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The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy, and second, in terms of quilting seen from the fiction of Alice Walker to the quilting of Gee's Bend. In the background, there plays the relationship between art and commodification.

The paper examines “commodification” and “doubling” in the case of the Gee's Bend quilt makers. The quilts foreshadow the modernist aesthetic and are of the highest aesthetic quality. They were made in a traditional rural society by very poor uneducated black women. The quilts were not made to be sold, but were dedicated to familial remembrance and to immediate aesthetic pleasure.

Commodification doubles self and work, life and object, uniqueness and standardization, art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works.” Making art is intimate, personal and individual; selling art requires public display, pleasing the all‐important customer(s) and dealing with many sorts of in‐betweens. What “commodification” is on the artist/art work level, is “doubling” on the I/me, self/persona, private/public, and in‐group/out‐group level.

The author proposes, from the example of quilt‐making, a wide‐ranging interrogation: “Is escape from commodification possible?”

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?

Reprint for special issue.

Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.

Invited for publication.

bell hooks says in “Reconstructing Black Masculinity” that n[c]ollectively we can break the life threatening choke‐hold patriarchal masculinity imposes on black men and create life sustaining visions of a reconstructed black masculinity that can provide black men ways to save their lives and the lives of their brothers and sisters in struggle. Toward the work of political (re)unification of the genders in black communities today, black men must acknowledge and begin to confront the existence of sexism in black liberation struggle as one of the chief obstacles empeding its advancement. Making womanist space for black men to participate in allied relation to feminist movement to oppose the opression of women means black men going against the grain of the racist and sexist mythology of black manhood and masculinity in the U.S. Its underlying premise rooted in white supremacist patriarchal ideology continues to foster the idea that we pose a racial and sexual threat to American society such that our bodies exist to be feared, brutalized, imprisoned, annihilated‐made invisible.

Feminist theory is concentrated on androcentric interpretations and the patriarchal status quo, with conflicts among feminists taking a definite second place to the concern with uniting women in the face of their oppression under patriarchy. Recently, however, and especially in the United States, controversy among feminists has acquired a new intensity, with influential theorists like Gayatri Spivak and Trinh T. Minh‐ha challenging the limitations of dominant feminist paradigms.

Life studies are a rich source for further research on the role of the Afro‐American woman in society. They are especially useful to gain a better understanding of the Afro‐American experience and to show the joys, sorrows, needs, and ideals of the Afro‐American woman as she struggles from day to day.

According to Italian theorist Antonio Gramsci, whose best-known contribution to critical thought is his theory regarding hegemony, education “serves a directly important function in maintaining hegemony…[for] [i]t is a vehicle by which consensus is maintained and the knowledge of the ruling bloc (the majority ruling class) is legitimated” (Gross, 2011, p. 66). Although Gramsci's theoretical work was initially situated within the Fascist-dominated Italian legislature in which he aimed to understand how the ruling class maintained power over the proletariat (oppressed groups), his concept offers a lens through which social critics have been able to understand the prevailing superstructures of power in Western capitalist societies. This chapter, therefore, relies on Gramsci's theories to develop an argument (and writing pedagogy) regarding the democratic ability of the historically Black college and university (HBCU), for I contend the HBCU, particularly its first-year composition classroom, is a space where students can practice and propel democracy, thus countering the hegemony that insists on oppressing Black and Brown people.

While the HBCU, as defined by the 1965 Higher Education Act, is a by-product of the superstructure and is thusly grounded upon and legitimated by what bell hooks terms “the white supremacist capitalist patriarchy,” therefore functioning as institutionalized spaces for constructing and maintaining hegemony, HBCUs, explains Eddie S. Glaude Jr. in his 2016 Democracy in Black, are “institutions that both cultivated their (Black folks') civic capacities and served as a space to transmit values that opposed the value gap” (p. 125). In other words, Black folks have had to create “safe spaces” like the HBCU, to exist in their full humanity within an oppressive America whose white citizens devalued their being, and therefore, their American citizenship. Although the HBCU is legitimated by the hegemony, the HBCU, I argue, remains a space where the democracy America has yet to realize can be learned and practiced, especially if teachers, particularly within first-year composition programs, employ counterhegemonic curriculums and practices like the AfriWomanist approach to teaching I offer here.