Kim Marie Vaz – författare

Women’s studies programs and departments face ongoing fall-out from an economic crisis in higher education. Taking the form of budget-cuts, reduction of faculty lines and other resource allocations, for some programs and departments it has meant at best, a loss of disciplinary autonomy through consolidation, and at worst, academic foreclosure. Feminist Solidarity at the Crossroads articulates a politics of commitment, hope, and possibility wrought in the coming-together of a group of feminist women and men—across racial, cultural, nation/state, sexual, and gender differences—during a tough budgetary time threatening Women’s Studies programs across the nation. This anthology affirms the continued necessity of bridge-building alliances in women’s studies and contemplates with promise the theory and practice of feminist solidarity forged through the course of its production. While the essays in this book display a complex diversity of feminist thought and modes of intersectional strategies, they reflect a unity of comradery and a spirit of collectivity so necessary for these turbulent times.

Women’s studies programs and departments face ongoing fall-out from an economic crisis in higher education. Taking the form of budget-cuts, reduction of faculty lines and other resource allocations, for some programs and departments it has meant at best, a loss of disciplinary autonomy through consolidation, and at worst, academic foreclosure. Feminist Solidarity at the Crossroads articulates a politics of commitment, hope, and possibility wrought in the coming-together of a group of feminist women and men—across racial, cultural, nation/state, sexual, and gender differences—during a tough budgetary time threatening Women’s Studies programs across the nation. This anthology affirms the continued necessity of bridge-building alliances in women’s studies and contemplates with promise the theory and practice of feminist solidarity forged through the course of its production. While the essays in this book display a complex diversity of feminist thought and modes of intersectional strategies, they reflect a unity of comradery and a spirit of collectivity so necessary for these turbulent times.

Nominated for the 1995 Distinguished Publication Award of the Association for Women in Psychology A provocative, insightful volume, Black Women in America offers an interdisciplinary study of black women's historic activism, representation in literature and popular media, self-constructed images, and current psychosocial challenges. This new work by outstanding scholars in the field of race and gender studies explores the ways in which black women have constantly reconstructed and transformed alien definitions of black womanhood. Black women have an image of themselves that differs from those others impose. Collectively, the contributors to this anthology demonstrate that such socially constructed images hide the complexities and ambiguities, the challenges, and the joys experienced in the real lives of black women. Multifaceted in its approach, Black Women in America is certain to stimulate debate, stretch minds, and spark future research. Black Women in America is a welcome resource for scholars and students in African American or Ethnic Studies, Women's Studies, Sociology, and Psychology. "The volume can be helpful in stimulating questions and discussion for students in African American studies." --Choice "Black Women in America combines social history with contemporary analysis in one of the most thoughtful of scholarly compendia I have ever seen. It will be useful to scholars who teach history, sociology, African American studies, and women's studies, but also to any American interested in a deeper and broader understanding of America's past, present, and future." --Sarah Susannah Willie, Colby College, Maine "At a time when several anthologies of essays by and about black women are hitting the shelves, Kim Marie Vaz's volume boasts an unusual and inventive mix of topics. It treats a range of historical eras and geographical locations. . . . The apt emphasis on resistance rather than victimization is apparent throughout the essays I read; it provides an excellent focal point. . . . In all, Vaz's editorial contribution is admirable. She has collected an impressively wide-ranging group of essays on the history, sociology, and culture of black women. Interdisciplinary in its approach and sound in its scholarship, the volume will be welcomed by scholars and students in African American studies and women's studies in particular, but also history, sociology, and political science." --Cheryl Ann Wall, Rutgers University

Nominated for the 1995 Distinguished Publication Award of the Association for Women in Psychology A provocative, insightful volume, Black Women in America offers an interdisciplinary study of black women's historic activism, representation in literature and popular media, self-constructed images, and current psychosocial challenges. This new work by outstanding scholars in the field of race and gender studies explores the ways in which black women have constantly reconstructed and transformed alien definitions of black womanhood. Black women have an image of themselves that differs from those others impose. Collectively, the contributors to this anthology demonstrate that such socially constructed images hide the complexities and ambiguities, the challenges, and the joys experienced in the real lives of black women. Multifaceted in its approach, Black Women in America is certain to stimulate debate, stretch minds, and spark future research. Black Women in America is a welcome resource for scholars and students in African American or Ethnic Studies, Women's Studies, Sociology, and Psychology. "The volume can be helpful in stimulating questions and discussion for students in African American studies." --Choice "Black Women in America combines social history with contemporary analysis in one of the most thoughtful of scholarly compendia I have ever seen. It will be useful to scholars who teach history, sociology, African American studies, and women's studies, but also to any American interested in a deeper and broader understanding of America's past, present, and future." --Sarah Susannah Willie, Colby College, Maine "At a time when several anthologies of essays by and about black women are hitting the shelves, Kim Marie Vaz's volume boasts an unusual and inventive mix of topics. It treats a range of historical eras and geographical locations. . . . The apt emphasis on resistance rather than victimization is apparent throughout the essays I read; it provides an excellent focal point. . . . In all, Vaz's editorial contribution is admirable. She has collected an impressively wide-ranging group of essays on the history, sociology, and culture of black women. Interdisciplinary in its approach and sound in its scholarship, the volume will be welcomed by scholars and students in African American studies and women's studies in particular, but also history, sociology, and political science." --Cheryl Ann Wall, Rutgers University

