{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://georgiadusk.aviaryplatform.com/iiif/pr7mp4xf7z/manifest","type":"Manifest","label":{"en":["BFF's Get Free: Chelsea Williams Diggs"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/699/original/Georgia_Dusk_Tagline_Primary_2x.png?1750685138","metadata":[{"label":{"en":["Date"]},"value":{"en":["2023-06"]}},{"label":{"en":["Duration"]},"value":{"en":["00:12:56"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThis oral history was recorded in June 2023 during Black Feminist Future's Get Free: A Black Feminist Reunion. The full transcript and program details can be found at \u003ca href=\"http://www.georgiadusk.com/bffs-get-free/\"\u003ewww.georgiadusk.com/bffs-get-free/\u003c/a\u003e\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eThis oral history was recorded in June 2023 during Black Feminist Future's Get Free: A Black Feminist Reunion. The full transcript and program details can be found at \u003ca href=\"http://www.georgiadusk.com/bffs-get-free/\" target=\"_blank\" rel=\"noopener\"\u003ewww.georgiadusk.com/bffs-get-free/\u003c/a\u003e\u003c/p\u003e"]},"provider":[{"id":"https://georgiadusk.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Georgia Dusk"]},"homepage":[{"id":"https://georgiadusk.aviaryplatform.com/","type":"Text","label":{"en":["Georgia Dusk"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/699/original/Georgia_Dusk_Tagline_Primary_2x.png?1750685138","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20250626-778-8tu323.mp4"]},"duration":776.77701,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/content/1","type":"AnnotationPage","items":[{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-georgiadusk.s3.wasabisys.com/collection_resource_files/resource_files/000/278/571/original/open-uri20250626-778-8tu323.mp4?1750935767","type":"Audio","format":"audio/mp3","duration":776.77701,"width":640,"height":360},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571","metadata":[]}]}],"annotations":[{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399","type":"AnnotationPage","label":{"en":["Chelsea Williams Diggs Transcript  [Transcript]"]},"items":[{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs\n\nSaturday, June 10, 2023","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=0.0,0.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins\n\nAll right. Welcome, Chelsea, thank you for joining us today.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=0.0,3.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs  \n\nThank you for having us.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=3.0,5.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins \n\nAll right, if you could please introduce yourself with your name, your pronouns, your age, and the organizing or cultural work you do.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=5.0,13.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs\n\nAll right. My name is Chelsea William Diggs, I use she her pronouns. I am currently the Interim Executive Director of the New York Abortion Access Fund. So my work, and really my life right now is consumed and really focused on abortion access, at the most tangible level. But in addition to that, I am someone who's been focused, well as well, on like international organizing, feminist global transnational feminisms, and all that good stuff. And I'm really interested in finding better ways to connect my abortion work  domestically with work internationally.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=13.0,60.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins  \n\nThank you. And, so our first question is what led you to Black feminism?","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=60.0,67.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs \n\nYes, what led me to Black feminism. Um, I think I'm like, like, perhaps many folks, I started to gain language from my experience through the classroom. So I, in undergrad, started taking Women's and Gender Studies courses, and suddenly had language to describe like all these like real life experiences, which was really, really interesting for me, and I think really, like led me on a different path than I originally thought I would be on. And I think specifically, one of one of the classes that sticks out to me is was the Black woman writers class that I took from a professor named Dr. Angeline Mitchell, who is just an amazing human who really leads a lot of work around Toni Morrison's work, and really started to get introduced to Black feminisms through like fiction, right, through narrative and storytelling in that different way. Previously, I was thinking about Black feminism, and feminism broadly through like, theory, nonfiction, and really connecting those directly to my life, but then being able to kind of get lost in really these nuanced and complex stories that I had never read before, right. Like I just wasn't reading Black woman writers growing up, and to really get lost in that, like messiness, right, the nuance the complexity, the messiness of being a Black woman or being a Black person, in the U.S., and in other places, as well. So, yeah, and then through that kind of got invested in activism, but I am very much so both my undergraduate and graduate degrees are connected to gender studies, feminist studies. So I am at my core, a feminist theorist, and I look to a lot of writings to understand both my lived experience and also, you know, kind of what I'm thinking about and grappling with, in the current day as well.