Just thinking

Because I don’t watch much TV here in Bamako (it is full of people speaking French way to quickly for my ears), I spend a lot of time (may too much) on the internet. Yesterday I came across 2 articles that made me think a bit, but even more than that it was hard for me not to see them as connected in some way:

This article about Camden and this article about the wealth concentration in the Northeast Corridor of the mainland US (based on Census Data)

I think the contrast between Camden’s poverty and the wealth of some of it’s surrounding counties makes this contrast  even greater and heightens our awareness of it, not to mention that poverty and dysfunction of People of Color always seems to be a narrative .

But I was also thinking even harder about was this… If all of that wealth is concentrated in the Northeast of the US, what kind influence does that buy the people that live in those areas and who have amassed that kind of wealth? What effect does that have on the narratives and stories that we hear or have access to? As much as we are told this corridor is the bastion of intellectual, liberal, progressive living and thinking some stories still don’t get told like the one, Richard Rothstein published in the Huffington Post today check out this passage:

“Throughout our nation, this fear of confronting the past makes it more difficult to address and remedy the ongoing existence of urban ghettos, the persistence of the black-white achievement gap, and the continued under-representation of African Americans in higher education and better-paying jobs.

One of the worst examples of our historical blindness is the widespread belief that our continued residential racial segregation, North and South, is “de facto,” not the result of explicit government policy but instead the consequence of private prejudice, economic inequality, and personal choice to self-segregate.

But in truth, our major metropolitan areas were segregated by government action. The federal government purposefully placed public housing in high-poverty, racially isolated neighborhoods (PDF) to concentrate the black population, and with explicit racial intent, created a whites-only mortgage guarantee program to shift the white population from urban neighborhoods to exclusively white suburbs (PDF). The Internal Revenue Service granted tax-exemptions for charitable activity to organizations established for the purpose of enforcing neighborhood racial homogeneity. State-licensed realtors in virtually every state, and with the open support of state regulators, supported this federal policy by refusing to permit African Americans to buy or rent homes in predominantly white neighborhoods. Federal and state regulators sanctioned the refusal of the banking, thrift, and insurance industries to make loans to homeowners in other-race communities. Prosecutors and police sanctioned, often encouraged, thousands of acts of violence against African Americans who attempted to move to neighborhoods that had not been designated for their race.

By the time the federal government reversed its policy of subsidizing segregation in 1962, and by the time the Fair Housing Act banned private discrimination in 1968, the residential patterns of major metropolitan areas were set. White suburbs that had been affordable to the black working class in the 1940s, 50s and 60s were now no longer so, both because of the increase in housing prices (and whites’ home equity) during that period, and because other federal policies had depressed black incomes while supporting those of whites. It was not until 1964, for example, that the National Labor Relations Board for the first time refused to certify a union’s exclusive bargaining status because it openly refused to represent black workers as it did whites.”

Somewhere there is a nexus that provides an answer for Camden, for Detroit, and for the many other places that we are lead to believe are the way they are solely on corruption, crime, and dysfunction and moral failings of colored people.

I know there is much more complexity to this topic than this short articles, but I don’t think that it is as complex as we would like to make it either. I think that these articles are more closely related  than I think most Americans would like to admit. It brings to mind a line from Sekou Sundiata’s poem Magic Bullet he says, “Somewhere in America tonight, Americans are loving the Past as long as it ain’t History.”

Respect the Architect – Kanye ‘s Anthimeria

Kanye West © Noam Dvir, Instagram User dvirnm
Kanye West © Noam Dvir, Instagram User dvirnm

Copyrighted image by dvirnm

So I guess I should start by saying I am not a Kanye fan and after reading about some of the blacklash…ahem backlash from members of the architecture establishment in Lian Chikako Chang’s article about Kanye’s recent visit to Harvard Graduate School of Design (I walk past here all the time while on Residency at Lesley doing my MFA)… I am still not a fan, but as poet/curator/hiphophead I really dug Kanye’s mini-lecture at Harvard School of Design.

The -lash  is mostly centered around Kanye’s use of the “architected”. I understand this on many levels as poet and as someone trying to deal with language I understand that he used a rhetorical device called Conversion or Verbification or Anthimeria  or sometimes known as “verbing the noun”. This is common practice in the African American creative realm and is found all over in African American literature, drama and so on and so forth, so it comes as no surprise that an artist whose currency is language would say something like this. I always love to hear Sonia Sanchez say “poeting” when she talks about what she does; graphic designer Alan Flecther also used the term in the title of book Picturing and Poeting.

