The bus was full of excited chatter as it pulled up in front of the Metropolitan Museum of Art (known universally as The Met) on Fifth Avenue on a cold morning in January. Thirteen girls, along with invited loved ones, had traveled for nine-and-a-half hours from Durham, NC, to view their art displayed in the exhibit, “Pens, Lens, and Soul: The Story of The Beautiful Project” (hereafter, “Pens, Lens, and Soul”). First, the girls filed off the bus to take a photograph on the steps of The Met. As their family and friends waited to disembark, they laughed and shivered while posing for numerous photographs and videos on the cold steps. As they stood at the bottom of the steps of the grand prestigious museum, the impressiveness of their accomplishment was just beginning to dawn on many of them. As she walked around the exhibit one of the artists would comment, “I feel surprised because I didn’t realize it was this big of a thing and I was here and it’s a thing, it’s a big thing … we are capable of doing anything.”
Black Girls as Creators, Subjects, and Witnesses
Erin M. Stephens and Jamaica Gilmer
An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out
Lara Bochmann and Erin Hampson
This article is a theoretical, audiovisual, and personal exploration of being a trans and non-binary person and the challenges this position produces at the moment of entering the outside world. Getting ready to enter public space is a seemingly mundane everyday task. However, in the context of a world that continuously fails or refuses to recognize trans and non-binary people, the literal act of stepping outside can mean to move from a figurative state of self-determination to one of imposition. We produced a short film project called Step Out to delve into issues of vulnerability and recognition that surface throughout experiences of crossing the threshold into public space. It explores the acts performed as preparation to face the world, and invokes the emotions this can conquer in trans and non-binary people. Breathing is the leading metaphor in the film, indicating existence and resistance simultaneously. The article concludes with a discussion of affective states and considers them, along with failed recognition, through the lens of Lauren Berlant's concept of “cruel optimism.”
Learning from the Testimonios of Young Undocumented Women Advocates
In this article, I discuss the experiences of young undocumented Latinas, aged between 19 and 22, in a university support and advocacy group for undocumented students. While recent research has investigated the advocacy of undocumented youth, there is a lack of attention on the experiences of undocumented women who advocate. To address this gap, I center the testimonios (testimonies) of five young undocumented women to examine their advocacy experiences. As a result of advocacy, the young women gained visibility as immigrant youth leaders, created a pipeline of support for other young undocumented women leaders, and faced disapproval from educators. I conclude by suggesting that schools and educators can foster the leadership of young undocumented women and acknowledge advocacy as a legitimate tool for social justice in education settings.
Roberts, Steven. 2018. Young Working-Class Men in Transition. London: Routledge. 240 pp. e-ISBN: 9781315441283. https://doi.org/10.4324/9781315441283.
The Girl and Youth-Led Street Art Movement to #StopStreetHarassment
Natasha Harris-Harb and Sophie Sandberg
The Chalk Back movement that started in March 2016 is a rapidly growing collective of over 150 young activists from around the world. As part of a university class project, Sophie decided to collect experiences of street harassment, write them out verbatim with chalk on the streets where they occurred alongside the hashtag #stopstreetharassment, and post them on the Instagram account @catcallsofnyc. Two years later, the account gained popularity. Other catcallsof accounts opened in London, Amsterdam, Ottawa, Dhaka, Nairobi, Cairo, and Sydney. These accounts, discussed below, are just a few of those spanning 150 cities in 49 countries in 6 continents. We are two Chalk Back members—Natasha from Ottawa and Sophie from New York City—highlighting the risk, empowerment, and power dynamics of what we call chalking back by amplifying the voices of those doing this work around the world.
Karen Carpenter and the Body-Martyr in Queer Memory
There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?
A Portrait of Young Men's Sense of Belonging to the Street in Maputo, Mozambique
Drawing on extensive fieldwork, this article explores how a group of young men construct their sense of belonging to a public space, namely, a market in the capital city of Mozambique, Maputo. The young men's occupancy of the market was a clever opportunistic move. While life in and around the market provided opportunities and resources that allowed them to “get by,” the way space was lived and experienced in everyday life by these young men made them particularly exposed to punitive systems of social control. Their experience of belonging to the street was ambiguous, as the freedom they searched for became conditional and they recurrently put themselves in a situation in which they became easy targets for police harassment and incarceration in state prisons. The article shows how these young men position themselves and negotiate their masculinities in an urban environment where they are identified as a threat to the social order.
Controlling Images and Meaning Making Through the Use of Counter-narratives
Mellie Torres, Alejandro E. Carrión, and Roberto Martínez
Recent studies have focused on challenging deficit narratives and discourses perpetuating the criminalization of Latino men and boys. But even with this emerging literature, mainstream counter-narratives of young Latino boys and their attitudes towards manhood and masculinity stand in stark contrast to the dangerous and animalistic portrayals of Latino boys and men in the media and society. Utilizing a mixed-methods approach, the authors draw on the notion of counter-storytelling to explore how Latino boys try to reframe masculinity, manhood, and what they label as ‘responsible manhood.’ Counter-storytelling and narratives provide a platform from which to challenge the discourse, narratives, and imaginaries guiding the conceptualization of machismo. In their counter-narratives, Latino boys critiqued how they are raced, gendered, and Othered in derogatory ways.