They Were Her Property: White Women as Slave Owners in the American South

New book alert! This looks like a very interesting read.

Book Synopsis:

Bridging women’s history, the history of the South, and African American history, this book makes a bold argument about the role of white women in American slavery.

Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave‑owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market.

Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth.

Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave‑owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment.

By examining the economically entangled lives of enslaved people and slave‑owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

They Were Her Property is now available on Amazon.

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Dear Black People Going To See Black Panther

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HOLLYWOOD, CA – JANUARY 29: Actor Angela Bassett at the Los Angeles World Premiere of Marvel Studios’ BLACK PANTHER at Dolby Theatre on January 29, 2018 in Hollywood, California. (Photo by Alberto E. Rodriguez/Getty Images for Disney) *** Local Caption *** Angela Bassett

Negative Nancys are out here trying to shame folks for being excited about the film Black Panther.

Well, I’m here to say this loudly:

It’s fine to wear African clothing, dance, relax and have fun.

All of this is perfectly normal and human. Furthermore, it’s beautiful to see all of this melanin on my timeline adorned in African inspired clothing, with positive Black messages.

Trust me, the ancestors are pleased.

It is testament to our legacy that despite all of the negative images that Eurocentric idealism has tried to throw on us – we continue to love who we are and love ourselves.

We are a unique, talented and creative people. And yes, this should be celebrated.

Black people deserve to have joy! I’m tired of people shaming us for exuding happiness, during what is definitely a defining moment in Black cinema.

No, Black Panther is not our key to freedom. No, Black Panther is not our liberation. I don’t think anyone thought we would suddenly be free from oppression based off of a movie. That’s not the point.

This film highlights the essence of Black cultural awareness, heritage and pride. It promotes positive and beautiful African imagery, with a compelling story line and an all Black cast. Additionally, the film promotes strong Black female voices in leadership positions. This is seriously impactful.

Furthermore, we don’t have to be 100% serious all the time. It’s actually healing for us to enjoy the moment.

So, dress how you want to dress. Act how you want to act. Have fun this weekend.

And I co-sign the message below by Kev On Stage: Let people live!

See y’all in Wakanda!

HOLLYWOOD, CA – JANUARY 29: (L-R) Actors Sterling K. Brown, Letitia Wright, Winston Duke, Martin Freeman, Angela Bassett, Daniel Kaluuya, Lupita Nyong’o, Chadwick Boseman, Michael B. Jordan, Danai Gurira, Andy Serkis, and Forest Whitaker; writer/director Ryan Coogler; Marvel Studios President Kevin Feige; producers Louis D’Esposito and Victoria Alonso, and executive producer Nate Moore at the Los Angeles World Premiere of Marvel Studios’ BLACK PANTHER at Dolby Theatre on January 29, 2018 in Hollywood, California. (Photo by Jesse Grant/Getty Images for Disney) *** Local Caption *** Sterling K. Brown; Letitia Wright; Winston Duke; Martin Freeman; Angela Bassett; Daniel Kaluuya; Lupita Nyong’o; Chadwick Boseman; Michael B. Jordan; Danai Gurira; Andy Serkis; Forest Whitaker; Ryan Coogler; Kevin Feige; Louis D’Esposito; Victoria Alonso; Nate Moore

Also, read my article Black Americans Wearing African Clothing Is NOT Cultural Appropriation.

Jessica Ann Mitchell Aiwuyor is the founder of Our Legaci Press. To reach Jessica, email her at OurLegaci@gmail.com. Follow her on Facebook at Facebook.com/JAMAiwuyor.

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This Interview With Toni Morrison Never Gets Old

Toni Morrison Interview with Charlie Rose

In this old interview with Charlie Rose, Toni Morrison responds to a past question about if/when she will stop writing novels centered around race. She then responds with a bold answer about centering Blackness. Morrison explains that African writers, like Chinua Achebe, helped her to see the perimeters of writing without being consumed by the white gaze and how this was liberating.

The quote below hit home the most for me:

The problem with being free to write the way you wish to, with out this other racialized gaze, is a serious one for an African American writer.

Thanks to Anti-Intellect for posting this on Youtube!

Jessica Ann Mitchell Aiwuyor is the founder of Our Legaci Press. To reach Jessica, email her at OurLegaci@gmail.com. Follow her on Facebook at Facebook.com/JAMAiwuyor.

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Get Out: The Hilarity of Black Pain

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Get Out, the movie thriller that both horrified and effectively unveiled several layers of racialized oppression, is apparently a “comedy.” This is according to the good people at the Golden Globes, leaving many viewers like myself baffled. Get Out focused on a secret group of white body-snatchers that kidnaps young Black people to take over their minds and bodies in order to enjoy their physical attributes.

Did they even see the movie, I mean really see it?

The film resonated with Black audiences, especially since Black people in America have historically been used for medical experimentation and sexual exploitation. Furthermore, throughout society our physical attributes have been used for labor and enjoyment among the white bourgeoisie.

