘Boat People’ and has edited and translated the manuscript, ‘I Am My Own Path: A Bilingual Anthology of the Writings of Julia de Burgos.’ Pérez-Rosario is on the board of Recovering the U.S. Hispanic Literary Heritage Project at the University of Houston, and former co-chair of the Latino Studies section of LASA.

Misan Sagay is an award-winning filmmaker, screenwriter and producer. She won the NAACP Image Award for Outstanding Writing in a Motion Picture for Fox Searchlight’s box office hit, ‘BELLE’. The Belle script, nominated for a Humanitas Prize, was inspired by the true story of Dido Elizabeth Belle, the illegitimate mixed-race daughter of a British admiral who was raised by her aristocratic aunt and uncle. Sagay’s producing and screenwriting credits include ‘Secret Laughter of Women’, starring Colin Firth and Nia Long, and the award-winning, critically acclaimed ABC television movie, ‘Their Eyes Were Watching God’, starring Halle Berry and executive produced by Oprah Winfrey. Sagay co-wrote ‘Guerrilla’ with John Ridley for Sky Atlantic and Showtime. She is writing ‘Battersea Rise’ for BBC, ‘Imprinted’ for ITV and ‘Burma Boys’ for Warner Bros. Misan Sagay is a member of BAFTA and the Academy for Motion Pictures where she sits on the Academy Nicholl Screenwriting Fellowships Committee and on the Writers Executive Branch.

Sirpa Salenius, native of Helsinki, taught at the University of Tokyo and at American university study abroad programs in Rome and Florence before moving to Finland to teach English and American literature at the University of Eastern Finland in 2016. Her conference presentations, lectures, and publications focus on Transatlantic Studies, in particular on American artists and writers in Italy. Her work looks at marginalization, race, gender, and sexuality, and the transgression of borders – social, cultural, and geographical. Her books include An Abolitionist Abroad: Sarah Parker Remond in Cosmopolitan Europe (2016), Rose Elizabeth Cleveland: First Lady and Literary Scholar (2014), and an essay collection, edited together with Beth L. Lueck and Nancy Lusignan Schultz, Transatlantic Conversations: Nineteenth-Century American Women’s Encounters with Italy and the Atlantic World (2016). She has also co-edited an essay collection on Race and Transatlantic Identities (2017).

Gunja SenGupta's interests lie in nineteenth-century US and slavery/abolition in the Indian Ocean; sectional conflict; African American and women's history. Her first book, For God and Mammon: Evangelicals and Entrepreneurs, Masters and Slaves in Territorial Kansas (1996), dealt with sectional conflict and consensus. In From Slavery to Poverty: The Racial Origins of Welfare in New York, 1840-1918 (2009), she explored welfare debates as sites for negotiating identities of race, gender, and nation. Her articles have appeared in numerous journals including the American Historical Review, Journal of Negro (African American) History, Civil War History, and Nka: Journal of Contemporary African Art. Her current projects, funded by Melon, Whiting, Wolfe, and Tow fellowships/grants, include one on nineteenth-century United States and slavery/abolition/empire in the Indian Ocean; and another on the history, memory and films of the Black Atlantic.

Debora Spini teaches Social Foundations at New York University in Florence. She is the author of various essays and book chapters in English and Italian on topics such as the transformation of public spaces, crisis of the modern self, secularization and post secularization. Her research interests focus on religion and political conflict, with a special concentration on gender as well as on monotheism and violence. On these topics, she has given lectures and participated in conferences and seminars in Europe, US, India and Brasil. She is the author of the monograph La società civile post nazionale (2006). With D. Armstrong, J. Gilson and V. Bello Spini co-edited the volume Civil Society and International Governance (2010). In her capacity as Vice President of the Forum for the Problems of Peace and War (www.onlineforum.it) she has promoted research on gender, religion and identity, now collected in the volume Giovani musulmane in Italia. Percorsi biografici e pratiche quotidiane (2015). Spini is a member of various scholarly societies including the Società Italiana di Filosofia Politica and the Società Italiana di Teoria Critica.

