People of Color in European Art History


  1. ☛ http://medievalpoc.tumblr.com/post/83224163936/brother-mouse-reblogged-your-post

    aaronthekingslayer:

    youmightbeamisogynist:

    medievalpoc:

    brother-mouse reblogged your post how-much-farther-to-go asked:Do y… and added:

    Jesus fucking christ, It’s a fantasy novel; key word FANTASYy’all need to calm the fuck down. I try to ignore this BS as much as I can but this post is pissing me off. Allow me to clarify; I have yet to…

    Completely off-topic, but I can’t ever push it enough: If you love fantasy, if you love good writing, if you love brilliant ladies, and if you love representation of POC, get thee to Max Gladstone’s Three Parts Dead. 

    So do we want to start a quota?

    "I’m sorry, we won’t publish your book, you need more PoC in it. Oh it’s not up to our standards in how it represents women. Sorry."

    Write your own books and quit bitching about what anyone else writes.

    "A blog post criticizing one series means that you want a super kooky opposite world where authors are forced to write what YOU want!" Holy strawman, Batman!!!

    It must be nice to be pretend that the only possible response to systematic and pervasive racism in both the content of books and the publishing industry in general is some kind of imaginary fascist quota process sucking the life and precious white maleness out of Literature with a capital “L”.

    And in the meantime, fantasy works by authors of color are put in the wrong sections where fans can’t find them ["Don’t Put My Book in the African-American Section", N. K. Jemisin], books with main protagonists of color have pictures of white people put on the cover despite the authors’ protests, ["Ain’t That A Shame", Justine Larbalestier] and publishers admissions that they purposely avoid putting characters of color on the cover of books.

    From “Ain’t That a Shame”:

    Since I’ve told publishing friends how upset I am with my Liar cover, I have been hearing anecdotes from every single house about how hard it is to push through covers with people of colour on them. Editors have told me that their sales departments say black covers don’t sell. Sales reps have told me that many of their accounts won’t take books with black covers. Booksellers have told me that they can’t give away YAs with black covers. Authors have told me that their books with black covers are frequently not shelved in the same part of the library as other YA-they’re exiled to the Urban Fiction section-and many bookshops simply don’t stock them at all.

    And this is a problem that goes FAR beyond fantasy and genre fiction.

    The attitudes toward what counts as “serious literature”, even if you CAN get a book published, can be pretty much summed up by this quote from David Gilmour, an author and instructor at Victoria College in the University of Toronto:

    I’m not interested in teaching books by women. […] … when I was given this job I said I would only teach the people that I truly, truly love. Unfortunately, none of those happen to be Chinese, or women. Except for Virginia Woolf. And when I tried to teach Virginia Woolf, she’s too sophisticated, even for a third-year class. Usually at the beginning of the semester a hand shoots up and someone asks why there aren’t any women writers in the course. I say I don’t love women writers enough to teach them, if you want women writers go down the hall. What I teach is guys. Serious heterosexual guys. F. Scott Fitzgerald, Chekhov, Tolstoy. Real guy-guys. Henry Miller. Philip Roth.”

    I’m sure you can relate to how oppressed this poor, crusty old white professor was by people pointing out that this was sexist and racist! You feel pretty comfortable behaving and speaking as if criticizing racism in literature of any kind can only lead to some kind of fictional scenario in which white authors (i see your assumption there) are “forced” to appease dictated “diversity quotas”, because you perceive the stories, writing, and inclusion of people of color as so undesirable that that would be the only way you can imagine it happening.

    I’ll go ahead and leave this with an article from Sunilli Govinnage, “In 2014, I’ll Only Read Books By Writers of Color. Here’s Why.” with a focus on the tagline:

    Before you throw accusations of ‘reverse racism’ at me, consider this: it is vital for us to hear more stories about our world told from non-western perspectives.

    As you can see, apparently even a personal choice of what to read by a person of color is subject to some kind of accusation of being unfair to white people or some other such garbage.

