Artists fighting racism and sexism from the end of the Great Depression through the Civil Rights era

In 1943, the production of the Columbia Pictures film The Heat’s On halted for three days due to an on-set protest by featured performer Hazel Scott. Appalled by the racially demeaning and stereotypical depictions of Black women extras and dancers, Scott—one of the top African American performers of the era—forced the studio to relent. But her protest of Hollywood racism angered powerful white men in the industry, and despite her rising career, she was soon banished from American film.

Scott was far from the only Black woman in a creative field to use her professional success as leverage against prejudice. In The Fiercest Kind, cultural historian H. Zahra Caldwell explores the biographical narratives of five Black women at the top of their artistic crafts in the mid-20th century to understand how they pushed back against racism and sexism. From 1937–1965, pianist Hazel Scott, dancer Katherine Dunham, cartoonist Jackie Ormes, multihyphenate fine artist (graphic artist, painter, and sculptor) Elizabeth Catlett, and singer Lena Horne were among the most popular and nationally known Black women in their respective fields, spanning film, television, print media, and fine art. Generating creative works at the end of the Great Depression through the Civil Rights era, they used their professional and personal lives to confront seemingly insurmountable repression through what Caldwell defines as “layered resistance.”

A Black feminist practice, layered resistance consists of four tactics: claiming and adapting cultural spaces for Black women; strategically crafting positive images of Black womanhood that directly challenge white supremacy; combining performance and/or visual representation with social and political activism; and choosing unconventional lifestyles that defy rigid gender and racial norms. These artists also lived in, worked in, and supported important Black spaces such as Harlem and Black Chicago. Using a methodology that combines textual analysis, archival research, and oral history, Caldwell understands this strategy within larger movements for Black freedom and equality that spanned the twentieth century and continue to the present day.  

Understanding the Hawai‘i Island summit of Mauna a Wākea as a place of ancestral connection, cultural resurgence, and political resistance for Native Hawaiians​

 

First Light is a site-specific study of Native Hawaiian resistance to the construction of the Thirty Meter Telescope (TMT) on the summit of Mauna a Wākea, the sacred mountain on the island of Hawai‘i. Drawing on personal interviews, oral histories, archival research, participant observation, and popular, legal, scientific, and Indigenous discourses, Iokepa Casumbal-Salazar explores both the campaign to build the observatory and the movement against it. He asks how astronomers have become stewards of Mauna a Wākea while Kānaka ‘Ōiwi (Aboriginal Hawaiians), in protest, are recast as obstructing progress and clinging to ancient superstitions.

Contextualizing contemporary resistance to telescope expansion within the past 132 years of struggle against U.S. empire in Hawai‘i, Casumbal-Salazar argues the Kanaka-led efforts to protect their ancestral lands did not begin with the TMT and only become legible when understood in the broader history of resistance to U.S. settler hegemony as told through the voices and actions of kiaʻi ʻāina (land defenders). First Light explores how settler science, capital, and law have been mobilized in ways that rationalize industrial development projects like the TMT and promote a vision of “coexistence” that enables the dehumanization of Kānaka ‘Ōiwi and their alienation from ʻāina.

Challenging the assumptions and aggressions of neoliberal environmental policy, settler multiculturalism, and U.S. military occupation, First Light reinforces calls for a moratorium on new telescope development and a literacy in Kanaka ‘Ōiwi movements for life, land, and ea (independence, sovereignty).

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