#eshun building

[tamdeanburn]

The Vanishment by Esi Eshun from RIBA on Vimeo.

Esi Eshun’s multidisciplinary response, a film called The Vanishment, integrates sound and the overlay of archival imagery to tell narratives behind specific features of the building within the Jarvis Mural. Her interests lie in the history and placement of some of the buildings and their constructs of power, both in relationship and in contrast to the figurative depictions of indigenous characters.  

Learn more about this ongoing work: architecture.com/knowledge-and-resources/knowledge-landing-page/decolonising-architecture-with-riba-symposium-findings

[thisisjamaica]

Forthcoming exhibition: “In the Black Fantastic”

In “The best exhibitions to see in 2022 from Stonehenge to Surrealism,” Ben Luke (Evening Standard) announces “In the Black Fantastic,” to take place at the Hayward Gallery (Southbank Centre) from June 28 to September 18, 2022. He underlines Hew Locke’s work in this exhibition and also for the Tate Britain’s Duveens Commission (Mar 22 to Oct 23), stating that “his long track record of dramatic installations and sardonic yet glittering takes on the history of imperial statuary make him the ideal artist for this space right now.” Luke writes:

You know it’s going to be a good year for art when choosing even your top 12 shows is agonising. We are in for a huge art treat in 2022, and a pleasingly diverse one, too. So while there are plenty of timeless crowd pleasers like Van Gogh and Raphael, we’ll also be introduced to new faces and less  few related exhibitions snuck in), but there are glories beyond.

Take one cluster of related shows: Francis Bacon’s obsession with animals is revealed in Man and Beast at the Royal Academy in January, while yet another exhibition of Bacon’s old mucker Lucian Freud opens in October, this time at the National Gallery. [. . .]

When I spoke to Sarah McCrory, the director of Goldsmiths CCA, in October, she told me excitedly about this show, which reflects a hugely topical subject: as McCrory puts it: “It’s considering, after the Black Lives Matter protests, after a pandemic, after Brexit, with a climate crisis, how can we look at monuments? How do we rethink history?” Among the artists are Alvaro Barrington, Phyllida Barlow, Jeremy Deller and Oscar Murillo.

Expect everything from sardonic reflections on the government’s “retain and explain” policy on statues of slavers and imperialists to fantastical futuristic constructions. I can’t wait.

In the Black Fantastic

Curated by Ekow Eshun, this mouthwatering exhibition looks at how contemporary artists across the African diaspora are creating a new form of Afrofuturism. Drawing on elements of myth, spiritual tradition, speculative fiction, carnival and folklore, they address the histories of slavery and colonialism and contemporary inequities and build what Eshun has described as “new narratives of Black possibility”.

The list of 12 artists immediately suggests that it will be spectacular: Ellen Gallagher, Hew Locke, Wangechi Mutu, Chris Ofili and Kara Walker, to name a few, are making some of the most visually and conceptually rich art of our time. Earlier in the year, Locke will take on Tate Britain’s Duveens Commission (Mar 22 to Oct 23) – his long track record of dramatic installations and sardonic yet glittering takes on the history of imperial statuary make him the ideal artist for this space right now. [. . .]

Hayward Gallery, June 28 to Sep 18, southbankcentre.co.uk              

[atlas4all]

AN ATLAS FOR ALL, I LEONY ESHUN ENVISAGES

Meghan Markle, a member of the British Royal Family speaking on the Woman’s Voice has this to say, “Women don’t need to find a voice, they have a voice, and they need to feel empowered to use it, and people need to be encouraged to listen.” This simple yet powerful quote emphasis the long standing fact that ladies like us have long being limited not because we do not have the capabilities but because society and conventions has sidelined the woman to a few life options.

It is for this reason that I Leony Eshun, a level 300 BsC. Agribusiness student is currently aspiring to be your next ATLAS President, to empower us use our voice and change the narrative of our association which ought to encompass our vision and project us as ladies. As a hardworking lady, a go-getter and very active participant in the hall, I assure you the foundation for an ATLAS for ALL is already ready and set in motion.

Although ATLAS promotes our Ghanaian culture through it's beauty pageant, the over reliance on its happening has often made ladies who are not interested in such entertaining activities left out of the association. I would therefore like to introduce and certain activities that will ginger the interest of those who are not active in ATLAS and felt left out.

These activities include periodic entrepreneurial skills training such as bead making or liquid soap making,

intellectual skills training activities like organising debates and some indoor games and outdoor games between those in the Hall and Diaspora as well as introducing technological skills such as I T training and Software and Graphic Design soft skills which a increasingly becoming essential in the world.

On my implementation, because I your ATLAS President will sit in during JCRC meetings, I'll laise with the Hall President to organize these activities and when it is beyond our capacity, I'll reach out to the WOCOM of the Local NUGS. This is because they have a larger pool of resources and can organize and afford activities such as seminars and cooking competition for all the ladies in the school but ATLAS can't because of the limited resources.

As Tina Fey once said, “Whatever the problem, be part of the solution. Don’t just sit around raising questions and pointing out obstacles.”. Likewise I LEONY ESHUN plead with you, that whatever the problem you have with ATLAS, be a part of the solution today by voting for me as together we build Build An ATLAS for ALL!!!

Vote 4 LEONY ESHUN as your next ATLAS President

Vote Number 1 on the ballot paper

Vote for AN ATLAS FOR ALL!!!

[ivandimarcofotografo]

‘A queer person can be anybody’: the African photographers exploring identity

In his new book, Africa State of Mind, Ekow Eshun celebrates contemporary African photography. Here he showcases the work of artists looking at the self and sexuality, from Zanele Muholi to Eric Gyamfi

In August 2009, an exhibition titled Innovative Women opened in Johannesburg, aiming to showcase the work of the city’s young black female artists. The launch was attended by Lulu Xingwana, minister for arts and culture at the time, who had been invited to officially open the show. But instead of giving a speech, Xingwana stormed out of the gallery after seeing images by the photographer Zanele Muholi that depicted naked women in close embrace. Muholi’s work, said the minister, was immoral, offensive and ran contrary to “social cohesion and nation-building”. South Africa has one of the most progressive constitutions in the world, with discrimination on the basis of sexuality barred by law. Yet censorious attitudes such as Xingwana’s towards homosexuality are widespread. Almost three-quarters of the population believe same-sex sexual activity is morally wrong, according to a 2016 survey. Similarly intolerant views are commonplace across Africa. Homosexuality is outlawed in 32 of the continent’s 54 nations. It is punishable by life imprisonment in Uganda, Tanzania and Sierra Leone. In Sudan, southern Somalia, Somaliland, Mauritania and northern Nigeria, the penalty is death. Against that backdrop the work of a photographer such as Muholi takes on a dual role, both representing individual artistic expression and operating as a form of political activism; a means to positively assert LGBTQ+ identity in straitened circumstances.

