Today we honor Victoria Eugenia Santa Cruz (1922-2014) an Afro-Peruvian choreographer, composer and activist.
Me gritaron negra (1978)- poem/spoken word.
Santa Cruz founded Cumanana, a theater company (1958-1961). In 1966 she founded teatro y Danzas del Perú a group of Afro-Peruvian dancers reclaiming lost heritage through performance. Their goal a type of recovery and recreation of their culture.
In 1982 she took a position as a visiting professor at Carnegie Mellon university in Pittsburgh.
Some of Victoria Santa Cruz work: 1961 Malató, Lima
ca. 1965 La muñeca negra, Paris
1972 Un marido paciente, Lima
1982 Adios al Perú, Lima
1995 Ritmos y aires afroperuanas (CD) #CiteBlackwomen
La discriminación era un rato largo más marcada que ahora. Ahora (es) más sutil pero hay discriminación siempre. -Victoria Santa Cruz
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This week we are honoring women in performance. Starting with the great Katherine Dunham (1909- 2006) Katherine Dunham was a dancer, choreographer, and anthropologist. One of the foremothers of Black feminist anthropology and foundational to the pedagogy of Black Dance.
VIDEO: Katharine Dunham speaks and dances at home base, Habitation Leclerc, Martissant neighborhood of Port-au-Prince, Haiti, 1962
Island Possessed (1936) is the observation of Black feminist principles and praxis before the formal definition of Black feminist theory. Discussing the work of Dunham is critical to understanding the legacy of positionality, race and gender politics in fieldwork.
Today we honor one of the foremothers of Black feminist anthropology. Zora Neale Hurston was born January 7, 1891. An author, an anthropologist, playwright, folklorist and so much more.
Her innovative work such as Mules and Men (1935), Their Eyes were watching God (1937), and Tell my Horse (1938) are all cornerstone in understanding the ways Black ethnographers do work in Black spaces. The care, the complexity, the importance of storytelling exist in her writing
“There are years that ask questions and years that answer.”
― Zora Neale Hurston, (1937).Their Eyes Were Watching God.
Hey y'all, I'm back for my final session of this #CiteBlackWomen Twitter takeover. Let's start with more resources.
The Okla. Historical Society @okhistory has put together a fantastic collection of resources about African American history in the state. As they state plainly...
Get yourself all the way together with scholarship by Brittney C. Cooper @professorcrunk, Deirdre Cooper Owens, Kellie Carter Jackson, Sarah Haley @sahaley, and Arica L. Coleman @ALCPHD.
Hey y'all, @melissanstuckey is back for another session! #Juneteenth originated in Texas! But Emancipation meant Black people had the freedom to move and they did. In the 1890s and 1900s Black Texans moved to Oklahoma and brought Juneteenth with them.
@DrMChatelain is a brilliant black historian and author of two books!
Franchise: The Golden Arches in Black America
and
South Side Girls: Growing up in the Great Migration.
Emancipation Park in Houston was purchased by Freedmen in 1872. It has hosted #Juneteenth celebrations like the one these lovely ladies participated in ever since. #CiteBlackWomen
The women in the photograph are Martha and Pinkie Yates. Their buggy, decorated with fresh flowers, is #Juneteenth parade ready!
We had a great conversation @UNCWomensCtr about the politics of citation a black women’s knowledge production. One of the things that came up was this issue of action. How do we begin to systematically change the culture of citation that erases Black women? #citeblackwomen
One of the things that we discussed was pushback. Oftentimes the decision to #CiteBlackWomen gets pushback from professors, reviewers and colleagues. How do you deal with this pushback? What are your strategies?
So one piece of advice that came out of our conversation yesterday was mentorship. We need to create networks of support inside and outside of academic spaces-but particularly within the university-to be able to 1) teach students how to cite properly;