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Decolonizing Representations to Evoke the Complexity of Black Lives in Florida

Amanda D. Concha-Holmes, Alexis Freeman, Jon Rehm, Juan Concha-Holmes, Cynthia Wilson-Graham, Turbado Marabou, Adeojo Mosunmola, Rujeko Dumbutshena, Magdalena Lamarre, Robert L. Stevenson



Abstract

Art should be integral to research, education, and expressing lived experiences. Podcasts, animations, spoken word, video games, and multimodal, born-digital books can be modalities of learning and teaching that decolonize representations, especially when they are founded on deep collaboration. Coming out of IRIE Center (Innovative Research and Intercultural Education), a group of scholars, artists, entrepreneurs, K-12 schools, and community leaders, collectively called The Collaboratory, facilitates research that is timely, evocative, and critical to understanding a fuller history of the Americas. The Collaboratory’s goals are to push the boundaries of grant-funded research, public humanities, and arts-integrated education.

This article highlights two overlapping projects from the past six years. The first is a Decolonizing Representations workshop series that began in 2019 and used Evocative Ethnography including communal experiences of art, critical art making, and deep collaboration to achieve four goals: 1) excavate hidden stories, 2) learn about techniques and concepts like Evocative Ethnography and Afrofuturism, 3) critically create art together and therein bond across cultural differences, and 4) craft evocative products such that content becomes accessible to a larger, public audience. Expanding on these four goals, IRIE Center partnered with WUFT at the University of Florida (UF) College of Journalism on the second project: creating a podcast series Decolonizing Representations: Evoking the Hidden Histories of Black Lives in Florida through a Lens of Afrofuturism. The last episode of the series integrated African American Studies high school students in the process of archival research and podcast creation. These kinds of deep collaborations bring together university scholars, artists, entrepreneurs, librarians, public school systems, K-12 students, museums, and local community organizations and leaders. This work is continuing to develop into animations, a documentary television series, and video games.

Impact Statement *

When scholars collaborate with artists, community leaders, librarians, and digital humanists, we can excavate the hidden histories of our nation and express those stories in meaningful and evocative ways.

Decolonizing Representations to Evoke the Complexity of Black Lives in Florida

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January 28, 2025 (244 views)

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Decolonizing Representations to Evoke the Complexity of Black Lives in Florida © 2025 by Amanda D. Concha-Holmes, Alexis Freeman, Jon Rehm, Juan Concha-Holmes, Cynthia Wilson-Graham, Turbado Marabou, Adeojo Mosunmola, Rujeko Dumbutshena, Magdalena Lamarre, and Robert L. Stevenson is licensed under CC-BY 4.0

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Creating Knowledge in Common

Introduction

“We were not taught our history, and that’s the bottom line,” states local Florida historian, photographer, and author Cynthia Wilson-Graham. Even though the U.S. South has a deep connection to Black history (and people of non-European ancestry), these stories lack representation in broadcast media and in public spaces, and they are left at the margins of, or ignored completely in, school curricula. 

As Marvin Dunn notes in his book A History of Florida: Through Black Eyes, “people of African descent have been major players in almost every significant event in the history of Florida from the arrival of the conquistadors to the launch of the space shuttle…[and yet] [g]enerations of African Americans in Florida [and most other Americans] have been denied our history. That is an intellectual crime” (x-xii). Decolonizing representations means that people of color and women are included, in ways that highlight their achievements and not only their oppression. It also means that the learning experience goes beyond the written word, making art integral to education and expressing lived experiences. Paintings, podcasts, animations, poetry, critical art making, and video games can be modalities of learning and teaching that decolonize representations, particularly when crafted with deep collaboration and communal arts experiences.

Amanda Concha-Holmes, an affiliate faculty in the Center for Arts, Migration and Entrepreneurship (CAME) at the University of Florida (UF) and Director of the Innovative Research and Intercultural Education (IRIE) Center, has pioneered a methodological intervention that depends on the arts to help find, understand, and tell these stories: Evocative Ethnography (Figure 1). Evocative Ethnography is an academic-artistic-healing endeavor aimed at bringing feminist, decolonial ways of knowing the world to the fore. It not only explores "whose story gets told?" but also delves into the intricacies of "how do the stories get told?" Aligned with Black Studies as a "mode of knowledge production," as articulated by Alexander Weheliye, it draws inspiration from scholars such as Trinh Minh-ha, Audre Lourde, Faye Harrison, and others who intertwine poetry, artistic expression, and theory. This approach is intimately connected to Afrofuturism (speculation of liberation) and Ubuntu (an African word from Bantu speaking people meaning “I am because you are”). It supports social justice goals by decolonizing representations through deep collaboration and communal arts experiences.

Figure 1. Evocative Ethnography with its core categories overlayed onto the Afrofuturist artwork of Paul Lewin.
Entitled “Evocative Ethnography,” an artist’s rendition of a hummingbird approaches the face of a Black woman in profile. Eight labels describing the key categories of Evocative Ethnography form a circle around the image: Decolonial, feminist of color, indigenous; Multisensory & haptic; Multispecies; Soundscapes; Communal Experience through Art; Emergent Improvisation; Multimedia, Poetry and Art, and Deep Collaboration.

