Foreword

In 2009, as a doctoral student, I embarked on a research project to better understand how Black college students made meaning of their collegiate experiences. My goal was to gain deeper insights into their lived realities and to assist college and university administrators in creating more effective practices and policies to support Black student success. I wanted to ensure that Black people were seen—not misunderstood, ignored, or silenced. Moreover, my dissertation committee challenged me to move beyond traditional interviews to gather these insights, prompting me to explore other research methods and techniques. I began immersing myself in the literature on visual methods and explored how scholars in fields both inside and outside of higher education employed visual methodologies to examine various phenomena. Yet, it quickly became apparent that examples of visual methods applied to the experiences of college students were scant, and even fewer focused on Black students specifically. I was searching for a text that centered Blackness, humanity, and the complexity of Black student life in higher education. Although I have conducted multiple studies using visual methods in the past, I never found the text that truly resonated with the kind of scholarship I was seeking—until now. This special issue provides the response I sought.Black Photovoice: (Re)claiming Blackness Through a Critical Conversation on Space, Place, and the Embodiment of Photovoice is the very text I wish had existed nearly 15 years ago. It is a work that not only acknowledges and centers Blackness but also opens transformative possibilities for understanding and representing Black experiences through photovoice and beyond. Co-editors Travis C. Smith and Terah J. Stewart, along with the contributing authors, have curated a powerful and timely collection of articles that speaks directly to the pressing need for scholarship rooted in Black epistemologies and lived experiences. This special issue pushes boundaries while offering a necessary shift in how to approach visual methods in a way that centers Blackness.Writing this foreword has been an incredibly rewarding experience as I have the distinct privilege of knowing these authors personally and working alongside them as the research project evolved. From the early stages of the project to its completion, we shared more than just our individual academic goals; we shared our collective vision, passion, and commitment to photovoice as a transformative tool filled with endless possibilities. We co-constructed a space that was more than a writing endeavor; it felt like family. The spirit of this project often had me thinking about FUBU, a company created by Daymond John in the 1990s that stood for “For Us, By Us.” FUBU became a widely recognized brand that changed the streetwear market, and I took pride in representing its brand. FUBU resonated with so many people in my community and I remembered being proud of wearing their clothes knowing it was Black-owned. I share similar sentiments with this collaborative research experience, one that included all Black scholars.From the very beginning we grappled with and explored the intersections between Blackness and photovoice. This project was for us, by us, and for our respective communities. Our monthly virtual Zoom calls, which initially served as meetings for discussing the project’s direction, immediately evolved into a powerful and intimate space where we exchanged ideas, shared visuals, and offered each other words of encouragement. These discussions became a counterspace rooted in support and humanity. In this space, we were uplifted not only as scholars but also as individuals who are deeply invested in the work and each other. This project was a testament to the importance of community and collaboration in academia.Photovoice is a powerful tool for understanding Black realities because it allows individuals to capture and represent their experiences from their own perspectives. Unlike research methodologies that often rely on interviews or surveys, photovoice leverages visual storytelling to highlight the nuances of lived experiences in ways that words alone may not convey. Within the context of higher education where Black students report navigating racially hostile environments and institutional barriers, photovoice empowers them and can serve as a platform for self-expression and a tool for resistance. This special issue marks an important shift in visual methods research and a deliberate move away from Eurocentric approaches toward a deeper engagement with Black epistemologies, artistic practices, and community-based ways of knowing. This special issue repositions photovoice within Black intellectual traditions. Specifically, drawing from traditions like endarkened feminist epistemology and Afrofuturism, this issue expands the possibilities of photovoice.As you engage with the work presented in this special issue, I invite you to reflect on both the content and the innovative ways these scholars have taken up photovoice. This special issue represents the kind of scholarship I longed for years ago, a work that centers Blackness and imagines new futures through a process that is as transformative as it is informative. In closing, I am deeply grateful to have been part of this journey and this community. Black Photovoice: (Re)claiming Blackness Through a Critical Conversation on Space, Place, and the Embodiment of Photovoice is not just about photovoice as a method, it is also about what photovoice can do when practiced with intentionality, care, and a deep commitment to Black liberation. This special issue is a call to action, and I hope that it serves as a catalyst for continued exploration, resistance, and transformation. I wish I had this 15 years ago. Now, it is here for all of us to engage, learn from, and build upon.