Soul music and country music propel American popular culture. Using ethnomusicological tools, Shonekan examines their socio-cultural influences and consequences: the perception of and resistance to hegemonic structures from within their respective constituencies, the definition of national identity, and the understanding of the 'American Dream.
I didn't know I was Black until I came to the United States. The journey to my personal understanding of Blackness has been long and rife with pain and passion, excitement and exasperation. The fact that the facets of my identity seem to stretch across the Diaspora--Equatorial Guinea, Nigeria, Trinidad and Tobago, and the United States--means that this journey has not been straightforward. It has been treacherous, with many frustrating moments when I was not sure how much lower my self-esteem could go. But it has also been exceedingly rewarding as I stumbled upon new paths to convert each disappointment into an opportunity to grow and become more confident in who I was. Sometimes, that has meant becoming overzealous in my own self-affirmation, the tone of my voice taking on a sharper edge as I explained to others why pride in Blackness was a requisite characteristic of any kind of Black progress. But I justify that stridence by thinking of the dearth of encouragement from sources that are not bothered by the profundity of Blackness--including the educational system, popular culture, and mainstream media. The bitterness that comes with the construction of race as a state of being and the making of racism as a behavior and attitude can be tasted potently in the New World. It takes a fundamental encounter with whiteness for one to truly appreciate the meaning of Blackness. However, a picture of tribalism and ethnic tensions is vividly displayed in the midst of Blackness, in the heart of Africa. So my story has been a two pronged journey through tribalism and racism"--
Writing scholarly books is stressful, and academic publishing can be intimidating—especially for women, queer folks, and scholars of color. Black Feminist Writing shows scholars how to prioritize their mental health while completing a book in race and gender studies. Drawing on Black women's writing traditions, as well as her own experience as the author and editor of nine university press books, Stephanie Y. Evans gives scholars tools to sustain the important work of academic writing, particularly in fields routinely under attack by anti-democratic forces. Evans identifies five major areas of stress: personal, professional, publishing-related, public, and political. Each chapter includes targeted discussion questions and tasks to help authors identify their unique stressors, create priorities, get organized, and breathe. Whether working on your first scholarly book or your tenth, this robust, heartfelt guide will help you approach writing as an ongoing practice of learning, creating, and teaching in ways that center wellness and collective self-care.
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