Cowboy culture has always been a black culture

I grew up within the High Desert of Southern California, in the house of the famous Hollywood cowboy Roy Rogers. I loved the vastness of the desert, which meant there was room for animals like horses, but I never felt a connection to cowboys.

I didn’t know then that historically, one in 4 cowboys was black. How could I even have known – how could any of us have known – when the dominant representation of cowboys was white? White, male, violent and decidedly independent.

The Compton Cowboys are an exception to those stereotypes. Groups similar to theirs in Compton, California, or the Fletcher Street Urban Riding Club in Philadelphia have been riding around their cities for several a long time, representing a tradition dating back to the so-called American border. While watching movies with these black cowboys, I saw a lot of cowboy hats, but apart from that, the cowboys looked identical to people I knew. I loved watching them bring joy to their communities just by existing. The smiles on the faces of individuals watching them pass by made me smile. Seeing this joy, I knew it was time for a latest cowboy story: a black cowboy story, a story that focused on joy and connection – a story that celebrated community.

that is the story. It’s a kid’s picture book that tells the story of a little girl and her father who get up “before sunrise” to spend “just us time” on their horses. As they ride through the town streets, they gain a latest perspective, admire the sunrise and connect with the people around them, all while riding their beloved horses.

These aren’t the cowboy stories we grew up with, stories about good guys and bad guys, lonely men on the shooting range, and infrequently crammed with racist caricatures. Instead, it’s a story of community. It’s a story about grandmothers and their coffee, about the fantastic thing about an urban sunrise, about bonding with beloved companions, and, above all, about black joy. It can also be the primary traditionally published picture book to feature a Panamanian-American hero. My words are delivered to life by award-winning CG artist Esperanza, whose dynamic, whimsical and vibrant artwork always deeply moves the viewer. I’ll always be pleased about our cooperation.

The publication was released during a cultural resurgence of interest in black cowboy culture due to Beyoncé. From what I understand, it was born out of an experience where Beyoncé felt unwelcome while acting at the Country Music Awards. Is it possible that the dearth of representation of black cowboys influenced the pondering of those that selected to reject Beyoncé, individuals who believed that “you can’t saddle up”? We do not know needless to say, but we do know one thing: cowboy culture has always been a black culture (just because the country has always been black… but that is a different essay). People are starting to appreciate that cowboys can and have always looked different than those traditionally portrayed within the media.

I used to be lucky enough to discuss with individuals who read, and their reactions were deeply moving. One woman broke down in tears and told me how much this book would mean to her granddaughter. Another said her students, a lot of whom ride horses, would like to see themselves portrayed within the book. This reception shows what number of stories like this are needed because connection and community are essential. Because black joy is revolutionary. Because we’re willing to rewrite old narratives that, as Beyoncé said, are “lies made of stone.”

“These old ideas/They are buried here,” and of their place we are able to create the world we wish to see. A world focused on community, connection and joy. I’m ready.

We are ready. Amen.