Ama and Shana at lunch by Eric Gyamfi, 2016 Gay relationships are illegal in Ghana, where photographer Gyamfi was born, but the tender, intimate images in the series Just Like Us, where Gyamfi documents life in the country’s queer communities, do not dwell on the sexuality of his subjects but emphasise their ordinariness.

Afrikan Boy Sittin’ by Hassan Hajjaj, 2013 With its explosion of colours and distinctive handmade frame, this image typifies the powerful and assertive nature of the Morocco-born photographer’s work. Hajjaj’s portraits confront prejudices about culture and identity head on.

Vintage by Sabelo Mlangeni, 2009 The South African photographer, who works mainly in black and white, documents queer life in the townships of Mpumalanga province in his Country Girls series. Homophobic violence is routine in the towns he visits, yet his work creates scenes of aspirational normality.

Bhekezakhe, Parktown by Zanele Muholi, 2016 The self-portrait is part of a project entitled Somnyama Ngonyama (Hail, the Dark Lioness), in which the South African artist uses direct, psychologically charged images to confront the politics of race and representation.

Kingsley Ossai, Nsukka, Enugu state, Nigeria by Ruth Ossai, 2017 Part of a series in which the British-Nigerian artist trains the lens on people from her local community, the image challenges ideas about gender, masculinity and what it means to be a man. Ossai’s sitters wore clothes that blur the boundaries between menswear and womenswear.

Continue reading... https://www.theguardian.com/artanddesign/2020/mar/15/africa-state-of-mind-extract-ekow-eshun

[dustedmagazine]

Speaker Music – Of Desire, Longing (Planet Mu)

Photo by Ting Ding

The Industrial Revolution and consequent urbanization fundamentally altered the rhythms of human existence and interaction. By giving stark outline to social, racial and economic divisions, the modern megalopolis places its inhabitants in a panopticon of surveillance, tension, status and oppression. From Baudelaire and the flâneurs, Walter Benjamin’s theories of urban alienation, and the Situationist concept of détournement to the modern Reclaim The Night and Occupy movements the theoretical and practical battles over public space continue to occupy artists, philosophers and activists.

New York based musician, artist, curator, critic and theoretician DeForrest Brown Jr investigates the politics and rhythms of public space as an agent for action on his debut as Speaker Music. Drawing on the writings of Henri Lefebvre and Kodwo Eshun and their discussions of the role of rhythm and time in determining how people behave and react in public space, Brown constructs two lengthy tracks that mimic the experience of urban density and tension. If this all sounds a little like dancing to architecture let’s concentrate on the music.

On a bedrock of spindly, off-kilter electronic percussion and droning samples that evoke treated horns (both instruments and traffic), Brown manipulates his building blocks with an improvisational intensity that recalls at once the most abstract experiments of industrial producers Cabaret Voltaire, 23 Skidoo and Clock DVA and a stymied jazz seeking to escape the quagmire and assert a voice above the oppressive noise.

“With Empathy” begins with a distant saxophone over the quiet rumble and click of a dawning city like Sonny Rollins woodshedding on the Williamsburg Bridge during his self-imposed hiatus from the culture that was killing him with disrespect, degradation and the drugs he took to numb his despair. Here there comes a response, other horns, empathetic voices, join to carve out a fragile collective space that the city clang threatens but never quite manages to drown out. “Without Excess” continues the theme with a voiceless buzzing choral drone, a human counterpoint to stuttering martial percussion as pitiless as the factory clock, the modern efficiency of battery offices and the illusion of free range public spaces replete with endless lists of don’t, can’t and mustn’t. The crescendo comes with the horns crying against the wailing of sirens as Of Desire, Longing immerses the listener in the dense fug of modern life with all its difficulties, insults and frustrations. Brown interrogates movement and stasis and demands attention to self and others in the physical, temporal, culture and human environments we share. If we lack answers let us at least ask questions.

Andrew Forell

[achtkant]

“Dissolve Techno's faith in Kraftwerk as the foundation of today's electronics, and Alien Music's lines of inheritance break up, go Wildstyle. With the collapse of Kraftwerk's consensual future, Techno doesn't die. It just loses its sense of itself as the definitive, single direction of music's future. Atlantic Futurism is always bUilding Futurhythmachines, sensory technologies, instruments which renovate perception, which synthesize new states of mind. World 4 Jazz is a transmolecularizer which fluctuates the steady states of organized sound. Seeping in from the futurepast, it feedsforward into the present,anachronizing everything it reaches. Assembled from molecular components of rhythm, the Breakbeat is an Applied Rhythmic Technology, an ART that sets cultural velocity and cultural inertia in motion. By mobilizing rhythms across the communication landscape, the Rhythmengine crosspollinates the eager fan, transmaterializes your sensorium through the onomatopoeic illogic called HipHop.”

(Kodwu Eshun, More Brilliant Than The Sun, 1998)

[oaoaioii]

Trevor Mathison - From Signal to Decay

I attended in the opening night which meant a lot of the sound works were competing with that of the people there - maybe this is a bad thing, maybe it added to it? (Mathison said the building was singing to itself) 

Kodwo eshun was there - black audio film collective links - felt a bit starstruck

Overall nice ideas of sound / feedback and decay playing with space - also in the notation drawings which again play with the systematic notions of notation - I just wish overall he’d pushed certain things a little harder, it felt like the ideas had legs but hadn’t been stretched to their fullest (e.g. tape loops hanging on the wall felt a bit crammed in without serving too much of a purpose but to fill wall space)

[emilyenglexp469-blog]

Experimental Project Narrative

"Has anyone seen a toad? Neville's lost one," she said. She had a bossy sort of voice, lots of bushy brown hair, and rather large front teeth.” 