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=67.0,189.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins \n\nAnd so I'm curious about, like, when you, you entered this class, and you were given the opportunity to, like, engage this material, this new material? Like, what did that? What did it feel like? What was experience?","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=189.0,206.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs\n\nIt was, you know, it was so interesting, right? So you're in, I went to a predominately white school, and was taking gender studies classes, that was actually a pretty diverse classes, right? Partly because if I'm being honest, some a lot of people kind of thought of like certain especially intro Women's and Gender Studies classes, it's like easy. So you kind of like got like, more like different people who are involved in them. But the Black woman writers class, which is really interesting is you got a lot of folks who were African American Studies, majors and minors, but weren't really interested in feminism, right? So the class was really Black, right? Like, this is a pretty, like. And it wasn't that small, right? I mean, it wasn't huge, but it was maybe, you know, maybe 30 people, and the majority of the folks were Black. At least if I'm remembering correctly, or at least there's a lot of Black black folks there and Black folks who again, maybe weren't necessarily interested in feminism, and then you know, you have others of course, who were English majors or you know, people who just wanted to be there. So to really grapple with these texts, right, some that many people had maybe read before some that maybe folks didn't and grapple with them through this kind of feminist lens and me only having the experience of reading like femme theory and being pushed right and challenged in certain ways and certain things that would maybe be like, like why they read it like that or you know, suddenly being no, this is nuanced. This is different. And then I also think a lot about there was a book and I might be actually might be pronouncing it wrong. I don't I don't know if anybody here speaks Portuguese, but there's a book Corrigedora that's the way I pronounce it.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=206.0,304.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins  \n\nBy Gayl Jones","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=304.0,305.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs \n\nYes, by Gayl Jones that just was like when I thought about bodily autonomy and the connections of generational trauma. And the way that that is quite literally held in the body. And and just, again, we think about just that book is just like that was just that book changed my life, right. And again, we're trying to like grappling in this text in the classroom in a way that I just had never really thought about. Right. So anyway, I still I still think back a lot to that book and to others, and reread things, and it's funny read, and then you're like, actually perceive this completely differently now. So.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=305.0,348.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins  \n\nSo what is the significant moment in your Black feminist journey?","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=348.0,352.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs \n\nYeah, so I was thinking about this, this question. And I was like, What is a significant moment. So I think I'll give maybe two. So I did a summer study abroad in Ecuador. And the, like, the program theme was race, gender, and ethnicity in Latin America. And one of the things that we did, we kind of it was like a mixture of taking classes at the local university, but also doing a lot of traveling across the country. And we visited this place called Chota in Ecuador. And people don't know this in Ecuador, and perhaps on purpose, right, there is a decent population of Black folks in Ecuador, they probably make around 5% of the population, which is still a number, right. And if you look, if anyone ever watches soccer, that's when people start to realize there's Black people in Ecuador, right? Because their soccer team is basically all Black. But they're mostly from these two areas. And most Black people are from these two areas in Ecuador, one Chota. And one is Esmeraldes, which is, you know, the coastal area, but Chota, is the small village area where formerly enslaved folks folks would kind of escaped enslavement created this like village, kinda in the middle of nowhere. And I again, I didn't even know any of this existed. But anyway, I just remember, for me, we visited, it was just a day. And for me, it suddenly became so clear, this idea of, you know, global Black struggle in a way that to me just wasn't maybe as obvious in other times, right, this very small village in a country that most people don't even know how Black people, right and seeing their struggles and seeing these things. And, you know, of course, I already was bringing in this kind of feminist analysis, but to kind of have that merge with this kind of global Blackness and really understanding like, what that like visually looks like, right? And their music and their food and their culture was so similar to other places, but also their struggles, right.  