Download Free Black And Indigenous Book in PDF and EPUB Free Download. You can read online Black And Indigenous and write the review.

The first intersectional history of the Black and Native American struggle for freedom in our country that also reframes our understanding of who was Indigenous in early America Beginning with pre-Revolutionary America and moving into the movement for Black lives and contemporary Indigenous activism, Afro-Indigenous historian Kyle T. Mays argues that the foundations of the US are rooted in antiblackness and settler colonialism, and that these parallel oppressions continue into the present. He explores how Black and Indigenous peoples have always resisted and struggled for freedom, sometimes together, and sometimes apart. Whether to end African enslavement and Indigenous removal or eradicate capitalism and colonialism, Mays show how the fervor of Black and Indigenous peoples calls for justice have consistently sought to uproot white supremacy. Mays uses a wide-array of historical activists and pop culture icons, “sacred” texts, and foundational texts like the Declaration of Independence and Democracy in America. He covers the civil rights movement and freedom struggles of the 1960s and 1970s, and explores current debates around the use of Native American imagery and the cultural appropriation of Black culture. Mays compels us to rethink both our history as well as contemporary debates and to imagine the powerful possibilities of Afro-Indigenous solidarity. Includes an 8-page photo insert featuring Kwame Ture with Dennis Banks and Russell Means at the Wounded Knee Trials; Angela Davis walking with Oren Lyons after he leaves Wounded Knee, SD; former South African president Nelson Mandela with Clyde Bellecourt; and more.
Black and Indigenous Resistance in the Americas is an essential roadmap to understanding contemporary racial politics across the Americas, where openly white supremacist politics are on the rise. It is the product of a multiyear, transnational research project by the Anti-racist Research and Action Network of the Americas in collaboration with resistance movements confronting racial retrenchment in Brazil, Bolivia, Chile, Colombia, Guatemala, Mexico, and the United States. How did we get here? And what anti-racist strategies are equal to the dire task of confronting resurgent racism? This volume provides powerful answers to these pressing questions. 1) It traces the making and contestation of state-led racial projects in response to black and indigenous mobilization during an era of expansion of multicultural rights in the context of neoliberal capitalism. 2) It identifies the origins and manifestations of the backlash against hard-fought (but hardly far-reaching) gains by marginalized peoples, showing that (contrary to critiques of “identity politics”) the losses and anxieties produced by the failures of neoliberalism have been understood in racial terms. 3) It distills a path forward for progressive anti-racist activism in the Americas that looks beyond state-centered, rights-seeking strategies and instead situates a critique of racial capitalism as central to the contestation of white supremacy.
In The Black Shoals Tiffany Lethabo King uses the shoal—an offshore geologic formation that is neither land nor sea—as metaphor, mode of critique, and methodology to theorize the encounter between Black studies and Native studies. King conceptualizes the shoal as a space where Black and Native literary traditions, politics, theory, critique, and art meet in productive, shifting, and contentious ways. These interactions, which often foreground Black and Native discourses of conquest and critiques of humanism, offer alternative insights into understanding how slavery, anti-Blackness, and Indigenous genocide structure white supremacy. Among texts and topics, King examines eighteenth-century British mappings of humanness, Nativeness, and Blackness; Black feminist depictions of Black and Native erotics; Black fungibility as a critique of discourses of labor exploitation; and Black art that rewrites conceptions of the human. In outlining the convergences and disjunctions between Black and Native thought and aesthetics, King identifies the potential to create new epistemologies, lines of critical inquiry, and creative practices.
Garifuna live in Central America, primarily Honduras, and the United States. Identified as Black by others and by themselves, they also claim indigenous status and rights in Latin America. Examining this set of paradoxes, Mark Anderson shows how, on the one hand, Garifuna embrace discourses of tradition, roots, and a paradigm of ethnic political struggle. On the other hand, Garifuna often affirm blackness through assertions of African roots and affiliations with Blacks elsewhere, drawing particularly on popular images of U.S. blackness embodied by hip-hop music and culture. Black and Indigenous explores the politics of race and culture among Garifuna in Honduras as a window into the active relations among multiculturalism, consumption, and neoliberalism in the Americas. Based on ethnographic work, Anderson questions perspectives that view indigeneity and blackness, nativist attachments and diasporic affiliations, as mutually exclusive paradigms of representation, being, and belonging. As Anderson reveals, within contemporary struggles of race, ethnicity, and culture, indigeneity serves as a normative model for collective rights, while blackness confers a status of subaltern cosmopolitanism. Indigeneity and blackness, he concludes, operate as unstable, often ambivalent, and sometimes overlapping modes through which people both represent themselves and negotiate oppression.