This book consists of essays on methodological issues by Africana (African and African American) women scholars who have successfully employed oral narrative methods in their research. Some themes covered in these essays are the strengths of oral narrative research for expanding and transforming knowledge about black women and how these scholars learned to conduct oral narrative research; descriptions of the types of narratives they have gathered, the difficulties they have encountered and how these were overcome; and the ethical dilemmas faced while undertaking their research endeavors. What makes this book a valuable teaching tool are the pedagogical suggestions and research artifacts contained within. Contributors have described one or two activities that may assist instructorÆs efforts to teach oral narrative methodologies. Methodological essays about the phenomenological and empirical aspects of carrying out oral narrative research from an Afrafeminist/womanist standpoint are rare and book-length works are almost nonexistent. Oral Narrative Research with black women participates in the growing movement of Afrafeminist/womanist scholarship that fills this void. This is an insightful, thought-provoking resource for researchers, students, and scholars interested in conducting qualitative research or who want to include black women in their research.

This book consists of essays on methodological issues by Africana (African and African American) women scholars who have successfully employed oral narrative methods in their research. Some themes covered in these essays are the strengths of oral narrative research for expanding and transforming knowledge about black women and how these scholars learned to conduct oral narrative research; descriptions of the types of narratives they have gathered, the difficulties they have encountered and how these were overcome; and the ethical dilemmas faced while undertaking their research endeavors. What makes this book a valuable teaching tool are the pedagogical suggestions and research artifacts contained within. Contributors have described one or two activities that may assist instructorÆs efforts to teach oral narrative methodologies. Methodological essays about the phenomenological and empirical aspects of carrying out oral narrative research from an Afrafeminist/womanist standpoint are rare and book-length works are almost nonexistent. Oral Narrative Research with black women participates in the growing movement of Afrafeminist/womanist scholarship that fills this void. This is an insightful, thought-provoking resource for researchers, students, and scholars interested in conducting qualitative research or who want to include black women in their research.

One of the first women's organizations to ""mask"" in a Mardi Gras parade, the ""Million Dollar Baby Dolls"" redefined the New Orleans carnival tradition. Tracing their origins from Storyville brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Vaz uncovers the fascinating history of the ""raddy-walking, shake-dancing, cigar-smoking, money-flinging"" ladies that strutted their way into a predominantly male establishment.The Baby Dolls formed around 1912 as an organization for African American women who used their profits from working in New Orleans's red-light district to compete with other black women in their profession on Mardi Gras. Part of this competition involved the tradition of masking in which carnival groups create a collective identity through costuming. Their baby doll costumes- short satin dresses, stockings with garters, and bonnets- set against their bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized demographic of women. In addition to their subversive presence at Mardi Gras, the Baby Dolls helped shape the sound of jazz in the city. The Baby Dolls often worked in and patronized dance halls and honky-tonks, where they introduced new dance steps and challenged house musicians to keep up the beat. The entrepreneurial Baby Dolls also sponsored dances with live jazz bands, effectively underwriting the advancement of an art form now inseparable from New Orleans's identity.Over time, the Baby Doll's members diverged as different neighborhoods adopted the tradition. Groups such as the Golden Slipper Club, the Gold Diggers, the Rosebud Social and Pleasure Club, and the Satin Sinners stirred the creative imagination of middle-class Black women and men across New Orleans, from the downtown Tremé area to the uptown community of Mahalia Jackson. Vaz follows the Baby Doll phenomenon through one hundred years of photos, articles, and interviews to conclude with the birth of contemporary groups such as the modern day Antoinette K-Doe's Ernie K-Doe Baby Dolls, the New Orleans Society of Dance's Baby Doll Ladies, and the Tremé Million Dollar Baby Dolls. Her book celebrates these organizations' crucial contribution to Louisiana's cultural history.

Nike Davies is one of the few African women known internationally in contemporary art circles. The Woman with the Artistic Brush traces her life history and illustrates the strategies developed by women to mitigate male rule. Presenting a critique of the woman's place in contemporary Yoruba society from the perspective of a woman who lived it, this book covers Nike's life from the time of her mother's death when Nike was six to the culmination of her dream in the creation, against severe societal odds, of a center for arts and culture that has over 120 members. Along the way, The Woman with the Artistic Brush details how Nike ran away from home and joined a traveling theater group after her father tried to arrange her marriage, subsequently married and joined in the polygynous household of a noted artist from the popular Osogbo school, and finally broke clear of that situation after suffering sixteen years of domestic violence. The Woman with the Artistic Brush is another superb contribution to the Foremother Legacies series.