This is the category page for Black cultures. I’ve pluralised the term “Black culture” as Blackness is not a monolithic construct; it encompasses centuries of different histories, communities, and cultures. Here, you will read about everything from Ancient Egypt to Black millennials.
Ayla Angelos wrote about Brasilândia, a new multidisciplinary platform that showcases the work and communities of Black and LGBTQIA+ people.
Founded by Kelton Campos Fausto and Iama Martinho, Brasilândia was launched to provide content for the people in their neighbourhood. Kelton, a multidisciplinary artist, produces works in the video, painting and performance sphere. “They’re currently interested in the plastic construction of spiritual and cosmological scenes that propose living spaces and possibilities of health,” says Iama, “based on other ways of apprehending reality and the body.” Iama, on the other hand, is a stylist, creative, thinker and fashion producer whom within the Brasilandia space contributes to the production, styling and creation of content in all formats. She graduated in technical garment design and has since been centring her work on the production of fashion in conjunction with the “re-signification” of textile waste, as well as combining her experience as a trans woman living in a country where “transgender people are treated as garbage”.
I really like the tagline: “uma plataforma não uma objetificação” (a platform, not an objectification)
Archiving is so important in an information era that favours the new and quickly discards the old when it’s deemed surplus to requirements (read: it’s not making profit). This is especially true for Black cultures and Black Archives works to change that.
[…] Through an evolving visual exploration, Black Archives provides a dynamic accessibility to a Black past, present, and future.
Going beyond the norm, its lens examines the nuance of Black life: alive and ever-vibrant to both the everyday and iconic — providing insight and inspiration to those seeking to understand the legacies that preceded their own.
Octavia Butler was a visionary science fiction writer who predicted the rise of an American politician who would rise to power with the slogan “Make America Great Again” in her 1998 novel Parable of the Talents. She would have turned 73 today, June 22, had she not died suddenly in 2006 of a stroke. But the Nebula and Hugo Award-winning author who explored themes of gender fluidity, climate change, authoritarianism, and the rise of Big Pharma is perhaps more widely read now than ever, and that phenomenon is destined to grow with the publication Star Child: A Biographical Constellation of Octavia Estelle Butler by Ibi Zoboi, due out in January of 2022.
For The Washington Post, Nina Banks (associate professor of economics at Bucknell University) paid tribute to Sadie Tanner Mossell Alexander, the first African American to gain a doctoral degree in economics. She suggested that Alexander’s ideology could be the key to solving various problems in the US, particularly for African-Americans:
As a proponent of economic justice, Alexander believed that all people had a right to jobs that paid livable wages, and she viewed this as an essential foundation for enjoying democratic rights. As such, she called on the government to provide an equitable distribution of national income and to create public works programs that addressed urgent social needs tied to poverty and deprivation.
In the 1960s, Black anger over mistreatment in urban slums, where decades of White racial hostility and public policy had confined them, and a lack of economic access erupted in a string of uprisings in cities of all shapes and sizes.
Alexander saw the moral dimension of the civil rights cause, but uniquely, she also understood the economic dynamic, thanks to her training. She knew that despite White claims to the contrary, economic uncertainty among Whites was not the cause of racial violence plaguing Black lives. Rather, it merely acted as an accelerant that intensified their scapegoating and racial animus toward Black Americans.
Yet, Alexander’s work and advice got largely ignored.
I didn’t know if this was a conscious effort or a happy coincidence but there were more Black films (or films with Black people in major roles) than I expected in The Criterion Collection’s upcoming line-up. They include:
The UK film industry rarely commissions Black stories because they do not believe that our stories have an audience, and I find that astonishing. Black people are the drivers of culture, and we deserve to be represented. The only stories they seem to commission are the ones about gang violence to further perpetuate the falsehood that is Black on Black crime.
It is crucial that we explore alternative narratives to represent the multitude of nuanced Black experiences in our society. Being a womxn is one thing, being Black and British is another. My queerness adds another dimension to my identity. I am not Black before I am queer, I am not queer before I am Black, I am a queer Black British womxn.
This year, the Pulitzer Board’s announcement that Darnella Frazier — the teenager who filmed the killing of George Floyd — had won a special citation feels like a big moment, but not necessarily a celebratory one.
Floyd’s death is not something to celebrate, obviously, and despite the narrative of martyrdom and so-called sacrifice assigned to him posthumously, the horrifying truth is that he was murdered in front of a community. He did not choose to give up his life to change anything, and sadly in many ways, his death at the hands of police was just one part of the story.
Videos of carefree roller skaters began to dominate social media feeds over the last year. In the first lockdown, after dismissing it as something I was too old for, I caved to the social pressure and downloaded TikTok. Soon my feed was filled with bite-sized videos of skaters who looked like me effortlessly flowing, swaying and sashaying with little regard for the downward pull of gravity. Their joy was infectious – roller skating looked like fun I didn’t know I was allowed to have as an adult.
Code-switching maybe matters less now than it would have two years ago because of George Floyd. On positive days, I think these conversations are allowing Black people to speak up more. On negative days, I think that’s only because it’s in vogue for now and you can only speak up so much.
We know why diversity is important in a lot of ways, but I wanted my book to look at how it influences each person on an individual level.
Q. Were you worried about pulling the rug out from under readers or was that the goal?
It’s my first book, so I’m not saying it’s perfect. But I love twist endings and “The Twilight Zone,” and “Get Out” was definitely an inspiration. I definitely knew where it was going when I started writing. I love the end of “Night of the Living Dead,” which is so realistic about Black experience. It’s still America, so stuff is going to happen to you if you’re Black.
People asked, “Are you sure about this ending?” Yeah, I think it’s pretty necessary. Any other ending wouldn’t be as impactful. I really want people to talk about what happens to Nella and what could her [White] co-workers have done if they’d really been listening.
When I was a kid, I used to love the Goosebumps series, and they had a choose your own adventure and I loved that there were multiple possible endings; I left some things open with this book so readers can think about it. I didn’t want to tie the ending in a neat bow.
Speaking at the opening of the exhibition earlier this month, Itoje, who was educated at the private boarding school Harrow, says one of the constants in his schooling was “the lack of Black and African history that I was taught”. Moreover, when African history was on the syllabus, it was “a single story or narrative that was told”. He adds: “That story was often depressing, and quite often a saviour/survivor narrative. I want to try and show a fuller picture.”
Black Art: In the Absence of Light (2021) | Official Trailer | HBO
Inspired by the late David Driskell’s landmark 1976 exhibition, “Two Centuries of Black American Art,” the documentary Black Art: In the Absence of Light offers an illuminating introduction to the work of some of the foremost Black visual artists working today.
Originally launched in 2013 as a digital hub for cultural conversations, Saint Heron’s mission has been to preserve, collect, and uplift stories, works, and archives that amplify Black and brown voices. Now, in its next phase, it will release a dossier of literary and visual retrospectives of Black family and artist lineages through a series of temporary digital exhibitions, viewable on the Saint Heron website. Available for seven to 10 days, they will offer an in-depth look at emerging talent across art, sculpture, photography, design, and artisanship.
Alas, I have only seen 4 of them and heard of 6 which means I have a lot of catching up to do. I like that the list has films from all but one decade since the 70s (nothing from the 80s). I’m sure you can guess what the #1 was and I’m in full agreement.