A different portrait of black fatherhood

Posted in Articles, Arts, Asian Diaspora, Family/Parenting, Media Archive, United States on 2018-03-06 19:31Z by Steven

A different portrait of black fatherhood

In Pictures
BBC News
2018-03-06


Zun Lee

Zun Lee was raised in Germany by Korean parents – but as an adult he discovered his real father was a black American with whom his mother had had a brief affair.

After this discovery, he began to explore fatherhood among black Americans.

Lee says the US media mainly portrays black fathers in one of two ways:

  • the absent father, often portrayed as a “deadbeat”
  • the traditional family patriarch, as seen in TV programmes such as The Fresh Prince of Bel-Air

And his project, on display at the Bronx Documentary Centre, in New York, aims for a more balanced and nuanced portrayal.

Read the entire article here.

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On prejudice

Posted in Arts, Caribbean/Latin America, History, Media Archive, Philosophy, Slavery on 2018-03-06 01:27Z by Steven

On prejudice

Aeon
2018-03-05

Blake Smith, Postdoctoral Fellow
European University Institute, Florence, Italy


Famille Métisse (1775) by Marius-Pierre le Masurier. Photo courtesy Musée du Quai Branly-Jacques Chirac/RMN

An 18th-century creole slaveholder invented the idea of ‘racial prejudice’ to defend diversity among a slave-owning elite

n 1791, Julien Raimond published one of the first critiques of racial prejudice. Raimond was a free man of racially mixed ancestry from the French colony of Saint-Domingue (today the country of Haiti), and his essay ‘Observations on the Origin and Progress of White People’s Prejudice against People of Colour’ argued that legal discrimination against people of African origin resulted from psychological biases. Raimond’s work was the first sustained account of how racial prejudice operates – and how it might be eliminated. Today, the idea that unconscious biases permeate individual psychology, prompting discriminatory behaviours and perpetuating social inequality, is central to discussions of race in politics, academia and everyday life. But this idea was the product of a specific 18th-century moment, with surprising and troubling motivations behind it.

Raimond was an activist for the rights of people of colour. In 1789, he left his home in Saint-Domingue just before the outbreak of the French Revolution. He went to Paris to lobby the government to grant equal status to free people of African origin. In Paris, Raimond joined a circle of radical thinkers and politicians who believed that racial equality had to be part of the emerging Revolution. But Raimond was no opponent of slavery. On the contrary, while his allies argued for its abolition, Raimond insisted that racial equality and abolition of slavery had nothing to do with each other. The first page of his treatise claimed that a cabal of ‘white plantation-owners … have cleverly conflated the cause of people of colour with that of slaves’. Raimond, in fact, wanted to preserve slavery. He believed that eliminating racial prejudice would bring white and non-white slave-owners together in a united front against enslaved Africans. He drew on the pro-slavery arguments of white plantation-owners. Raimond’s idea that there is such a thing as ‘racial prejudice’ and that discrimination is rooted in this psychological phenomenon originated in these plantation-owners’ defences of slavery.

Raimond’s ideas strike many present-day readers as bizarre and hypocritical. After all, he pioneered modern critiques of racial prejudice while also defending slavery. Most people today presume that racism led to slavery, and that slavery and racism were practically synonymous. But in the 18th century, this was not so clearly the case. From Raimond’s perspective, as an 18th-century creole slave-owner, slavery and racism were distinct, and it seemed urgent to disentangle them. Slavery, after all, had existed for thousands of years, while modern racial discrimination, Raimond held, was something recent, contingent and reformable. Like many thinkers of his era (including many of the United States’ Founding Fathers), Raimond saw the world divided between an elite of propertied men and a servile mass of labourers. He saw that the power of a tiny elite would be more resilient if the privileged included people of different colours…

Read the entire article here.

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The First Great Movie of the Trump Era

Posted in Articles, Arts, Communications/Media Studies, Media Archive, United States on 2018-02-23 05:05Z by Steven

The First Great Movie of the Trump Era

Vulture
2018-02-22

Jada Yuan and Hunter Harris


Daniel Kaluuya and Jordan Peele filming the game-room scene of Get Out.
Justin Lubin/courtesy of Universal Pictures

How Get Out began as a rebuke to Obama-inspired dreams of racial harmony and became a conduit for fears reignited by the rise of the new president.

Get Out was shot in just 23 days on a budget of $4.5 million, but when it opened one year ago, it quickly became clear it was not just another low-budget horror movie. There were monstrous grosses and rapturous reviews, but most important, the film instantly became a cultural phenomenon — the subject of political commentary and social-media memes. The bizarre story of a young black man lured by his white girlfriend to her family home in the country, where they plan to replace his brain with an older white person’s, it immediately introduced into the lexicon terms like “the sunken place” — as in “We’ve lost Kanye to the sunken place,” used to suggest the rapper has lost touch with his black identity. Racial inequity, and the failure of white liberals to adequately address it, proved powerful fodder for a horror narrative. A year later, as one of the most unlikely Oscar Best Picture nominees in years, Get Out is being taught in courses on racism and Afro­futurism. It began as an insight in the brain of creator Jordan Peele during the 2008 primary fight between Obama and Hillary Clinton and premiered at Sundance within a week of Donald Trump’s inauguration. This is the story of how Get Out got out…

Read the entire article here.