"Are you sure that's a real spell?" said the girl. "Well, it's not very good, is it? I've tried a few simple spells just for practice and it's all worked for me. Nobody in my family's magic at all, it was ever such a surprise when I got my letter, but I was ever so pleased, of course, I mean, it's the very best school of witchcraft there is, I've heard -- I've learned all our course books by heart, of course, I just hope it will be enough -- I'm Hermione Granger, by the way, who are you.” She said all this very fast. (Rowling, Harry Potter and The Sorcerer’s Stone, 83)

The first time readers of the Harry Potter series are introduced to Hermione Granger, they are made aware she is a somewhat bossy leader with a lot of ambition. However, they are never explicitly told more than the abundance of her brown hair and that she had large front teeth in regards to her physical appearance. When pondering this assignment, I ran across the post by eigthsun as I was scrolling through social media that addresses this idea that we do not receive more than those two details about Hermione’s appearance. I loved the artwork and as I read through the messages on the panels, I realized the art was actually an unspoken representation of the concept of counterfutures. Counterfutures emerged through the work of Kodwo Eshun in his “Further Considerations on Afrofuturism” as he describes the process of imagining the current moment as the memory of an ideal future. 

When creating this tumblr blog, I chose to make certain stylistic decisions that reflect the character of Hermione while also fostering counterfutural concepts. The color theme is of burgundy and gold, representing the Gryffindor house the character belongs to. I chose a silhouetted image for the profile picture as one can see the outline and recognize the character by her Hogwarts uniform but without directly imagining her as one race or another. The picture is also both black and white. I also included a header image of the time-turner she uses. This device has the ability to transport her back in time and create a counterfuture as illustrated in the third edition in the series. I gathered 50 posts by artists on tumblr to illustrate how racial interpretations of a character do not change the story. These depictions of Hermione Granger as various races, ethnicities, body shapes, all are true to her character. Throughout the interpretations, she is still the intelligent, bookish, strong girl with big, frizzy hair as described in the novels. 

This movement to depict her in ways differing than the appearance of Emma Watson, the actress that plays Hermione in official movie, was especially sparked by the emergence of J.K. Rowling’s newest addition to the series, a play titled “Harry Potter and the Cursed Child” that was published in 2016. A black actress, Noma Dumezweni, was cast to play adult Hermione which sparked a great deal of conversation and controversy in the Harry Potter fandom as people online complained and argued that Hermione should only be represented as a white woman. However, I would like to argue that accepting all of the various artistic interpretations of Hermione creates a counterfutural movement in recognizing the present as the moment that people realize that characters who are not explicitly described racially do not have to be assumed to be white. Even J.K. Rowling herself stated that Dumezweni was cast because she was the best for the role and that she supports all representations of Hermione’s appearance to be true to the story. 

Before exploring this topic, I had always pictured Hermione to be white with curly hair as it was relatable to my own appearance and was reinforced by a similar depiction in the movies so I never thought much more of it. But now that I have reviewed many diverse interpretations I am able to recognize how the vagueness is empowering as Hermione is relatable to almost all female readers. Hermione stands for inspiring women to feel confident and fostering a drive for learning and building their own intelligence rather than focusing on superficial things such as beauty. Many interpretations also argued that her heritage of being a “Mudblood, and proud of it!” (Rowling, Harry Potter and the Deathly Hallows, 489) encouraged them to be proud of their own heritages despite stereotypes. 

Reflecting on the novels from roughly two decades ago and reimagining the characters realizing Hermione and Harry especially are ambiguous when it comes to their skin color is a moment of countermemory. Eshun discusses Afrofuturist views of understanding how “power now operates predictively as much as retrospectively,” (Eshun 289) which is precisely what Hermione represents. Fans of the Harry Potter series reflect on the past and reimagine the future in which characters do not have to be assumed to be white unless otherwise stated. This allows all people to identify with the character, which is especially crucial for those of races or ethnicities who haven’t had much positive representation in the past and are now reclaiming their value through movements of countermemories and counterfutures. Since Afrofuturism “is concerned with the possibilities for intervention within the dimension of the predictive, the projected, the proleptic, the envisioned, the virtual, the anticipator, and the future conditional,” (Eshun 293) I would argue that this movement of fan art to depict Hermione and other ambiguous characters in a plethora of skin tones is an Afrofuturist movement.

Works Cited Eshun, Kodwo. “Further Considerations on Afrofuturism.” CR: The New Centennial Review, vol. 3, no. 2, 2003, pp. 287-302., doi:10.1353/ncr.2003.0021. Ratcliffe, Rebecca. “JK Rowling Tells of Anger at Attacks on Casting of Black Hermione.” The Observer, Guardian News and Media, 5 June 2016, https://www.theguardian.com/stage/2016/jun/05/harry-potter-jk--rowling-black-hermione. Rowling, J. K. Harry Potter and the Sorcerer's Stone. Toronto: Scholastic, 1998. Print. Rowling, J. K. Harry Potter and the Deathly Hallows. New York, NY: Arthur A. Levine Books, 2007. Print.

[e-vo-lu-ti-on]

Part 2

In the recent sequels, the semi-feudal futurism of Star Wars has been updated for an audience perhaps even less credulous of monarchies than it was in 1977, with Princess Leia converted into a general of a more or less republican anti-imperialist resistance. Black Panther is monarchist without apology. Its semi-feudal futurism is combined with the cultural nationalism historically associated not with the nominally connected Black Panther Party, but its adversary Ron Karenga’s US Organization – with which the Panthers had a violent shootout at UCLA leading to the deaths of Los Angeles Panther Captain Bunchy Carter and Deputy Minister John Huggins.

In Black Panther, we are presented with a mythology that makes anti-imperialist resistance unnecessary. In the Marvel myth of the African nation of Wakanda, initially created by Stan Lee and Jack Kirby and brought to the big screen by Disney, Third World poverty is not a result of the ravages of colonialism and the uneven exploitation of global capitalism. Rather, this poverty simply does not exist – it is an illusion intended to hide the wealth cultivated and protected by an African monarchy from time immemorial. Development exceeding that of advanced capitalism has already been achieved within a semi-feudal mode of production protected in the boundaries of a nation-state.

Our hero is the monarch T’Challa, whose drug-induced physical strength allows him to function as an isolationist superhero, keeping Wakanda’s wealth hidden from the outside world. In this mission he relies equally on a dizzying array of advanced technological gadgetry, reminiscent of imperialist agent James Bond.

But the Wakandan monarchy has a dirty secret. T’Challa’s father T’Chaka murdered his brother N’Jobu, who while undercover in Oakland – the city where Huey P. Newton and Bobby Seale founded the Black Panther Party in 1966 – had come to the conclusion that Wakanda’s advanced technology should be used to liberate black people around the world from poverty and oppression. Because this posed a threat to Wakanda’s national sovereignty, N’Jobu was eliminated and his son abandoned to grow up without his father.