    Of course, I know accusations of reverse racism are pending, on the same vein that women-only book prizes and women-only reading lists have been declared sexist. And no doubt people will say I am limiting myself by purposely avoid books on the basis of an arbitrary factor. But it’s the opposite: I see it as a way of opening myself up to new stories, rather than re-iterations of the same formulaic fables we’ve heard time and time again.

    The facts are, books by white authors about white people are considered the default, they’re “just books”, they’re perceived as neutral. The way things are right now, you could put together a list of 100 books and include one author of color and people would exclaim “how diverse!!!”

    But reading books only by authors of color for a year, on any or every possible topic, whether it’s a home gardening guide or The Color Purple or a dang bodice-ripper trashy romance novel, THAT is still seen as “limiting yourself”, somehow.

    But you know, rather than NOT adding your worthless two cents to people who are addressing a very real problem, that exists right now, why not throw yourself a pity party on my time, imagining your own fictional and entirely imaginary future oppression by enforced quotas of books you don’t want to read written or populated by the “kind” of people you apparently don’t like.

  2. how-much-farther-to-go wrote...

    Do you feel that there is racism in the ASOIAF books' representation of its PoC other than the general lack of them? (It seems like very many live in its WORLD but don't proportionally participate in the story). Which brings up another question I have: Have you ever written a post concerning the extent to which individual authors have a responsibility to represent PoC? If you have, I would very much be interested in reading it.

    Absolutely.

    If you want to talk about “responsibility” on the part of individual authors, you can go ahead and read it from the horse’s mouth.

    He really believes he is basing this story on history, and that is his response to lack of and poor representation of people of color in his stories:

    So let’s talk about the internet controversy about Oberyn Martell. Do you have any thoughts on that?

    I commented on my blog. You can find a more studied response there. I made a couple of comments as to what people said about that. I always pictured Oberyn Martell in my head as a — what I call a Mediterranean type. I know people attacked me for that by saying “He’s ignorant, he doesn’t know that Africa is on the Mediterranean.” No, I know Africa is on the Mediterranean. But in common parlance, when you say Mediterranean you are thinking Greek, Italian, Spanish. When you are thinking Moroccan or Tunisian that’s North African. That’s the way people talk about that.

    I always pictured the Martells and the salty Dornishman as Mediterraneans, so the casting I think is perfectly appropriate with what I wrote in the books. I do sympathize. I mean, I understand.

    Some people have written me some very heartfelt letters, and I’ve tried to respond to them about how they wanted to see someone who looked like them in the books, and how they were [disappointed]. They had pictures of the Martells looking like them, and they were disappointed.

    I understand that, but it still wasn’t my intent to make… Even the terminology here is such a land mine. I don’t even know what words to use here “black” or “African.” I used African at one point, sort of like African American. [But] if you use “African” you are guilty for saying all Africans are the same.

    I don’t know. I am drawing from history, even though its fantasy. I’ve read a lot of history, The War of the Roses, The Hundred Years War. The World back then was very diverse. Culturally it was perhaps more diverse then our world, but travel was very difficult back then. So even though there might have been many different races and ethnicities and peoples, they didn’t necessarily mix a great deal. I’m drawing largely on medieval England, medieval Scotland, to some extent medieval France. There was an occasional person of color, but certainly not in any great numbers.

    ^ I consider this to be a cop out. Added on to the fact that he seems more concerned about getting criticized for using the wrong word than massive disappointment on the part of his own fan base. It more or less reeks of “everyone’s so P.C. these days! Ugh!”

    I mean, there is plenty of historical precedent for even large numbers of various people of color in all of those nations. You can read articles about forensic archeology and recent discoveries that have challenged these notions to the breaking point. Like, as in 20% people of color. Take 4th Century York, England. According to Dr. Hella Eckhardt:

    It helps paint a picture of a Roman York that was hugely diverse and which included among its population, men, women and children of high status from Romanised North Africa and elsewhere in the Mediterranean.

