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This paper presents a proposal for workshop-meetings, which were held with black Early Childhood Education teachers, with the aim of mapping their paths of aesthetic training. Structured around the sharing of poetics by black artists, the workshop-meetings were constituted as space-time for autobiographical narratives, in order to support the premise that it is necessary to open space for listening to narratives that affirm singular-plural (re)existences. Issues about ethnic-racial diversity and aesthetic principles in the proposals for Early Childhood Education are articulated and make up the context over which the discussion is woven. The focus is on teacher training, as it is understood that the proposition of pedagogies of diversity, decolonial and reexistence, necessarily passes through teaching and its repertoires. [ABSTRACT FROM AUTHOR]

This paper examines the historical degradation of Black artists in the music industry as a form of neocolonialism wrought by largely White-owned parent companies. Using Frank Ocean's 2016 rebellion against Def Jam Recordings and the GRAMMYs, this paper uplifts Ocean as a model for the liberation of other Black artists. This paper employs a decolonial approach that reads Negritude thinkers Aimé Césaire and Frantz Fanon and theologian Kelly Brown Douglas through the lens of Ocean's actions and artistry as a means to envision new possibilities for the disruption and destruction of neocolonial structures and the affirmation of Black lives as sacred. [ABSTRACT FROM AUTHOR]

Globalizing histories of art and design and contesting historical narratives that overlook and marginalize the art and material culture of the African diaspora have become increasingly popular in recent years. The artworks selected predominately date from circa 2019 but the book also includes artworks from as early as 1970, reflecting the rich cultural heritage and artistic traditions brought together in the collection. What began as a small collection of recent art by regional artists has expanded to include traditional African art and artworks by internationally acclaimed artists (xiv). [Extracted from the article]

In his 2001Different: Contemporary Photography and Black IdentityStuart Hall, writing on black arts in the UK in the 1970s and 1980s, commented on the emergence of the “black body” as a subject of visibility and identity which challenged the racialised body which for so long had been produced and reproduced by racial discourse. “On the site of the body”, he wrote, “racial discourses had long undertaken the work of systematically reducing history to biology, culture to nature”, but it was also a “surface … of resistance from which alternative counter-narratives can be produced”. Cultural identities have histories and are subject to the continuous “play” of history, culture, and power. This paper will: (1) document the history of how artists, photographers, and filmmakers in the 1970s and 1980s deconstructed and challenged the stereotyped black body of racialised discourse to produce counter-visual narratives of the “black body”; (2) map the different mechanisms through which these counter-visual narratives were presented, circulated, discussed, appropriated, and used; (3) explore how the history of these counter-visual narratives “intertwined and overlapped” with the history of the broader “politics of representation” and anti-racist politics in education in particular; and (4) finally determine how successful these counter-visual narratives were in displacing the racialised black body in and of history. [ABSTRACT FROM PUBLISHER]

This paper explores some of the ways in which Black-British artists of the 1980s visualised slavery. The paper begins with a consideration of the social and political factors that contributed to the work of these artists, before briefly discussing some of the ways in which slavery and abolition have been constructed within Britain and the ways in which black artists' practice might challenge some of these constructs. The paper discusses specific works by artists such as Mowbray Odonkor, Donald Rodney and Keith Piper. The paper argues that the works it discusses do much to shed light on the ways in which history and identity play out in the work of black artists, particularly during the fascinating decade of the 1980s. [ABSTRACT FROM AUTHOR]

Written from the direct experience of a practitioner, this is an autobiographic paper by a contemporary artist that recounts and explores creative and political activism through contemporary art. This article examines the tensions around status: the status of objects, materials and production methods, and the status of people and their drive to self-definition. The text addresses how a hierarchy of values can struggle to catch up with creative practice in education. [ABSTRACT FROM AUTHOR]