Recent years have seen an increased interest in black feminism. Whether thinking of the explosion of activism, the reprinting of classics such as Heart of the Race (Bryan, Dadzie and Scafe, 2018 [1985]) and Finding a Voice (Wilson, 1978) or the numerous journalistic or scholarly inquiries into black feminist formations in Britain in the 1970s–1990s, black feminism is a topic of interest once again. Sometimes it goes under other names: POC feminism, Womanism, Fugitive Feminism—each of which offers a specific inflection (...) of this thing I am calling black feminism. Given this context, my aim in this article is to consider how black feminism might be conceived—what kind of an object it is, but more importantly how it might be ‘used’ and utilised as a vibrant and well-honed tool in the armory with which we attempt to craft a politics of ethical freedom. I attempt to draw together work from the theoretical archive of black women’s writing with that of psychoanalyst Donald Winnicott and his theorisation of ‘object use’ and ‘play’, as foundation stones in the development of a capacity for ethical relating based on the detoxification of racism’s effects on ‘self’, ‘other’ and the intersubjective field that the space between these constitutes. In my mind, the piece is a ‘call’ hoping for a ‘response’, the chorus is ‘black feminism’. (shrink)

What is the role of cultural archives in creating and sustaining connections between diasporic communities? Through an analysis of an audiovisual archive that has sought to bring together representations of and by African, Caribbean and Asian people, this article discusses the relationship between diasporic film, knowledge production and feminist solidarity. Focusing on a self-curated, UK-based archive, the June Givanni Pan-African Cinema Archive, we explore the potentiality of archives for carving out spaces of diasporic connectivity and resistance. This archive assembles the (...) holdings of pan-African films and film-related materials, built over several decades by June Givanni, a Guyanese-born London-based film curator. Givanni’s archive embodies her long relationship with the intersecting worlds of African and Asian diasporic cinema, which hold deep connections to Black British heritage through global networks spanning across empire. In the making of this cultural analysis, we employ a co-produced, decolonial methodological approach by designing and producing the article in collaboration with Givanni over a two-year period. We aim to foreground the role of feminist labour (academic and practitioner) as agents of change who are reclaiming stories, voices and memory-making. The wider backdrop to this co-produced analysis is the ongoing resilience of a cultural amnesia that has pervaded the Black British experience and the current fragility of Black arts and cultural spaces in the UK. Our question is how might archives help us map the connections between racialised ideas of belonging, memory politics and the reconfiguration of colonial power whilst also operating as a site of feminist connectivity? (shrink)