    Eboracum (York) was both a legionary fortress and civilian settlement, and ultimately became the capital of Britannia Inferior. York was also visited by two Emperors, the North-African-born Emperor Septimius Severus, and later Constantius I (both of whom died in York). All these factors provide potential circumstances for immigration to York, and for the foundation of a multicultural and diverse community.

    I can tell you the same things about Scotland, France, Central Europe…all these regions had seen large influxes of immigrants in the late Roman and early Medieval Eras. After all, these people didn’t just disappear hundreds of years later when historians decided a new “period” of history had begun! There’s plenty of primary sources and documentation that many specifically Black people lived and worked in various Medieval European cities and towns.

    Also, speaking of Empires, there was also a rather important Mongolian Empire that happened firmly within an time frame that is pretty universally recognized as “Medieval”. Which, very unfortunately, brings us to the Dothraki.

    Here’s GRRM, from the same interview, on the Dothraki:

    People complain that the Dothraki are this one-dimensional barbarian society.

    I haven’t had a Dothraki viewpoint character though.

    I guess it’s too late to introduce one now.

    I could introduce a Dothraki viewpoint character, but I already have like sixteen viewpoint characters. I could kill some of my viewpoint characters, to get down to the seven or eight I started with, or some numerical equivalent. The Dothraki are partially based on the Huns and the Mongols, some extent the steppe tribes like the Alvars and Magyars. I put in a few elements of the Amerindian plains tribes and those peoples, and then I threw in some purely fantasy elements. It’s fantasy.

    Are they barbaric? Yeah, but the Mongols were, too. Genghis Khan — I just saw an interesting movie about Ghengis Khan, recently. I’ve read books about Genghis Khan, and he’s one of history’s more fascinating, charismatic characters. The Mongols became very sophisticated at certain points, but they were certainly not sophisticated when they started out, and even at the height of their sophistication they were fond of doing things like giant piles of heads. “Surrender your city to me, or we will come in and kill all the men, rape all the women and make a giant pile of heads." They did that a few times, and other cities said, "Surrender is good. We’ll surrender. We’ll pay the taxes. No pile of heads, please.”

    *puts hands over face*

    *groans*

    Okay, let’s talk about how and why a guy who “reads a lot of history” gets this kind of idea about Mongol people, and apparently friggin Plains NDNs people as well (TW for murder gore, rape at link and f*ck you very much Mr. Martin, jeeeeebus.)

    There is no equivalent for the Dothraki in history. What people point to most often is the Mongol invasions in Asia and Europe, but these generalizations are originally extrapolated mostly from the accounts from invaded nations written by someone who had heard this or that about what had happened. I’m not saying like, “such and such never happened” I’m saying it didn’t always happen, and also that there’s a lot more to the story, and also that this narrative dominates for a reason.

    We’ll do an example. Here you have something like this from UWGB, which heads up their “Mongol Values” section with a supposed quote from Genghis Khan. Here’s what the claim is, right? We have this translation of something he supposedly said here:

    The greatest joy a man can know is to conquer his enemies and drive them before him. To ride their horses and take away their possessions. To see the faces of those who were dear to them bedewed with tears, and to clasp their wives and daughters in his arms.

    Okay, so basically, Conan the Barbarian. The article, which, might I remind you, is on a college site, goes on from this to say:

    Or to paraphrase it in the bluntest possible modern terms: “To kill people, take their property, see and enjoy the pain you have caused their families, and rape their women as a final gesture of power.”

    Okay, well that’s is a pretty big “I decided this means exactly what I already expected someone I think Genghis Khan was like would say.”Even if you did decide to take this at face value…that’s still not the casual attitude toward sexual violence the Dothraki demonstrate, it’s the opposite.

    I could go into how women in Mongol culture had a great deal of power (which doesn’t necessarily translate into conquered women being perceived as equivalent, but might I remind you that Dothraki women in ASOIAF appear to be chattel with zero bodily autonomy evidence of sentience, for the most part), or how women having sociopolitical power does not equal a lessening of sexual violence by necessity….but.

