Thursday, August 21, 2008

Israel Declares End to Ethiopian Immigration




Associated Press
August 17, 2008










GONDAR, Ethiopia - Sitting in a leaky, flyblown hut, a few dozen Ethiopian villagers are anxiously waiting to be transported to another world.

They have just been given word that their years of waiting are over and they soon will make a 2,000-mile journey by land and air with what is probably the last wave of Ethiopian immigrants to Israel.

In doing so, they are flying into the teeth of a dilemma that touches the heart of Israel's founding philosophy.

For people like 48-year-old Abe Damamo, his wife and eight children, wrenching change awaits.

Like most Ethiopians with Jewish roots, they have come from the Gondar region of northern Ethiopia. Their remote village uses donkeys for transportation and has no bathrooms. Damamo has no formal education and speaks no language but his own.

He is moving to an industrialized democracy where he will have to learn Hebrew, master a cell phone, commute to work and find his place in a nation of immigrants from dozens of countries.

But to him, being Jewish is all that matters.

"I am so happy to go and live my religion," he says through a translator.

Not everyone at the Israeli end is happy, however. In the initial stages of an immigration that began three decades ago, all the Ethiopians emigrating to Israel were recognized outright as Jews. But those now seeking to make the trip are the so-called Falash Mura, whose ancestors converted to Christianity, the main Ethiopian faith, at the end of the 19th century to escape discrimination.

Initially, Israel balked at accepting their claim of Jewishness, but relented after American Jews led a campaign for the Falash Mura.

About 40,000 moved to Israel, a country of 7 million, joining 80,000 already there. Their presence touched off a fierce debate in Israel over where to draw the line.

Ethiopians with any hope, however faint, of eligibility for Israeli citizenship have descended on camps in the city of Gondar, scrambling to prove their Jewishness. Men in prayer shawls attend makeshift synagogues, and children in skullcaps sit on mud floors learning the Hebrew alphabet and Jewish holidays.

Centuries of intermarriage and a lack of documentation have made it extremely difficult to prove who is a Jew, and the group awaiting their flight to Israel last month was supposed to be among the last. The Israeli government has decided that the influx must stop.

Those able to meet the criteria for immigration will have to undergo conversion to Orthodox Judaism after arriving in Israel.

Besides cutting to the heart of the age-old debate over who is a Jew, the dispute between the Israeli government and the U.S. Jewish activists who finance the Gondar camps raises uncomfortable questions about a central tenet of Israel's founding philosophy.

Israel's Law of Return guarantees citizenship for any Jew in need, and these days the country is especially concerned about boosting its Jewish population to compete with the Arabs. But the Ethiopians have proved the hardest immigrant group to absorb, and the Falash Mura, some critics feel, are pushing the limits.

Like every other immigrant group, Ethiopian-Israelis have made their mark on the human mosaic of Jewish nationhood - giving it top-notch soldiers, funky musicians, world-class athletes and two members of parliament. They also have a powerful backer, the ultra-Orthodox Shas party in the ruling coalition, which capitalizes on the Ethiopian vote.

But as a whole they are poor, plagued by crime, violence and substance abuse, feeling shut out of a world very different from rural Africa.

The steep learning curve is evident even before they depart for Israel.

Those approved for immigration are taught what a refrigerator looks like, how to cook on a stovetop, how to flush a toilet. Nurses teach the women to use female hygiene products. The families are introduced to TVs and are shown videos of life in their new world. They are warned to mind the "magic stairs" - the escalators - at the Addis Ababa airport.

Before leaving, they undergo extensive medical checkups at an Israeli Embassy compound in Addis Ababa, and their African surnames are replaced with Hebrew ones.

But despite all the preparations, most Ethiopian immigrants over age 35 go straight onto welfare after reaching Israel, according to the Jewish Agency.

The Israeli government, lacking a universally accepted definition of Jewishness, has long welcomed immigrants whose links to Judaism were tenuous, many of them among the hundreds of thousands who came from the Soviet Union in the early 1990s.

Israel has struggled for years to figure out which Ethiopians should be admitted. Each time it has tried to end the immigration by emptying the Gondar camps and airlifting their inhabitants to Israel, thousands more have flooded into the camps, scrambling to prove their Jewishness.

The argument now seems to have come down to numbers: Israel says the last of the Falasha Mura who qualify for immigration arrived in Israel this month; the American groups say 8,700 have been left behind.

Israeli Prime Minister Ehud Olmert has upheld the Israeli list.

Wednesday, August 20, 2008

Lopez Lomong to carry U.S. flag

Associated Press

DALIAN, China -- Eight years ago, Lopez Lomong didn't even have a country. Now he'll be carrying the flag for his adopted nation, leading the U.S. Olympic team at opening ceremonies Friday night. Lomong, one of the Lost Boys of Sudan, won a vote of team captains Wednesday to earn the honor of leading America's contingent into the 90,000-seat Bird's Nest Stadium.

The 1,500-meter track runner will be the flagbearer only 13 months after becoming a U.S. citizen.

"It's more than a dream," Lomong said in an interview with The Associated Press moments after he got the news. "I keep saying, I'm not sure if this is true or not true. I'm making the team and now I'm the first guy coming to the stadium and the whole world will be watching me carry the flag. There are no words to describe it."

He was born in Sudan, separated from his parents at the point of a gun at age 6, and with the help of friends, he escaped confinement and made it to a refugee camp in Kenya. In 2001, he was brought to America as part of a program to relocate lost children from war-torn Sudan.

Earlier this week, Lomong, 23, said he was mounting a campaign to be nominated by the track and field team for the flagbearer's position. He said the honor would be memorable, but he also was thrilled to be part of the democratic process that might get him there.

"In America, everyone has a chance to do all these things," Lomong said. "You follow the rules, people will choose, and if I'm blessed to get that opportunity, I'll get it."

In 2004, Dawn Staley did the flagbearer's honors. In 2000, they went to kayaker Cliff Meidl, who survived a 30,000-volt jolt of electricity in a construction accident and became an Olympian.