Though some view the film as an exaggeration, it’s actually not far from depicting actual medical practices that have taken place. For instance, the so-called “father of modern gynecology,” James Marion Sims, practiced painful experiments on Black slave women with no anesthesia. Also, for years enslaved Black people were sold on the medical market to be used as specimens for white doctors.

All of this was done in the name of science and medical history!

Though Get Out had some splashes of comic relief, it was in no way a comedy in its entirety. In fact, an alternative ending was chosen in order to lighten the pain shown throughout the movie, as America was in the throes of coming to grips with having Donald Trump as president.

Calling Get Out a comedy further trivializes the very real, very painful experiences that Black people have endured under the hands of white physicians and scientists. I’ve written before about America’s collective amnesia  that conveniently places painful Black experiences within an imaginary realm.

In order to prevent future horrific acts, it must be fully acknowledged that what we’ve gone through is real.

Even more so, in order to heighten accountability, we must fully acknowledge who inflicted the pain and for what reasons. The Golden Globes’ labeling of Get Out as a comedy is an effort (be it conscious or unconscious) to circumvent acknowledging the history of medical research in America.

With the story of the Tuskegee Syphilis Study, Henrietta Lacks’ stolen DNA, and the enduring legacy of our ancestors who overall survived terrifying acts of violence at the hands of medical physicians- few Black people were laughing about Get Out.

To further express this point, Jordan Peele, the film’s producer, writer and director stated through his Twitter account that, “Get Out is a documentary.”

Originally deemed a horror film, perhaps Get Out is difficult to place into one genre. However, none of us viewed it as a comedy. It’s hard to see the hilarity of Black pain.

 

Jessica Ann Mitchell Aiwuyor is the founder of OurLegaci.com. To reach Jessica, email her at OurLegaci@gmail.com. Follow her on Facebook at Facebook.com/JAMAiwuyor.

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New Year, Same Power

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For many people, 2016 ended with a great number of mixed feelings, anxiousness and anxiety. This is especially due to the fact that Donald Trump was elected President of the United States and has went about bringing every elitist, racist, and womanizing lawmaker along for the ride. It’s easy to get bogged down with the imagery in front of us.

There are legitimate fears that many could lose much needed healthcare, immigrant families could be split apart and police could starting fulfilling a renewed mandate to further the criminalization of Black and Brown people.

However, as I am reminded by older generations, if they could survive Reagan – we can survive Trump. Furthermore, if our ancestors could mobilize in the face of chattel slavery and Jim Crow, surely we can find some ways to utilize the modern tools in front of us to continue the push for social justice in all forms.

At a time when reading was still illegal for enslaved Africans in America, Frederick Douglass was publishing The North Star, an abolitionist newspaper that advocated for freedom and the plight of enslaved persons in America.

At a time when Jim Crow was in its prime and women did not yet have the right to vote, Mary Mcleod Bethune started a school to ensure the education of future generations Black children (at the supreme disapproval of the KKK).

At a time when African Americans faced stiff, often deadly backlash to civil rights and social justice initiatives, Ella Baker worked as a key grass roots organizer for the National Association for the Advancement of Colored People, the Southern Christian Leadership Conference and the Student Nonviolent Coordinating Committee.

Times can appear hopeless, but history serves as a reminder that the same energy used to overcome past oppressive forces continues onward. So with this new year, let us be comforted and empowered knowing that the never-ending strength of grassroots “people power” remains unwavering.

Here are a few ways you can be a social justice advocate in 2017.

Read Indivisible.

indivisible-guide

Indivisible is a document created by former congressional staffers that contains information on how to organize a group in your local community to put pressure on your elected officials and representatives. Described as, “A practical guide for resisting the Trump agenda”, tactics in this document help to make sure your representatives hear your grievances and vote in your best interest.

Join the Movement for Black Lives.

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The Movement for Black Lives is a collective of Black organizations joining together to protect the lives of people of African descent across the country. They are currently organizing to “build safe and vibrant communities for all Black people.” The collective has issued a call to action for those who want to get involved.

Join the NAACP.

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Members of local NAACP Alabama branches, led by NAACP president Cornell Brooks, were recently arrested during a sit-in protesting the nomination of Senator Jeff Sessions for the role of Attorney General. Sessions has a well known anti-civil rights record. The NAACP will be fighting against Sessions’ nomination and working to continue the struggle for civil rights.

Grow your own movement.

There may be something you’re passionate about starting yourself. Team up with friends, family members, and other community organizers to work towards collectively building an organization that will meet an unfilled need of your community. There are a huge number of opportunities to work with other activists and grow. Idealist.org and WorkForGood.org are two websites that can serve as a starting point for finding volunteers and other activists in your area.

In conclusion, the above listed are just a few ways to get started working on social justice and civil rights in 2017. The opportunities are endless and the power is waiting.

 

“Each generation must, out of relative obscurity, discover its mission, fulfill it, or betray it.” – Frantz Fanon

Jessica Ann Mitchell Aiwuyor is the founder of OurLegaci.com. To reach JAM, email her at OurLegaci@gmail.com. Follow her on Facebook at Facebook.com/JAMAiwuyor.