Decolonizing Representation Workshops

Concha-Holmes collaborated with colleagues across disciplines, professions, and entrepreneurial aspirations to create the Decolonizing Representation: Past, Present and Future workshop series. These full-day workshops engaged the UF Digital Collections, the Samuel Proctor Oral History Program (SPOHP) archives, art, and digital tools to examine and reimagine representations of Black, Latinx, Indigenous, Asian, LGBTQ1A+ groups and people with disabilities at the University of Florida. After meetings with professors and students from across campus, African American Studies librarian Stephanie Birch, UF historian Carl Van Ness, and Concha-Holmes facilitated two workshops at UF: Tracing Underrepresented Historical Legacies and Designing A Future Otherwise. Participants included UF deans, professors, staff, undergraduate and graduate students, alumni, and community members. Participants were from eleven countries including India, Algeria, Argentina, Haiti, Ghana, Nigeria, Brazil, China, the Philippines, and the U.S..

The workshops integrated communal arts experiences and critical art-making activities, as well as archival research and the creation of a research repository. For example, one workshop began with musical performance and participatory music-making. (Video 1)

Video 1. In this Decolonizing Representations workshop, everyone joins in Caribbean clave rhythm, led by Aaron Colverson on violin. Making music together encourages participants to feel their humanity before they begin to think conceptually and act collaboratively.

Later in that workshop, Van Ness, the university historian, instructed participants how to conduct archival research with online resources and old newspapers. (Figure 2) Their work became part of the repository that future participants used.

Figure 2. Participants in the workshop "Decolonizing Representations: Past, Present and Future, Tracing Underrepresented Historical Legacies" examine print media as part of their archival research to excavate hidden stories and tell them in evocative ways.
People sit facing each other, talking, at a long rectangular table covered with laptops, old newspapers, and colored sticky notes. Windows to the side of and behind the tables let in diffuse light.

Following “What if” prompts, participants collaboratively made clay scenarios of a future they would like to experience. These were brought to life in stop-motion video.

  • Figure 3. A workshop participant’s response to “What if…?” using drawing and writing to think through a scenario before moving into collaborative clay-making.
    An outline of the African continent, hand-drawn in green ink on yellow paper. Hand-written across the continent are the words “Florida, Gainesville, University of Florida is HOME” with a simple house drawn around the word “home.” Written at the bottom of the page: “Was visible in Gainesville? What if African students felt more at home in Gainesville? What if we had a more visible counseling center at UF”
  • Figure 4. A workshop participant begins to realize their design for “a future otherwise” in clay.
    On large sheets of white paper laid on a table, a sketch of benches forming a circle is labeled “Collaboration Conversation benches.” Next to the sketch, rounded segments of green clay comprise a circle with small breaks in it. Small clay figures, a large plastic tub of clay, and other art-making supplies are in the background.
  • Figure 5. This clay scenario—created by a Caribbean accountant, an African American human resources staffperson, and a Gullah-descendant faculty member—depicts a future where Black bodies can freely enjoy green spaces on campus.
    A brown clay figure sits in a white chair. Blue clay waves lap at her feet. A brilliant yellow leafed tree and sun made of clay are on the right, birds made of blue clay fly overhead, and a clay tree with thick and deep roots as well as a vibrant red and white flower are to the left.
Collectively, participants created a storymap on belonging, interactive timelines, stop-motion videos with clay sculptures, short video-narratives, and poetry (Video 2). All are available on the Decolonizing Representations open-access on-line exhibit. (See a video summary of the second workshop experience in Supporting Materials.)
Video 2. Doctoral student Alexis Freeman, participant in a Designing a Future Otherwise workshop, reads her poem “What if…” inspired by the prompt “What if the university campus were as I would like it to be 500 years from now?” Not only is the poem itself evocative of a future that is founded upon liberation, but also videography elements such as shadows, lighting, and framing help evoke the scene. Especially potent is the last part, where Freeman looks into the camera and asks us “What if…I…became my ancestors’ wildest dreams!”
In addition, we hired Story Cycle, a local Florida innovation using a custom-designed bicycle to promote and record community storytelling (Figure 6) to record participants’ stories, and a local Latina woman to cater the event. A local Black photographer documented the workshops and offered professional portraits and group shots for the participants. She became a vocal participant herself.
Figure 6. Story Cycle.
A bicycle is parked in front of a red brick building. Attached to the bicycle is a booth painted with blue sky, white clouds, and the words “Story Cycle” in white script. In front of the bicycle is a sign reading “Decolonizing Representations Workshop. Share your story.” One person stands looking at the bicycle and sign; another stands nearby.

Workshop participants improved their knowledge of decolonization as a conceptual tool and as a tool of praxis, sharing conversations and the collaborative production of an alternative future with people from different countries and different positions. One participating professor said: 

The experience of this workshop, the tactility of it, the creation part, really made me think about a couple of things: praxis, and thinking about my classroom, and how to transform my own classroom; thinking about community, very much loving the fact that I can connect with people that I would have never connected with outside of this workshop...

