Young Indigenous Women's Utopia. 2019. Treaty 6 Traditional Homeland of the Metis People (Saskatoon, SK): Self-published with support from York University, McGill University, and Networks for Change and Well-being: Girl-led ‘from the ground up’ Policy Making to Address Sexual Violence in Canada and South Africa. To order a copy email firstname.lastname@example.org
Resilience-Making through Storytelling
Activist Networks by, for, and with Girls and Young Women
Catherine Vanner and Anuradha Dugal
Reflections on a Lifelong Inspiration
It has been 20 years since Raewyn Connell published The Men and the Boys (2000a), which can be seen as the foundational text of boyhood studies. This journal is a good place to celebrate the twentieth anniversary of that book, and there are two special issues coming in the winter of 2020 and spring of 2021. Connell's work has been part of my academic thinking about education and gender for 47 years. I have chosen to situate my appreciation for The Men and the Boys in the context of that 47-year time frame. The Men and the Boys, which we are celebrating in the next issue of Boyhood Studies, came late in my engagement with Connell's work. It is important to understand that Connell's work has spanned three scholarly developments: the rise of women's studies, men's studies, and boyhood studies.
Stories about girl activism circulate as exceptional narratives of individual girl power causing intergenerational partnerships and community collaborations to become invisible and apparently unnecessary to girl activist efforts. At the same time, practitioner-scholars attest that sharing authentic stories about intergenerational feminist praxis is difficult to do since it requires us to write with intentional vulnerability exposing the failures and tensions inherent to girl activism networks. In this article, I provide an autoethnographic exploration of the intergenerational processes involved with organizing Girls Speak Out for the International Day of the Girl at the United Nations. I draw inspiration from Lauren J. Silver's methodological remix of youth-centered activism, and in doing so, reassess the impact and experience of leveraging girls’ political voices in spaces of normative power.
Lieke Hettinga and Terrance Wooten
Eliza Steinbock, Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change (Durham, NC: Duke University Press, 2019), 248 pp., ISBN: 9781478003885 (paperback, $24.95)
Jian Neo Chen, Trans Exploits: Trans of Color Cultures and Technologies in Movement (Durham, NC: Duke University Press, 2019). ix +184 pp., ISBN: 9781478000877 (paperback, $23.95)
Activist Girl of Early Twentieth Century Japan
In this article, I profile the activism of 18-year-old Sakai Magara (1903–1985). I focus in particular on her role in the Sekirankai (Red Wave Society), which was a short-lived women's political organization formed in April 1921 and aligned directly with socialist and anti-capitalist worker issues. My discussion draws on three principal sources: contemporaneous accounts of the Society; writings by women with whom Magara collaborated; and the words of Magara herself. I pay attention to Magara's contribution to Sekirankai, the influences on the development of her activism, and the barriers to political participation by girls and women in Japan.
Reading the Discursive Shadow in the Age of American Silent Cinema
Amy E. Borden
Considering how American publications wrote about x-ray, still, and photochemical motion pictures as shadows reveals a discursive bridge among the three varieties from the performance practice of ombromanie (shadowgraphy). This process produced shadows of performing bodies where the bodies were accompanied by the impression created by the interaction of the bodies and the light source. That organization of bodies and technology, as complex as a body and a fluoroscope or as low-tech as hands, a candle, and a screen, can help historians contextualize popular narratives of early cinema that suggested audiences believed that motion pictures were real enough to jump offscreen. The resulting images drag the profilmic event and the peculiarities of the medium into a cultural understanding of cinema's potential to both represent and display life in motion.
Black Girls and the Choreography of Citizenship
Aimee Meredith Cox. 2015. Can Citizenship Care? Black Girls Reimagining Citizenship. Durham, NC, Duke University Press.
An Activist Model of Black Girl Leadership
In the study on which this article is based, I examine the correlation between the number of Black girls in leadership programs and the number of Black female leaders in nonprofit organizations. I carried out research on Black girl leadership to understand the shortcomings of programs meant to teach Black girls appropriate leadership skills and I conducted interviews with female leaders to determine the hurdles faced by Black women trying to obtain leadership roles in the nonprofit sector. My findings show that there is a disconnect between Black and white women in leadership roles and that impediments for Black women affect leadership prospects for Black girls. This article is a call to create an activist model that supports the professional trajectories of Black girls.
This article analyzes the film and installation Toxic (2012) by Berlin-based artists Pauline Boudry and Renate Lorenz in order to reflect upon the politics of racialized queer and trans subjects becoming images and to consider the ways we might care for these images in the archives of history. I revisit my original argument about Toxic, which positioned the artwork as an intersectional “archive of feelings” that was paradigmatic of a moment in the late 2000s and early 2010s when many Western antiracist queer/trans communities were focused on critiquing the violences of gay pride assimilationism and its politics of transparency. I then turn to Christina Sharpe's “ethics of care” and Eric Stanley's work on opacity to analyze how this reading may work toward the politics of transparency it seeks to critique. In response, I develop the concept of queer/trans messiness as a set of aesthetic, performative, affective, and historiographical strategies present in Toxic, which produce different grammars of seeing and being seen, different ways of navigating the incommensurability between struggles for social justice, and different modes of representing antiracist queer/trans history.