research post 2026-02-27

Last research post of Black History Month

Feb 28, 2026

∙ Paid

*Hannah Johnson aged 96, at home on her porch in Bolton, MS, 1974.*, Patricia Goudvis Photography Collection (Amistad Research Center)

Let’s be honest—y’all showed out this month. One hundred years later, Carter G. Woodson is looking down at us and smiling, cackling, and hollering. We did do it. And we will keep at it. Every day, every week, every month.

Bits and pieces from all over my writing desk are below. Take what you need and leave the rest. If you enjoy something here, share what you think in the comments.

Listen

Lianne La Havas - Elusive

Reads

“Ona Judge | George Washington’s Mount Vernon,” accessed February 22, 2026, https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/article/ona-judge;
“Historical Painting Is Altered to Show Most Declaration of Independence Signatories Were Enslavers,” Hyperallergic, June 18, 2020, https://hyperallergic.com/historical-painting-is-altered-to-show-most-declaration-of-independence-signatories-were-enslavers/;
“Judge Upholds Friday Deadline to Restore Slavery Exhibit at President’s House in Independence Mall,” 6abc Philadelphia, February 20, 2026, https://6abc.com/post/judge-upholds-friday-deadline-restore-slavery-exhibit-presidents-house-independence-mall-philadelphia/18625720/.
“Contact: What Happened When the Peoples of the Americas Came in Contact with Europeans?,” accessed February 22, 2026, https://nerd.wwnorton.com/ebooks/epub/givemeliberty7br/EPUB/content/1.4-chapter01.xhtml
“Animated Interactive of the History of the Atlantic Slave Trade.,” accessed February 23, 2026, https://slate.com/news-and-politics/2021/09/atlantic-slave-trade-history-animated-interactive.html;
“Chapter 9: Why Are the Digital Humanities So White? Or Thinking the Histories of Race and Computation | Tara McPherson | Debates in the Digital Humanities,” Debates in the Digital Humanities, accessed February 23, 2026, https://dhdebates.gc.cuny.edu/read/untitled-88c11800-9446-469b-a3be-3fdb36bfbd1e/section/20df8acd-9ab9-4f35-8a5d-e91aa5f4a0ea.
Moya Z. Bailey, “All the Digital Humanists Are White, All the Nerds Are Men, but Some of Us Are Brave,” Journal of Digital Humanities 1 (2011), http://journalofdigitalhumanities.org/1-1/all-the-digital-humanists-are-white-all-the-nerds-are-men-but-some-of-us-are-brave-by-moya-z-bailey/.
Margaret Rose Vendryes, “Art in the Archives: The Origins of the Art Representing the Core of the Aaron Douglas Collection from the Amistad Research Center” (M.A., Tulane University, 1992), https://www.proquest.com/docview/230617454/abstract/B786DCCB05AB4283PQ/1.
P. H. Sherry, ADDRESSES ADAPTED FROM THE 24TH ANNUAL INSTITUTE OF RACE RELATIONS (FISK UNIVERSITY, AMISTAD RESEARCH CENTER AND RACE RELATIONS DEPARTMENT, NASHVILLE, TENNESSEE) (1967), https://eric.ed.gov/?id=ED020285
Andrew Salinas and Brenda Square, “Delta Sources and Resources: The Amistad Research Center Tulane University, New Orleans, LA.,” Arkansas Review: A Journal of Delta Studies 40, no. 1 (2009): 48–51, 41027371.
National Trust for Historic Preservation, “New Rubric for Engaging Descendant Communities at Museums and Historic Sites,” National Trust for Historic Preservation, January 10, 2019, https://savingplaces.org/stories/new-rubric-for-engaging-descendant-communities.
Ron Chepesiuk, “The Amistad Research Center: Documenting the African American Experience,” Wilson Library Bulletin 67, no. 6 (1993): 57.
Clieton H. Johnson, “The American Missionary Association Race Relations Department and Amistad Research Center at Fisk University - Clieton H. Johnson, 1967,” Race, October 1, 1967, https://journals.sagepub.com/doi/abs/10.1177/030639686700900211.

Watch

Jimmy Jean-Louis, Jimmy Jean-Louis Is Toussaint Louverture, 2016,

Mr. Bill’s Official Channel, Common Routes; St.Domingue - Louisiana, 2012, 20:26,

Projects

In the Same Boats - https://sameboats.org/

In the Same Boats is a work of multimodal scholarship designed to encourage the collaborative production of humanistic knowledge within scholarly communities. The platform comprises two interactive visualizations that trace the movements of significant cultural actors from the Caribbean and wider Americas, Africa, and Europe within the 20th century Afro-Atlantic world. It presents opportunities for unearthing the extent to which Caribbean, Latin American, African, European, and Afro-American intellectuals have been in both punctual and sustained conversation with one another: attending the same conferences, publishing in the same journals and presses, active in the same political groups, perhaps even elbow-to-elbow in the same Parisian cafés and on the same transatlantic crossings—literally and metaphorically in the same boats—as they circulate throughout the Americas, Africa, Europe, and beyond.