    I could mention that the way in which Genghis Khan was able to stabilize and actually rule such a vast empire was by giving conquered MEN to his DAUGHTERS in marriage, but then took these husbands out on campaign with him, and replaced them as needed when they died. Or that his empire was actually inherited by his daughters.

    And then this article goes on to make statements about we know from Genghis Khan’s attitudes and sadistic enjoyments (more or less) that hope for humanity’s goodness will always be futile, because there will always be Hitlers and Stalins.

    ^^^That is their section on “Mongol Values”. D:

    Soooooo……yeah.

    People who claim that GRRM’s Dothraki are realistically based on Mongolian or Plains NDN culture are pretty much in “Einstein and Hammurabi Disco Dance in a Hot-Air Balloon" territory.

    Thanks to Historians like the above and GRRM, people think “Mongolian=pile of heads, nonstop rape” . There’s no Khutulun, Wrestler Princess, among the Dothraki. There is no Queen Manduhui, no Lady Hö’elün, no Empress Chabi, no Sorghatani Beki, no mention of The Great Khanum and eight princesses Ruy González de Clavijo saw and marveled at in 1403.

    GRRM took a society of women who could own property, divorce at will, hold political office and positions of military command, and replaced them with visibly dirty, grunting animals being raped publicly in the dirt [tw link for an image of what i just described].

    Because “historical accuracy”.

    Because oh, well it’s already done and it’s too late to change it now.

    Actually, all of it sounds incredibly familiar:

    image

    "We cannot simply change it"

    "I could introduce a Dothraki viewpoint character, but I already have like sixteen viewpoint characters"

    "I guess it’s too late to introduce one now."

    It’s always too little, too late, try again, make your own, better luck next time.

    So, when do we get to stop being force-fed vile stereotypes with our fantasy? When do we get wish-fulfillment and escapism?

    The bottom line is, I don’t know because the this is the industry right now:

    image

    How are supposed to break the vicious cycle of whiteness in publishing, whiteness of SF/F authors, whiteness of characters, othering, misogyny, degradation, stereotypes, and a history of a Black-White Good-Evil dichotomy?

    Why does it matter? Because people think this is real, people think this is accurate, people think this is acceptable, people think this is historical, including, apparently, the people who are writing these stories.

    We must change the narrative to change our stories, because lies about the past are in danger of dictating our futures.

  3. Reconstructing the Black Image by Gordon de la Mothe

    mistmanx:

    medievalpoc:

    fyeahturtles submitted to medievalpoc:

    I just found this blog and I’m not sure if you or your followers have already heard of it, but if you’re looking for some good reading material on depictions of POC in Western art (specifically POC of African descent), I recommend Reconstructing the Black Image by Gordon de la Mothe. I met him while on vacation and he lent me a copy; I finished it in a few hours! He put years of work into it and it’s a great read, but it had a limited print run due to the subject being a “niche interest” so I’d like more people to know about it. There are tons of pictures, too!

    Oh, wow!

    If you check out the preview pages available on google books, It actually reads a lot like this blog! Not only is it sort of a primer on how to teach more inclusively (and why you should!), it’s an image-based primer with context on what purposes the images served, and continue to serve within society.

    I’m going to see what I can do about acquiring this book. I’ll try and get it through an American distributor because I can’t afford the shipping form the UK, but I’m pretty impressed with it!

    I also have to say I found the following passage from the Introduction pretty chilling:

    image

    For many years I received a considerable amount of lip-service and offers of assistance in getting the work published but nothing materialized.

    It dawned on me that my amateur approach to scholarship and my communal attitude to life had made me an exploitable resource for others who were more career-minded, academically certified and employed in positions of authority.

    Like…

    I have to say, I *know* that what’s happening with this blog. And to a certain degree…that was somewhat its intent. I’m trying to help students of color feel empowered, and that’s more important to me, although I know it can hurt my career.

    I’ve even received many messages from people on my personal blog that they’ve used my blog entries as materials in a classroom environment! For me, that’s more unnerving.

    A lot of my followers have suggested I “write a book”; the bottom line is that until I obtain more advanced degrees, money, connections, and influence, there IS NO WAY that book could EVER get made.

