Daniel Ìgbín’bí Coleman
Dr. Daniel Ìgbín’bí Coleman is an organic intellectual and artist-activist who moves from within the walls of and beyond the university. He is currently an Assistant Professor of Women's, Gender, and Sexuality Studies and Affiliate Faculty Member in Africana Studies at Georgia State University. Prior to coming to GSU, Dr. Coleman was an Assistant Professor of Women's, Gender, and Sexuality Studies at the University of North Carolina at Greensboro. He received his PhD in Communication Studies (Performance Studies) from the University of North Carolina at Chapel Hill in 2017.
Dr. Coleman’s current art practice and research query the colonial limitations of the ontological and epistemological foundations of the Human in the hemispheric Americas (after Sylvia Wynter, Hortense Spillers, and others in the purview of Africana Studies), with an emphasis on its construction in the United States and Mexico. He is invested in how colonial forces, from the onset of the Transatlantic Slave Trade and terra nullius defenses of Native/Indigenous genocide, have used colonial and eugenicist logics to exclude Black/Afro-descendant, Native/Indigenous people, and many others from its Human project.
His first book, *Refusals and Reinventions: Engendering New Black and Indigenous Life Across the Americas* was published by the Ohio State University Press (March 2024). In *Refusals and Reinventions*, artist-scholar-organizer Daniel Coleman considers his critical trajectories and participation in intersectional justice struggles in the US and Mexico, situating them within larger abolitionist and decolonial movements for Black civil rights and Native/Indigenous sovereignty. He identifies how Black and Indigenous people create, exist in, and reclaim many worlds—the pluriverse—through their artistic refusals and reinventions. Coleman thus contributes to a growing body of pluriversal thought, inspired by the Zapatista emblem “a world in which many worlds fit.” Charting previously unrecognized connections among the creative struggles of Indigenous people in southern Mexico and Black people in the southern United States, Coleman draws on performance praxis, decolonial pedagogies, and Afro-diasporic and Native/Indigenous cosmologies to frame four case studies of people refusing racialized, gendered violences as world-making tools. In looking at creative responses among activists in Chiapas and in North Carolina, Coleman uses transfeminist, Black feminist, and decolonial frameworks to ask: How do creative insurgent practices give us access to our humanity? And what do praxis and engaged witnessing have to teach us about what worlds from the pluriverse hold?
Email: dcoleman48@gsu.edu
Pronouns: he/him/his and they/them/theirs (interchangeably)
Dr. Coleman’s current art practice and research query the colonial limitations of the ontological and epistemological foundations of the Human in the hemispheric Americas (after Sylvia Wynter, Hortense Spillers, and others in the purview of Africana Studies), with an emphasis on its construction in the United States and Mexico. He is invested in how colonial forces, from the onset of the Transatlantic Slave Trade and terra nullius defenses of Native/Indigenous genocide, have used colonial and eugenicist logics to exclude Black/Afro-descendant, Native/Indigenous people, and many others from its Human project.
His first book, *Refusals and Reinventions: Engendering New Black and Indigenous Life Across the Americas* was published by the Ohio State University Press (March 2024). In *Refusals and Reinventions*, artist-scholar-organizer Daniel Coleman considers his critical trajectories and participation in intersectional justice struggles in the US and Mexico, situating them within larger abolitionist and decolonial movements for Black civil rights and Native/Indigenous sovereignty. He identifies how Black and Indigenous people create, exist in, and reclaim many worlds—the pluriverse—through their artistic refusals and reinventions. Coleman thus contributes to a growing body of pluriversal thought, inspired by the Zapatista emblem “a world in which many worlds fit.” Charting previously unrecognized connections among the creative struggles of Indigenous people in southern Mexico and Black people in the southern United States, Coleman draws on performance praxis, decolonial pedagogies, and Afro-diasporic and Native/Indigenous cosmologies to frame four case studies of people refusing racialized, gendered violences as world-making tools. In looking at creative responses among activists in Chiapas and in North Carolina, Coleman uses transfeminist, Black feminist, and decolonial frameworks to ask: How do creative insurgent practices give us access to our humanity? And what do praxis and engaged witnessing have to teach us about what worlds from the pluriverse hold?
Email: dcoleman48@gsu.edu
Pronouns: he/him/his and they/them/theirs (interchangeably)
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