Lomong's story is every bit as inspiring.

He knew nothing of the Olympics in 2000, when his friends at the refugee camp in Kenya talked him into running five miles and paying five shillings to watch Michael Johnson on a black-and-white TV set with a fuzzy screen.

At that point, Lomong knew he wanted to be an Olympic runner. He earned his spot at the Olympic trials on July 6, exactly one year after he gained his U.S. citizenship.

All three Americans in the 1,500 are naturalized citizens -- Lomong, Bernard Lagat (Kenya) and Leo Manzano (Mexico).

"I feel great," Lomong said Wednesday night. "I feel happy, honored. I'm feeling so blessed to get an opportunity to present the United States of America, to present the United States flag in front of my team."


Tuesday, August 5, 2008

Blackfaced Children in UNICEF Ad



















A blog called: Black Women in Europe wrote:



This is an actual ad-campaign by UNICEF Germany!

This campaign is "blackfacing" white children with mud to pose as "uneducated africans“.

The headline translates "This Ad-campaign developped pro bono by the agency Jung von Matt/Alster shows four german kids who appeal for solidarity with their contemporaries in Afrika"

The first kid says:

"I'm waiting for my last day in school, the children in africa still for their first one."

second kid:

"in africa, many kids would be glad to worry about school"

third kid:

"in africa, kids don't come to school late, but not at all" (!)

fourth kid:

"some teachers suck. no teachers sucks even more."

Besides claiming that every single person in "Africa" isn't educated, and doing so in an extremely patronising way, it is also disturbing that this organisation thinks blackfacing kids with mud (!) equals "relating to african children". Also, the kids' statements ignore the existence of millions of african academics and regular people and one again reduces a whole continent to a village of muddy uneducated uncivilized people who need to be educated (probably by any random westerner). This a really sad regression.

Bottom lines of this campaign are: Black = mud = African = uneducated. White = educated. We feel this campaign might do just as much harm as it does any good. You don't collect money for helping people by humiliating and trivializing them first.

Unfortunately, if it was clear to the average German that this is wrong, UNICEF and the advertising agency wouldn't come out with such a campaign.

Please write your opinion and help make clear and explain why it is wrong to use "blackface with mud", and write to UNICEF at publicrelations@unicef.de as well as the advertising agency at info@jvm.de with a copy to Black German media-watch-orgaiztion info@derbraunemob.de what you feel about this campaign and why. Please include a line that you’re going to publish your mail and the response.

by the way, the slogan of the advertising agency who came up with this, reads
"we communicate on eye-level".

sincerely,

Noah Sow

NOTE: The pictures uploaded here are not in the same order in which they appear on the UNICEF site

Sunday, August 3, 2008

Zwarte Piet - Modern Blackface in the Netherlands


America is not the only place in the world where Blackface has manifested. However; because of the popularity of the minstrel shows here, the world has come to adopt it.

I just became aware of the practice in the Netherlands of Zwarte Piet-- Santa Clause's servant. It is still common-- if not more common for people to dress up in ridiculous costumes and paint themselves pitch black. Check this out from Wikipedia:

"During recent years the role of Zwarte Piet has become part of a recurring debate in the Netherlands. To this day, holiday revellers in the Netherlands blacken their faces, wear afro wigs and bright red lipstick, and walk the streets throwing candy to passers-by. As at Carnival, some of the actors behave dim-wittedly, or like buffoons, and/or speak mangled Dutch as embodiments of Zwarte Piet."
Wow! Our legacy runs deep, and it really makes me question --even more-- how Hollywood can think it's somehow okay for Robert Downey, Jr. to act in Blackface in "Tropic Thunder". It's ridiculous.
Watch this sample from Youtube of a "comedy" spoof in the Netherlands (it's from 2007!!!):


Family Days at MoAD

In the 19th century, photography inflicted a certain amount of pain. Cameras were expensive, so few people owned one. Those who wanted portraits had to sit in studios for long periods with their heads clamped so they wouldn't move. No wonder people were rarely smiling in old-timey portraits.

Photography has come a long way, and the Museum of the African Diaspora is focusing on the big picture. The museum's current exhibition displays early photographs, such as tintypes and daguerreotypes, as well as photographs on linen, wood and felt. The 90-plus images in the exhibition include depictions of slavery, 20th century civil rights conflicts, African American soldiers and family life.

On the 3rd Saturday afternoon, each month, at the museum, children can experiment with an early photographic technique by making cyanotypes, or blueprints. They can compose images by laying flat objects on chemically treated paper. The museum will provide feathers, but kids can also bring and use their own flat objects. After pressing the objects and paper between sheets of glass, kids will take the assembly outside, exposing it to sunlight. Whatever they've covered will remain white. Anything else will soon turn a brilliant lapis lazuli blue. Kids take home whatever they create.

"It's a simple, fun, rewarding process," says MoAD education program manager Demetrie Broxton. "It's quick, and you get great results."

The event is part of the museum's Family Day, held one Saturday a month to allow kids to engage with the content of exhibitions. The current exhibition - "Double Exposure: African Americans Before and Behind the Camera" - delves into the double-edged relationship that African Americans have had with photography.

In the 19th century, white institutions photographed African Americans with the intention of proving that they were inferior in anatomy and intelligence. In 1900, when Eastman Kodak developed cameras that were relatively cheap (just $1!), photography became widely accessible. Suddenly, African Americans could record the realities of their everyday lives.

"The photos show a more complex view of African Americans than just slaves, laborers and poor people," says Broxton.

The photos on display show African Americans through the lenses of others and through their own collective lens. Some compositions by contemporary artists (including Gerald Cyrus) allude to works by early African American photographers, such as Roy DeCarava, who captured people as they danced on Harlem streets. And contemporary photographer and artist Carrie Mae Weems has reappropriated old, degrading images of African Americans, suggesting that there's another history.

1-4 p.m. Sat. Free with museum admission ($10 for adults, free for younger than 12). Education Center, 3rd floor, Museum of the African Diaspora, 685 Mission St., S.F. (415) 358-7200, http://www.moadsf.org/.