    It’s much more likely someone with money, resources, and power as described above will find this blog and use it to write a book.

    So yeah. If you want to help me out with the cost of purchasing Gordon de la Mothe's book, you can donate to me here. I’d honestly love the money to go to him.

    The sad fact is, a white person writing about this is exponentially more likely to get their work published and acknowledged than a person of color is. And yes, I knew that when this project started.

    Who knows? Maybe I’ll reach enough people with this project that there might be more hope for that book, someday.

    *p.s. I love your url

    Wow, this is great to see!

    Gordon de la Mothe is my grandfather, and it’s wonderful to see the impact that this book is finally starting to have, 20 years after its initial publication. It’s even in my university’s library. He is, without a doubt, absolutely chuffed with this too.

    Moreover, I’ll have a chat to him and see whether there might be an easier way of getting a copy to you, if you haven’t already obtained one.

    I’m pretty sure that, having discovered this post at the same time as I have, he will be getting in touch with you himself, in some manner.

    Oh my god that is SO COOL. I’ll be honest I’ve been watching used copies on Amazon for a while, waiting for one I could afford…but as I said, I’m saddened because I really believe that the full price of the book should go to the author.

    I and my readers owe an enormous debt to the groundbreaking researchers who fought to have their work published or acknowledged.  We’re all trying to make a dent in the world, and it looks like we are.

    Feel free to drop me a pm if your grandfather wants to contact me.

  4. gdfalksen:

Download over 250 art books for free here
http://www.getty.edu/publications/virtuallibrary/index.html
  5. tundras:

    F/F Books with WOC Characters/Protagonists.

    (in honour of Femslash February!)

    (i’ve only read about half of these, but have been told that the other half is well worth checking out! definitely feel free to add your own recs. :) never enough books about QWOC!)

  6. megankmakesthings wrote...

    What are your thoughts on determining the authority of sources? Your interest in accessibility seems tied up in the problem of academia having a monopoly on scholarly authority (and I don't mean unbiased). What brought this up was your link to SPP, which publishes "unconventional or controversial research". Its cautious language in stating its mission lent it credibility, but then I wondered if it does peer review, or if that is even a thing outside academia and hoped you could…muse upon that?

    Well. Part of my goal here is to actually demonstrate the ways in which the relative “authority” of sources is socially constructed, in addition to other ways of determining whether or not a source is ‘better’ or ‘worse’.

    A great example of this is a time when someone challenged my use of Stephen Jay Gould as a source. That actually shocked me a bit, because the guy was one of the more decorated interdisciplinary writers in the sciences that I’d come across, in my own studies back in the day, and in other works I’ve read for my own edification on my own time. I always found him inspiring because of his insistence on writing in context, documenting the historiography of scientific racism, and challenging common misconceptions in the popular consciousness about well, a lot of things.

    Back in 2003, I took an interdisciplinary biology+ethics course, which coincided with the completion of the Human Genome Project, and we read a LOT of Stephen Jay Gould. I loved it. It was like, “what even IS biology, how did we get here, and should we even?” After the class, I ended up xeroxing the incredible Sci Fi short story, Congenital Agenesis of Gender Ideation by K. N. Sirsi and Sandra Botkin, and leaving it in my professor’s mailbox (I had recently purchased Starlight 2, and was pretty high on speculative fiction anthologies at the time). 

    I’m telling you this because I wanted to pose the question: is there anything  that exists that we can really say is “outside academia”?

    If it exists, it can be analyzed, it can be written about, and it can be shared. There is a case to be made that they way we construct “peer review” is in and of itself rather biased; it is inarguable that it IS a form of gatekeeping. The way funding for academic AND scientific studies, projects, and published analyses is allocated is how money controls what does and does not get looked at.

    That being said, it really IS important to shove words back into the mouth they came out of, and take a long, hard look at how that fits into the bigger picture. So basically what I’m getting at is that some people will say “this source is no good”, while others will say, “this source is ironclad”, about the same source. What you do is up to you. :)

    And now, you’ve had my musings on this topic!