Ellyn Toscano is Senior Director of Programing, Partnerships and Community Engagement, NYU in Brooklyn and former Executive Director of New York University Florence.  She is the founder of La Pietra Dialogues and the founding producer of The Season, a summer arts festival in Florence, Italy. Toscano co-organized Black Portraitures conference at NYU Florence and produced the exhibition 'ReSignifications', held at three venues in Florence, Italy.  She is a member of the Boards of the Harbor Conservancy, New York, Museo Marino Marini in Florence, Italy; of the John Brademas Center, New York; the Italian Advisory Council of the Civitella Ranieri Foundation, Umbertide, Italy; and the Comitato Promotore of the Festival degli Scrittori and the Premio Gregor von Rezzori, Santa Maddalena Foundation, Donnini, Italy. Before arriving at New York University Florence, Toscano served as Chief of Staff and Counsel to Congressman Jose Serrano of New York, was his chief policy advisor and directed his work on the Appropriations Committee. Toscano also served as counsel to the New York State Assembly Committee on Education for nine years and served on the boards of several prominent arts and cultural institutions in New York City, including The Bronx Museum of the Arts and the Brooklyn Academy of Music (representative of the Borough President), A lawyer by training, Toscano earned an LLM in International Law from New York University School of Law.

Imani Uzuri is a vocalist, composer and cultural worker who has been called ‘a post-modernist Bessie Smith’ by The Village Voice. Her work reflects her rural North Carolina roots singing spirituals and hymns with her grandmother and extended family. Uzuri has worked internationally in venues and festivals including Lincoln Center Out of Doors, SummerStage, Joe’s Pub, Public Theater, Performa Biennial, France’s Festival Sons d’hiver, London’s ICA, and MoMA. Uzuri has collaborated with a wide range of noted artists across various artistic disciplines. She is composer and co-lyricist for the musical GIRL Shakes Loose, selected for the 2016 O’Neill National Music Theater Conference. She was a Park Avenue Armory Artist-In-Residence in 2015-2016, a Jerome Foundation Composer/Sound Artist Fellow in 2016-17 and the recipient of a Map Fund award. In 2016 Uzuri made her Lincoln Center American Songbook debut as well as being a featured performer on BET for Black Girls Rock. She received her MA in 2016 from Columbia University in African American studies researching the liturgy, performativity and ‘subversive salvation’ of New Orleans-based preacher and artist Sister Gertrude Morgan (1900-80). She has written essays for The Feminist Wire and Ebony and her work is currently included in the anthology BAX 2016: Best American Experimental Writing. Uzuri is the founder and artistic director of Revolutionary Choir, community singing gatherings formed to teach historical and new songs of resistance and resilience. See www.imaniuzuri.com

Cheryl A. Wall, a distinguished critic in the field of African American literary studies, is Board of Governors Zora Neale Hurston Professor of English at Rutgers University and the author of A Very Short Introduction to the Harlem Renaissance (2016). Wall is also the author of Worrying the Line: Black Women Writers, Lineage, and Literary Tradition (2005) and Women of the Harlem Renaissance (1995), and the editor of Changing Our Own Words: Criticism, Theory, and Writing by Black Women (1989). She has edited two volumes of writing by Zora Neale Hurston for the Library of America—Novels and Short Stories (1995) and Folklore, Memoirs, and Other Writings (1995); with Linda Holmes, she co-edited Savoring the Salt: The Legacy of Toni Cade Bambara (2008).

Deborah Willis is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the College of Arts and Sciences, Department of Social & Cultural Analysis, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers and beauty. She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University and a John Simon Guggenheim Fellow. Professor Willis received the NAACP Image Award in 2014 for her co-authored book (with Barbara Krauthamer) Envisioning Emancipation. Other notable projects include The Black Female Body A Photographic History (2002); Reflections in Black: A History of Black Photographers–1840 to the Present (2002); Posing Beauty: African American Images from the 1890s to the Present (2009); Michelle Obama: The First Lady in Photographs (2009), a NAACP Image Award Literature Winner; and Black Venus 2010: They Called Her ‘Hottentot’ (2010).

Francille Rusan Wilson is an intellectual and labor historian whose research examines the intersections between black labor movements, black intellectuals, and black women’s history during the Jim Crow era. Her book, The Segregated Scholars: Black Social Scientists and the Creation of Black Labor Studies, 1890-1950 (2006) is a collective biography of the world and works of fifteen scholar-activists. The Segregated Scholars was awarded the Letitia Woods Brown Memorial Prize for the be