Stephanie Shonekan – författare

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Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

Practical and candid, this book offers actionable steps to help Black women leaders create meaningful success. The reflections and recommendations of the contributors forge a critical and transformative analysis of race, gender, and higher education leadership. With insights from humanities, social sciences, art, and STEM, this essential resource helps to redefine the academy to meet the challenges of the future. Dear Department Chair is comprised of personal letters from prominent Black women department chairs, deans, vice provosts, and university presidents, addressed to current and future Black women academic professionals, and offers a rich source of peer mentorship and professional development. These letters emerged from Chair at the Table, a research collective and peer-mentoring network of current and former Black women department chairs at colleges and universities across the U.S. and Canada. The collective's works, including this volume, serve as tools for faculty interested in administration, current chairs seeking mentorship, and upper-level administrators working to diversify their ranks.

All across the United States, in the last few years, there has been a resurgence of Black protest against structural racism and other forms of racial injustice. Black Resistance in the Americas draws attention to this renewed energy and to how this theme of resistance intersects with other communities of Black people around the world. This edited collection examines in-depth stories of resistance against slavery; narratives of resistance in African American, Afro-Caribbean, and Afro-Latin American literature; resistance in politics, education, religion, music, dance, and film, exploring a range of new perspectives from established and emerging researchers on Black communities. The chapters in this pivotal book discuss some of the mechanisms that Black communities have used to resist bondage, domination, disempowerment, inequality, and injustices resulting from their encounters with the West, from colonization to forced migration.

All across the United States, in the last few years, there has been a resurgence of Black protest against structural racism and other forms of racial injustice. Black Resistance in the Americas draws attention to this renewed energy and to how this theme of resistance intersects with other communities of Black people around the world. This edited collection examines in-depth stories of resistance against slavery; narratives of resistance in African American, Afro-Caribbean, and Afro-Latin American literature; resistance in politics, education, religion, music, dance, and film, exploring a range of new perspectives from established and emerging researchers on Black communities. The chapters in this pivotal book discuss some of the mechanisms that Black communities have used to resist bondage, domination, disempowerment, inequality, and injustices resulting from their encounters with the West, from colonization to forced migration.

Sorrow Tears and Blood offers a glimpse into the complicated social, cultural, and political phenomenon that is Nigeria. Though Nigeria is the most populous African country, and sometimes called the “Giant of Africa,” Fela’s album sheds a sharp light on the reasons why Nigeria has not lived up to its potential. While the text primarily hovers over 1977 (the year of the album’s release) as a critical cultural moment in Nigerian history, it also explores the album in the context of a wider look at how colonialism and its aftermath impacted the social, political, and economic environment in Nigeria, and how Western imperialism continues to affect Nigerian identity and life. As we reflect on Nigeria’s turbulent post-independent political and social history, Sorrow Tears and Blood offers a rich sonic and lyrical landscape in which to interrogate the potency of Fela’s message for generations to come.