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PALGRAVE STUDIES IN (RE)PRESENTING GENDER
SERIES EDITOR: EMMA REES
Series Editor
Emma Rees
Director, Institute of Gender Studies
University of Chester
Chester, UK
The focus of Palgrave Studies in (Re)Presenting Gender is on gender and
representation. The ‘arts’ in their broadest sense – TV, music, film, dance,
and performance – and media re-present (where ‘to represent’ is taken in
its literal sense of ‘to present again’, or ‘to give back’) gender globally.
How this re-presentation might be understood is core to the series.
In re-presenting gendered bodies, the contributing authors can shift
the spotlight to focus on marginalised individuals’ negotiations of gender
and identity. In this way, minority genders, subcultural genders, and
gender inscribed on, in, and by queer bodies, take centre stage. When the
‘self’ must participate in and interact with the world through the body,
how that body’s gender is talked about – and side-lined or embraced by
hegemonic forces – becomes paramount. These processes of representa-
tion – how cultures ‘give back’ gender to the individual – are at the heart
of this series.
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2020
Chapters 2 and 4 are licensed under the terms of the Creative Commons Attribution 4.0
International License (http://creativecommons.org/licenses/by/4.0/). For further details
see licence information in the chapters.
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc.
in this publication does not imply, even in the absence of a specific statement, that such
names are exempt from the relevant protective laws and regulations and therefore free for
general use.
The publisher, the authors and the editors are safe to assume that the advice and informa-
tion in this book are believed to be true and accurate at the date of publication. Neither
the publisher nor the authors or the editors give a warranty, expressed or implied, with
respect to the material contained herein or for any errors or omissions that may have been
made. The publisher remains neutral with regard to jurisdictional claims in published maps
and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To all who are (and were) (t)here.
Acknowledgements
vii
Contents
ix
x CONTENTS
Index 145
CHAPTER 1
Abstract This chapter outlines questions that buttress this work, such
as: How is digital media implicated in the lives of Black women in
Britain? In what ways do such digital experiences involve forms of
creativity and cultural production? How are the intersections of anti-Black
racism, sexism, and capitalism connected to this? What is the ‘digital’
in the lives of Black women in Britain, and how can it be both a
source of joy and pain? How and why are Black women often identi-
fied as digital ‘trendsetters’, while being both erased and hyper-visible
as creators, knowledge-producers, and social movement builders? This
chapter provides an overview of key themes in this book, including digital
diasporic dynamics and transnational, national, and regional relations.
baby steps’ (ibid.). Since such crucial work regarding the digital experi-
ences of Black people in the US, including communication studies scholar
Catherine R. Squires’ (2009) research on African Americans and the
Media, global Black digital activity has continued to develop in dynamic
ways which is explored in relation to Britain in the rigorous research of
emerging scholars Rianna Walcott at King’s College London and Keisha
Bruce at the University of Nottingham.
Bruce (forthcoming, 2022) examines ‘the creation, circulation, and
engagement with Black women’s digital visual culture’. Her work demon-
strates how ‘digital diasporic identity and community is created and
performed on social media through processes of visuality and affect’
(Bruce, forthcoming, 2022). Relatedly, Walcott’s research (forthcoming,
2021) examines ‘how language is disseminated between geographically
and culturally disparate people who self-identify as Black, and how
linguistic acts of performative identity that Black British women use
contribute to the articulation of a group Black identity through shared
language and experience’.
In November 2018, Keisha Bruce (@keishastweets) used Twitter to call
for expressions of interest in putting together a panel on digital Blackness
for the American Studies Association (ASA) 2019 Annual Meeting which
took place in Honolulu, Hawai’ i. Rianna Walcott (@rianna_walcott) and
I (@chess_ess) responded. This led to the three of us corresponding for
months at a distance online to create our panel—‘Navigating Transna-
tional Digital Blackness: Networked Publics and Decolonized Ethno-
graphic Approaches’—chaired by African American studies and English
scholar Cynthia A. Young. We drew on paramount work on media,
culture, digital and communication studies, and Black people’s online
experiences in the US (Benjamin 2019; Brock 2018, 2020; Clark 2014;
Everett 2009; Gray 2015; Jackson 2016; McMillan Cottom 2017; Noble
2018; Noble and Tynes 2016; Steele 2016a, 2016b, 2017), while
focusing on the specifics of Black lives in Britain.
Our ASA session continued conversations that Walcott and I took
part in at a panel in 2018 on ‘Bridges and Boundaries: Black (British)
Digital Discourses’—chaired by communication studies scholar Jessica
H. Lu. Walcott and I co-organised the panel to participate in Inten-
tionally Digital, Intentionally Black—the first national conference of the
African American History, Culture, and Digital Humanities (AADHum)
Initiative at the University of Maryland. We did this together with layla-
roxanne hill who is a curator, artist, and organiser who advocates for
6 F. SOBANDE
Just as people are born into a culture with a language and a structure of
language that existed before they were born, so too do individuals find
themselves by birth or by migration to inhabit a shared sense about how
the world is ordered (or at least about how things ought to be ordered
and done).
