Jennifer CobbinaSep 24, 2020
Hands Up, Don’t Shoot
Why the Protests in Ferguson and Baltimore Matter, and How They Changed America
NYU Press 2019
Following the high-profile deaths of eighteen-year-old Michael Brown in Ferguson, Missouri, and twenty-five-year-old Freddie Gray in Baltimore, Maryland, both cities erupted in protest over the unjustified homicides of unarmed black males at the hands of police officers. These local tragedies—and the protests surrounding them—assumed national significance, igniting fierce debate about the fairness and efficacy of the American criminal justice system. Yet, outside the gaze of mainstream attention, how do local residents and protestors in Ferguson and Baltimore understand their own experiences with race, place, and policing?
In Hands Up, Don’t Shoot: Why the Protests in Ferguson and Baltimore Matter, and How They Changed America (NYU Press), Jennifer Cobbina draws on in-depth interviews with nearly two hundred residents of Ferguson and Baltimore, conducted within two months of the deaths of Brown and Gray.
She examines how protestors in both cities understood their experiences with the police, how those experiences influenced their perceptions of policing, what galvanized Black Lives Matter as a social movement, and how policing tactics during demonstrations influenced subsequent mobilization decisions among protesters.
Ultimately, she humanizes people’s deep and abiding anger, underscoring how a movement emerged to denounce both racial biases by police and the broader economic and social system that has stacked the deck against young black civilians.
Hands Up, Don’t Shoot is a remarkably current, on-the-ground assessment of the powerful, protestor-driven movement around race, justice, and policing in America.
Jennifer E. Cobbina is Associate Professor in the School of Criminal Justice at Michigan State University.
Dr. Christina Gessler’s background is in American women’s history, and literature. She specializes in the diaries written by rural women in the 19th century. In seeking the extraordinary in the ordinary, Gessler writes the histories of largely unknown women, poems about small relatable moments, and takes many, many photos in nature.