  7. The Banned Books List for Arizona Ethnic Studies

    gehayi submitted to medievalpoc:

    So I found this list of books that were banned from Tucson, Arizona schools when, in 2010, Arizona used a state law “to shut down the controversial classes that conservative legislators accused of politicizing Latino students.” The law has been declared illegal by a state court, upheld as constitutional by a federal court, and is now being appealed.

    The fact that Arizona doesn’t want kids reading these books was enough to make me curious.

    Banned Books List

    High School Course Texts and Reading Lists Table 20: American Government/Social Justice Education Project 1, 2 – Texts and Reading Lists

    (These seven were un-banned by the Tucson Unified School District as of October 2013; they can now be used as supplementary reading materials, though whether a teacher would do so when the law is still being enforced is anyone’s guess.)

    Table 21: American History/Mexican American Perspectives, 1, 2 – Texts and Reading Lists

    • Occupied America: A History of Chicanos (2004), by R. Acuna
    • The Anaya Reader (1995), by R. Anaya
    • The American Vision (2008), by J. Appleby et el.
    • Rethinking Columbus: The Next 500 Years (1998), by B. Bigelow and B. Peterson
    • Drink Cultura: Chicanismo (1992), by J. A. Burciaga
    • Message to Aztlan: Selected Writings (1997), by C. Jiminez
    • De Colores Means All of Us: Latina Views Multi-Colored Century (1998), by E. S. Martinez
    • 500 Anos Del Pueblo Chicano/500 Years of Chicano History in Pictures (1990), by E. S. Martinez
    • Codex Tamuanchan: On Becoming Human (1998), by R. Rodriguez
    • The X in La Raza II (1996), by R. Rodriguez
    • Dictionary of Latino Civil Rights History (2006), by F. A. Rosales
    • A People’s History of the United States: 1492 to Present (2003), by H. Zinn

    Course: English/Latino Literature 7, 8

    • Ten Little Indians (2004), by S. Alexie
    • The Fire Next Time (1990), by J. Baldwin
    • Loverboys (2008), by A. Castillo
    • Women Hollering Creek (1992), by S. Cisneros
    • Mexican WhiteBoy (2008), by M. de la Pena
    • Drown (1997), by J. Diaz
    • Woodcuts of Women (2000), by D. Gilb
    • At the Afro-Asian Conference in Algeria (1965), by E. Guevara
    • Color Lines: “Does Anti-War Have to Be Anti-Racist Too?” (2003), by E. Martinez
    • Culture Clash: Life, Death and Revolutionary Comedy (1998), by R. Montoya et al.
    • Let Their Spirits Dance (2003) by S. Pope Duarte
    • Two Badges: The Lives of Mona Ruiz (1997), by M. Ruiz
    • The Tempest (1994), by W. Shakespeare
    • A Different Mirror: A History of Multicultural America (1993), by R. Takaki
    • The Devil’s Highway (2004), by L. A. Urrea
    • Puro Teatro: A Latino Anthology (1999), by A. Sandoval-Sanchez & N. Saporta Sternbach
    • Twelve Impossible Things before Breakfast: Stories (1997), by J. Yolen
    • Voices of a People’s History of the United States (2004), by H. Zinn

