@bettiono Presents @Reninawrites and @Hafrocentric, (Juliana “Jewels” Smith) for their Oakland book launch.I am going home ya’ll.
We will be discussing Black women’s storytelling on and off line. I will have books, t-shirts and post cards for sell. Come say #heybewhay.
Please share and reblog. We are trying to make it pop off:)
On this day (March 2), Claudette Colvin became the first person to challenge the racial segregation in intrastate public transportation. Nine months prior to Rosa Parks, 15-year-old Claudette refused to give up her seat to a white woman. Educated about black history and her constitutional rights, Claudette recalls years later, “I couldn’t get up that day…History kept me stuck to my seat. I felt the hand of Harriet Tubman pushing down on one shoulder and Sojourner Truth pushing down on the other.” Ms. Colvin was one of four women plaintiffs in Browder v. Gayle, the court case that successfully overturned bus segregation laws in Montgomery and Alabama.
Colvin’s story had long been muted within the civil rights era narrative. In 2009, Phillip Hoose gave voice to Colvin’s story with his book: Claudette Colvin: Twice Toward Justice. Hoose’s book is available for purchase in the Schomburg Gift Shop.
I’m so damn tired of hearing from Black men (and women) that Black masculinity is under threat.
There is no monolithic definition of Black masculinity—-or Black femininity, for that matter. Anyone can be masculine/feminine.
We got’ a lot of work to do. We need to create a…
JB: One of the dangers of being a Black American is being schizophrenic, and I mean ‘schizophrenic’ in the most literal sense. To be a Black American is in some ways to be born with the desire to be white. It’s a part of the price you pay for being born here, and it affects every Black person….
“Unfortunately, the State of Florida, knowing that [her corrections officer] had authorized and given Marissa Alexander permission for each of the trips and stops alleged by the State to be willful violations of Marissa Alexander’s bond, failed to include those exonerative facts in its application to this Court,” attorney [for Marissa Alexander] Bruce Zimet wrote in his motion.
“No justification supports the state’s failure to include in its motion to modify and revoke bond the fact that every activity alleged to be a violation of bond had been approved by the agency charged with the responsibility of supervising Marissa Alexander’s bond,” Zimet added. “Obviously, including those omitted facts would expose the frivolity of the state’s motion.”
Angela Corey’s abusive strategy is nothing more than a smear tactic to undermine Alexander’s credibility and criminalize her character in an attempt to sway public opinion before Alexander’s new trial at the end of March. Don’t let her get away with this. STAND WITH MARISSA.
The Soul Sonic Force
Red Bike and Green | DC to Bklyn | Bike Tour
jewels and oscar
Reinventing the African American Portrait: Robert Pruitt’s Identity-Expanding Drawings of Women
The iconography of African American hair has been a fertile theme for artists and scholars. But Robert Pruitt might be the first to tackle it through the utopian geometry of the Russian avant-garde. Be of Our Space World, a conté drawing in Pruitt’s bizarre, hilarious exhibition at the Studio Museum in Harlem, depicts an elegant woman with a piercing gaze and a hairdo modeled on one of the most famous models in modernism, Vladimir Tatlin’s Monument to the Third International (1919).
In this context, though, it bears an obvious and close connection to Nigerian hairstyles.
The woman has a galactic vibe, too. The image on her tunic has two sources: Eternity, one of the abstract characters in Marvel Comics’s Universe Series, andunused album-cover art for Sun Ra, the celestially minded jazz musician whose lyric provides the drawing with its title.
The remix is typical of Pruitt’s more-is-more approach to African American portraiture, where references to African cultures, Western modernism, African American painters, Black Panthers, music, comic-book characters, and sportswear brands coexist—often in a single canvas.
“I put in b-boy style, hip hop, American history, slavery, black revolutionary, all of that stuff in there that’s bouncing around in my mind,” says the artist.
He sees his process as a way to restore identity to a population often drained of it in representations in culture, high and low. “Blackness gets reduced in movies or wherever,” says Pruitt. “I try and make them more expansive, piling on reference after reference.”
Read more at ARTnews.com.
(Top left): Be of Our Space World, 2010; (Top right): Bombs Over Baghdad, 2012; (Bottom left): Rich girl, 2011; (Bottom right): Sun God, 2011. ALL IMAGES COURTESY THE ARTIST AND HOOKS-EPSTEIN GALLERIES INC., HOUSTON, TX.