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A Message For Writers: Stop Waiting For Permission

hold-fast-to-dreams-for-it-dream-die

There are so many different rivers to cross for writers. Writing is a field that presents rejection as a rite of passage. At every turn, writers are expected to present our work to gatekeepers for approval, acknowledgement, and accolades. The chase to be accepted is never ending and at times can be overwhelming. This, in turn, can halt progress. So much looming rejection, can lead us to forget why we’re writing in the first place. Truth be told, most writers didn’t first pick up a pen thinking about whether or not their structured thoughts would be accepted into a literary journal.

We started writing because we had a passion for something. We had a voice that needed to be released. We had a purpose that needed to be fulfilled. In the digital age, there is more flexibility than ever for writers to both hone their skills and move forward with their careers, without first needing the approval of gatekeepers. Some see this new found freedom negatively, desperately touting the need for restrictions. However few acknowledge that the current publishing industry is built on exclusionary, elitist practices that traditionally marginalize writers from under-privileged groups.

Are we to stop writing if our work is not welcomed with opened arms into prestigious literary circles?

If you have an idea for a book, get started. If you want to create your own syndicated column, podcast or video series there is nothing stoping you but you. Hone your craft, listen to your gut and move forward. There will always be time to submit to journals and send out proposals. Don’t let this process halt your progression.

Stop waiting for permission to be yourself and fulfill your purpose.

 

JAM-TwitterJessica Ann Mitchell Aiwuyor is a poet, writer and social justice advocate. She’s also the founder of Our Legaci. Rant or rave to JAMAiwuyor@gmail.com. Don’t forget to join our mailing list!

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Where Children Touch The Walls

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From the moment I first learned about its development, the National Museum of African American History and Culture held a special place in my heart. After the last few years of construction, it finally opened this fall.

A major attribute of people of African descent (and in this case African Americans specifically) is our standing glory and liveliness. Whenever there is an upcoming Black cultural experience, I always hope for a layered approach. One that embraces the complexity of our existence, which is often laced with joy and creativity in spite of attacks or marginalization. Walking in the National Museum of African American History and Culture is like walking into a bubble of Black self-love and never wanting to come out. It’s where we can come face-to-face with our truths and stand in awe of everything we have been through, everything we have accomplished and everything the future holds for us.

There was a deep ache in the room that housed pieces of slave ships and shackles. The voice narration lingered throughout the air, speaking of slave traders raping girls not older than 10 years old. It spoke of people throwing themselves off of ships, starving themselves in hopes that with death, they will return home to Africa.

There was a rumble in the room that housed Emmett Till’s casket, while a video of his mother played on rotation. She spoke of her son, how playful he was, how much joy was inside of him. And she spoke of how he had been butchered. She recounted how murderers tried to chop off his neck, how his right eye dangled from the socket down to his cheek. She spoke of how she wanted the world to see what had been done to her son. “Let the people see what I’ve seen.”

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This is the pain, the grief that in the era of Black Lives Matter, we instinctively relive as a collective. This is not because we want to but because in many instances death associated with anti-Blackness continues to be a cruel reality.

And yet, we are still vibrant. The walls are lined with quotes from Black artists, scholars, and activists reminding us of our humanity while rejoicing in our colorful splendor. Many things were stolen from us, still many parts of us can never be stolen. I never wanted my visit to this historic museum to be about pain. Yet, the pain that I had initially set out to not feel became the catalyst for gratefulness and pride. I became more and more enamored with each step.

The greatest experience during my visit was seeing and hearing the reactions of youth.

One little boy exclaimed, “Gosh, they were strict. I’m glad I wasn’t born back then.”

A little girl read a quote on the wall about the slave blocks. She reached up high to rub the words with her fingers. She then looked down and told her sister,”They sold women and children.”

Another little girl, when seeing a hat from modern day Liberia, said her friends “Our African heritage!”

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Then there was the child, that was completely in awe of Huey P. Newton’s photo displayed in the Black Power/Black Arts Movement section.

Finally, at Emmet Till’s casket, there was a teenaged girl sobbing in her father’s arms.

Just around the corner, these same children then saw Public Enemy’s bright red banner, Oprah’s stage, huge photos of the Obamas, beautiful pieces made by artisans in the 1700-1800s, Nat Turner’s bible, Langston Hughes words towering over visitors, Fannie Lou Hamer’s voice ringing and so much more.

The children are seeing, hearing, and feeling. They are literally touching the walls absorbing history, Black history…America’s history. The museum’s ability to transport children back in time to experience the tragedies and triumphs, while ushering them into a vibrant future is perhaps it’s greatest attribute of all.

This is a place where children touch the walls.

 

JAM-TwitterJessica Ann Mitchell Aiwuyor is a poet, writer and social justice advocate. She’s also the founder of Our Legaci. Rant or rave to JAMAiwuyor@gmail.com. Don’t forget to join our mailing list!

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@TweetingJAM

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