- Eve Kushner, 96Hours@sfchronicle.com


Photo Credit:
Hank Willis Thomas' "The Oft Forgotten Flower Children of Harlem," part of his series "Unbranded," is on display at the Museum of the African Diaspora.

Monday, July 14, 2008

"Nigger", Nigga, Negro by Nas




Text by Tamara of Rice N Peas Films


The word "nigger" is arguably the most controversial and offensive racial slur to ever be invented, racists use it to belittle and dehumanise people of African descent, yet many black youths have appropriated its usage, flipped the context and reinvented its meaning.What’s in a word? Those standing in the sticks and stones corner will say not a thing. Words are a bank collection of letters to which meaning is applied depending on how, to, and by whom they are used. See the transmutation of words like wicked, cool, and sick for reference. But while the context theory is a reasonable one, it doesn’t quite work when you try to apply it to a word like, say, nigger.
Ask Nas, he’ll tell you. The 37-year-old rapper from Queensbridge, New York is no stranger to controversy; remember this is the man who burst onto the hip-hop scene with the infamous line, “When I was 12, I went to hell for snuffing Jesus.” But nothing could have prepared him for the furore he met when he tried to name his ninth album “Nigger.” Jesse Jackson, Al Sharpton, Bill Cosby and the NAACP spearheaded a campaign of public condemnation, accusing Nas of ignorance and inflammatory behaviour, forcing Def Jam and Nas to rename the album Untitled. But Nas didn’t back down completely. The album’s defiant lead single, “Be a Nigger Too,” features the sing-a-long chorus:
"I’m a nigger, he’s a nigger, she’s nigger, we some nigger’s
Won’t you like to be a nigger too?
Too all my kike niggers, spic niggers, guinea niggers, chink niggers
That’s right y’all my niggers too
They like to strangle niggers, blame a nigger, shoot a nigger, hang a nigger, still you wanna be a nigger too?”
For those of you unfamiliar with the work of Nasir Jones, oldest son of the jazz musician Olu Dara, you may dismiss this as the crass utterings of another dumb rapper shottin’ ignorance as entertainment. But Nas is no idiot. Straddling the seemingly disparate fields of conscious hip hop and reality rap, he is one of the foremost lyricists of our times. He’s read his history books. He knows what ‘nigger’ means, a word described by American journalist Farai Chideya as “the nuclear bomb of racial epithets.” His gun was fully loaded. Though it would seem Nas has misfired.
Talking to MTV News late last year, Nas responded to the controversy over his album title by saying:
"I wanna make the word easy on muthafuckas' ears. You see how white boys ain't mad at 'cracker' 'cause it don't have the same [sting] as 'nigger'? I want 'nigger' to have less meaning [than] 'cracker.' With all the bullshit that's going on in the world, racism is at its peak. We're taking power [away] from the word.
"But how can a word that has been used for the last 400 years to dehumanise one section of the human race, a process which resulted in slavery, colonialism and continued economic, physical, mental and spiritual subjugation suddenly become a catch-all term of endearment for anyone who chooses to use it? Changing the meaning you give a word does not change its history. Though Saul Williams, a spoken word artist/actor/poet who collaborated with Nas on the track “Black Stacy” seems to think otherwise. Speaking to me during a pre-promotional tour for his Niggy Tardust project, I ask him how he felt about the public use of a very private word. He replied:
“When I used the word ‘nigger’ I essentially mean everybody because I believe that you can’t curse the part without damning the whole. I am a firm believer in the meaning that was used by the European John Lennon when he said ‘women are the niggers of the world.’ It speaks to the idea of being disenfranchised and being overlooked by governments and oppressed, but essentially, especially in relation to the African-American experience, I think of the word ‘nigger’ as a portable hard drive, that if we were to try and streamline our experience and all that we’ve known and been through as a people on this land, we could do away with a lot and simply keep that word and all of the history would be embedded in it.”
Does that make it okay to use? You can change ‘nigger’ to ‘nigga’ but its origins as another word for ‘less than human’ remain. And I don’t think you can ever take away the sting. On researching this article, I went to a library to enquire after a copy of Randall Kennedy’s thought-provoking work, “Nigger: The Strange Career of a Troublesome Word,” and found myself unable to ask the white librarian for it. The words just wouldn’t come out of my mouth, because I was conscious of the fact that less than 100 years ago someone who looked like him would have been calling someone who looked like me that very word without the slightest hint of humanity. Yet Williams is a firm believer in our ability to infuse the word with a new meaning.
“We have to keep history in its place. Even what we know of history is partially barricaded from us, so what a lot of people don’t talk about is the fact that the Niger River existed as the Niger way before Europeans ever came, and in that Niger Basin there are over 200 languages spoken and in just about every one of those languages there are words that sound exactly as the word ‘nigger,’ meaning anything from God to river to grass. ‘Nigger’ may be the only word in the English lexicon that is of actual African origin. And when I look at a generation of young people that have chosen to reconnect to that word, I wonder what is the subconscious process of healing? What does it take? Perhaps it is something like the way old schoolers would say about the way you heal from a snakebite. Having to spit out the venom again and again until there is no more. Suck it up and spit it out. Perhaps its some sort of process like that. I’m not sure.”
It’s quite clear that Nas hoped to expose the hypocrisy of a racist, white-run music industry which has flaunted the word like a dysfunctional peacock but done nothing to question its meaning, its reception or its history. An industry that deems it acceptable for black artists to tell tales of shooting and killing ‘niggas’ quickly shoots down a man who tries to have an open debate about what the word means. For this I commend Nas, but it’s not a debate we should be having because it’s not a word anyone should be using. It should be confined to history along with the legal lynchings and enslavement from whence it came. Because until the conditions which allow certain people of a darker hue to be treated as sub-human, as ‘niggers,’ disappears, then the word should too. No matter how you spell it, or what you may mean by it, it’s painful past and present always remains.1st July 2008
You be the Judge:

Monday, July 7, 2008

Drum Debate in Harlem - from the NY Times




“The drummers are our friends, neighbors and brothers, and are an important cultural part of our neighborhood,” said Donald K. Williams, president of the Mount Morris Park Community Improvement Association. “But the new residents have said, ‘We have the right to live here too, and the right to have some aural privacy,’ and they do.”
(Click on the title to read the whole article)

Thursday, July 3, 2008

Kerry James Marshall at Jack Shainman NYC

Kerry James Marshall’s work is based on a broad range of art-historical references, from Renaissance painting to folk art. A striking aspect of his paintings is the emphatically black skin tone of his figures, a development the artist says emerged from an investigation into the invisibility of blacks in America and the unnecessarily negative connotations associated with darkness.