Continuing the Work in the Community

This work to convey underrepresented stories through innovative, collaborative partnerships developed into six interconnected grant-funded projects on African descendants in Florida. For these interwoven projects, we conducted research, crafted multimodal products to share the research with the public, continued the Decolonizing Representation workshops, and created communal learning experiences at historically significant Black locations, public museums, and in university and high school classrooms. Additionally, we integrated graduate, undergraduate, and high school students into the process, enabling learning through field trips and praxis.

In one such event, local K-12 teachers, students, and community leaders learned about oral history interviews of local African American leaders in the Samuel Proctor Oral History (SPOHP) archives and in the repositories we had created in earlier Decolonizing Representations workshops. Scholars, community leaders, and artists gave poignant presentations including: Afrofuturist scholar Julian Chambliss on Afrofuturism and zine-making; Executive Director of the Cotton Club Museum and Cultural Center Vivian Filer on poetic storytelling or "storiespoeticallytold"; visual and ecological anthropologist Amanda Concha-Holmes on Evocative Ethnography as praxis; local historian Cynthia Wilson-Graham on the importance of joy for Black families at Paradise Park during the Jim Crow South. Additionally, Poet Laureate of Alachua County J. Stanley Richardson and doctoral student in education Alexis Freeman offered their poems and Mosunmola Adeojo guided everyone in Yoruba call and response singing.
  • Figure 7. Workshop participants, many of them K-12 teacher in Alachua County, apply skills learned in the workshop, using art supplies and archival materials to create zines.
    People sit on folding chairs at long rectangular tables, working with colorful art supplies, printed pages, and laptops.
  • Figure 8. Select archival documents are scanned and printed for use in participants’ zines.
    A computer screen showing a scan of a signed document entitled “House Concurrent Resolution No. 174.” Much of the document is handwritten in script, and it is dated April 5, 1957.
  • Figure 9. This zine, entitled “The Silenced, was created at the workshop and is about enslaved Africans who were sent to East Florida. They wore a “yellow silk ferret” or ribbon tied around the wrist to recognize them as enslaved. The zine includes newspaper clippings that show these folks for sale. It inquires, “How do we retrieve lives archived as commodities?
    A rectangular paper loosely collaged with ink print, newspaper clippings, hand-written words, photocopied script, and a yellow ribbon. The title reads “The Silenced.” A bit of photocopied script reads, “A Midell Aged Negros Man and Wife Named Robert and Nansey…Wich he left with me…” Below that, block-printed letters read “who are ROBERT & NANSEY.” “Enslaved Africans in British East-Florida 1763-1783” is hand-written at the bottom of the paper.

Following that workshop, we created an exhibit at the Harn Museum of Art during Family Night to show the works and encourage conversations around the stories. Dr. Eric Segal created an interactive exhibit on the touchscreen monitor that included some of the many digital media products we produced: 360-degree immersive videos, podcasts, oral history archives, digital mapping projects, photographs, videos, geospatial mapping, and a visual mapping of a content analysis of interviews. All had QR codes so the public could interactively engage and tell their own stories.

Figure 10. A hands-on art-making activity at the Harn Museum of Art “Decolonizing Representations” exhibit.
Four people sit on folding chairs at a table, making things out of the colored paper, stamps, photocopies, paints, and glue arrayed on the table. Behind them is a poster exhibit with children’s drawings and photos of children.

Student Podcasts

Within our ongoing community collaborations, Ryan Vasquez, Multimedia News Manager at UF’s PBS television affiliate WUFT, co-directed the Decolonizing the Curriculum podcast series. Podcast episodes were paired with community listening events that integrated artists, scholars, K-12 teachers, and community leaders at historically significant Black locales. These events featured arts and humanities speakers, food catered by local women-owned and Black-owned businesses, West African dancing and drumming, African-centric storytelling, and digital humanities exhibitions.

In addition, the public at these events was invited to evaluate and give feedback on the podcasts and animations we were creating. During one community listening event, educators told us that it was important that young voices of color also be included as narrators. So, we connected WUFT with African American Studies classes at Eastside High School and with the UF African American Studies Program. Through this program that we called SAAADHI (Sankofa African American Arts and Digital Humanities Initiative), students learned oral history archival research and podcasting skills, gaining valuable hands-on experience (Figures 11 and 12). These student podcasts were broadcast publicly. The final episode on Unsung Black Heroes of Alachua County was created with Ms. Lyon’s Eastside high school students and facilitated by Alachua County Public Schools Social Studies Curriculum Specialist Dr. Jon Rehm using the Samuel Proctor Oral History archives.

Figure 11. Dr. Robert L. Stevenson, a historian of African American Studies at UF, speaks to students at Eastside High School.
A man dressed in a suit stands speaking at the front of a classroom with white cinderblock walls. A projected slide behind him reads “Eastside High School: Civil Rights and the History of Law Enforcement in America.”
Figure 12. An Eastside HS student gets one-on-one instruction in digital editing.
Two people work on a laptop displaying a digital timeline with a wave pattern in peaks and valleys.

