Reimagining Black Art And Criminology

Martin Glynn explores the relevance black artistic contributions have for understanding crime and justice. Through art forms including black crime fiction, black theatre and black music, this book brings attention to marginalized perspectives within mainstream criminology.

Invisible Voices explores the intersection of criminology and history as a way of contextualizing the historical black presence in crime and punishment in the UK. Through case studies, court transcripts, and biographical accounts it reimagines the understanding/s of the role of history in shaping contemporary perceptions. The book: Moves beyond the confines of presenting ‘criminological history’ as monocultural Demonstrates how ‘mainstream criminology’ is complicit in obscuring ‘hidden criminological histories' Critically assesses the implications regarding the positioning of ‘the black presence’ within the discipline of criminology Revises current thinking around excluded, marginalized, and muted histories, when looking at ‘crime and punishment’ as a whole. The opening chapters lay the foundation for locating the historical black presence in crime and punishment, whilst offering practical guidance for anyone wanting to pursue the journey of unearthing hidden history. Chapters 5–9 comprise compelling case studies designed to fuel new discussions regarding important excluded voices in crime and punishment history. The following chapters reveal powerful testimonies from those black voices involved in speaking out against slavery during the Georgian and Victorian periods, and highlight the pivotal role played by black activists during significant periods of British history. Chapter 12 explores ‘The Black Rage Defence’, illuminating a moment in British legal history which tied both the UK and US into a struggle for validating mental health and offending, where race was a significant factor. The final chapter focuses on the need to engage criminologists in a critical dialogue regarding a reimagining of the way criminological history is (re)presented. Invisible Voices is crucial reading for students not just of Criminology and History, but also Sociology, Cultural Studies, Black Studies and Law, as well as criminal justice practitioners. It also aims to provide scope for A-Level students contemplating going to university, community educational programmes, and prison education departments, as well as anyone wanting to learn more about the black presence in UK history.

Invisible Voices explores the intersection of criminology and history as a way of contextualizing the historical black presence in crime and punishment in the UK. Through case studies, court transcripts, and biographical accounts it reimagines the understanding/s of the role of history in shaping contemporary perceptions. The book: Moves beyond the confines of presenting 'criminological history' as monocultural Demonstrates how 'mainstream criminology' is complicit in obscuring 'hidden criminological histories' Critically assesses the implications regarding the positioning of 'the black presence' within the discipline of criminology Revises current thinking around excluded, marginalized, and muted histories, when looking at 'crime and punishment' as a whole. The opening chapters lay the foundation for locating the historical black presence in crime and punishment, whilst offering practical guidance for anyone wanting to pursue the journey of unearthing hidden history. Chapters 5-9 comprise compelling case studies designed to fuel new discussions regarding important excluded voices in crime and punishment history. The following chapters reveal powerful testimonies from those black voices involved in speaking out against slavery during the Georgian and Victorian periods, and highlight the pivotal role played by black activists during significant periods of British history. Chapter 12 explores 'The Black Rage Defence', illuminating a moment in British legal history which tied both the UK and US into a struggle for validating mental health and offending, where race was a significant factor. The final chapter focuses on the need to engage criminologists in a critical dialogue regarding a reimagining of the way criminological history is (re)presented. Invisible Voices is crucial reading for students not just of Criminology and History, but also Sociology, Cultural Studies, Black Studies and Law, as well as criminal justice practitioners. It also aims to provide scope for A-Level students contemplating going to university, community educational programmes, and prison education departments, as well as anyone wanting to learn more about the black presence in UK history.

In light of the Black Lives Matter movement and protests in many cities, the role of race in crime and justice is now ever-more salient. Within theoretical criminology, however, race has oddly remained on the periphery. It is often introduced as a control variable in tests of theories and is rarely incorporated as a central construct in mainstream paradigms (e.g., control, social learning, and strain theories). When race is discussed, the standard approach is to embrace the racial invariance thesis, which argues that any racial differences in crime are due to African Americans being exposed to the same criminogenic risk factors as are Whites, just more of them. An alternative perspective has emerged that seeks to identify the unique, racially specific conditions that only Blacks experience. Within the United States, these conditions are rooted in the historical racial oppression experienced by African Americans, whose contemporary legacy includes concentrated disadvantage in segregated communities, racial socialization by parents, experiences with and perceptions of racial discrimination, and disproportionate involvement in and potentially unjust treatment by the criminal justice system. Importantly, racial invariance and racial exceptionalism are not mutually exclusive perspectives. Evidence exists that Blacks and Whites commit crimes for both the same reasons (invariance) and for different reasons (exceptionalism). A full understanding of race and crime thus must involve demarcating both the general and specific causes of crime, the latter embedded in what it means to be "Black" in the United States. This volume seeks to explore these theoretical issues in a depth and breadth that is not common under one cover. Again, given the salience of race and crime, this volume should be of interest to a wide range of criminologists and have the potential to be used in graduate seminars and upper-level undergraduate courses.

In light of the Black Lives Matter movement and protests in many cities, the role of race in crime and justice is now ever-more salient. This volume seeks to explore theoretical issues in depth and breadth, it should be of interest to a range of criminologists and have the potential to be used in graduate seminars and upper-level undergraduate courses.

Police shootings and incarceration inequalities are two examples of the legacy of slavery in the US and UK. Offering a criminological exploration of the case for slavery and anti-black racism reparations in the context of enduring harms and differential treatment of black citizens, this book refutes the policy perspectives that oppose reparations.

This ground-breaking book explores the practical applications of queer theory for criminal justice practitioners.

"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."