EXCLUSIVE (from Art21): Kerry James Marshall discusses two recent paintings, both Untitled (2008), during the installation of his exhibition Black Romantic at Jack Shainman Gallery, New York. The exhibition is on view through July 3, 2008.



Tuesday, June 17, 2008

The Road To Fondwa Film Preview

See the Road To Fondwa: A Documentary Film

Synopsis:
Up against centuries of oppression, an unforgiving mountainous environment, decimated natural resources, and a centralized state government that offers little or no development assistance to rural communities, the people of Fondwa have taken matters into their own hands.
Leaders and dreamers and dedicated workers.
Children, mothers, priests, and students.
Haitians, Cubans, Americans and French - all pitching in for a better tomorrow.
With unprecedented access to the entire Fondwa community, The Road to Fondwa weaves the seasoned voices and stunning imagery of Fondwa into a tangible story that challenges the status quo of international development and seeks to inspire a new paradigm of international cooperation - one founded on true partnership and understanding.

Chicago on June 20, 2008
7-7:30 pm Open Bar!
7:45 pm screening

Where: Schmidt Auditorium, DePaul University Lincoln Park Campus 2320 N. Kenmore Ave Who: Open to the Public, everyone is welcome!
How Much: $15 suggested donation in advance, $20 at the door.
All proceeds from event will benefit The University of Fondwa, and the IBC Initiative In Haiti. (your donation includes an open bar from 7-7:30pm… for everyone over 21, of course).

San Francisco on August 30th
at the Museum of the African Diaspora


Through A Lens Darkly: Black Photography and the Emergence of a People

Thomas Allen Harris' Through a Lens Darkly: Black Photographers and the Emergence of a People is a two-hour documentary film and multimedia project that explores the ways black communities have learned to use the medium of photography to construct political, aesthetic and cultural representations of themselves and their world.

Some of the images featured in this film appear in the exhibition, Double Exposure: African Americans Before and Behind the Camera, on view at the Museum of the African Diaspora from June 18 - September 28, 2008.

Watch a short trailer here:

Monday, June 16, 2008

Sock Obama


WOW! Sadly, I guess I've been on the right track with my obsession with the prevalance of Blackface imagery and America's perception of people of color.
Let's face the demon head-on: our country has truly failed to find true progress with race relations. There still remains a huge number of American people who cannot see past skin color. It's a disease which comes out clearly when people, like this Utah couple (David and Elizabeth Lawson) make claims that they had no intention of angering folks. Here's what they had to say for themselves:
“We at TheSockObama Co. are saddened that some individuals have chosen to misinterpret our plush toy. It is not, nor has it ever been, our objective to hurt, dismay or anger anyone. We guess there is an element of naiveté on our part, in that we don't think in terms of myths, fables, fairy tales and folklore. In earnest folks, we're so sorry we offended anybody.”
Does anyone, including the Lawsons, actually believe this?
If so, I can make you a great deal on the Brooklyn Bridge.....

Friday, June 6, 2008

The Museum of the African Diaspora presents Double Exposure: African Americans Before and Behind the Camera June 19 - Sept 28, 2008




Hank Willis Thomas
Smokin’ Joe – “You think you can get me to eat my flapjacks without my Blue Bonnet®? Try it!”
From the series Unbranded, 1978/2006
Lambda print
Courtesy the artist and Charles Guice Contemporary


The Museum of the African Diaspora presents a selection of works from the 19th and 20th centuries that will highlight African American history, as well as the history of photography itself.

Double Exposure will include historical photographs, albums, and cased images from the collection, as well as contemporary art that incorporate historical photographic imagery. The exhibition will present two predominant subject threads—popular culture and historical images of African Americans and the reality of black life as depicted by African Americans themselves. The photo based artworks in the exhibition comment on slavery, the civil rights conflicts of the twentieth century, and contemporary explorations of family, identity, and history.

The contemporary section of Double Exposure will feature late twentieth-century photography, photo-collage, and mixed media. This portion of the show demonstrates the range of artistic possibilities in photography and showcases the strong influence of historical and family photographs on contemporary African American art. Among the techniques represented will be traditional silver prints, Polaroid, and digital prints as well as photographs on linen, wood and felt.

This exhibition was organized by The Amistad Center for Art & Culture, Inc., Hartford, Connecticut. This traveling exhibition is sponsored by Aetna.



June Events and Programs

Sunday, June 1, 2008
3:00 p.m.-5:00 p.m.
Booksigning and Discussion
Daughters of Men: Portraits of African-American Women and Their Fathers
Author Rachel Vessel

From actress Sanaa Lathan to Georgia State Supreme Court chief justice Leah Ward Sears, many African-American women attribute much of their success to having a positive father figure

In Daughters of Men, author Rachel Vassel has compiled dozens of stunning photographs and compelling personal essays about African-American women and their fathers. Whether it's a father who mentors his daughter's artistic eye by taking her to cultural events or one who unwaveringly supports a risky career move, the fathers in this book each had his own unique and successful style of parenting. The first book to showcase the importance of the black father's impact on the accomplishments of his daughter, Daughters of Men provides an intimate look at black fatherhood and the many ways fathers have a lasting impact on their daughters' lives.