At an end-of-semester celebration, students had their portraits professionally taken and were presented with printed certificates recognizing their accomplishments. The UF College of Journalism and Communications offered a free summer program to the students, while SPOHP and CAME offered them paid summer internships.

Following that initial work, we were able to open a media lab at the high school so students could continue to create podcasts and media productions. We have continued to bring in African and African American Studies scholars to their classes as well as bring the students to the university campus, including to the WUFT recording studio. As with the classroom visits, the studio visits include community members sharing arts and/or history (Figure 13), as well as hands-on experience in film and audio production (Figure 14).

Figure 13. Artist Charles Eady speaks to Eastside African American Studies high school students at the WUFT studios. He stands in front of his more-than-life size paintings of free Blacks in the pre-cival war South. These paintings are based on his research in the archives of South Carolina, and the paintings themselves contain reproductions of archival documents.
A man stands speaking under bright stage lights. Behind him are two large painted portraits of Black men.
Figure 14. WUFT Director of Media Services Matt Abramson teaches students how to use cameras and other equipment to film and audio record scholars, artists, and community leaders on stage.
Students sit in rows of folding chairs listening to a man speak at the front of the group. He has a laptop open on a table in front of him and a TV screen displaying the letters “WUFT” next to him. Bright lights hang from the ceiling and recording equipment stands in the corner of the room.

The Collaboratory and Next Steps

Now, we, along with other scholars, artists, and community leaders, meet as The Collaboratory. Contributors share their research and provide collective support to sustain challenges to increasingly oppressive legislation that bans books and subjects from schools. We excavate, evoke, and share hidden stories of success, joy, and cultural nuance that promote understanding of Black lives in the U.S. South. Using archives, memories, and artifacts, we weave together a rich tapestry of oral histories, interviews, archival footage, music, art, dance performances, animated vignettes, and theatrical reenactments into digital storytelling experiences that evoke counter-narratives to mainstream stereotypes in ways that are culturally relevant for African descendant communities and the global public at large, and that confront and heal the traumas of racism.

Importantly, we inspire each other to continue our work through new collaborations—for example, through animation. Animation is an artistic and accessible form to teach students and community members hidden histories in evocative ways (Video 3).

Video 3. Based on research by art historian Robin Poynor and a script written and narrated by Nigerian-born doctoral candidate Mosunmola Adeojo, Kandice Rodriguez, a Puerto-Rican and Black Florida native freelance animator, crafted this short-animation to evoke some of the complexity of Black lives in Florida that are connected to the continent of Africa. Haitian-American Afrofuturist musician Wester Joseph composed the soundtrack. This Afrofuturist story is about a young student in their classroom. As time drips into another dimension, they begin to expand their knowledge and understanding of the rich history of African heritage. Water is a vessel of memory, and a connection to the cultural and intellectual heritage of the African diaspora.

This animation, and Collaboratory research, are the basis for the next phases of the project. We are now working on a multimodal manuscript that will be published with Afro-PWW (Publishing Without Walls). We are also submitting grant proposals to craft a documentary television series evoking the hidden histories of Black lives in the U.S. South, as well as to translate biographies into avatars and environments for a series of video games so the next generation can learn these important stories in evocative ways.

The use of critical art making and community bonding that happens when we experience the past, dynamically create the present, and design the future is palpable and necessary for an improved future with cultural competency.

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Acknowledgements

University of Florida Humanities and the Public Sphere University of Florida Center for Arts, Migration, and Entrepreneurship (CAME) University of Florida Admissions University of Florida Sankofa African American Studies Society University of Florida Division of Student Life University of Florida Chief Diversity Office University of Florida African American Studies Florida Humanities: Broadcasting Hope National Endowment for the Humanities Advancing Racial Justice through Inclusion, Diversity, Equity, and Access at the University of Florida Education Equalizers and Dr. Carje Scott Digital Worlds WUFT Media Bob Graham Center for Public Service Alachua County Public Schools IRIE Center (Innovative Research and Intercultural Education) Deep Roots Arts and Culture Creative Services Barakissa Coulibaly SAAADHI (Sankofa African American Arts and Digital Humanities Initiative)

Supporting Materials

Nigerian-born graduate student Mosunmola Adeojo made this video to summarize her group's experience in an early Decolonizing Representations workshop. They used clay and stop-motion film to “design a future otherwise” about a sense of belonging for African nationals at UF. This work developed into its own project.
Mosunmola Adeojo, edited by Juan Concha-Holmes