The emperor Julian was struck with a spectre clad in rags, yet
bearing in his hands a horn of plenty, which was covered with a linen
cloth. Thus emblematically attired, the spirit walked mournfully past
the hangings of the apostate’s tent[57].
We may now advert to the superstitious narratives of the middle
ages, which are replete with the notices of similar marvellous
apparitions. When Bruno, the Archbishop of Wirtzburg, a short
period before his sudden death, was sailing with Henry the Third, he
descried a terrific spectre standing upon a rock which overhung the
foaming waters, by whom he was hailed in the following words:
—“Ho! Bishop, I am thy evil genius. Go whether thou choosest, thou
art and shalt be mine. I am not now sent for thee, but soon thou shalt
see me again.” To a spirit commissioned on a similar errand, the
prophetic voice may be probably referred, which was said to have
been heard by John Cameron, the Bishop of Glasgow, immediately
before his decease. He was summoned by it, says Spottiswood, “to
appear before the tribunal of Christ, there to atone for his violence
and oppressions.”
“I shall not pursue the subject of Genii much farther. The notion of
every man being attended by an evil genius, was abandoned much
earlier than the far more agreeable part of the same doctrine, which
taught that, as an antidote to this influence, each individual was also
accompanied by a benignant spirit. “The ministration of angels,” says
a writer in the Athenian oracle, “is certain, but the manner how, is
the knot to be untied.” ’Twas generally thought by the ancient
philosophers, that not only kingdoms had their tutelary guardians,
but that every person had his particular genius, or good angel, to
protect and admonish him by dreams, visions, &c. We read that
Origin, Hierome, Plato, and Empedocles, in Plutarch, were also of
this opinion; and the Jews themselves, as appears by that instance of
Peter’s deliverance out of prison. They believed it could not be Peter,
but his angel. But for the particular attendance of bad angels, we
believe it not; and we must deny it, till it finds better proof than
conjecture.”
Such were the objects of superstitious reverence, derived from the
Pantheon of Greece and Rome, the whole synod of which was
supposed to consist of demons, who were still actively bestirring
themselves to delude mankind. But in the West of Europe, a host of
other demons, far more formidable, were brought into play, who had
their origin in Celtic, Teutonic, and even Eastern fables; and as their
existence, as well as influence, was not only by the early Christians,
but even by the reformers, boldly asserted, it was long before the
rites to which they had been accustomed were totally eradicated.
Thus in Orkney, for instance, it was customary, even during the last
century, for lovers to meet within the pale of a large circle of stones,
which had been dedicated to the chief of the ancient Scandinavian
deities. Through a hole in one of the pillars, the hands of contracting
parties were joined, and the faith they plighted, was named the
promise of Odin, to violate which was infamous. But the influence of
the Dii Majores of the Edda was slight and transient, in comparison
with that of the duergar or dwarfs, who figure away in the same
mythology, and whose origin is thus recited. Odin and his brothers
killed the giant Ymor, from whose wound ran so much blood that all
the families of the earth were drowned, except one that saved himself
on board a bark. These gods then made, of the giant’s bones of his
flesh and his blood, the earth, the waters, and the heavens. But in the
body of the monster, several worms had in the course of putrefaction
been engendered, which, by order of the gods, partook of both
human shape and reason. These little beings possessed the most
delicate figures, and always dwelt in subterraneous caverns or clefts
in the rocks. They were remarkable for their riches, their activity, and
their malevolence[58]. This is the origin of our modern faries, who, at
the present day, are described as a people of small stature, gaily drest
in habiliments of green[59]. They possess material shapes, with the
means, however, of making themselves invisible. They multiply their
species; they have a relish for the same kind of food that affords
sustenance to the human race, and when, for some festal occasion,
they would regale themselves with good beef or mutton, they employ
elf arrows to bring down their victims. At the same time, they delude
the shepherds with the substitution of some vile substance, or
illusory image, possessing the same form as that of the animal they
had taken away. These spirits are much addicted to music, and when
they make their excursions, a most exquisite band of music never
fails to accompany them in their course. They are addicted to the
abstraction of the human species, in whose place they leave
substitutes for living beings, named Changelings, the unearthly
origin of whom is known by their mortal imbecility, or some wasting
disease. When a limb is touched with paralysis, a suspicion often
arises that it has been touched by these spirits, or that, instead of the
sound member, an insensible mass of matter has been substituted in
its place.
