They ride horses, rope calves, buck broncos, ride and fight bulls, and even wrestle steers. They are Black cowboys, and the legacies of their pursuits intersect with those of America’s struggle for racial equality, human rights, and social justice. Keith Ryan Cartwright brings to life the stories of such pioneers as Cleo Hearn, the first Black cowboy to professionally rope in the Rodeo Cowboy Association; Myrtis Dightman, who became known as the Jackie Robinson of Rodeo after being the first Black cowboy to qualify for the National Finals Rodeo; and Tex Williams, the first Black cowboy to become a state high school rodeo champion in Texas. Black Cowboys of Rodeo is a collection of one hundred years of stories, told by these revolutionary Black pioneers themselves and set against the backdrop of Reconstruction, Jim Crow, segregation, the civil rights movement, and eventually the integration of a racially divided country.

Featuring stunning full-color photographs by Gabriela Hasbun, THE NEW BLACK WEST celebrates the modern Black cowboys of the Bill Pickett Invitational Rodeo and the community that comes together to witness their achievements year after year. A powerful symbol of self-reliance, strength, and determination, the Black cowboy is a figure commonly overlooked in the histories of the American West. Held annually in cities across the United States, the Bill Pickett Invitational Rodeo (BPIR) honors the historic accomplishments of Black cowboys and fosters a vibrant community dedicated to continuing that legacy. Bay Area photographer Gabriela Hasbun has spent more than a decade photographing this beloved event in the Oakland hills. Her images capture the joy and excitement of performers and audience members, showcasing the daring feats, spectacular outfits, and welcoming atmosphere that make the Bill Pickett Invitational Rodeo an unmissable experience. In addition to Hasbun's photographs, THE NEW BLACK WEST features quotes and stories from the cowboys themselves, a foreword from the Oakland rodeo's regional manager, Jeff Douvel, and a short essay from BPIR owner Valeria Howard-Cunningham.

This book is a sociocultural and historical analysis of nineteenth-century African American cowboys. The author examines their role in rodeo and the development of the Texas cattle industry.

At the 1911 Pendleton Round-Up, the Saddle Bronc Championship of the Northewst came down to three men of different colors - Jackson Sundown, a Nez Perce Indian, John Spain, a white man from pioneering stock, and George Fletcher, an African American. Red. White. Black. What happened that September day in 1911 - the judges decision and the reaction of the crowd in the aftermath - forever changed our historyc, and the way the sport of rodeo, and the emerging West, was to look at itself. This edition includes over 70 black and white historical photographs.

Describes the life and accomplishments of the son of a former slave whose unusual bulldogging style made him a rodeo star.

Black Rodeo in the Texas Gulf Coast Region: Charcoal in the Ashes provides an in depth sociocultural and historical analysis of the genesis and contemporary state of affairs regarding African American rodeo cowboys in southeast Texas, whose ancestors were instrumental in the development of the most celebrated livestock management industry in the world. The author painstakingly chronicles the origin of the Texas cattle industry from its Mexican roots to Austin’s Colony, better known as the George Plantation/Ranch, where African Americans were intimately involved in the livestock management industry since its inception. Although enslaved before, during, and after the Republic of Texas was established, they were early stakeholders in the expansion of the western frontier, and an indispensable source of labor that facilitated the burgeoning cattle industry. Yet, as the author maintains, American history wantonly trivialized, marginalized, and blatantly omitted their contributions. This book sheds light on these early cowboys and their descendants who have participated in America’s most prominent prole sport with little to no media exposure. The author dubbed them “Shadow Riders of the Subterranean Circuit,” and even though American sports are integrated African American rodeo cowboys may be metaphorically seen as bits of charcoal spread among ashes.

African American westerns have a rich cinematic history and visual culture. Mia Mask examines the African American western hero within the larger context of film history by considering how Black westerns evolved and approached wide-ranging goals. Woody Strode’s 1950s transformation from football star to actor was the harbinger of hard-edged western heroes later played by Jim Brown and Fred Williamson. Sidney Poitier’s Buck and the Preacher provided a narrative helmed by a groundbreaking African American director and offered unconventionally rich roles for women. Mask moves from these discussions to consider blaxploitation westerns and an analysis of Jeff Kanew’s hard-to-find 1972 documentary about an all-Black rodeo. The book addresses how these movies set the stage for modern-day westploitation films like Django Unchained. A first-of-its kind survey, Black Rodeo illuminates the figure of the Black cowboy while examining the intersection of African American film history and the western.