ABSTRACT

From a critical autoethnographic perspective, this article records the herstory of a young African woman positioned as an international academic in the U.S. ivory tower. I rely on Dove’s [(1998). African womanism: An Afrocentric theory. Journal of Black Studies, 28(5), 515–539. https://do.org/10.1177/002193479802800501] African womanist theory and Afrocentric cultural frames to narrate and interpret my experiences. I critically navigate my intersectionality through cultural communication and autoethnography as I dance to tunes of apatampa to present a positioned, encultured, and embodied account of myself. As a corollary, I use different African features and methods of womanist engagements, such as storytelling, poetry, and proverbs, to share my experiences as a young African woman in a predominantly white institution (PWI). I share how this ussearch can be utilized to inform practice to increase the whistle volumes of African and international female faculty in U.S. higher education.

摘要

本文从批判的自民族志角度，记录了一位在美国象牙塔中被定位为国际学者的非洲年轻女性的故事。我依靠 Dove 的 [(1998). 非洲女性主义：以非洲为中心的理论。黑人研究杂志，28 (5), 515–539。https://do.org/10.1177/002193479802800501] 非洲女性主义理论和非洲中心文化框架来叙述和解释我的经历。当我随着apatampa的曲调跳舞时，我通过文化交流和自我民族志批判性地驾驭我的交叉性，以呈现一个定位的、文化的和体现的我的自己。作为推论，我使用不同的非洲特色和女性主义参与方法，例如讲故事、诗歌和谚语，来分享我作为一名年轻非洲女性在白人为主的机构 (PWI) 的经历。我分享了如何利用这种美国搜索来为实践提供信息，以增加美国高等教育中非洲和国际女性教师的口哨数量。