What I really love about this specific term is that it another way to describe a process that takes something from an idea caught in the flesh and blood, that is in our brains and makes a “thing” out in the world. It speaks to a very deliberate and intentional process by which to bring something abstract into the physical world…I cannot argue with Kanye on that.
I think the more ways we can find to articulate that sentiment and work ethic the better, be it architecting, poeting, whatevering, etc.

The other thing that I think the -lash makes clear is that in a profession that is 91.3% “white”, the fear of having someone who does not look the part, but who has such a huge platform, co-opting their language appears to be a threatening proposition…

Anyway, go read Lian Chikako Chang’s article For Architects Only? How Kanye Exposed Architecture’s Bias, also check out Phaidon’s blog from over a year ago (July 2012) about Hip Hop Architecture, and other articles about Hip Hop Architecture here , here  , here  and the work of Earl S Bell for good measure. Also check out other examples of verbing the noun – “architecting” in the Caribbean with the “V is for Veranda” Project.

When you are done with all that go check out Guru and Bahamadia on Respect the Architect, (that phrase comes from a Biz Markie sample from Nobody Beats the Biz)…architecting for real!

UPDATE: Also shout out to Doug Patt author of How to Architect

Happy Birthday JB, August 2nd

Not this JB…

james-brown

This JB…

 

I don’t remember when I became interested in Baldwin, but I do remember seeing The Amen Corner
as a kid with my parents, and pulling Blues for Mister Charlie and The Fire Next Time
off my parents bookshelf and trying to make sense of the world that Baldwin was talking about. It would not be until I was a teenager that I would start to grasp how deep Baldwin is/was/be.

Much later than that I would come across Baldwin’s essay On Being White and Other Lies. This essay in a lot of ways made me rethink what it means for a group of people to decide and believe  that they are “White” and for that group of people to decide who else was or could become “White” . Conversely, that same group of people convinced of their “Whiteness” (pure, fair, just and deserving of honor) could also determine who would be their binary opposite, the “Blacks”. This essay for me also caused me to question “Blackness” as a function of being this binary opposite and the moral assignments that come along with it.

As student of Mathematics and Information Systems, I also started to think about the inability of a simple binary system in language to capture the complexity of humanity. For me, I find it hard to talk fully about  such complex in such simple terms. In intellectual, creative and progressive circle many of us push the envelope for more inclusive, complexity and nuanced, you see this so much in gender and sexuality discussions, you see it socioeconomic class discussions, yet when it comes to race  and culture we seem to be stuck with the binary.

Both “Whiteness” and “Blackness” are fiction despite the cultural, social, political and economic capital they wield and how real they feel. That is not to say that I am not connected to the substance of the experience in America we call “Blackness”, I am just not convinced that that label effectively or accurately captures that experience. Baldwin help to make that clear for me.

I am going to end with this anecdote, because I think it articulates what Baldwin was saying more clearly than I ever could. A few years ago, I was sitting on one of Dr.Greg Carr‘s lectures at Howard University and he said to a roomful of “Black” people, “In American society someone has to be Black, that don’t mean it has to be you.”  Hearing that made me re-visit Baldwin’s essay and gave me another way to look at the language we use and that is used against us…

 

African American Art and Culture on Tour (from International Arts & Artists)

header-black.pngdancetheatre.jpg“One of ballet’s most exciting undertakings.”
The New York Times, 1971 Dance Theatre of Harlem: 40 Years of Firsts

Highlighting Dance Theatre of Harlem’s 40-plus year history, this magnificent exhibition celebrates the history and art of dance with 22 costumes, set pieces, videos, photographs and tour posters from four staged ballets including: A Streetcar Named Desire, Creole Giselle, Dougla and Firebird. Dispelling the belief that ballet could not be performed by those of African decent, Arthur Mitchell and Karel Shook founded the Dance Theatre of Harlem in 1969. This multi-media exhibition captures the majesty of the choreography, the beauty of the costuming, and the dancers who defied gravity and stereotyping. With a modest beginning, holding classes in a warehouse on 152nd Street, the school has greatly expanded and since grown into a multi-cultural dance institution.

The exhibition comes with customized costume forms and backdrops for the four staged ballets. Banners are long and can be mounted to a wall, or will require tall ceilings to hang in open air space.

Available:
May 2013 – December 2015

Contact:
Beth Pacentrilli

Reflections: African American Life from the Myrna Colley-Lee Collection“Reflections presents the lives, traditions, and environments of African Americans from the 20th century to the present…It allows viewers to connect the strong tradition of storytelling by African Americans, with the sense of place that is largely unique to Southerners.”