This book is research material for those inquiring about the race of the Indigenous inhabitants of the Americas. I give the raw data and it is up to the researcher to make their own conclusion. When referencing material from other books, I include enough information such that the reader can see the entire context of what is/was written. I also include the page number, location of the book, and the exact name of the pdf file, if applicable. I will not try to sway nor dis-sway an opinion one way or the other. I have no opinion one way or another. The raw data is the raw data.
Who invented the traffic light? What about transportation itself? Farming? Art? Modern chemistry? Who made…cats? What if I told you there was ONE answer to all of these questions? That one answer? BLACK PEOPLE! Seriously. And this book is like a mini-encyclopedia, full of more evidence than WikiLeaks and just as eye-opening! Do you know just how much Black inventors and creators have given to modern society? Within the past 200 years, Black Americans have drawn on a timeless well of inner genius to innovate and engineer the design of the world we live in today. But what of all the Black history before then? Before white people invented the Patent Office, Black folks were the original creators and builders, developing ingenious ways to manage the world’s changes over millions of years, everywhere you can imagine, from Azerbaijan to Zagazig! With wit and wisdom (and tons of pictures!) this book digs deeper than the whitewashed history we learn in school books and explores how our African ancestors established the foundation of modern society! Have you inherited this genius? What can you do with it? Inspired by solutions from the past, we can develop strategies for a successful future!
An engaging, innovative history of Brazil's black and indigenous people that redefines our understanding of slavery, citizenship, and national identity. This book focuses on the interconnected histories of black and indigenous people on Brazil's Atlantic frontier, and makes a case for the frontier as a key space that defined the boundaries and limitations of Brazilian citizenship.
Perhaps no other symbol has more resonance in African American history than that of "40 acres and a mule"—the lost promise of Black reparations for slavery after the Civil War. In I've Been Here All the While, we meet the Black people who actually received this mythic 40 acres, the American settlers who coveted this land, and the Native Americans whose holdings it originated from. In nineteenth-century Indian Territory (modern-day Oklahoma), a story unfolds that ties African American and Native American history tightly together, revealing a western theatre of Civil War and Reconstruction, in which Cherokee, Choctaw, Chickasaw, Creek, and Seminole Indians, their Black slaves, and African Americans and whites from the eastern United States fought military and rhetorical battles to lay claim to land that had been taken from others. Through chapters that chart cycles of dispossession, land seizure, and settlement in Indian Territory, Alaina E. Roberts draws on archival research and family history to upend the traditional story of Reconstruction. She connects debates about Black freedom and Native American citizenship to westward expansion onto Native land. As Black, white, and Native people constructed ideas of race, belonging, and national identity, this part of the West became, for a short time, the last place where Black people could escape Jim Crow, finding land and exercising political rights, until Oklahoma statehood in 1907.
In “There’s Something In The Water”, Ingrid R. G. Waldron examines the legacy of environmental racism and its health impacts in Indigenous and Black communities in Canada, using Nova Scotia as a case study, and the grassroots resistance activities by Indigenous and Black communities against the pollution and poisoning of their communities. Using settler colonialism as the overarching theory, Waldron unpacks how environmental racism operates as a mechanism of erasure enabled by the intersecting dynamics of white supremacy, power, state-sanctioned racial violence, neoliberalism and racial capitalism in white settler societies. By and large, the environmental justice narrative in Nova Scotia fails to make race explicit, obscuring it within discussions on class, and this type of strategic inadvertence mutes the specificity of Mi’kmaq and African Nova Scotian experiences with racism and environmental hazards in Nova Scotia. By redefining the parameters of critique around the environmental justice narrative and movement in Nova Scotia and Canada, Waldron opens a space for a more critical dialogue on how environmental racism manifests itself within this intersectional context. Waldron also illustrates the ways in which the effects of environmental racism are compounded by other forms of oppression to further dehumanize and harm communities already dealing with pre-existing vulnerabilities, such as long-standing social and economic inequality. Finally, Waldron documents the long history of struggle, resistance, and mobilizing in Indigenous and Black communities to address environmental racism.
Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America. Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing “traditional” beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their “traditions.” Indigenous hip hop artists navigate the muddy waters of the “politics of authenticity” by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of “tradition” and create alternative visions of what being Indigenous means today, and what that might look like going forward. “This book is incredibly important and will change the fields of Native American, African American, gender, and sound studies. It is the first full-length monograph on the rich, diverse, and complex field of Indigenous hip hop. This is the text against which all other studies in the field will be compared.” — Michelle Raheja, University of California, Riverside