Friday, June 20, 2008
7 pm to midnight
Public Opening and Party
Double Exposure: African Americans Before and Behind the Camera
Live music, food and beverages
$20 in advance $25 at the door

June 22, 2008
2:00 pm – 3:30 pm
Double Exposure: Artists Panel led By Carla Williams
2:00 pm – 3:30 pm MoAD Salon
In conjunction with Double Exposure: African Americans Before and Behind the Camera join us for a dialogue in-the-round with a selection of local artists whose works are included in the exhibition. The focus of the discussion will be on technology, both its impact as a tool of creation as well as its use as a tool of self-promotion, publication, and mass communication. The Bay Area is home to leading technological companies, so it is fitting that the artists whose work is featured here will address the impact that technology has had on their work.
Reception immediately following conversation.

Seats are limited. You must RSVP for admittance to program.
MoAD Members $10 General Admission $15


June 28, 2008 MoAD Family Day
1:00 pm – 4:00 pm MoAD Education Center

Join us in part I of our Family Day programming for our exhibition, Double Exposure: African Americans Before and Behind the Camera. Come to the 3rd Floor Education Center to learn about cyanotypes, an early photographic process, and create a one-of-a-kind piece of art.

About the Museum of the African Diaspora
The only major museum of its kind, MoAD is committed to exhibiting works by modern and contemporary artists of African descent that interpret MoAD’s core themes of Origins, Movement, Adaptation and Transformation throughout the African Diaspora. A global organization located in San Francisco, MoAD explores the universal connection of humankind to Africa through its interpretive exhibitions and public programs. Since opening in December 2005, MoAD has hosted a series of exhibitions curated by the museum or organized by other institutions, attracting more than 75,000 visitors.

MoAD
685 Mission Street/Third
San Francisco, CA 94105

For further information logon to
www.moadsf.org or call 415.358.7200

Grind 4 Green in SF this Summer



Grind for the Green (G4G) is an annual summer eco-music festival produced by and for youth in the San Francisco Bay Area. More than just a showcase for local talent, G4G provides a framework and applied learning environment where youth from the hip-hop generation build business acumen and technical skills necessary for professional advancement. Hundreds of participants will have the opportunity to take part in all events, which include artist development workshops, jobs, internships and educational opportunities rooted in an environmental justice framework.



Here's the schedule of events:

JUNE 7, 2008 9am-5pm
MUSIC BUSINESS CONFERENCE
SF State Music Industry Recording Program

G4G launches with a daylong music conference held at San Francisco State’s Music Recording Industry campus. The event will feature panel discussions, resource fair, skill-sharpening workshops, and networking opportunities facilitated by industry leaders and professionals. Participants will receive success tips from industry insiders, an overview of music industry market trends and leave feeling more empowered as an independent artist. This high-profile event will also feature a MC battle, VIP meet and greet, live art installation giveaways and vending opportunities.
During the performance workshop participants are developed and trained by professional artists through sequenced interactive training's designed to prepare them to deliver a dynamic stage performance. This event will feature a wide range of workshops for the beginner as well as master classes for advanced artists. Topics covered include: vocal projection, stage presence and improvisation. The day will culminate in live performances by pre-selected youth who will receive constructive critique by a panel of seasoned veterans from the local hip-hop scene.


AUGUST 9, 2008, 7pm-10pm
BEAT BATTLE
Yerba Buena Center for the Arts

Phase 3 of G4G takes place on August 9th where aspiring producers will test their skills in a friendly beat battle. Eight pre-screened contestants will attempt to advance through four rounds of competition that will be judged by the audience. A live beat making workshop and producers panel will round out this event.

SEPTEMBER 7, 2008 12pm-4pm
SOLAR POWERED MUSIC CONCERT
Yerba Buena Gardens

Featured in the highly acclaimed Yerba Buena Gardens Festival, G4G culminates in the 1st bay area solar powered hip-hop music concert. The event will be headlined by a national artist and will feature performances by local artists. Select slots will also be reserved for pre-screened G4G participants providing them with the opportunity to perform before a large audience and apply techniques learned in prior events.

Talib Kweli Tonight in SF!!!!!


Talib Kweli DJ'ing TONIGHT in S.F.








Esteemed rapper Talib Kweli will be hitting the decks TONIGHT Friday, June 6 at Mighty as a pre-party for Grind on the Green.


The next day, June 7, he'll take the mic as the keynote speaker at Grind on the Green, a conference for young hip-hop hopefuls that splits time between San Francisco State and Yerba Buena.
Photo by D Nice

Thursday, June 5, 2008

John Biguenet @ 111 Minna St.

Jun. 10 Lit&Lunch Season Finale:


A reading from John Biguenet's Pulitzer-nominated play RISING WATER


TUESDAY, JUNE 10, 12:30-1:30 pm
111 Minna Gallery
111 Minna Street at Second Street (two blocks south of Market)




We conclude our Spring 2008 Lit&Lunch season with playwright John Biguenet speaking about his Pulitzer-nominated play RISING WATER and his work with international theater. Ryan Rilette of Marin Theatre Company will direct two local actors in a staged reading from RISING WATER. Set in New Orleans in the aftermath of Hurricane Katrina, RISING WATER broke all box-office records at the Southern Repertory Theatre in New Orleans; its first West Coast production just opened to glowing reviews at the Maverick Theater in Fullerton, CA.




THE ORANGE COUNTY REGISTER raves, "RISING WATER emerges as a great American play, perhaps one of the first great plays of the 21st century." Co-sponsored by Magic Theatre.
Lit&Lunch is a program of the Center for the Art of Translation. For more information, call the Center at (415) 512-8812 or visit http://www.catranslation.org/.




The Center for the Art of Translation is a non-profit organization based in San Francisco that promotes international literature and translation through programs in the arts, education, and community outreach.

