This essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between white women and Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial and (...) neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring. (shrink)

Alice Walker claims that the “advantageous heritage” of Black southern life is replete with intellectual meat for thinking and writing. How might the insights found in this “advantageous heritage” enrich our discussions of Black feminism in philosophy? Taking stock of this “advantageous heritage” is no mean feat in the discipline of philosophy as it sits at the intersection of two subfields that are already marginalized: Black feminist philosophy and southern philosophy. To help situate southern Black feminist philosophy, I draw upon (...) Kristie Dotson's model of “inheritance maps,” or an “attempt to take stock of what one has been given in a particular project and what one inherits as work yet to do.” Focusing primarily on the theme of refusal, I develop an “inheritance map” that lays out aspects of southern Black feminism that I have inherited from Angela Davis's Blues Legacies and Black Feminism. (shrink)