#black American

[checking4mswonderful]

[sanyu-thewitch05]

These Afro-American folklore stories are so beautiful. I especially like that within the horror ones, we’ve been running away from scary ish. We’ve been not dying from scary things. We know when to run. I also like there’s also a mermaid and fairy tale too. But these stories were so much fun to read.

@queen-shiba you’ll love this.

[bantuotaku]

OMG, @netflix is about to drop the second season of High on the Hog on 11/22/23 and I can't wait...

[thievessaintlaurxnt]

This is a protected place 💖

[yinlotus]

Juneteenth as an official federal holiday

[tani-b-art]

“…socially despised and yet artistically esteemed…”

This quote from Alain Locke can be applied to every non-Black person. Non-Black American people included.

Our subcultures, regional cultural characteristics (especially Southern Black American culture) are sooo extracted and copied, emulated and imitated, gleaned from while simultaneously being ridiculed, mocked and degraded.

Southern identifies, dialect and accents are belittled yet are modeled after and mimicked.

The specific disdain and shame for Southern Black American culture is truly something (which has really been highlighted since the announcement of this album).

And yeah, Beyoncé soo country! Been country! Is country and never shied away from it!

[shanellofhouston]

[gravalicious]

Betye Saar - Midnight Madonnas (1996)

Source: Kristine Juncker - Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo & Santeria (2014)

[sssseren]

So excited to announce the launch of my project [unhurried] {witness}!

A curation of digital memories, this piece was created under my mentor, Marisa Parham, during the 2022-2023 Scholar-Artist Residency Program of the African American History, Culture, and Digital Humanities (AADHum) Initiative at the University of Maryland (UMD).

[unhurried] {witness} was conceived during lockdown to explore Black play as a form of healing and collective witness of Black American culture, and was envisioned as MySpace meets Tumblr meets your Grandma’s house; ASMR for the soul; community memory exercise; interfacing intimacy; an archive of play; and, ultimately, an ephemeral object of cultural witness. 

✨slow play as ritual/alchemization of emotions + analog experiences in a digital space✨

More inspirations included:

-web 1.0 

-Covid play 

-inside/outside 

-adulthood/childhood 

-play/work 

To experience and explore the project, click here: https://unhurried-witness.aadhum.org.

Designed to be interactive, a series of questions on your memories of the digital experience can be found here and here. All answers will be recorded anonymously and displayed in the guestbook here.

Statement from the African American History, Culture, and Digital Humanities Initiative at University of Maryland on the project:

Welcome [unhurried] {witness}!

Seren Sensei’s #BlackDH project creates a “a digital exploration and a visual representation of analog games such as card games, dice, dominoes, paper crafts, and rhyming hand games/hand motions, as healing cultural process among Black Americans.”

✨ You can learn more about [unhurried] {witness} at https://aadhum-news.umd.edu/unhurried-witness/

✨ You can visit the site at https://unhurried-witness.aadhum.org

[blackgirlslivingwell]

Sheila Jackson Lee, a long-serving Democratic congresswoman from Texas and a strong advocate for Black Americans, has passed away at the age of 74 after a battle with pancreatic cancer.

[simbistardis]

'Egbuna also presented a critique of liberalism that followed Carmichael closely. White liberals, Egbuna claimed, believed in integration. However, the price for integration was assimilation, that is to say that black people would only be accepted in white society if they renounced their own cultures and accepted the equation ‘White = Beautiful’. But in practice, Egbuna argued, the promise of integration was never fulfilled, due to the ‘unconscious’ racism of white liberals. Thus, black people in Britain were marginalized economically and socially. Much of this critique of liberalism can be found in Carmichael; for example, he was highly critical of the practice of stripping ‘non-western people’ of their culture; and of the fact that liberal arguments for integration were predicated on the notion that ‘there was nothing of value in the black community’, an attitude that he dubbed as ‘subconscious racism’. Indeed, Egbuna’s summation of his attack on the archetypal western liberal, the man who ‘wants chicken without slaughter, roses without gardening, rain-water without thunder and lightning’, is reminiscent of a passage by Frederick Douglass, which Carmichael quoted during his Roundhouse address. Carmichael compared those who argued for integration to ‘men who want crops without ploughing up the ground. They want rain without thunder or lightning.’

Obi B. Egbuna, C. L. R. James and the Birth of Black Power in Britain: Black Radicalism in Britain 1967–72 (2011), R.E.R Bunce and Paul Field

[thievessaintlaurxnt]

I am not the original creator of this post. But its dope af tho.

[bantuotaku]

🗣️Happy Juneteenth!!!

Follow Opal Lee the Grandmother of Juneteenth!!!

View this post on Instagram

A post shared by Jason Janik (@janikphoto)

[tani-b-art]

October is Creole Heritage Month in Louisiana!

‘Eve’s Bayou’ — I missed so many other scenes with Kouri-Vini dialogue first time around, here’s an updated version. The last clip is from this video.