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SUMMARY:Plot: On Black Spatial Insurgency - Dr J.T. Roane\, Rutgers Univer
 sity
DTSTART:20230124T130000Z
DTEND:20230124T140000Z
UID:TALK195877@talks.cam.ac.uk
CONTACT:Valerio Donfrancesco
DESCRIPTION:In the context of slavery\, various interrelated iterations of
  the plot—the site of the body’s interment\, the garden parcel\, a rov
 ing imaginary of the potential for connection in land and waterscapes out
 ¬side of domination\, and hidden insurrectionary activity—fostered a vi
 sion of de-commodified water and landscapes as well as resources among the
  enslaved. Evolv-ing in dialectic with mastery and dominion especially as 
 expressed in the social-spatial form of the plantation\, enslaved and post
 -emancipation communities plotted a set of communal resources within the i
 nterstices of plantation ecologies\, constituting the Black commons. The p
 aper examines the plot’s and the Black commons’ reorganization as livi
 ng logics\, as hybridized cultural praxes with capacity for incremental an
 d radical transformation\, translation\, and translocation prompted by int
 racommunal dynamics and their expression in a dynamic relation with the fo
 rces that impinge upon Black placemaking from outside—extractionism\, di
 sposability\, displacement\, and death. Translated to the city in the cont
 ext of the Great Migrations (1880s-1920s\; 1945-1970) beginning at the tur
 n of the twentieth century\, this imaginary continued to underwrite a dive
 rse array of visions for personal and collective urban social formations a
 skew from the uneven terrain engendered by racial capitalism. In the rural
  context\, the plot and the Black commons continued to evolve as a vision 
 of an ecological otherwise\, creating space of collectivity hedging the Ji
 m Crow era enclosure. Finally\, the plot served as the basis of radical th
 inker and writer June Jordan’s vision of terraforming “mississippi-ame
 rica” through radical land reform and the abolition of property from the
  1970s until her death in 2002.
LOCATION:Hardy Building Room 101
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