N’Jobu’s son, Erik “Killmonger” Stevens, rises up with the goal not only of avenging his father’s murder, but also of claiming the Wakandan monarchy and using it to realize his father’s dream of international revolution. “Two billion people all over the world who look like us whose lives are much harder, and Wakanda has the tools to liberate them all,” he says to a skeptical Wakandan nobility. “Where was Wakanda?” These two political visions – of a global insurrection against oppression and the defense of the nation-state – are played out in the contest for the throne between the African monarch T’Challa and the urban African-American Killmonger, who the Wakandan nobility scorn as an “outsider.” As Christopher Lebron writes in Boston Review:

Rather than the enlightened radical, [Killmonger] comes across as the black thug from Oakland hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.

T’Challa’s eventual victory against Killmonger is not achieved by African initiative alone, as the core figure of critical race theory Kimberlé Crenshaw has written. The visual spectacle of the film, Crenshaw reflects, “sucked me in like a narcotic and had me accepting things that made my heart ache upon reflection.” Its exuberant celebration of a purportedly timeless African essence represses its complicity with the history of racist violence. In Crenshaw’s words:

A civil war between Black families was unfolding over aiding other Black people, and… the CIA’s shooting down of vessels carrying technology into the fight against an anti-black world order was hailed as a heroic moment… I kept wondering how I’d come to dance on the table for the CIA? The ones that helped destroy the dream of African liberation, that had a hand in the assassination of Lumumba, staged a coup against Nkrumah, tipped off the arrest that imprisoned Mandela, installed the vicious, nation-destroying Mobutu? Why not throw in the FBI and COINTELPRO as kindly white characters? Was this meant to be ironic? What meaning do we assign the fact that the possibility of a real life Wakanda in the resource-rich Congo and Ghana, and the promise of a Pan African quest for collective self-determination were precisely the threats that the CIA worked to suppress?

After Killmonger is murdered by T’Challa, he says, “Bury me in the ocean with my ancestors that jumped from the ships, ‘cause they knew death was better than bondage.” But it is the lie told by Disney’s Black Panther that this is a binary choice. Killmonger’s last words are the closest the film gets to the actual historical contribution of Afrofuturism, in the negative form of a disavowal. The Afrofuturist Detroit techno group Drexciya proposed, in the liner notes to its 1997 The Quest:

During the greatest Holocaust the world has ever known, pregnant America-bound African slaves were thrown overboard by the thousands during labour for being sick and disruptive cargo. Is it possible that they could have given birth at sea to babies that never needed air? Are Drexciyans water-breathing aquatically mutated descendants of those unfortunate victims of human greed? Recent experiments have shown a premature human infant saved from certain death by breathing liquid oxygen through its underdeveloped lungs.

Drexciya’s Afrofuturist utopia builds on a concept introduced in Parliament’s follow-up to Funkentelechy Vs. The Placebo Syndrome, 1978’s Motor Booty Affair. On that album, George Clinton’s mythos moved from outer space to underwater, turning the myth of Atlantis into an alternative trajectory that begins with the North Atlantic slave trade. “We need to raise Atlantis from the bottom of the sea,” says the concluding track, “Deep.”

Achille Mbembe speaks of Black Panther as a futuristic fable, a “techno-narrative” whose power derives from its “reversal of the African sign,” recalling the diasporic “reflection on the possibility of a new world, of a black community which would be neither debased nor stamped with the seal of defilement.” The Afrofuturism of Black Panther, for Mbembe, is the overcoming of Western humanism from the vantage point of those who Western modernity assigned the space of the non-human. The future beyond Western humanism is prefigured by the coupling of the human body and the “quasi-infinite plasticity” of technology, and the concomitant transformation of the violated Earth of Africa into “astral material.”

However, from the vantage point of post-humanist Detroit, where the plasticity of technology subjected the diasporic black population to the tyranny of the automobile factory, Drexciya proposes an entirely different politics of Afrofuturism. Drexciyans do not belong to a counterfactual history insulated from the slave trade which lies at the foundation of capitalist modernity. Rather, they passed through it, and survived it, animating what Paul Gilroy called the “Black Atlantic.” Kodwo Eshun has described this diasporic continuüm, in a powerful review of The Quest, as “the ‘webbed network’ between the US and Africa, Latin America and Europe, the UK and the Caribbean along which information, people, records, and enforced dematerialisation systems have been routing, rerouting and criss-crossing since slavery.”

The Drexciyan Afrofuturist myth is a myth not of the nation-state, but of liberation. As Eshun puts it: “By inventing another outcome for the Middle Passage, this sonic fiction opens a bifurcation in time which alters the present by feeding back through its audience – you, the landlocked mutant descendent of the Slave Trade.” It is a myth which, as Nettrice R. Gaskins writes, “draws on modern African cultural ethos, technology, and artistic actuation by creating self-determined, representational worlds. In discourse of dissent, this is a place where the oppressed plot their liberation, where stolen or abandoned migrants survive adverse conditions.”

The film is aware of the greater power of the myth of this revolutionary Black Atlantis – and it recognizes that Killmonger, for so many viewers, will be its most sympathetic character. Thus T’Challa must somehow absorb Killmonger’s spirit of resistance and justice to bring the film to a palatable conclusion. He does so by reproducing the political placebo syndrome that came about in the late 20th century. Under his rule, Wakanda begins practicing the black capitalism that came to displace black power as the revolutionary movements of the 1960s and 1970s were crushed by the state and ran up against their own strategic and organizational deadlocks. He buys the condemned building where his uncle was murdered and establishes a center for STEM education – an investment of the Wakandan monarchy in urban development.

The character of the Black Panther was introduced in the Fantastic Four comic series three months before the founding of the Black Panther Party, but the name-recognition and credibility of the film in a political landscape marked by Black Lives Matter surely draws on the history of black liberation for which the BPP is such a powerful synecdoche. In her review of the film at The Baffler, Kaila Philo has noted precedents to its appropriations of BPP history and aesthetics, by cultural icons like Jay-Z and Beyoncé:

Black artists revere the Black Panthers because they have given us our most indelible images of Black radicalism and, more importantly, power; the Party’s staunch socialist and anti-imperialist ideology often falls to the wayside, however, because the power they seek is economic and not merely a function of the white capitalist credo, which leaves the poor behind. It’s this credo that quietly informs our best and brightest Black entertainers to this day.