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Lupita Nyong’o To Star In ‘Born A Crime’ Based On Trevor Noah’s Memoir

Posted in Africa, Articles, Arts, Autobiography, Media Archive, South Africa on 2018-02-22 04:47Z by Steven

Lupita Nyong’o To Star In ‘Born A Crime’ Based On Trevor Noah’s Memoir

Deadline Hollywood
2018-02-21

Amanda N’Duka


REX/Shutterstock

EXCLUSIVE: Oscar winner Lupita Nyong’o, currently starring as Nakia in Disney/Marvel’s record-smashing, watershed hit Black Panther, has signed on to star in Born a Crime, the film adaptation of The Daily Show host Trevor Noah’s bestselling debut autobiography Born a Crime: Stories from a South African Childhood.

Nyong’o will play Noah’s mom, Patricia, who served as an important figure to her son in his formative years. She was shot in the head by his stepfather while returning from a church service in 2009, but survived.

Noah is producing the project through his Ark Angel Productions alongside Norman Aladjem, Derek Van Pelt and Sanaz Yamin of Mainstay Entertainment, and Nyong’o…

Read the entire article here.

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Incognegro: Renaissance Author Mat Johnson Talks About Living a Black Life With Skin That Can Look White

Posted in Articles, Arts, Interviews, Media Archive, Passing, United States on 2018-02-20 03:12Z by Steven

Incognegro: Renaissance Author Mat Johnson Talks About Living a Black Life With Skin That Can Look White

Comics
Gizmodo
2018-02-12

Charles Pulliam-Moore


Dark Horse

In Dark Horse’s Incognegro: Renaissance, Zane Pinchback—a young black journalist and New York transplant by way of Tupelo, Mississippi—finds himself smack dab in the middle of Harlem at the height of its Renaissance during the 1920s. Zane, like Incognegro: Renaissance creator Mat Johnson, is a black man with a light enough complexion that people are sometimes unsure or entirely unaware of his race.

To those who know him, Zane’s identity isn’t a question, but for many of the new people he encounters in New York—particularly the white ones—Zane is able to pass as white, and thus move through certain spaces that other black people can’t. Drawn by Warren Pleece, Incognegro: Renaissance opens on a very taboo and illegal book party in Harlem where black and white people co-mingle as the champagne flows freely.

When a black guest suddenly turns up dead of an apparent suicide, the authorities show up on the scene to shut the gathering down, but have zero interest in investigating whether the death may be a homicide because the man is black. Realizing that his ability to pass (and willingness to do work others won’t) might allow him to dig deeper into the potential crime, Zane sets out on a mission to uncover the truth.

When I spoke with Johnson recently about his inspiration for the new series, he explained that much of the core premise is based on his own experiences and a life-long love of Walter Francis White, the civil rights activist who was the head of the NAACP from 1931 to 1955. But what Johnson really wants readers to get out of the series, he said, was a better understanding of the fact that identity in all its forms is fluid…

Read the entire interview here.

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Kaufmann’s ‘Black Tudors’ to be ‘epic’ TV drama

Posted in Articles, Arts, History, Media Archive, United Kingdom on 2018-02-15 18:48Z by Steven

Kaufmann’s ‘Black Tudors’ to be ‘epic’ TV drama

The Bookseller: At the Heart of Publishing since 1858
2018-02-15

Benedicte Page

The production company behind the ITV series “Vera” and BBC1’s “Shetland” has acquired exclusive television rights to Black Tudors: The Untold Story by Miranda Kaufmann (Oneworld).

Kate Bartlett’s drama label, formerly known as ITV Studios, London Drama, and now rebranded as Silverprint Pictures, bought rights from Emily Hayward Whitlock at The Artists Partnership and Charlie Viney at The Viney Shaw Agency. Silverprint plans to develop stories from the book into “an epic and ambitious returning drama series.”…

Read the entire article here.

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Paintings Of Barack And Michelle Obama Unveiled At Portrait Gallery

Posted in Articles, Arts, Barack Obama, Media Archive, Politics/Public Policy, United States on 2018-02-12 19:38Z by Steven

Paintings Of Barack And Michelle Obama Unveiled At Portrait Gallery

National Public Radio
2018-02-12

Camila Domonoske


Former President Barack Obama and former first lady Michelle Obama stand next to their newly unveiled portraits during a ceremony Monday at the Smithsonian’s National Portrait Gallery in Washington, D.C.
Mark Wilson/Getty Images

Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.

Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.

“Pretty sharp,” Obama said with a grin.

Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.

The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum…

Read the entire article here.

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Barack Obama [Recent Acquisition of the Smithsonian National Portrait Gallery]

Posted in Articles, Arts, Barack Obama, Media Archive, United States on 2018-02-11 17:28Z by Steven

Barack Obama [Recent Acquisition of the Smithsonian National Portrait Gallery]

National Portrait Gallery
Washington, D.C.

Title: Obama “HOPE” Portrait
Artist: Shepard Fairey, born 1970
Copy After: Mannie Garcia, born 1953
Sitter: Barack Hussein Obama, born 4 Aug 1961
Date: 2008
Type: Collage
Medium: Hand-finished collage, stencil, and acrylic on heavy paper
Dimensions: Sheet: 176.7 x 117.5 cm (69 9/16 x 46 1/4″)
Frame: 187.3 x 127 x 5.1 cm (73 3/4 x 50 x 2″)
Credit Line: National Portrait Gallery, Smithsonian Institution; gift of the Heather and Tony Podesta Collection in honor of Mary K. Podesta
Rights: ©Shepard Fairey/ObeyGiant.com
Object number: NPG.2008.52
Culture: Barack Hussein Obama: American\African American
Exhibition Label: Forty-fourth president
Shepard Fairey’s Barack Obama Hope poster became the iconic campaign image for the first African American president of the United States. Early in 2008, the Los Angeles–based graphic designer and street artist designed his first Obama portraits, with a stenciled face, visionary upward glance, and inspiring captions. The artist’s intention that the image be widely reproduced and “go viral” on the Internet exceeded his greatest expectations. Campaign supporters and grassroots organizations disseminated tens of thousands of T-shirts, posters, and small stickers; Fairey himself produced mural-sized versions; and a free, downloadable graphic generated countless more repetitions. In this fine-art version of that unprecedented and powerful campaign icon, Fairey incorporated the familiar heroic pose and patriotic color scheme. But he translated the portrait into a collage with a rich, elegant surface of decorative papers and old newsprint.
Data Source: National Portrait Gallery

For more information, click here.

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Lena Horne Honored With A Stamp From the United States Postal Service

Posted in Articles, Arts, Audio, History, United States on 2018-02-11 05:35Z by Steven

Lena Horne Honored With A Stamp From the United States Postal Service

WBGO Journal
WBGO 88.3 FM
Newark, New Jersey
2018-01-30

Ang Santos


Lena Horne
Hulton Archive/Getty Images

Lena Horne is remembered as an all-around entertainer, Hollywood actress, Grammy Award winning singer, and a Tony Award winning Broadway star. But equally important to her legacy was a willingness to use fame as a platform to promote Civil Rights in the 1960s.

Horne’s daughter Gail Lumet Buckley believes her mother would be proud to be put alongside the other members of the USPS Black Heritage Stamp Series.


Stamp photographer Christian Steiner, Horne’s daughter Gail Lumet Buckley (with family members), USPS Deputy Postmaster General Ronald Stroman, and WBGO President Amy Niles shared personal memories and stories during the Lena Horne stamp unveiling.
Credit Ang Santos / WBGO

Read the entire article here. Listen to the story (00:02:57) here.

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RCM Museum celebrates the life of Samuel Coleridge-Taylor

Posted in Articles, Arts, Biography, Media Archive, United Kingdom on 2018-01-30 04:38Z by Steven

RCM Museum celebrates the life of Samuel Coleridge-Taylor

Classical-music.com: The official website of BBC Music Magazine
2017-10-19

Anna Maria Barry, Museum Research Assistant
Royal College of Music’s Museum of Music


Samuel Coleridge-Taylor

The composer’s musical fight for civil rights is the focus of an intriguing new digital exhibition, explains Anna Barry

The Royal College of Music Museum has launched a new digital exhibition about composer Samuel Coleridge-Taylor (above). Released to coincide with Black History Month, the exhibition, entitled Samuel Coleridge-Taylor and the musical fight for Civil Rights celebrates the composer’s important role within civil rights movements in the UK and the US at the turn of the 20th century. Coleridge-Taylor was a student at the college and the exhibition draws on his remarkable collections which are held at its museum.

Samuel Coleridge-Taylor was born in London in 1875. His mother Alice was British, while his father hailed from Freetown in Sierra Leone. Dr Daniel Taylor had met Alice while studying in Britain, but most likely returned to West Africa without realising that she was pregnant. He never met his son. The young Coleridge-Taylor was given a violin by his maternal grandfather, and soon displayed great musical talent. He joined the Royal College of Music in 1890, studying composition under Charles Villiers Stanford. Coleridge-Taylor soon became a musical celebrity thanks to his trilogy of cantatas, known collectively as The Song of Hiawatha. Until World War II, this was one of the most performed choral pieces in Britain, rivalled only by Handel’s Messiah and Mendelssohn’s Elijah

Read the entire article here.

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