Reflections: African American Life from the Myrna Colley-Lee Collection

A dialogue between artist and identity is represented through the more than 50 works selected from the collection of costume designer and arts patron, Myrna Colley-Lee. Reflections focuses largely on the figurative and representational, presenting pieces by such noted artists as Romare Bearden, James Van Der Zee, Elizabeth Catlett, Eudora Welty, and Betye Saar. Myrna Colley-Lee is credited as one of the foremost costume designers in the Black Theatre movement. Her collection juxtaposes works by leading artists with that of lesser known, offering a wide view of African American life and culture from the 20th century to the present.

Following its February 2013 debut at the Kalamazoo Institute of Arts, Michigan, Reflections will travel to Alexandria Museum of Art, Louisiana; Lauren Rogers Museum of Art, Laurel, Mississippi; and the Montgomery Museum of Fine Arts, Alabama.

Available:
June 2013 – November 2013
March 2014 – August 2014
April 2015 – December 2015

Contact:
Beth Pacentrilli

 

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Dance Theatre of Harlem “In capturing the spiritual and emotional essence of this journey that is an essential part of my own history, I felt a strong sense of connection, and a bond with lives just a few generations removed.”
– Joseph Holston

Color in Freedom: Journey along the Underground Railroad

The stories of the Underground Railroad are some of the most powerful in American history. Color in Freedom is an exhibition of 49 paintings, etchings and drawings by Joseph Holston created to capture the essence of the courage and determination required to escape bondage in pursuit of independence; and to enhance understanding of the condition of slavery and the powerful instinct toward freedom.

Color in Freedom consists of four movements that track the flow of events in the lives of those who traveled along the Underground Railroad: The Unknown World, Living in Bondage-Life on the Plantation, The Journey of Escape, and finally, Color in Freedom.

Available:
April 2013 – mid-May 2013
August 2013 – September 2013
January 2014 – December 2014

Contact:
Beth Pacentrilli

 

International Arts & Artists
9 Hillyer Court NW, Washington, DC 20008
202.338.0680 | artsandartists.org

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DC:POETRY: 4/10/12 Angles of Ascent (f/ K. Dargan, G. Pardlo, and A.B. Spellman) @Writers Center, 7pm

The Writer’s Center is pleased to announce a reading by Kyle Dargan, Gregory Pardlo, and A.B. Spellman, poets who will be published in the forthcoming Angles of Ascent: A W.W. Norton Anthology of  Contemporary African American PoetryThe reading takes place 7:30 p.m. Tuesday, April 10 at The Writer’s Center, 4508 Walsh Street Bethesda, Maryland, and will be followed by a reception and book signing.  General admission is $5.00 (free to members and full-time students.)  This is the inaugural reading of the Politics & Prose at The Writer’s Center poetry series. We will announce additional readings as they are scheduled.  For more information call The Writer’s Center at 301-654-8664 or Politics & Prose at 202-364-1919.

Kyle Dargan  is author of two collections of poems, Bouquet of Hungers (University of Georgia Press, 2007) and The Listening (University of Georgia Press, 2004), winner of the Cave Canem Prize.  His poems have also appeared in Ploughshares, Shenandoah, Denver Quarterly, Poet Lore, Callaloo, and other journals.  He is an assistant professor of literature at American University and editor of Post No Ills Magazine (online), which he founded in 2008.  In 2008, he won the Hurston-Wright Legacy Award for Poetry, and he was selected as the 2007 Drew Darrow Memorial Reader at Bucknell University.

Gregory Pardlo is an associate editor of Callaloo, graduated from Rutgers University (1999) and received the MFA in poetry from New York University in 2001.  He is author of Totem (APR, Copper Canyon, 2007), winner of the APR/Honickman Frist Book Prize; and translator of Pencil of Rays and Spiked Mace: Selected Poems of Niels Lyngsoe (Toronto: BookThug, 2005).  Pardllo  is Assistant Professor of Creative Writing at George Washington University in Washington, DC.

A. B. Spellman is author of The Beautiful Days (Poets Press, 1965), Things I Must Have Known (Coffee House Press, 2008), Four Lives in the Bee-Bop Business (Pantheon Books, 1966),  other editions under the title of Four Jazz Lives (University of Michigan Press) and Art Tatum: A Critical Biography (a chapbook).  He has taught at Rutgers University, Morehouse College, Harvard University, and other institutions.  He also worked for several years for the National Endowment for the Arts, where he served in various positions such as director of the Arts in Education Study Project, director of the Arts Endowment Expansion Program, and deputy chairman for the Office of Guidelines, Panel, and Council Operations.