In a 1970 letter to the National Liberation Front of Vietnam, founder of the Black Panther Party Huey P. Newton wrote, “we are interested in the people of any territory where the crack of the oppressor’s whip may be heard. We have the historical obligation to take the concept of internationalism to its final conclusion – the destruction of statehood itself.” With this revolutionary agenda suppressed and dismissed by today’s multicultural liberalism, Killmonger’s mission can only be, as Adam Serwer writes disingenuously in The Atlantic, the production of a new historical trauma, on the model of X-Men’s Magneto:

Killmonger’s plan for “black liberation,” arming insurgencies all over the world, is an American policy that has backfired and led to unforeseen disasters perhaps every single time it has been deployed; it is somewhat bizarre to see people endorse a comic-book version of George W. Bush’s foreign policy and sign up for the Project for the New Wakandan Century as long as the words “black liberation” are used instead of “democracy promotion.”

Arming insurgencies all over the world, however, was a project of internationalist revolutionaries long before George W. Bush, as Newton’s letter attests, and it is diametrically opposed to the violent entrenchment of nation-states in the existing imperial hierarchy represented by American neoconservatism. Revolutionary internationalism presents an alternative to the placebo syndrome of capitalist philanthropy, to which the liberal multicultural élite claims there is no alternative. Disney asks us which figure is worthy of the title of Black Panther: is it the poor African-American child from Oakland who dreams of international revolution, or the monarch who aims at defending the glory of his nation? History has already given us the answer.

[instapicsil3]

Sandy Alibo has spent the past few years patiently building and promoting @surfghana, the very first skate crew to come from Ghana. But when it came time for her and her partner, Kuukua Eshun, to make another dream a reality—a partner group called Skate Gal, exclusively for and by women—she wanted to push the subject matter beyond ollies and kick flips. “I wanted to really share more than just skateboarding with these girls,” Alibo said. “I wanted us to have a place to talk about work, life, family, inspiration. To be really happy to just have one another, to connect with other people.” Tap the link in our bio to read more. https://ift.tt/2IUf0Ny

[dianabcu-blog]

Glossary of Terms (Otolith Group and The Light Surgeons)

The Otolith group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun (and others) who live and work in London. Their work is research based and spans the moving image, audio, performance, installation, and curation.

“Facelessnes that we really like.” That is how the members of Otolith group explain the reason behind their name.

Otolith group is building a new film culture based on a collective practice. They are not just making films, but also curating exhibitions, putting on discussions that brings people together instead of seperating the audience from film makers. The term integrated practice comes from the 80s and it means combining/coordinating seperate elements as to provide a harmonious, interrelated whole. With it they are building a new education system. 

They won a turner prize for  The Image in Question III . The Image in Question is a series of screening-events that explore the histories and potentials of the essayistic.  Four characters – the boy, an engineer, an industrialist and a journalist – are extracted and given a narrative voice in the contemporary world.

“The world doesn’t need any more films, the world doesn’t need any more video art – so you have to think it through.”

From researching sound I also came across an interesting group that I feel like has similar principles as the Otolith Group. The Light Surgeons make a variety of stuff. From documentary led audio/visual production to installation performances. They work with comercial artists to produce a visual element to a performance or they develop their own visual work. TLS try to develop live cinema approach to performance.

They made a live cinema work, a collaborative piece called Super Everything commissioned by the British Council. It was filmed in Malaysia and it touches issues with the environment - confusion of mass consumption, effect of the internet (and how does that affect our ‘freedom’).

When they were writing a proposal for the piece they worked on keywords for the video and what the outcome would be. They constructed a narrative of how different themes and subjects could sit together. 

The project involved extensive collaboration with a diverse group of Malaysian musicians and visual artists. An hour long performance is a multi layered audio/video piece with them reinterpreting footage/audio that they have gathered live on stage. As a framework they are bringing together people, ritual and play. It looks beautifully rich of Malaysian culture through the lens of identity. It touches the topic of who we are as human beings. 

We have to go beyond race, religion, creed.

The piece makes a point that there are deep fundamental questions that need to be answered, questions about justice, democracy and even freedom.

The sentence that stuck with me from a clip of the live performance is: “If we don’t know who we are, if we dont know where we have come from, how do we know where we are going?”

[connectza]

2017 Project - NON XCHANGE

NON XCHANGE materialises and builds upon the international connections already established by NON’s projects and artistic affiliations. Through performance, discussion, and exhibitions, NON XCHANGE confronts spatial violence and systemic exclusion, forming a cultural dissent against the structural legacy of colonialism.

NON XCHANGE is a multidisciplinary series of events, creating a borderless network for understanding, exchange and collaboration, taking place at various locations in the UK, Germany and South Africa.

Read more about the London programme:

2 June, 14:00-16:00hrs, ICA Theatre

The opening event of NON XCHANGE is a panel discussion, it will focus on individual and collective bodies that come together in resistance to existing hierarchies of power and structures of oppression. Departing from the performativity of the United Nations’ as a theatrical platform for global politics, the speakers will consider and reflect upon how artists can create social spaces that disrupt the flow of power. How does our investment in a notion of ‘global identity’ tie us to the valuation of a certain notion of community and the rejection of other evident bodies?

Chaired by curator and writer Osei Bonsu. Speakers include artist, DJ and writer Juliana Huxtable, Professor Akwugo Emejulu (University of Warwick) and filmmaker and academic Kodwo Eshun (Goldsmiths University).

June 2, 19:00-20:30hrs, ICA Cinema 1

NON XCHANGE will Premier a new film made in collaboration by Grace Wales Bonner, Harley Weir and Dev Hynes. It experimental film that consists of collaged footage taken of the dance scene in Johannesburg and Cape Town, revolving around the fantasy and reality of the life of Leroy Mokgatle, a 17-year-old ballet dancer from Pretoria, South Africa.

June 2, 21:00-03:00hrs, ICA Theatre & Bar Located in the ICA Bar will be a programme of videos by Bafic, Jody Brand, Akinola Davies and Tabitha Rezaire amongst others.

NON XCHANGE will present a programme of music and performance within a unique installation featuring commissioned flags and banners designed to echo the architecture of the United Nations General Assembly. It will feature artists from the South Africa, U.K and the U.S, including Angel Ho, Chino Amobi, Faka, Farai, Orethea, and Juliana Huxtable.