And, again, most people don't even know, in even in Ecuador, right, intentionally kind of an isolated, literally, like physically isolated, right? Because they kind of, you know, they did it on purpose. But, you know, but also just like an isolated community, which is really interesting, because again, that's where a lot of the soccer players come from. So you bring that back to some of the like, as we think about like, maybe like basketball or something in the U.S. And anyway, it's just very, very interesting. But I think that was really pivotal for me. And it just kind of like, I remember kind of like writing a poem on the bus back, and really just kind of like transcending my understanding of like, what does it mean to be a Black feminist? And then also, the other one of the other places that changed my Black feminist journey was, you know, summer 2020, the uprisings I think, that is where I was always, you know, radically leaning, but I think particularly as an adult, to understand and to really be radicalized in that way. And understand like, no, no, no, like, something something broke in me and in the country.  And I yeah, I It's actually interesting. So I often think now, yesterday during the plenary, I believe her name was Mikki Kendall, right? The writer of Hood Feminism, right, they said, I think they call themselves an occasional feminist or something. And I wish that the moderator would have been like, what you mean by that? What's up, right? Because I think now especially since 2020, as I think about revolution, and as I think about these kind of broader struggles. I'm still a feminist, but I think about the ways that feminism and sometimes Black feminism is, is limiting, right? And what are the ways that there are broader concepts that we need to be engaging with. I look at Joy James's work. I'm obsessed with Joy James right now like I need to get it together. Everything that she says at this point is gospel. But you know, she's she complicates, right, she's, I used to identify as a Black feminist. I actually am rambling now, like how did I get here? But all that to say is I think summer 2020 both made me a better feminist in some ways, some ways and also more critical, feminist and in some ways really, like really challenged my feminism.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=352.0,616.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dartricia Rollins  \n\nYes. And so, what Black feminist future are you building?","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=616.0,625.0"},{"id":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571/transcript/94399/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chelsea Williams Diggs  \n\nI am building, I am dreaming of a Black feminist future that honors and understands the complexity of like, bodily autonomy and agency. As I said, I, my work is really rooted in abortion access. And I think about the ways that of course, abortion access is an issue that affects all people, but how it specifically affects the Black community. Think about respectability politics, yeah, future free of respectability politics. And I think a lot about the ways that abortion access and birthing and pregnancy are like, what for me feel just at the center of respectability politics, right? You know, getting an abortion is shameful and stigmatized. But having too many children is shameful and stigmatized or having too many baby daddies or whatever, right? And I often think about the choices we make whichever way they go, are often ruled by respectability politics, and you're still penalized, but you're like, No, I wouldn't do that. Because this or that. So just a future where we're free of respectability politics, we're free to have full bodily autonomy and agency in our communities and our people respect that and honor that and celebrate that, right. We can celebrate, you know, yeah, you just got your abortion was up this was great. You want a cake? Like, you know, or, you know, yeah, you know, you're, you know, you're, you're gonna have another child and, okay, we might not have everything figured out. But that's cool. We're gonna we're gonna figure it out together. Right. So I really I believe in that. And then I think, on the international space, right, like, what is bodily autonomy mean, for Black people globally? So yeah, that's my vision. I really, I think it's possible. It's a lot of I'm really trying to tap into what they were saying yesterday about hope and like, we will win. I don't feel that way a lot of times. Right. Maybe it's, you know, the afro-pessimism in me right was kind of like all the world just gonna have to end for us to be free. But I'm trying I'm trying to tap into some, some sense of future that is attainable. I guess, maybe Mariame Kaba kind of said kind of like, you know, you make these small wins and the new contradictions emerge. So perhaps that that's also true, but yeah.","format":"text/plain"},"target":"https://georgiadusk.aviaryplatform.com/collections/3340/collection_resources/151062/file/278571#t=625.0,776.77701"}]}]}]}