206 Chapters
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8 White Power, Black Power, and the 1968 Olympic Protests

Daniel J Sherman Indiana University Press ePub


In October 1968 the Olympic sprinters Tommie Smith and John Carlos staged a protest that became an icon of 1960s America (figure 8.1). After placing first and third, respectively, in the Olympic men’s 200-meter race in Mexico City, each man mounted the medal stand with an “Olympic Project for Human Rights” button pinned to his track jacket, black socks displayed prominently by shoeless feet and rolled pant legs, and a single black glove. After receiving their medals, the men pivoted toward the rising flags and, as “The Star-Spangled Banner” played, raised black-gloved fists in the air and lowered their heads. As the pair stood motionless on the stand, the scene was captured in black and white by press photographers and in color by television journalists and quickly circulated around the world. The next day, Smith explained his intentions in a television interview with the sports reporter Howard Cosell: “The right glove that I wore on my right hand signified the power within black America. The left glove my teammate John Carlos wore on his left hand made an arc with my right hand and his left hand also to signify black unity. . . . John Carlos and me wore socks, black socks, without shoes, to also signify our poverty.”1

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1 Beyond the Ghetto Walls: Shtetl to Nation in Photography by Alter Kacyzne and Moshe Vorobeichic

Carol Zemel Indiana University Press ePub

I begin with the Jewish culture of Ashkenaz, the vast region that stretched from modern Lithuania through Poland, Russia, and Ukraine, where Jews lived in great number from the sixteenth to the twentieth centuries. In 1797, with much of the region under Russian control, the Russian Empire declared the area a “Pale of Settlement” (map 1.1), intended to confine the Jewish population, as well as to serve as a buffer zone between the Russians and Poles. For Jewish inhabitants, however, the Pale became a supranational territory, which was a space of diasporic culture and consciousness that transcended shifting frontiers, and whose landmarks were synagogues, study centers, and rabbinical courts. Within the Pale, Ashkenazi Jews developed an extensive shtetl (small town) culture, by which is generally meant a Yiddish-speaking, provincial society, orthodox in its religious practice and traditional Jewish way of life.1 By the 1920s, however, this shtetl culture had been transformed by half a century of modernization, secularization, and emigration to cities in Europe and America. For many Jews, this was an ambivalent undertaking: an escape from ethnic and economic oppression, but also an escape from “self” or home, and a flight from the shtetl’s fixed traditions and orthodoxy.

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Chapter Eleven Mother’s Tutoring

Samuel S. Bak Indiana University Press ePub
Medium 9780253008145

NINE Vulnerability Unveiled: Lubna’s Pants and Humanitarian Visibility on the Verge of Sudan’s Secession • AMAL HASSAN FADLALLA

Edited by Elisha P Renne Indiana University Press ePub

Journalist Lubna Ahmed Al-Hussein traveled to France to sign a book based on her story on the 23rd of November, 2009. Internet sales of her book . . . reached half a million copies, each selling for 18 Euros, 6% of which will go to Lubna. Lubna told reporters that the book will be translated into various languages.

—Reuters (Paris), 2009

In July 2009, the transnational media circulated news about yet another grave human rights violation perpetrated by Sudan’s Islamist regime, the latest in a series of violent crimes against humanity.1 Lubna Al-Hussein, dubbed “the pants journalist” for wearing pants in public and hence countermanding the prevailing dress code of modest body covering, was sentenced to flogging after an arrest by the public order police in Sudan. This case became one of the most widely reported narratives about the subordination of Muslim women in the world.2 Lubna was arrested, along with twelve other women, in a public restaurant in Khartoum and charged with disturbing public order by dressing indecently. Lubna contested the immodesty charge by addressing the media and arguing that at the time of her arrest she was wearing baggy pants, a long blouse with long sleeves, and a headscarf.

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CHAPTER 4. INFLUENCES: African art and mythology, 1957–2001

Olive Jensen Theisen University of North Texas Press PDF


Influences: African art and mythology, 1957–2001

John Biggers’s trip to Africa transformed his art in unimaginable ways. Many knew of Biggers’s earlier work and had categorized him as a regional painter who painted images of suffering people. As it turns out, that was only half the story. In this chapter we will talk about some factors that influenced him on his pioneering journey into the creation of new images and ideas. (fig. 4.1)

Following the 1996 publication of The Murals of John Thomas Biggers, Biggers gave me a little paperback book and suggested that I should read it sometime. I wasn’t familiar with the author and had much else to do, so that book sat untouched in my bookcase for over ten years. But recently, as I was looking for answers to some questions I still had about John Biggers’s work, I picked up Echoes of the Old

Darkland and leafed through it. As I read, I found glimpses of ideas that Biggers had embedded in his murals. I returned to that little paperback many times to study some of the images in later murals. And I did understand one thing: Biggers had found a source for his “great heroic images.” (See Chapter 5)

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