June 3, 16:00hrs, ACE Hotel London

Join NON citizens Chino Amobi, FAKA and Farai Bukowski-Bouquet at the ACE Hotel, London, for a panel discussion exploring the damaging power structures still present in experimental music, and the artists that confront, challenge and decohere the whiteness of noise and industrial genres. Investigating the ways in which artists can decolonise musical culture, the panel use the questions raised by writer, theorist and filmmaker Kodwo Eshun in his lecture Non Negation: Blackness out of Space: Noise out of Time: What emerges from this black noise that moves within and by way of the ab-normative traditions of white noise supremacy? The intransigence of Non Worldwide be and the belligerence of Babyfather might be heard as the conjuration of blackness out of space, of noise out of place and of matters out of time. What can be heard when blackness moves out of its space? When noise leaves its place? When matter matters?

NON XCHANGE TAKEOVER

4 June, 11:00-16:00hrs, Radar Radio

12 am - Curtly Ghallywood / Nollywood Radio

1- Juliana Huxtable Poetry Show

2 - FAKA

3 - Angel-Ho

4 - Chino Amobi

[soccernetghana]

Feature: The Rise and Struggles of Mysterious Dwarfs in recent times

[caption id="attachment_616323" align="aligncenter" width="1024"] Ebusua Dwarfs[/caption] They pride themselves as the best team in the central region, one of the traditional teams in the Ghana who have graced Ghana football from time memorial, Cape Coast Mysterious Dwarfs. A team that clasp on tradition has its strength of Cape Coasters always behind them and tout themselves as 'Ebusua'' which means family. They have an emblem ''crab'' that demonstrate the implacable spirit of Oguaaman. There is a platitude that whatever goes up surely must come down. Even in our facet of life, one goes through infancy, childhood, adolescent, adulthood, and old age and eventually die. When you take a product for instance, it goes through a product cycle that is, introduction, growth, maturity and decline at some point. So it is with football, where teams build, peak and decline. Some win trophies in the process whiles others do not before the decline. For Ebusua Dwarfs, their fans have had ambivalent experience for the past years. Seasons gone by, the ''Abontoa Abontoa'' club have achieved some feet that needs to be applauded. They have been able to produce players who had national teams call ups. The like of Rashid Sumaila, Kwame Frimpong, Seidu Bancey just to mention few. The notable one that will forever be remembered is Robert Mensah whose name has been used to name the park at Siwdu in Cape Coast. In recent times, the Cape Coast based team started some special with the late coach Nana Gyepi in the 2008/2009 division one league. He qualified them to the middle league when they placed second behind Tarkwa United after 14 matches, amassing 28 points. [caption id="attachment_458464" align="aligncenter" width="600"] Ebusua Dwarfs[/caption] Lamentably for the mysterious boys, they were unable to qualify from the middle league to the Premier League when they were beaten to the top by New Edubiase after three games each in a group. New Edubiase gained first ever promotion with seven points, followed by Dwarfs with six, Gold stars with four and Tarkwa United fallen to the bottom with no point. The tenacity of the team with crab symbol did not go unnoticed in the 2009/2010 as they qualified for the middle league for the second time. They came second with 27 points after Medeama (28) in the zone 2B. The former Dwarfs player guided his team to top their group this time around, winning all the three games with 9 points. Medeama came second with 6 points; Mine stars with 3 points and West ham United were at the bottom of the summit. Dwarfs appointed former black star captain John Eshun to head the technical area of the team after gaining promotion to the 2010/2011 premier league. Fast forward, they placed 11 th after 30 games with 41 points at the end of the 2010/2011 premier league. They had their staunch defender Rashid Sumaila adjudged the best defender of the season. As the 2011/2012 season was underway, coach John Eshun was sacked some few days before the commencement of the league due to dissensions at the technical area. Professor J.K.Mintah, the University of Cape Coast lecturer was appointed to lead the team. As we know for football, most often done not, coaches bring their philosophies and ideas to establish a way they will like their team to play. Professor J.K.Mintah was not an exception to that. The yellow and green side started the season not too bad as they got 9 points out of 15 points in their first five matches, they won their two home games (Bechem United, Berekum Arsenal) and drew 3 away games(Ashgold,Hearts of Lions, Mighty Jet). They looked promising and ended the season with 36 points after 30 games and placed 10 th on the league log. Position wise, it was a step forward compared to the 2010/2011 that is, from 11th to 10th . But point wise, it was a decline from 41 to 36. [caption id="attachment_257814" align="aligncenter" width="300"] Prof. Mintah of Ebusua Dwarfs[/caption] The total performance of the team at the end of the season saw the UCC lecturer con coach as runners up in the best coach category behind Maxwell Konadu of Kumasi Asante Kotoko. The former best defender in the 2010/2011, Rashid Sumaila maintained his position in the premier league team even though he could not win the best defender for the second time. As plans were afoot for the 2012/2013, Dwarfs sold their skipper Bismark Aseidu to Medeama, Rashid Sumaila and Seidu Bancey to Kotoko. Fast forward, the Crabs  were not encumbered by the sale of some key players but came fourth at the end of the 2012/2013 league season. They improved point wise and position wise, 50 points and 4 th respectively after 30 games. This granted them qualification to play the CAF Confederation in 2013/2014 season. Their highest achievement since 2000, when they were knocked out by Ismaily of Egypt in the quarter finals. An era with great prospect after an improvement in the previous season set the tone for the yellow and green fans to at least see their team win the premier league after trailing six points beneath the summit. The 2013/2014 season did not go well as expected by the 'Abontoa Abontoa' fans. Their coach (Professor J.K.Mintah) as part of his national duty as the psychologist for the Black stars, went on assignment with the Black star while dwarfs were preparing for a CAF Confederation match against Petro Atletico de Luanda of Angola. Management of Dwarfs was not happy with his decision to go with the national team as he had taken a sick leave in the ongoing season. These disagreements engendered the resignation of Professor J. K. Mintah. The team ended up being relegated as an era also came to an end. These were good times for the mysterious club. Players like Bismark Aseidu, Rashid Sumaila, Seidu Bancey, Stephen Aidoo just to mention few, played vital role in the process. We can say that for the past two decade, it was under the tutelage of professor J.K.Mintah that dwarfs played some silky football and CAF Confederation again. After his resignation, coaches like veteran J.E. Sarpong, Prosper Narteh, Da Rocha, Bashir Hayford, Robert Asibu all tried their best but could not achieve the feet of their predecessors. So one may ask what has caused them and still causing them not to rise to the occasion as we knew them previous years ago. [caption id="attachment_379336" align="aligncenter" width="300"] Dwarfs football club[/caption] Internal gossips from reps to management level have been a stymie to their progress. The team has it main management in Accra that gives room for rumors. These rumors go a long way to affect some decisions of management there by affecting the team negatively especially the apocryphal stories. Also, lack of proper planning is also a hindrance to their progress. Every team plans on what to achieve in short term, medium term and long term in terms of buying and selling players, structures etc. But it is the opposite for the yellow and green club. After 2012/2013 season, dwarfs have struggled to keep coaches who were performing at their tenure. The notable one was Ricardo Da Rocha who parted ways after placing 4 th in the 2016/17 league. Because of lack of clear direction, some players who were declining were brought to the club which stifled their progress at some point. Players like Ibrahim Musa and Gilbert Fiamenyo are classical example. Before the start of the 2019/20 season, the High Court in Cape Coast ordered for the liquidation of the Club over a 20 year debt that was to be paid to Great Liverpool on the transfer of their former player Patrick Villars. Again, there was no proper planning with the payment effect. The earlier they find a proper plan to this problem, the better. Furthermore, getting a sponsorship cannot be overlooked. As money is not easy to come by especially in Ghana, sponsorship goes a long way to help clubs pay salaries of players, staffs, infrastructures and many more. Salaries of players have been a problem for Dwarfs especially after the death of their bankroller Nana Adu. There are some salaries outstanding yet to be paid amid covid-19. The club would have to get a vibrant marketing team to draft proposals for sponsorship giving assurance to the sponsors the mileage and benefit they would get when they come on board. This will help pay players well enough to give their best to the club. With the right materials and the above hobbles solved, the 'Idepandey Idekay' boys along with management and fans will see their team rise again. Mysterious Dwarfs won the Ghana premier league in 1965/66 league and the FA cup in the 1968 and will hope to win it again. [caption id="attachment_815803" align="aligncenter" width="597"] Dwarfs performance[/caption] By Kwasi Baffoe baffoediccey@gmail.com source: https://ghanasoccernet.com/

