Sistuhs in the Struggle

Forsgren, La Donna L.

doi:10.2307/j.ctv15vwkfd

Cited by 7 publications

(1 citation statement)

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“…I Know Why the Caged Bird Sings (Angelou, 1969) inspires us to explore how knowledge that reflects the value of our histories could be produced in the academy. Given the book’s autobiographical nature, we recognize that by drawing on it for our conceptual framing, we step into a tradition of Black feminist scholars who validate the necessity and possibilities of constructing theory, perspectives, and epistemologies that provide a “narrative of resistance within the black cultural memory” (Forsgren, 2020, p. 2). Christian (1988) points out that theory is taken seriously within the academy when it is abstract and pedantic, while on the other hand, the Black feminist tradition places value on narration, stories, and explanations of the everyday lives of Black people.…”

Section: Conceptual Frameworkmentioning

confidence: 99%

Why the caged bird sings in the academy: A decolonial collaborative autoethnography of African American and Puerto Rican faculty and staff in higher education.

Castillo‐Montoya¹,

Hunter²,

Moore³

et al. 2022

Journal of Diversity in Higher Education

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Drawing largely on the work of Maya Angelou, we use decolonial collaborative autoethnography to explore why the caged bird sings in the academy. We offer a caged bird sings framework based on Angelou's book and use it to analyze our autoethnographic performances. What we found through this work is that the legacy of colonialism in the academy continues to serve as a cage, but within that cage, we, as African American and Puerto Rican faculty and staff, continue to find ways to sing. Moreover, our song helps us at times to survive and other times to thrive. The biggest tragedy is to not sing at all, leaving the cage unchallenged.

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Section: Conceptual Frameworkmentioning

confidence: 99%