Talkin' and Testifyin': An Evening Honoring Fannie Lou Hamer


The San Francisco Freedom School
cordially invites you to our third annual fundraising event…

Talkin’ and Testifyin’:
An Evening Honoring Fannie Lou Hamer


~~~~~~ Co-sponsored by The Oakland Opera ~~~~~~

Selections from Mary Watkins’ new opera, Dark River
Testimony from a Civil Rights Veteran
Documentary Film Footage


"Ain't nothing going to be handed to you on a silver platter, nothing. That's not jus’ black people, that's people in general, masses. See, I'm with the masses. So, you don't ever get nothing, jus’t walk up and say, 'Here it is.' You've got to fight. Every step of the way, you've got to fight."

---Fannie Lou Hamer, Civil Rights activist (SNCC) and political candidate (MFDP)


Saturday June 7, 2008
St. Francis Lutheran Church


152 Church Street, San Francisco (at Market Street across from Safeway)
(Muni: K, L, M, J, N, F)

Sliding scale!

5:30 -6:30 PM Food & Beverages RSVP appreciated
415-703-0465
6:30 -8 PM Performance
or mke4think@hotmail.com

Film and Testimonial

San Francisco Freedom School (SFFS) is at www.educationanddemocracy.org

Youth Speaks & "the break/s"

This program (Youth Speaks) is changing the nation.... because it is changing the way we view our youth, and it gives a voice to the youth. More often than not, youth are viewed as being trouble makers, inarticulate, lazy. Now, see something different. Jason Mateo and Marc "Bamuthi" Joseph bring it and teach youth how to bring it even harder. Here's true investment in the future:



Mark Your Calendar: Marc "Bamuthi" Joseph (Executive Director of Youth Speaks) has been working on his newest, experimental piece, "The break/s: a mixtape for stage". It first premiered at the Walker Art Center, but is now being produced at the Yerba Buena Art Center in San Francisco. The break/s is a multimedia journey through verse, contemporary dance and video that interweaves his person story with the history of hip- hop. Inspired by Can't Stop Won't Stop by Jeff Chang, Joseph explores transnationalism and globalization in relation to hip-hop culture, and digs into the politics surrounding the creation myth of this provocative music form. With a spoken words virtuoso, live music by DJ Excess and Tommy Shepherd aka Soulati, and choreography by Stacy Printz, the break/s is one gigantic live mix.

Here's an intro, sneak-peak:

Saturday, May 31, 2008

The Slaves' War: The Civil War In The Words of Former Slaves



Andrew Ward's much anticipated book, "The Slaves' War: The Civil War in the Words of Former Slaves" is slated to be released on June 10, 2008 by Houghton Mifflin.




The book uses first-person narratives from the 1930's Works Progress Administration's Federal Writers' Project to look at the range of emotions felt by slaves when they finally found out they were free. The book also analyzes their view of Marse Lincoln, aka Honest Abe.


Here's a sample to get you into the content of this book:
"The war's end promised freedom, but slaves' expectations were mixed. "Some believed they'd get freedom and others didn't," Laura Abromson recalled in an interview in Arkansas. "They had places they met and prayed for freedom." According to Edie Dennis of Georgia, "Their great, soul-hungering desire was freedom--not that they loved the Yankees or hated their masters, but merely longed to be free and hated the institution of slavery."
But what was the freedom that beckoned to them? "We people on the plantation didn't know much about the war," wrote Robert Anderson in his postwar memoir From Slavery to Affluence. "It was impressed on us indirectly by everyone, that there was little chance of the slaves being set free. Some didn't care whether they were free or not, as there was little to look forward to either way." If freedom came, "what will we do?" they wondered. "We have no home, no money, no clothes, no nothing." On the other hand, "for some of the people, there could be no existence worse than the one they were in. It was a problem either way."
This book sheds light on so many of the conditions and experiences of our fore-parents that most of us don't truly consider. Change and the unknown is scary. If any one of us had been born of slaves and only knew the life of the slave, would running away and starting anew be as simple as we imagine? What did folks really think of Lincoln? Was he as revered as we learn in grammar school or was he viewed differently?
I guess we'll all have to crack open these pages as see for ourselves...

Melissa Harris-Lacewell's book: Barbershops, Bibles, and BET



This book was published in 2004, but with the elections upon us, the message seems more powerful and relevant than ever. Melissa is a truly gifted writer and thinker. Beyond that, she is straight-forward and does not try to sugar coat her message: America has made progress in the last 40 years, but "we might be in a more shockingly similar place than any of us would like to admit."

In a recent interview in American History, she says, "Black and white Americans perceive everything differently--from whether King Kong is a fun family movie or fundamentally a lynching film, all the way to whether O.J. Simpson was guilty or innocent, up to whether what happened in New Orleans after Hurricane Katrina was fundamentally about race. It's more the rule than the exception that African Americans and whites see and experience the world across a vast difference in perceptions."

Melissa brings up how the current election has been skewed to be all about race and gender, emphasizing how little movement America has made to, "judge a person by the content of their character and not by the color of their skin." She brilliantly states, "In some ways Barack Obama's campaign is a very liberating, post-racial campaign that is freeing up the fetters of separate but equal. But at the same time it's reasserting in the 21st century the one-drop rule by establishing that Barack Obama--the child of a white mother and an African father--is considered black.

One of the most powerful messages Harris-Lacewell makes is that the Black community is disenfranchised by the media. The lack of accurate coverage on so many topics of relevance to our community go unheard or are skewed in a very subjective manner-- usually opposing the beliefs of the Black community. Consequently, she says that beauty shops, barbershops, street corners and stoops, and churches are a more legitimate source of gaining communal truth in the Black American community.

Did I mention that she's a professor at Princeton University? This sista is deep!

Check her out on Democracy Now/Youtube:





To read steinem's article, click here.

There's both sides, you decide....

Back to the Subject of Blackface.....

Just in case anyone's confused about the history of Black Face and why I seriously think it's not even close to being okay, here's a reminder:



And, here's another view from 2 years ago.... I especially value the part where they call it an "old demon" which should not come back out:



And just in case you still don't get it, here's the real thing:



Oh, and I MUST remind you of this:




I wasn't born in 1950, but I still know 58 years is a blink in time....

Have I said how much I LOVE YouTube??!!