[mealha]

‘A queer person can be anybody’: the African photographers exploring identity

In his new book, Africa State of Mind, Ekow Eshun celebrates contemporary African photography. Here he showcases the work of artists looking at the self and sexuality, from Zanele Muholi to Eric Gyamfi

In August 2009, an exhibition titled Innovative Women opened in Johannesburg, aiming to showcase the work of the city’s young black female artists. The launch was attended by Lulu Xingwana, minister for arts and culture at the time, who had been invited to officially open the show. But instead of giving a speech, Xingwana stormed out of the gallery after seeing images by the photographer Zanele Muholi that depicted naked women in close embrace. Muholi’s work, said the minister, was immoral, offensive and ran contrary to “social cohesion and nation-building”. South Africa has one of the most progressive constitutions in the world, with discrimination on the basis of sexuality barred by law. Yet censorious attitudes such as Xingwana’s towards homosexuality are widespread. Almost three-quarters of the population believe same-sex sexual activity is morally wrong, according to a 2016 survey. Similarly intolerant views are commonplace across Africa. Homosexuality is outlawed in 32 of the continent’s 54 nations. It is punishable by life imprisonment in Uganda, Tanzania and Sierra Leone. In Sudan, southern Somalia, Somaliland, Mauritania and northern Nigeria, the penalty is death. Against that backdrop the work of a photographer such as Muholi takes on a dual role, both representing individual artistic expression and operating as a form of political activism; a means to positively assert LGBTQ+ identity in straitened circumstances.

Ama and Shana at lunch by Eric Gyamfi, 2016 Gay relationships are illegal in Ghana, where photographer Gyamfi was born, but the tender, intimate images in the series Just Like Us, where Gyamfi documents life in the country’s queer communities, do not dwell on the sexuality of his subjects but emphasise their ordinariness.

Afrikan Boy Sittin’ by Hassan Hajjaj, 2013 With its explosion of colours and distinctive handmade frame, this image typifies the powerful and assertive nature of the Morocco-born photographer’s work. Hajjaj’s portraits confront prejudices about culture and identity head on.

Vintage by Sabelo Mlangeni, 2009 The South African photographer, who works mainly in black and white, documents queer life in the townships of Mpumalanga province in his Country Girls series. Homophobic violence is routine in the towns he visits, yet his work creates scenes of aspirational normality.

Bhekezakhe, Parktown by Zanele Muholi, 2016 The self-portrait is part of a project entitled Somnyama Ngonyama (Hail, the Dark Lioness), in which the South African artist uses direct, psychologically charged images to confront the politics of race and representation.

Kingsley Ossai, Nsukka, Enugu state, Nigeria by Ruth Ossai, 2017 Part of a series in which the British-Nigerian artist trains the lens on people from her local community, the image challenges ideas about gender, masculinity and what it means to be a man. Ossai’s sitters wore clothes that blur the boundaries between menswear and womenswear.

Continue reading... from Photography | The Guardian https://ift.tt/38WgAIp

[footballghana]

FEATURE: The ‘Rise and Struggles’ of Mysterious Dwarfs in recent times

They pride themselves as the best team in the central region, one of the traditional teams in the Ghana who have graced Ghana football from time memorial, Cape Coast Mysterious Dwarfs.

A team that clasp on tradition has its strength of Cape Coasters always behind them and tout themselves as 'Ebusua'' which means family.

They have an emblem ''crab'' that demonstrate the implacable spirit of Oguaaman. There is a platitude that whatever goes up surely must come down.

Even in our facet of life, one goes through infancy, childhood, adolescent, adulthood, and old age and eventually die.

When you take a product for instance, it goes through a product cycle that is, introduction, growth, maturity and decline at some point.

So it is with football, where teams build, peak and decline.

Some win trophies in the process whiles others do not before the decline. For Ebusua Dwarfs, their fans have had ambivalent experience for the past years.

Seasons gone by, the ''Abontoa Abontoa'' club have achieved some feet that needs to be applauded.

They have been able to produce players who had national teams call ups.

The like of Rashid Sumaila, Kwame Frimpong, Seidu Bancey just to mention few.

The notable one that will forever be remembered is Robert Mensah whose name has been used to name the park at Siwdu in Cape Coast.

In recent times, the Cape Coast based team started some special with the late coach Nana Gyepi in the 2008/2009 division one league.

He qualified them to the middle league when they placed second behind Tarkwa United after 14 matches, amassing 28 points.

Lamentably for the mysterious boys, they were unable to qualify from the middle league to the Premier League when they were beaten to the top by New Edubiase after three games each in a group.