    Course: English/Latino Literature 5, 6

    • Live from Death Row (1996), by J. Abu-Jamal
    • The Lone Ranger and Tonto Fist Fight in Heaven (1994), by S. Alexie
    • Zorro (2005), by I. Allende
    • Borderlands La Frontera: The New Mestiza (1999), by G. Anzaldua
    • A Place to Stand (2002), by J. S. Baca
    • C-Train and Thirteen Mexicans (2002), by J. S. Baca
    • Healing Earthquakes: Poems (2001), by J. S. Baca
    • Immigrants in Our Own Land and Selected Early Poems (1990), by J. S. Baca
    • Black Mesa Poems (1989), by J. S. Baca
    • Martin & Mediations on the South Valley (1987), by J. S. Baca
    • The Manufactured Crisis: Myths, Fraud, and the Attack on America’s Public Schools (19950, by D. C. Berliner and B. J. Biddle
    • Drink Cultura: Chicanismo (1992), by J. A Burciaga
    • Red Hot Salsa: Bilingual Poems on Being Young and Latino in the United States(2005), by L. Carlson & O. Hijuielos
    • Cool Salsa: Bilingual Poems on Growing up Latino in the United States (1995), by L. Carlson & O. Hijuielos
    • So Far From God (1993), by A. Castillo
    • Address to the Commonwealth Club of California (1985), by C. E. Chavez
    • Women Hollering Creek (1992), by S. Cisneros
    • House on Mango Street (1991), by S. Cisneros
    • Drown (1997), by J. Diaz
    • Suffer Smoke (2001), by E. Diaz Bjorkquist
    • Zapata’s Discipline: Essays (1998), by M. Espada
    • Like Water for Chocolate (1995), by L. Esquievel
    • When Living was a Labor Camp (2000), by D. Garcia
    • La Llorona: Our Lady of Deformities (2000), by R. Garcia
    • Cantos Al Sexto Sol: An Anthology of Aztlanahuac Writing (2003), by C. Garcia-Camarilo, et al.
    • The Magic of Blood (1994), by D. Gilb
    • Message to Aztlan: Selected Writings (2001), by Rudolfo “Corky” Gonzales
    • Saving Our Schools: The Case for Public Education, Saying No to “No Child Left Behind” (2004) by Goodman, et al.
    • Feminism is for Everybody (2000), by b hooks
    • The Circuit: Stories from the Life of a Migrant Child (1999), by F. Jimenez
    • Savage Inequalities: Children in America’s Schools (1991), by J. Kozol
    • Zigzagger (2003), by M. Munoz
    • Infinite Divisions: An Anthology of Chicana Literature (1993), by T. D. Rebolledo & E. S. Rivero
    • …y no se lo trago la tierra/And the Earth Did Not Devour Him (1995), by T. Rivera
    • Always Running – La Vida Loca: Gang Days in L.A. (2005), by L. Rodriguez
    • Justice: A Question of Race (1997), by R. Rodriguez
    • The X in La Raza II (1996), by R. Rodriguez
    • Crisis in American Institutions (2006), by S. H. Skolnick & E. Currie
    • Los Tucsonenses: The Mexican Community in Tucson, 1854-1941 (1986), by T. Sheridan
    • Curandera (1993), by Carmen Tafolla
    • Mexican American Literature (1990), by C. M. Tatum
    • New Chicana/Chicano Writing (1993), by C. M. Tatum
    • Civil Disobedience (1993), by H. D. Thoreau
    • By the Lake of Sleeping Children (1996), by L. A. Urrea
    • Nobody’s Son: Notes from an American Life (2002), by L. A. Urrea
    • Zoot Suit and Other Plays (1992), by L. Valdez
    • Ocean Power: Poems from the Desert (1995), by O. Zepeda
    • Bless Me Ultima, by Rudolfo Anaya
    • Yo Soy Joaquin/I Am Joaquin, by Rodolfo Gonzales
    • Into the Beautiful North, by Luis Alberto Urrea
    • The Devil’s Highway, by Luis Alberto Urrea
    Thank you so much for the list! The um, Spanish text portions are missing some important punctuation marks, but I think we’ll live.
  8. ☛ Black & Asian Performance in European History: A Reading List from the Victoria and Albert Museum

    A short bibliography on the history of Black and Asian Britons in the Performing Arts:

