Where I come from, there is graffiti everywhere. This place is their museum, an outlet for their frustration, inspirations, and pride.
In summer 2020, I witnessed the eerie formation of a narrative: the sensationalized focus on the police officer that little matched the masses’ sentiments regarding prisons. There was lots of “ACAB!” and little “Prisons are obsolete.”
When hands are placed over hearts reverence, who is this anthem for, and what does it represent for our present? A reimagining on violin.
On my second day on the island, I was met with the extravagance of peacocks in my cousin Elisabeth’s kitchen.
The school bus halts at my stop. My cul-de-sac still out of view, I continue forward, listening to the satisfying crunch of leaves under my feet, trying to forget the day I just had.
Writing and research from Shatima Jones's interdisciplinary seminars, “(De)Tangling the Business of Black Women’s Hair” and “Black Experiences in Literature, Movies, and Television,” published in honor of Black History Month, 2021.
The fourth installment of "A Seat at Our Table," featuring “Breaking the Stigma: Black Mental Health Narratives in Film” by Andrea Maia, “Black Trauma and Resistance in Film: A Characterization of Police Brutality” by Cecilia Innis, “The Magical Negro Trope in Literature and Film” by Sydney Cusic, “Black Women and Liberation in Blaxploitation Films” by Louis Tambue, and “Portrayals of Black Masculinity in ‘Paid in Full’” by Michael Flom.
The second installment of "A Seat at Our Table," featuring “Modeling Race” by Netanya Ronn, “Redefining Black Beauty” by Tatyana Tandanpolie, “Blackness and Colorism in Kenya Barris’s Productions” by Britney Agyen, “Pelo Bueno/Pelo Malo” by Melany Canela, and “White Parents, Black Hair" by Rachel Goulston.