New Edubiase gained first ever promotion with seven points, followed by Dwarfs with six, Gold stars with four and Tarkwa United fallen to the bottom with no point.

The tenacity of the team with crab symbol did not go unnoticed in the 2009/2010 as they qualified for the middle league for the second time.

They came second with 27 points after Medeama (28) in the zone 2B.

The former Dwarfs player guided his team to top their group this time around, winning all the three games with 9 points. Medeama came second with 6 points; Mine stars with 3 points and West ham United were at the bottom of the summit.

Dwarfs appointed former black star captain John Eshun to head the technical area of the team after gaining promotion to the 2010/2011 premier league.

Fast forward, they placed 11 th after 30 games with 41 points at the end of the 2010/2011 premier league.

They had their staunch defender Rashid Sumaila adjudged the best defender of the season.

As the 2011/2012 season was underway, coach John Eshun was sacked some few days before the commencement of the league due to dissensions at the technical area.

Professor J.K.Mintah, the University of Cape Coast lecturer was appointed to lead the team.

As we know for football, most often done not, coaches bring their philosophies and ideas to establish a way they will like their team to play.

Professor J.K.Mintah was not an exception to that.

The yellow and green side started the season not too bad as they got 9 points out of 15 points in their first five matches, they won their two home games (Bechem United, Berekum Arsenal) and drew 3 away games(Ashgold,Hearts of Lions, Mighty Jet).

They looked promising and ended the season with 36 points after 30 games and placed 10 th on the league log.

Position wise, it was a step forward compared to the 2010/2011 that is, from 11th to 10th .

But point wise, it was a decline from 41 to 36.

[caption id="attachment_756076" align="alignnone" width="300"] Prof. Mintah of Ebusua Dwarfs[/caption]

The total performance of the team at the end of the season saw the UCC lecturer con coach as runners up in the best coach category behind Maxwell Konadu of Kumasi Asante Kotoko.

The former best defender in the 2010/2011, Rashid Sumaila maintained his position in the premier league team even though he could not win the best defender for the second time.

As plans were afoot for the 2012/2013, Dwarfs sold their skipper Bismark Aseidu to Medeama, Rashid Sumaila and Seidu Bancey to Kotoko.

Fast forward, the Crabs  were not encumbered by the sale of some key players but came fourth at the end of the 2012/2013 league season.

They improved point wise and position wise, 50 points and 4 th respectively after 30 games.

This granted them qualification to play the CAF Confederation in 2013/2014 season.

Their highest achievement since 2000, when they were knocked out by Ismaily of Egypt in the quarter finals.

An era with great prospect after an improvement in the previous season set the tone for the yellow and green fans to at least see their team win the premier league after trailing six points beneath the summit.

The 2013/2014 season did not go well as expected by the 'Abontoa Abontoa' fans.

Their coach (Professor J.K.Mintah) as part of his national duty as the psychologist for the Black stars, went on assignment with the Black star while dwarfs were preparing for a CAF Confederation match against Petro Atletico de Luanda of Angola.

Management of Dwarfs was not happy with his decision to go with the national team as he had taken a sick leave in the ongoing season.

These disagreements engendered the resignation of Professor J. K. Mintah. The team ended up being relegated as an era also came to an end.

These were good times for the mysterious club. Players like Bismark Aseidu, Rashid Sumaila, Seidu Bancey, Stephen Aidoo just to mention few, played vital role in the process.

We can say that for the past two decade, it was under the tutelage of professor J.K.Mintah that dwarfs played some silky football and CAF Confederation again.

After his resignation, coaches like veteran J.E. Sarpong, Prosper Narteh, Da Rocha, Bashir Hayford, Robert Asibu all tried their best but could not achieve the feet of their predecessors.

So one may ask what has caused them and still causing them not to rise to the occasion as we knew them previous years ago.

Internal gossips from reps to management level have been a stymie to their progress.

The team has it main management in Accra that gives room for rumors. These rumors go a long way to affect some decisions of management there by affecting the team negatively especially the apocryphal stories.

Also, lack of proper planning is also a hindrance to their progress. Every team plans on what to achieve in short term, medium term and long term in terms of buying and selling players, structures etc.

But it is the opposite for the yellow and green club. After 2012/2013 season, dwarfs have struggled to keep coaches who were performing at their tenure.

The notable one was Ricardo Da Rocha who parted ways after placing 4 th in the 2016/17 league.

Because of lack of clear direction, some players who were declining were brought to the club which stifled their progress at some point. Players like Ibrahim Musa and Gilbert Fiamenyo are classical example.

Before the start of the 2019/20 season, the High Court in Cape Coast ordered for the liquidation of the Club over a 20 year debt that was to be paid to Great Liverpool on the transfer of their former player Patrick Villars.

Again, there was no proper planning with the payment effect.

The earlier they find a proper plan to this problem, the better. Furthermore, getting a sponsorship cannot be overlooked.

As money is not easy to come by especially in Ghana, sponsorship goes a long way to help clubs pay salaries of players, staffs, infrastructures and many more.

Salaries of players have been a problem for Dwarfs especially after the death of their bankroller Nana Adu.

There are some salaries outstanding yet to be paid amid covid-19.

The club would have to get a vibrant marketing team to draft proposals for sponsorship giving assurance to the sponsors the mileage and benefit they would get when they come on board.

This will help pay players well enough to give their best to the club. With the right materials and the above hobbles solved, the 'Idepandey Idekay' boys along with management and fans will see their team rise again.

Mysterious Dwarfs won the Ghana premier league in 1965/66 league and the FA cup in the 1968 and will hope to win it again.

  Source: Kwasi Baffoe

source: https://footballghana.com/

[neferdede]

The Financial Blueprint 101 : Money Talks, Money Matters

Chief Executive Women NYC

August 10, 2019

Chief Executive Women NYC held our second annual event. Financial literacy and financial freedom are the keys to living a stress free life. We aimed to bring something different to our community. This well thought out event took place at Hudson Terrace NYC. My role handing the creative aspects and socials approaching the event was tiresome yet worth it in the end. It was an overall success and I couldn’t be more proud of my team for pulling it off. Our special guest presenters Joseph K. Danso, Marquita Eshun, and Nicole Purvy equally left us feeling more knowledgeable and comfortable about fiance than when we entered the building. Great thing have small and humble beginnings. I cannot wait to plan and curate future vents that will be beneficial for the millennial generation in the long run.

Scared Money Don’t Make No Money !

Faith > Fear

Visit ChiefExecutiveWomen.com to learn more about our events and get involved today !