Contributors

 Amanda D. Concha-Holmes†: Conceptualization, Data curation, Formal Analysis, Funding acquisition, Investigation inquiry, Methodology, Production - Technical, Production - Creative, Project administration, Reflective Analysis, Visualization, Writing – original draft
Alexis Freeman†: Investigation inquiry, Methodology, Production - Technical, Production - Creative, Project administration, Reflective Analysis
Jon Rehm†: Funding acquisition, Investigation inquiry, Methodology, Production - Technical, Production - Social, Project administration, Relationship Development Outreach, Resources, Supervision, Validation
Juan Concha-Holmes†: Conceptualization, Methodology, Production - Technical, Production - Creative, Resources, Visualization
Cynthia Wilson-Graham†: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Methodology, Production - Technical, Production - Social, Reflective Analysis, Relationship Development Outreach
Turbado Marabou†: Conceptualization, Production - Creative, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources, Validation, Visualization
Adeojo Mosunmola†: Conceptualization, Production - Creative, Reflective Analysis, Relationship Development Outreach, Resources, Visualization
Rujeko Dumbutshena†: Methodology, Production - Technical, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
Magdalena Lamarre†: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Methodology, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
Robert L. Stevenson†: Conceptualization, Investigation inquiry, Methodology, Production - Social, Reflective Analysis, Relationship Development Outreach
Charles Eady: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Methodology, Production - Creative, Reflective Analysis, Relationship Development Outreach, Resources, Visualization
Ryan Vasquez: Funding acquisition, Methodology, Production - Technical, Production - Creative, Production - Social, Project administration, Resources, Supervision
Deborah Hendrix: Data curation, Investigation inquiry, Methodology, Production - Technical, Production - Creative, Relationship Development Outreach, Resources
Adolfho Romero: Data curation, Investigation inquiry, Methodology, Production - Technical, Production - Creative, Relationship Development Outreach, Resources
Paul Ortiz: Funding acquisition
Sophia Acord: Conceptualization, Funding acquisition, Investigation inquiry, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
Barakissa Coulibaly: Conceptualization, Production - Creative, Production - Social, Relationship Development Outreach, Resources
Eric Segal: Methodology, Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Resources, Visualization
Vivian Filer: Methodology, Production - Creative, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
E. Stanley Richardson: Methodology, Production - Creative, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources, Visualization
Julian Chambliss: Conceptualization, Formal Analysis, Funding acquisition, Investigation inquiry, Methodology, Production - Creative, Reflective Analysis, Relationship Development Outreach, Resources, Visualization
Matt Abramson: Production - Technical, Resources, Visualization
Adreanne Martinez: Conceptualization, Data curation, Formal Analysis, Funding acquisition, Investigation inquiry, Production - Technical, Production - Social, Project administration
Gabriella Paul: Conceptualization, Data curation, Formal Analysis, Funding acquisition, Investigation inquiry, Methodology, Production - Technical, Production - Creative, Project administration
Kiana Herring: Production - Technical Project administration
Kiara Thompson: Production - Technical, Production - Creative, Production - Social
David Canton: Conceptualization, Funding acquisition, Production - Social, Project administration, Relationship Development Outreach, Resources, Supervision
Randy Brown: Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Resources
Carjie Scott: Conceptualization, Methodology, Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Resources
Courtney Moore: Production - Technical, Production - Social, Relationship Development Outreach, Resources
Maya Victor: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Production - Technical, Production - Creative, Visualization
Jeremy Frusco: Data curation, Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Resources
Bailey Terri: Production - Creative, Production - Social, Resources
Jemeshia Lyons: Investigation inquiry, Production - Social, Relationship Development Outreach, Resources, Supervision, Visualization
Kandice Rodriguez: Conceptualization, Data curation, Methodology, Production - Technical, Production - Creative, Resources, Visualization
Antonio Farias: Funding acquisition, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
Darius Brown: Methodology, Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Resources, Visualization
Kieryth Hyles: Data curation, Investigation inquiry, Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach
Kerry Dowd: Investigation inquiry, Production - Technical, Production - Social, Relationship Development Outreach, Resources
Sky Lebron: Conceptualization, Data curation, Investigation inquiry, Production - Technical, Production - Creative, Project administration
Tamarra Jenkins: Funding acquisition, Production - Technical, Production - Social, Relationship Development Outreach, Resources
Robin Poynor: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Reflective Analysis, Relationship Development Outreach, Resources
Meleah Lyden: Data curation, Formal Analysis, Investigation inquiry, Production - Technical, Production - Creative, Visualization
Uzi Baram: Conceptualization, Data curation, Formal Analysis, Investigation inquiry, Reflective Analysis
Braxton Rae: Conceptualization, Investigation inquiry, Methodology
Ahnivenitta Ozuzu: Funding acquisition Production - Technical
Nakamura Pak: Conceptualization, Data curation, Formal Analysis, Production - Technical, Production - Creative, Production - Social, Visualization
Saidah Carter-Nash: Conceptualization, Data curation, Investigation inquiry
James Cusick: Conceptualization, Data curation, Production - Technical, Production - Social, Relationship Development Outreach, Resources
Florence Turcotte: Conceptualization, Data curation, Production - Technical, Production - Social, Relationship Development Outreach, Resources
Anthony Dixon: Conceptualization, Data curation, Formal Analysis, Resources
Marie Kessler: Relationship Development Outreach Resources
Lexi Braun: Relationship Development Outreach Resources
Jane Landers: Conceptualization, Formal Analysis, Investigation inquiry, Reflective Analysis, Resources
Leslie Harris: Conceptualization, Methodology, Production - Social, Relationship Development Outreach, Resources
Ronald Bailey: Conceptualization, Relationship Development Outreach, Resources, Supervision
Paul Losch: Investigation inquiry, Relationship Development Outreach, Resources
Kaitlyn Hof-Mahoney: Production - Technical, Production - Social, Relationship Development Outreach, Resources
LaQianya Huynh: Production - Technical, Production - Creative, Production - Social, Relationship Development Outreach, Visualization
Judy Vergara: Production - Technical, Production - Creative, Production - Social, Resources
Sharon Austin: Funding acquisition, Investigation inquiry, Relationship Development Outreach, Resources
Sid Dobrin: Funding acquisition, Relationship Development Outreach, Resources
Stephen Arce: Conceptualization, Funding acquisition, Investigation inquiry, Methodology, Relationship Development Outreach, Resources
Stephanie Birch: Conceptualization, Funding acquisition, Investigation inquiry, Methodology, Production - Technical, Production - Creative, Production - Social, Project administration, Relationship Development Outreach, Resources, Visualization
Crystal Felima: Conceptualization, Funding acquisition, Investigation inquiry
Terry Harpold: Conceptualization, Funding acquisition, Investigation inquiry
Sri Kalyanaraman: Conceptualization, Funding acquisition, Investigation inquiry
Ryan Morini: Conceptualization, Funding acquisition, Investigation inquiry, Methodology, Relationship Development Outreach, Resources
James Oliverio: Conceptualization, Funding acquisition, Investigation inquiry, Relationship Development Outreach, Resources
Roopika Risam: Conceptualization Investigation inquiry
Skawennati: Conceptualization Methodology
Robin Wright: Investigation inquiry
Ana Puig: Investigation inquiry Methodology
marilyn thomas-houston: Funding acquisition, Investigation inquiry, Production - Technical, Production - Creative, Project administration, Relationship Development Outreach, Resources, Supervision, Validation, Visualization
Mary Ton: Investigation inquiry, Production - Technical, Production - Creative, Project administration, Resources, Supervision, Validation, Visualization
Dan Tracey: Production - Technical, Resources, Supervision
Alex Dryden: Production - Technical, Resources, Supervision
Welson Tremura: Methodology, Production - Creative, Production - Social
Sara Gonzales: Conceptualization, Methodology, Visualization
Venetia Ponds: Conceptualization, Investigation inquiry, Reflective Analysis
Carl Van Ness: Conceptualization, Data curation, Production - Technical, Production - Social, Reflective Analysis, Relationship Development Outreach, Resources
Sandra Romero: Data curation
Shannon Butts: Investigation inquiry Methodology
Kole Odutola: Production - Creative Visualization
Paul Lewin: Production - Creative, Resources, Visualization
Nicholas Frecht: Methodology, Production - Technical, Production - Creative, Resources, Visualization
Aaron Colverson: Investigation inquiry, Production - Creative, Visualization
Karen Jones: Funding acquisition, Production - Technical, Resources
Patricia King: Funding acquisition, Production - Technical, Resources
Matt Griffin: Conceptualization, Investigation inquiry, Production - Creative, Relationship Development Outreach, Visualization

