This year’s ASALH Conference took place in Montgomery, Alabama from September 29 to October 1, 2022. Our virtual booth is open through November 30, 2022 and offers great deals on our African American studies titles. Use code ALH22 for discount prices and free shipping within the U.S.
Click Here to View all Titles in Our Virtual Booth
Read on for highlights and bonus material from this year’s exhibit
Highlights from Our Virtual Booth
Use code ALH22 for discounts and free shipping through November 30th!
New to Paperback
Want to use a UPF book in your course?
To request an exam copy, please complete this form. For more information on course adoption and the discounts we can offer to students, email us at firstname.lastname@example.org.
Sign Up for News about Our NEH SHARP Events
Sign up here to receive updates and registration information for our virtual event series on race and diasporic culture in the Americas.
To view a recording of the first event in the series, “African Diasporic Arts and Social Change,” click here.
To view a recording of the second event in the series, “Race, Environment, Culture, and Political Ecology across the Americas,” click here.
The event series is made possible by a Sustaining the Humanities through the American Rescue Plan (SHARP) grant from the National Endowment for the Humanities (NEH). Read more about the initiative here.
Do you have book project or idea?
We invite proposals from new and established scholars working in African American Studies, and our editor Sian Hunter would love to hear from you. Email her at email@example.com.
Q&A with Tatiana D. McInnis, author of To Tell a Black Story of Miami
How did you become interested in this topic?
The simplest answer is I was born in Miami as a Black person. When I left at 21 for graduate school, I took Southern Studies classes, Black Studies classes, Global South classes, and Miami/South Florida (I use these interchangeably) was not represented or discussed in how it contributes to and troubles those fields and the manufactured boundaries between disciplines, states, and nations. I looked for Miami and found a community of scholars who have sat to think with Miami and wanted to contribute to their conversation.
What does your book do that no other books do?
I see myself responding to a call put forward by Black scholars and creators in Miami – those folks invited me to sit with and think with my hometown, and I did. The most important thing that I’m proudest of about To Tell a Black Story of Miami is that it centers the role of anti-Blackness in, as I say in the book, “the stories we tell about Miami.” I’m very excited to have used literature and art to show how racism makes place.
Did you learn anything unexpected while working on this book?
When sharing about my work, I end up talking most to folks about South Florida as an important satellite in the Civil Rights Movement because this was the most unexpected, surprising thing – more like, “WOW, how did I not know this?” I had no idea that there were sit-ins in Miami, had no idea about segregated beaches (I went to these beaches as a kid!) and the inconceivable work city planners undertook to give Black people the short end of the stick in places like Virginia Key.
How do you use fictional texts as archival materials for a social study?
I would say I use fictional and autobiographical texts with deep respect, with tremendous patience, and with trust that they, as the products of those who live and perceive our world, will tell a truth about our world. Doing so allowed me to hold those texts and put them in conversation with data that showed how the creators were representing and, in some cases, documenting our material realities.
Issues concerning Afro-Latin American intersectionality have been receiving increased attention in academic work. How does your book contribute to this scholarship?
I’m so glad more scholars are able to devote more attention to Afro-Latin American intersectionality! I’m hopeful that the book models the importance of centering anti-Blackness in our examination of cultural phenomena like immigration, assimilation, and the formation of cultural enclaves.
I want readers to take from the book that stewarding stories and heeding their lessons about the methodologies of anti-Blackness can give us what we need to save ourselves. I still, and have always, believed in the necessity of our stories.
Q&A with Lindsay Guarino, Carlos R.A. Jones, and Wendy Oliver, coeditors of Rooted Jazz Dance: Africanist Aesthetics and Equity in the Twenty-First Century
National Dance Education Organization Ruth Lovell Murray Book Award
What does this book do that no other books do?
Rooted Jazz Dance examines jazz dance, its African roots, and its co-optation by early White artists. The authors focus on restoring and reclaiming the Africanist nature of jazz dance. This is the only book offering a focus on jazz dance and equity, including discussions of race and gender. In addition, it is unique in giving guidance on transforming one’s teaching of jazz dance to embrace Africanist aesthetics.
How do you hope this book will change how we talk about, teach, and consume jazz dance?
Jazz dance has often been relegated to “second class status” in both the performing arts world and in academe. The authors hope that reading this book will bring more respect to jazz dance as an art form, and more respect to African American culture and artists as the originators of the form.
What can a reader who is not a dance major or a dancer gain from this book?
Studying jazz is the study of American history and culture, and this book is especially for anyone looking to better understand narratives that have been historically erased, oppressed or altered due to racism.
Can you provide some examples of Africanist aesthetics in jazz dance?
The book outlines identifiable social and kinetic elements of jazz that can be traced to West Africa and were retained in Black American vernacular music and dance, including rooted jazz. Rooted jazz is social, and honors individuality in community. Movement characteristics include a relaxed body, a fluid and flexible spine, flat-footedness, and isolated body parts.
Is jazz dance a form of historical archival?
It could be argued that all dance holds a major role in the history and archiving of culture and arts. In jazz dance, the connection of historical narrative and archival practice is more critical. A century of systemic oppression has practically severed historical narrative from archived truth.
Click Here to View all Titles in Our Virtual Booth
Use code ALH22 for discounts and free shipping through November 30, 2022