Joining the ranks of Rebecca Skloot’s The Immortal Life of Henrietta Lacks and Zora Neale Hurston’s rediscovered classic Barracoon, an immersive and revelatory history of the Clotilda, the last slave ship to land on US soil, told through the stories of its survivors—the last documented survivors of any slave ship—whose lives diverged and intersected in profound ways. The Clotilda, the last slave ship to land on American soil, docked in Mobile Bay, Alabama, in July 1860—more than half a century after the passage of a federal law banning the importation of captive Africans, and nine months before the beginning of the Civil War. The last of its survivors lived well into the twentieth century. They were the last witnesses to the final act of a terrible and significant period in world history. In this epic work, Dr. Hannah Durkin tells the stories of the Clotilda’s 110 captives, drawing on her intensive archival, historical, and sociological research. The Survivors of the Clotilda follows their lives from their kidnappings in what is modern-day Nigeria through a terrifying 45-day journey across the Middle Passage; from the subsequent sale of the ship’s 103 surviving children and young people into slavery across Alabama to the dawn of the Civil Rights movement in Selma; from the foundation of an all-Black African Town (later Africatown) in Northern Mobile—an inspiration for writers of the Harlem Renaissance, including Zora Neale Hurston—to the foundation of the quilting community of Gee’s Bend—a Black artistic circle whose cultural influence remains enormous. An astonishing, deeply compelling tapestry of history, biography, and social commentary, The Survivors of the Clotilda is a tour de force that deepens our knowledge and understanding of the Black experience and of America and its tragic past. The Survivors of the Clotilda includes 30 artworks and photographs.
Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature. Hannah Durkin investigates Baker and Dunham’s films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imagining—within significant confines—new aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women's identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker and Dunham's places in cinematic and literary history.
Inside the Invisible investigates the life and works of Turner Prize-winning Black British artist and curator Lubaina Himid (CBE) to provide the first study of her lifelong determination to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery.
Inside the Invisible investigates the life and works of Turner Prize-winning Black British artist and curator Lubaina Himid (CBE) to provide the first study of her lifelong determination to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature. Hannah Durkin investigates Baker and Dunham’s films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imagining—within significant confines—new aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women's identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker and Dunham's places in cinematic and literary history.
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