Wednesday, May 28, 2008

Youtube and the Election: A Video Mosaic By Yours Truly

Another view on the Racialization of the current Presidential elections:




Just in case you don't remember or missed the S. Carolina comments:



And we've all heard about Rev. Wright, but how many people heard this one:



And, finally, the funniest thing ever:

Hank Willis Thomas' 82 Piece Unbranded Series Debuts in After 1968







Charles Guice Contemporary presents Hank Willis Thomas' Unbranded: Reflections in Black by Corporate America 1968-2008. The 82-piece tour de force debuts in its entirety in After 1968: Contemporary Artists and the Civil Rights Legacy at the High Museum of Art in Atlanta. After 1968, which opens June 7, examines the legacy of the Civil Rights Movement, while exploring the continuing relevance of progressive social change.

In Unbranded, Thomas appropriates print advertisements that feature or target African American audiences, stripping the original texts and logos to reveal what's really being sold. The viewer is left to reflect on how advertising plays an integral roll in constructing, reinforcing, and exploiting stereotypes about African American life--and how the public has become complicit in accepting them.

By presenting these works--two images for each of the forty years since the assassination of Dr. Martin Luther King--Thomas reveals the visual language employed by advertisers, and the cultural biases in which they are rooted. With King's death, 1968 became the symbolic end of the Civil Rights Movement; Unbranded attempts to explore the evolution of African Americans in the "corporate eye" from that time until now.

For Thomas, the significance of these ads is two-fold:

"I am not only interested in how other people see us, but also how we see ourselves-- what we can learn about our own assumptions, as well as how we were are "othered". By "unbranding" advertisements I can expose what Roland Barthes refers to as 'what-goes-without-saying' in ads, and encourage viewers to look harder and think deeper about the 'empire of signs' that have become second nature to our experience of life in a commodified world."

A few select pieces by Hank Willis Thomas will be featured in Double Exposure, the upcoming exhibition at the Museum of the African Diaspora in San Francisco.

Tuesday, May 27, 2008

Double Exposure:African Americans Before and Behind the Camera at MoAD

Double Exposure: African Americans Before and Behind the Camera
June 19, 2008 – September 28, 2008

Hank Willis Thomas Smokin’ Joe – “You think you can get me to eat my flapjacks without my Blue Bonnet®? Try it!” From the series Unbranded, 1978/2006 Lambda print Courtesy the artist and Charles Guice Contemporary


Double Exposure: African Americans Before and Behind the Camera - A selection of works from the 19th and 20th centuries that are in the collection will highlight African American history, as well as the history of photography itself. Double Exposure will include historical photographs, albums, and cased images from the collection, as well as contemporary art that incorporate historical photographic imagery. The exhibition will present two predominant subject threads—popular culture and historical images of African Americans and the reality of black life as depicted by African Americans themselves. The photo based artworks in the exhibition comment on slavery, the civil rights conflicts of the twentieth century, and contemporary explorations of family, identity, and history. The contemporary section of Double Exposure will feature late twentieth-century photography, photo-collage, and mixed media. This portion of the show demonstrates the range of artistic possibilities in photography and showcases the strong influence of historical and family photographs on contemporary African American art. Among the techniques represented will be traditional silver prints, Polaroid, and digital prints as well as photographs on linen, wood and felt. This exhibition was organized by The Amistad Center for Art & Culture , Inc., Hartford, Connecticut. Traveling this exhibition is sponsored by Aetna.

Tuesday, May 20, 2008

Tropic Thunder vs. Birth of a Nation



I know I'm late on this one, but folks just keep trying to compare Robert Downey Jr playing a black man to Soul Man or black folks playing a white person.

I just had to put this out there 'cuz it seems like we're really sleeping on this issue these days. Seriously, which group is in power. Stereotyping only holds weight, like racism, when it's coming from the dominant group. Sorry folks, but people of color in this country are not in power-- not even when Obama makes it into office.

Can we take this back to 1915 with the release of The Birth of a Nation??!! Let me refresh your memory, sleeping giants. That film was created back in the day when Black folks were not allowed to play themselves. It was the first Hollywood blockbuster, and still receives rave reviews from critics like Ebert and Roeper... go figure. That film was also created to justify the existence of the KKK and slavery.

R.D. Jr. playing a black man can be considered on par with Eddie Murphy, Arsenio Hall, and the Wayans brothers playing white people ONLY after the tables of power are made even. Right now, Hell to the NO! Let's focus on getting a Black person into the White House first and not getting assassinated, not having Black folks make up 40% of the prison population, not being the poorest group in America, having equal education and employment opportunities-- then, and only then, can the comparison be made.

My opinion (and that's why I blog) is that it doesn't matter how well intentioned the film makers and actors are, this act is unacceptable.

Does Spike Lee need to re-release Bamboozled for us to catch a clue? And don't get me started on how the Rev. Wright's video's were blasted all over the media for weeks, while Clinton's ADVISOR, Mickey Kantor can call Indianans "worthless white niggers" and we only hear about that for maybe 30 minutes on one day....

Is this just me being a stereotypical angry black man searching to pull the race card, or is this the system revealing it's true nature? What would Martin say?

Sunday, May 4, 2008

Stephanie Ann Johnson














Binding Ties
















We Speak

















The Intersection

Stephanie Ann Johnson is an amazing light designer and installation artist. Stephanie is based in Berkeley, California and her site specific works deal with local, as well as, national issues in the Black experience. Okay, details aside, her work is mind-blowing. In works like, The Intersection, created for San Francisco's Intersection for the Arts, a surveillance camera is used to record your image (the viewer) and projects it into the artwork. This is what art should be about-- not just something beautiful and separate that you ponder, but something that involves you, really engages you, and brings some kind of a transformative experience. Stephanie has found a way to blend her day job with her art making-- talk about living artfully!
Again, watch out for this lady-- she's going to be exploding onto the scene.....

Wednesday, April 30, 2008

The Work of Titus Kaphar













Shroud, 2007


