Tapestries: Interwoven voices of local and global identities


This chapter looks at the historical and current tensions between white feminism and Black feminism(s) through a lens of the sociological concept of haunting. With historical context, it examines the critiques of Beyoncé Knowles-Carter and Michelle Obama made by white feminists of the 21st century. It draws heavily on the work of Brittney Cooper, Avery Gordon, Ida B. Wells, Audre Lorde, Crunk Feminist Collective, The Combahee River Collective, and Roderick A. Ferguson. In identifying some of the ghosts that continue to haunt the national imagination of Black womanhood, and hinder white feminist critiques of Black feminists, it argues for the acknowledgment of a spectrum of feminisms that tend to intersectionality and recognize the intrinsic power of Black motherhood and Black love.

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