In England, the opinions originally entertained relative to the
duergar or dwarfs, have sustained considerable modifications, from
the same attributes being assigned to them as to the Persian peris, an
imaginary race of intelligences, whose offices of benevolence were
opposed to the spightful interference of evil spirits. Whence this
confusion in proper Teutonic mythology has originated, is doubtful;
conjectures have been advanced, that it may be traced to the
intercourse the Crusaders had with the Saracens; and that from
Palestine was imported the corrupted name, derived from the peris,
of faries; for under such a title the duegar of the Edda are now
generally recognized; the malevolent character of the dwarfs being
thus sunk in the opposite qualities of the peris, the fairies. Blessing
became in England, proverbial: “Grant that the sweet fairies may
nightly put money in your shoes, and sweep your house clean.” In
more general terms, the wish denoted, “Peace be to the house[60].
Fairies, for many centuries, have been the objects of spectral
impressions. In the case of a poor woman of Scotland, Alison
Pearson, who suffered for witchcraft in the year 1586, they probably
resulted from some plethoric state of the system, which was followed
by paralysis. Yet, for these illusive images, to which the popular
superstition of the times had given rise, the poor creature was
indicted for holding communication with demons, under which light
fairies were then considered, and burnt at a stake. During her illness,
she was not unfrequently impressed with sleeping and waking
visions, in which she held an intercourse with the queen of the
Elfland and the good neighbours. Occasionally, these capricious
spirits would condescend to afford her bodily relief; at other times,
they would add to the severity of her pains. In such trances or
dreams, she would observe her cousin, Mr. William Sympsoune, of
Stirling, who had been conveyed away to the hills by the fairies, from
whom she received a salve that would cure every disease, and of
which the Archbishop of St. Andrews deigned himself to reap the
benefit. It is said in the indictment against her, that “being in Grange
Muir with some other folke, she, being sick, lay downe; and, when
alone, there came a man to her clad in green, who said to her, if she
would be faithful, he would do her good; but she being feared, cried
out; but nae bodie came to her, so she said, if he came in God’s name,
and for the gude of her soul, it was all well; but he gaed away; he
appeared another tyme like a lustie man, and many men and women
with him—at seeing him she signed herself, and pray and past with
them, and saw them making merrie with pypes, and gude cheir and
wine;—she was carried with them, and when she telled any of these
things, she was sairlie tormented by them, and the first time she gaid
with them, she gat a sair straike frae one of them, which took all the
poustie (power) of her side frae her, and left an ill-far’d mark on her
side.
“She saw the gude neighbours make their saws (salves) with panns
and fyres, and they gathered the herbs before the sun was up, and
they cam verie fearful sometimes to her, and flaire (scared) her very
sair, which made her cry, and threatened they would use her worse
than before; and at last, they tuck away the power of her haile syde
frae her, and made her lye many weeks. Sometimes they would come
and sit by her, and promise that she should never want if she would
be faithful, but if she would speak and telle of them, they would
murther her. Mr. William Sympsoune is with them who healed her,
and telt her all things;—he is a young man, not six yeares older than
herself, and he will appear to her before the court comes;—he told
her he was taken away by them; and he bid her sign herself that she
be not taken away, for the teind of them are tane to hell every
yeare[61].”
Another apparition of a similar kind may be found on the
pamphlet which was published A. D. 1696, under the patronage of
Dr. Fowler, Bishop of Glocester, relative to Ann Jefferies, “who was
fed for six months by a small sort of airy people, called fairies.” There
is every reason to suppose, that this female was either affected with
hysteria, or with that highly excited state of nervous irritability,
which, as I have shewn, gives rise to ecstatic illusions. The account of
her first fit is the only one which relates to the present subject. In the
year 1695, says her historian, “she then being nineteen years of age,
and one day knitting in an arbour in the garden, there came over the
hedges to her (as she affirmed) six persons of small stature, all
clothed in green, and which she called fairies: upon which she was so
frightened, that she fell into a kind of convulsive fit: but when we
found her in this condition, we brought her into the house, and put
her to bed, and took great care of her. As soon as she was recovered
out of the fit, she cries out, ‘they are just gone out of the window;
they are just gone out of the window. Do you not see them?’ And
thus, in the height of her sickness, she would often cry out, and that
with eagerness; which expressions we attributed to her distemper,
supposing her light-headed.” This narrative of the girl seemed highly
interesting to her superstitious neighbours, and she was induced to
relate far more wonderful stories, upon which not the least
dependance can be placed, as the sympathy she excited eventually
induced her to become a rank impostor[62].
But besides fairies, or elves, which formed the subject of many
spectral illusions, a domestic spirit deserves to be mentioned, who
was once held in no small degree of reverence. In most northern
countries of Europe there were few families that were without a
shrewd and knavish sprite, who, in return for the attention or neglect
which he experienced, was known to
——“sometimes labour in the quern,
And bootless make the breathless housewife churn;
And sometimes make the drink to bear no barm!”