Roles

 Conceptualization: Amanda D. Concha-Holmes†, Juan Concha-Holmes†, Cynthia Wilson-Graham†, Turbado Marabou†, Adeojo Mosunmola†, Magdalena Lamarre†, Robert L. Stevenson†, Charles Eady, Sophia Acord, Barakissa Coulibaly, Julian Chambliss, Adreanne Martinez, Gabriella Paul, David Canton, Carjie Scott, Maya Victor, Kandice Rodriguez, Sky Lebron, Robin Poynor, Uzi Baram, Braxton Rae, Nakamura Pak, Saidah Carter-Nash, James Cusick, Florence Turcotte, Anthony Dixon, Jane Landers, Leslie Harris, Ronald Bailey, Stephen Arce, Stephanie Birch, Crystal Felima, Terry Harpold, Sri Kalyanaraman, Ryan Morini, James Oliverio, Roopika Risam, Skawennati, Sara Gonzales, Venetia Ponds, Carl Van Ness,, Matt Griffin.
Data curation: Amanda D. Concha-Holmes†, Cynthia Wilson-Graham†, Magdalena Lamarre†, Charles Eady, Deborah Hendrix, Adolfho Romero, Adreanne Martinez, Gabriella Paul, Maya Victor, Jeremy Frusco, Kandice Rodriguez, Kieryth Hyles, Sky Lebron, Robin Poynor, Meleah Lyden, Uzi Baram, Nakamura Pak, Saidah Carter-Nash, James Cusick, Florence Turcotte, Anthony Dixon, Carl Van Ness,, Sandra Romero.
Formal Analysis: Amanda D. Concha-Holmes†, Cynthia Wilson-Graham†, Magdalena Lamarre†, Charles Eady, Julian Chambliss, Adreanne Martinez, Gabriella Paul, Maya Victor, Robin Poynor, Meleah Lyden, Uzi Baram, Nakamura Pak, Anthony Dixon,, Jane Landers.
Funding acquisition: Amanda D. Concha-Holmes†, Jon Rehm†, Ryan Vasquez, Paul Ortiz, Sophia Acord, Julian Chambliss, Adreanne Martinez, Gabriella Paul, David Canton, Antonio Farias, Tamarra Jenkins, Ahnivenitta Ozuzu, Sharon Austin, Sid Dobrin, Stephen Arce, Stephanie Birch, Crystal Felima, Terry Harpold, Sri Kalyanaraman, Ryan Morini, James Oliverio, marilyn thomas-houston, Karen Jones,, Patricia King.
Investigation and inquiry: Amanda D. Concha-Holmes†, Alexis Freeman†, Jon Rehm†, Cynthia Wilson-Graham†, Magdalena Lamarre†, Robert L. Stevenson†, Charles Eady, Deborah Hendrix, Adolfho Romero, Sophia Acord, Julian Chambliss, Adreanne Martinez, Gabriella Paul, Maya Victor, Jemeshia Lyons, Kieryth Hyles, Kerry Dowd, Sky Lebron, Robin Poynor, Meleah Lyden, Uzi Baram, Braxton Rae, Saidah Carter-Nash, Jane Landers, Paul Losch, Sharon Austin, Stephen Arce, Stephanie Birch, Crystal Felima, Terry Harpold, Sri Kalyanaraman, Ryan Morini, James Oliverio, Roopika Risam, Robin Wright, Ana Puig, marilyn thomas-houston, Mary Ton, Venetia Ponds, Shannon Butts, Aaron Colverson,, Matt Griffin.
Methodology: Amanda D. Concha-Holmes†, Alexis Freeman†, Jon Rehm†, Juan Concha-Holmes†, Cynthia Wilson-Graham†, Rujeko Dumbutshena†, Magdalena Lamarre†, Robert L. Stevenson†, Charles Eady, Ryan Vasquez, Deborah Hendrix, Adolfho Romero, Eric Segal, Vivian Filer, E. Stanley Richardson, Julian Chambliss, Gabriella Paul, Carjie Scott, Kandice Rodriguez, Darius Brown, Braxton Rae, Leslie Harris, Stephen Arce, Stephanie Birch, Ryan Morini, Skawennati, Ana Puig, Welson Tremura, Sara Gonzales, Shannon Butts,, Nicholas Frecht.
Production - Technical: Amanda D. Concha-Holmes†, Alexis Freeman†, Jon Rehm†, Juan Concha-Holmes†, Cynthia Wilson-Graham†, Rujeko Dumbutshena†, Ryan Vasquez, Deborah Hendrix, Adolfho Romero, Eric Segal, Matt Abramson, Adreanne Martinez, Gabriella Paul, Kiana Herring, Kiara Thompson, Randy Brown, Carjie Scott, Courtney Moore, Maya Victor, Jeremy Frusco, Kandice Rodriguez, Darius Brown, Kieryth Hyles, Kerry Dowd, Sky Lebron, Tamarra Jenkins, Meleah Lyden, Ahnivenitta Ozuzu, Nakamura Pak, James Cusick, Florence Turcotte, Kaitlyn Hof-Mahoney, LaQianya Huynh, Judy Vergara, Stephanie Birch, marilyn thomas-houston, Mary Ton, Dan Tracey, Alex Dryden, Carl Van Ness, Nicholas Frecht, Karen Jones,, Patricia King.
Production - Creative: Amanda D. Concha-Holmes†, Alexis Freeman†, Juan Concha-Holmes†, Turbado Marabou†, Adeojo Mosunmola†, Charles Eady, Ryan Vasquez, Deborah Hendrix, Adolfho Romero, Barakissa Coulibaly, Eric Segal, Vivian Filer, E. Stanley Richardson, Julian Chambliss, Gabriella Paul, Kiara Thompson, Randy Brown, Carjie Scott, Maya Victor, Jeremy Frusco, Bailey Terri, Kandice Rodriguez, Darius Brown, Kieryth Hyles, Sky Lebron, Meleah Lyden, Nakamura Pak, LaQianya Huynh, Judy Vergara, Stephanie Birch, marilyn thomas-houston, Mary Ton, Welson Tremura, Kole Odutola, Paul Lewin, Nicholas Frecht, Aaron Colverson,, Matt Griffin.
Project administration: Amanda D. Concha-Holmes†, Alexis Freeman†, Jon Rehm†, Ryan Vasquez, Adreanne Martinez, Gabriella Paul, Kiana Herring, David Canton, Sky Lebron, Stephanie Birch, marilyn thomas-houston,, Mary Ton.