If art was like a basketball team (and this was 1992), Titus Kaphar would be part of my Dream Team. His work deals with similar issues as my own work, but he does it in a completely unique way.

Watch out world, this guy is going to be a quick rising star. I mean, I carve into my surface to give it form, but this guy literally cuts his canvas, repositions it, and even balls it up to give it form! It's wild. He has found a way to marry painting with sculpture and the pieces are powerful. I really don't need to expound any further on their meanings...he's direct, and the message is clear to anyone who is open enough to receive it. Mark my words.... you'll want to watch this one, and if you can get your hands on one of his pieces-- do it now.

Spouse, 2006







Conversation Between Paintings #2: The Meeting:
"We Was Jus’ Talkin,’” 2007

Thursday, April 17, 2008

Joan Armatrading

Speaking of breaking the mold and defying the stereotype - Joan Armatrading is AMAZING!!! Although she pre-dates Tracy Chapman, their singing styles seem so similar to me. I guess it's the soulful, yet folksy flavor they bring to their music. Joan's style is hot. Her music is passionate, inspiring, and when she sings about love in this song... well, I wanna give someone some love. Seriously, check out this live video of her and her band:

Niroga Institute - Integral Health Fellowships




I have been studying Yoga for a several years, but recently, I began training to be a certified Yoga instructor. It is amazing, and only possible because of the vision of an amazing program, Niroga Institute.
As a person of color, I am usually always the only, or one of two of the only folks of color in a Yoga class. That's cool, because it's all about the Self and finding union with your higher power, and when you go to that level everyone is the same, right?.....
Niroga is different, though. BK, the man envisioned this program, is a really hip, conscious, and enlightened teacher from India. My other two instructors are of the recent African Diaspora - Anthony who is from the U.S. and stretches us out to the flyest jazz tunes during class, and Sasi, who comes from Jamaica and is as cool as an island breeze.
My classmates are all African American. And that is beyond amazing. It is completely unlike anything I've ever experienced-- to be surrounded by positive, conscious, and about-something folks that look like me in a Yoga class! But we're by no means a homogenous group-- the diversity is out of this world. Every time I leave a class, I am literally BUZZING with self pride and a feeling that I cannot explain.
I'm sure that any person of color who has gone to 95% of the Yoga studios in the U.S. can probably imagine what that must be like -- you know what I'm saying, right?
Ok, and if that was not enough-- now brace yourself -- it's Free. All we have to do is commit to teach twice a week for a year following our two year process! And Yoga has, until now, been very cost prohibitive for me!
Here is an excerpt from the Niroga Institute newsletter by Bidyut K. Bose, aka BK, founder and director of Niroga Institute:
Yoga Joins Fight Against
Crime and Violence

Niroga Institute, in collaboration with the Bay Area Black
United Fund
(BABUF) and the International Association
of Black Yoga Teachers (IABYT)
, is currently training African
American young adults to become Certified Yoga Teachers
to bring self-transformative life skills into their communities
in Oakland. Given the success of Niroga’s program at
Alameda County Juvenile Hall, BABUF is awarding Integral
Health fellowships to sixteen selected interns to begin
a two-year training program. Bobbie Norisse, President of
the Bay Area Chapter of IABYT, said of the program,
“This is simple, direct, and doable.”
Woody Carter, the Executive Director of BABUF, said “We
are very excited about partnering with Niroga. Yoga is the
cornerstone of our African American Health Initiative.”
Check out this YouTube video:

Wednesday, April 16, 2008

Dark Symphony: The Paintings of Demetri Santiago-Broxton



So, folks keep asking me about my own work, and I just needed to get it out there. I am a museum educator by day and painter by night... perhaps one day I'll flip the script on that one... but for now this wild schedule works great for me.

My current body of work examines specific aspects of my spiritual and cultural background and attempts to unify them. I am especially drawn to saints and the divine moment of catharsis or enlightenment. The divine presence is represented by orbs of light which are either actively materializing or fading away. I carve grids into the surface of the painting to not only add depth, but also because it allows the image to fluctuate between deep space (transcendent) and a flat picture plane (profane). To further this effect, my painting ground is deeply textured while my subjects are rendered in multiple layers of thin glazes of paint.

In making my work I take inspiration from the Baroque masters of light (chiaroscuro) and the religious and cultural stories of my ancestry. My backgrounds are left formless and misty, creating the sense that the chosen moment could be happening at any point in time or space.






This painting is called Inner-Self. I had a dream about a tree materializing from a void. The tree just made its way into the painting, because it seemed so important in the dream. I now believe that it represents my origins and the physical world.













This painting, Unguarded, really speaks to my concept of the spiritual realm. This being is both physical and fading into the "landscape". What is the orb of light behind her? I love to hear what people have to say about this piece. It really depends on your own personal perspective....










Once Again, is so incredibly hard to photograph. I really carved deep lines into the surface and the surface is extremely shiny. The woman is lying in an unidentified field, reaching for something.... Is the time of day dusk or dawn? Black, moth-like insects float around her. Why is she lying on the ground and what is she reaching for?

Yep, I'm going to leave you with more questions than answers.


Stay tuned, I am currently working on a huge piece and will post photos of different stages of development.

The Art of Being Obama


Michelle Obama:
A Phenomenal Woman
This isn't from me, but it's fascinating and I had to share it, because it completely works against stereotyping!!!
I know that potential readers of my blog may have their own political ideas, which vary from mine-- that's fine. However, what is irrefutable is that the Obama's are always defying anyone's attempts to place them in a box. I love that most about them, and they do it with grace! That is artful and it completely inspires my art making process..... which by the way, will be finding its way on this blog in the future-- I keep getting asked about my own work.
Anyhow, back to the subject at hand:
Check out this article about Michelle Obama: http://afrobella.com/2008/04/16/phenomenal-woman-thats-her/#more-480 The best part of the article is about her white roommate at Princeton who requested to change rooms, because she didn’t want a black roommate and her recent regret of that decision: http://www.ajc.com/news/content/news/stories/2008/04/12/roommate_0413.html