    • Alexander, Catherine M.S., and Stanley Wells, eds. Shakespeare and Race,. Cambridge:  Cambridge University Press, 2000.
    • Banham, Martin, and others, eds.  African Theatre: Playwrights & Politics.  Bloomington: Indiana University Press, 2001.
    • Banham, Martin, and others, eds. The Cambridge Companion to African and Caribbean Theatre. Cambridge: Cambridge University Press, 1994.
    • Bean, Annemarie, ed.  A Sourcebook of African-American Performance: Plays, People, Movements. London: Routledge, 1999.
    • Bourne, Stephen.  Black in the British Frame: The Black Experience in British Film and Television. 2nd edn. London: Continuum, 2001.
    • Brandon, James R., ed. The Cambridge Guide to Asian Theatre. Cambridge: Cambridge University Press, 1997.
    • Croft, Susan, and others. Black and Asian Performance at the Theatre Museum: A User’s Guide. London: V&A Theatre Museum, 2003.
    • Donnell, Alison, ed. Companion to Contemporary Black British Culture. London: Routledge, 2002.
    • Harris, Roxy, and Sarah White, eds. Changing Britannia: Life Experience with Britain. London: New Beacon, 1999.
    • Harrison, Paul Carter, and others, ed. Black Theatre: Ritual Performance in the Black Diaspora. Philadelphia: Temple University Press, 2002.
    • Layiwola, Dele, ed. African Theatre in Performance: A Festschrift in Honour of Martin Banham. Amsterdam: Harwood Academic, 2000.
    • Lindfors, Bernth, ed. Africans on Stage: Studies in Ethnological Business. Bloomington: Indiana University Press, 1999.
    • Tompsett, A. Ruth, ed. Black Theatre in Britain. in ’Performing Arts International’. 1996, vol. I, part 2
  9. whammy5 wrote...

    I pretty much agree with you philosophically about the "logic" is opposite of "emotion" thing being crap. If you're interested in some empirical research on the topic, I can suggest to you the works of political psychologist George E. Marcus in "Sentimental Citizen" or "Affective Intelligence" (have to specify cause also an anthropologist of the same name). It's political science oriented, but draws a lot on neuroscience and psychology to show how emotion and logic are completely intertwined.

    But does it have ladies in fancy dresses and fart jokes? Because Medieval Art>Poli Sci for reasons.

    XD

    In all seriousness actually I might check that out when I’m feeling especially caffeinated, it sounds interesting.

  10. mediadiversified:

It’s Time to Talk About Black Tudors

by  Rowena Mondiwa
‘A criminally neglected part of British history is the true scope of the African diaspora in Britain that reaches as far back as Renaissance Europe. A new book by Onyeka Nubia seeks to rectify the problem, examining the lives of the thousands of blacks that lived in the UK in Tudor times. In Blackamoores: Africans in Tudor England, Onyeka Nubia shares research conducted in uncovering early evidence of Black existence in the United Kingdom, and proves that black presence was evident a lot earlier than is usually assumed. Nubia’s research focuses on the Tudor era (1485- 1603), specifically looking at the four English cities of London, Plymouth, Bristol and Barnstable.
This is not the first book published about African presence in England. Black Lives in the English Archives by Imtiaz Habib (2008) and Gustav Ungerer’s The Mediterranean Apprenticeship of British Slavery (2010) are two other books that look at similar subject matter and help substantiate the information uncovered in this research project. Additionally, just this year, academic Miranda Kaufman has published essays on the same research.

    mediadiversified:

    It’s Time to Talk About Black Tudors

    by  Rowena Mondiwa

    A criminally neglected part of British history is the true scope of the African diaspora in Britain that reaches as far back as Renaissance Europe. A new book by Onyeka Nubia seeks to rectify the problem, examining the lives of the thousands of blacks that lived in the UK in Tudor times. In Blackamoores: Africans in Tudor England, Onyeka Nubia shares research conducted in uncovering early evidence of Black existence in the United Kingdom, and proves that black presence was evident a lot earlier than is usually assumed. Nubia’s research focuses on the Tudor era (1485- 1603), specifically looking at the four English cities of London, Plymouth, Bristol and Barnstable.

    This is not the first book published about African presence in England. Black Lives in the English Archives by Imtiaz Habib (2008) and Gustav Ungerer’s The Mediterranean Apprenticeship of British Slavery (2010) are two other books that look at similar subject matter and help substantiate the information uncovered in this research project. Additionally, just this year, academic Miranda Kaufman has published essays on the same research.