Reflective Analysis: Amanda D. Concha-Holmes†, Alexis Freeman†, Cynthia Wilson-Graham†, Turbado Marabou†, Adeojo Mosunmola†, Rujeko Dumbutshena†, Magdalena Lamarre†, Robert L. Stevenson†, Charles Eady, Sophia Acord, Vivian Filer, E. Stanley Richardson, Julian Chambliss, Antonio Farias, Robin Poynor, Uzi Baram, Jane Landers, Venetia Ponds,, Carl Van Ness.
Visualization: Amanda D. Concha-Holmes†, Juan Concha-Holmes†, Turbado Marabou†, Adeojo Mosunmola†, Charles Eady, Eric Segal, E. Stanley Richardson, Julian Chambliss, Matt Abramson, Maya Victor, Jemeshia Lyons, Kandice Rodriguez, Darius Brown, Meleah Lyden, Nakamura Pak, LaQianya Huynh, Stephanie Birch, marilyn thomas-houston, Mary Ton, Sara Gonzales, Kole Odutola, Paul Lewin, Nicholas Frecht, Aaron Colverson,, Matt Griffin.
Writing – original draft: Amanda D. Concha-Holmes†.
Production - Social: Jon Rehm†, Cynthia Wilson-Graham†, Turbado Marabou†, Rujeko Dumbutshena†, Magdalena Lamarre†, Robert L. Stevenson†, Ryan Vasquez, Sophia Acord, Barakissa Coulibaly, Eric Segal, Vivian Filer, E. Stanley Richardson, Adreanne Martinez, Kiara Thompson, David Canton, Randy Brown, Carjie Scott, Courtney Moore, Jeremy Frusco, Bailey Terri, Jemeshia Lyons, Antonio Farias, Darius Brown, Kieryth Hyles, Kerry Dowd, Tamarra Jenkins, Nakamura Pak, James Cusick, Florence Turcotte, Leslie Harris, Kaitlyn Hof-Mahoney, LaQianya Huynh, Judy Vergara, Stephanie Birch, Welson Tremura,, Carl Van Ness.
Relationship Development and Outreach: Jon Rehm†, Cynthia Wilson-Graham†, Turbado Marabou†, Adeojo Mosunmola†, Rujeko Dumbutshena†, Magdalena Lamarre†, Robert L. Stevenson†, Charles Eady, Deborah Hendrix, Adolfho Romero, Sophia Acord, Barakissa Coulibaly, Eric Segal, Vivian Filer, E. Stanley Richardson, Julian Chambliss, David Canton, Randy Brown, Carjie Scott, Courtney Moore, Jeremy Frusco, Jemeshia Lyons, Antonio Farias, Darius Brown, Kieryth Hyles, Kerry Dowd, Tamarra Jenkins, Robin Poynor, James Cusick, Florence Turcotte, Marie Kessler, Lexi Braun, Leslie Harris, Ronald Bailey, Paul Losch, Kaitlyn Hof-Mahoney, LaQianya Huynh, Sharon Austin, Sid Dobrin, Stephen Arce, Stephanie Birch, Ryan Morini, James Oliverio, marilyn thomas-houston, Carl Van Ness,, Matt Griffin.
Resources: Jon Rehm†, Juan Concha-Holmes†, Turbado Marabou†, Adeojo Mosunmola†, Rujeko Dumbutshena†, Magdalena Lamarre†, Charles Eady, Ryan Vasquez, Deborah Hendrix, Adolfho Romero, Sophia Acord, Barakissa Coulibaly, Eric Segal, Vivian Filer, E. Stanley Richardson, Julian Chambliss, Matt Abramson, David Canton, Randy Brown, Carjie Scott, Courtney Moore, Jeremy Frusco, Bailey Terri, Jemeshia Lyons, Kandice Rodriguez, Antonio Farias, Darius Brown, Kerry Dowd, Tamarra Jenkins, Robin Poynor, James Cusick, Florence Turcotte, Anthony Dixon, Marie Kessler, Lexi Braun, Jane Landers, Leslie Harris, Ronald Bailey, Paul Losch, Kaitlyn Hof-Mahoney, Judy Vergara, Sharon Austin, Sid Dobrin, Stephen Arce, Stephanie Birch, Ryan Morini, James Oliverio, marilyn thomas-houston, Mary Ton, Dan Tracey, Alex Dryden, Carl Van Ness, Paul Lewin, Nicholas Frecht, Karen Jones,, Patricia King.
Supervision: Jon Rehm†, Ryan Vasquez, David Canton, Jemeshia Lyons, Ronald Bailey, marilyn thomas-houston, Mary Ton, Dan Tracey,, Alex Dryden.
Validation: Jon Rehm†, Turbado Marabou†, marilyn thomas-houston,, Mary Ton.
† denotes by-line credit.

Completed

 Between August 2021 and August 2022

Website:

 Project Site

Sites and Institutes

 Cotton Club Museum and Cultural Center , CCMCC
Matheson History Museum , Matheson History Museum
Harn Museum of Art, University of Florida
Eastside High School African American Studies, Eastside High School
Samuel Proctor Oral History Program, University of Florida
Institute of Black Culture, University of Florida
WUFT Media Services, University of Florida
IRIE Center (Innovative Research and Intercultural Education)
Alachua County Public Schools

Keywords

 Black Studies Decolonizing Representations Identity Animations Oral Histories Ciritcal Art Making Podcast Digital Humanities Public Humanities

Disciplines

 Anthropology Art Community Based Design History Digital Humanities Afrofuturism Oral History

Views

 244 views

Collection

 Creating Knowledge in Common

Collection Indexing Tags

 #Community Art #Participatory Design #Radical pedagogy #Redistribution #Reproducibility #Risktaking #Capacity building #Power #Representation