This article tries to look beyond what I call the spatial forgeries of racial capitalism in early 20th century Durban, South Africa, a set of renditions of the ocean and the city, to make sense of quite a surprising and relatively unremarked set of events. I trace three moves through which Indian indentured labour was ‘shoaled’ on South Africa’s racial shores, the way mixed Black populations in the urban periphery and interstices ‘built’ marginal and interstitial infrastructure to support their communal survival, and the way they literally ‘rooted’ themselves in place in ways that make Durban distinctive as an 'Indian' city on African shores, in partial complicity with a deepening landscape of racial segregation.

Drawing upon art installations in Brooklyn, NY, White Shoes (2012–2016), and Oakland, CA, House/Full of BlackWomen (2015–present), we find that in both installations, Black women artists perform hauntings, threading geographies of race, sex, and speculation across past and present. We observe how these installations operate through spectacle, embodiment, and temporal disjuncture, illuminating how Black life and labor have been central to the construction of property and urban space in the United States.

This article gives ethnographic form to Fanon’s warning that in the colonial world, “zombies are more terrifying than settlers,” by analyzing how racial mythologies produce spatial classifications of Black urban communities as unruly places and how Black individuals challenge their wretched condition by embracing a “program of complete disorder.” To do so, the article analyzes the short(ened) life of Paco, a young Black man under house arrest whose retaliatory violence against, and territorial dispute with, the police is an entry point for exploring resistance to urban coloniality in Santiago de Cali/Colombia.

This article uses Black liberation theology (BLIBT) as a framework to theorize “the spirit” in the alternative food and sustainable agriculture movement.

Our roundtable was conceptualized around an open question about Black feminism’s relation to “settler colonialism,” a term that is understood as a critical framework, categorical description, and/or narrative genre.