richardmurray
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What the journey of the benin bronzes show is black unity in black countries at least can occur but requires an acceptance of no one owning over others, sharing is key https://aalbc.com/tc/profile/6477-richardmurray/?status=2185&type=status
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The items returned on Tuesday included an ivory mask that formerly belonged to a museum in Stuttgart, Germany.Credit...Kola Sulaimon/Agence France-Presse — Getty Images
How Germany Changed Its Mind, and Gave the Benin Bronzes Back
A ceremony in Nigeria on Tuesday was the culmination of a yearslong process that upended Germany’s approach to museum items looted during the colonial era.By Thomas Rogers, Rahila Lassa and Alex Marshall
Dec. 20, 2022
When the airplane of Germany’s foreign minister touched down in Abuja, Nigeria, this past weekend, it carried precious cargo: 20 Benin Bronzes, priceless artifacts that were looted in a violent raid more than a century ago, and which were finally coming home.At a ceremony in Abuja on Tuesday, the German official, Annalena Baerbock, handed the stolen items back to Nigerian officials. “It was wrong to take the bronzes, and it was wrong to keep them for 120 years,” she said.
In a legal sense, the 20 artifacts Baerbock brought with her belonged to Nigeria even before she took off from Berlin; more than 1,100 bronzes in German museums have become Nigerian property since the countries signed an agreement in July. But Tuesday’s handover was an important symbolic gesture, and many more of the artifacts are expected to come back to Nigeria next year. Others will remain in Germany on long-term loan.
The foreign minister’s trip is the culmination of a yearslong process that upended Germany’s approach to handling cultural items unjustly obtained during the colonial period. It is also part of a pioneering model for large-scale restitution, in which ownership is swapped before any artifacts change hands. Crucially, that approach allows for items to be restituted even if the country of origin does not yet have the facilities to store and exhibit them.
Baerbock described the return of the bronzes as “just the first step.”
“More of these agreements will follow,” she said. “And this moment is also historic to us. We are facing up to our history of colonialism.”
The bronzes consist of thousands of sculptures and plaques that British forces looted from Benin City, in what is now southern Nigeria, during a raid in 1897. Many wound up in museums around the world, including the Metropolitan Museum of Art, in New York; the British Museum, in London; and several major German institutions.
Nigeria has been calling for the objects’ return for several decades, and its deal with Germany is the largest yet. It is also notable because the effort was spearheaded not by individual museums, but by a national government.
The items returned on Tuesday included an 18th-century throne stool and a sculpture commemorating a Benin “oba,” or king. A pavilion to store and display the treasures is being built in Benin City and will most likely be completed in 2023. The building will be next to the planned Edo Museum of West African Art, an ambitious institution designed by the acclaimed Ghanaian British architect David Adjaye.
This outcome had seemed far-fetched as recently as five years ago. As in other European countries, the subject of restitution had been largely ignored in Germany until recently, and some museum leaders had been reluctant to part ways with artifacts.
The about-face was driven — as interviews with eight German and Nigerian officials showed — by a changing social consensus about the ethics of holding on to such items, and further strengthened by a backlash against Germany’s flagship cultural project: the Humboldt Forum, an $825 million institution in Berlin, conceived as Germany’s equivalent to the Louvre or the British Museum.
According to Andreas Görgen, the secretary general of Germany’s Federal Culture Ministry and one of the architects of the restitution agreement, the deal was also a testament to a careful, incremental strategy, which he contrasted with a flashier approach from France.
In 2017, the French president, Emmanuel Macron, gave a groundbreaking speech during a visit to Burkina Faso in which he pledged to make returning unjustly acquired items to African countries “a top priority.” Although some objects have been given back, the French effort has floundered, in part because museum objects are property of the French state, meaning Parliament must sign off on transfers of ownership.
“Macron took the very French route: a great speech by a great president, then it takes years for reality to match those words,” Görgen said. “We are operating in a German way,” he said. “It isn’t especially sexy, but it can be efficient.”
Germany’s approach also contrasts with those of the United States and British governments, which have left decisions up to individual institutions. Some organizations, including the Smithsonian Institution, have acted alone. Last month, the Horniman Museum, in London, held a ceremony to transfer ownership of 72 objects, including bronzes, to Nigeria’s government, and immediately returned six to Nigerian hands. A museum spokeswoman said the other 66 items would stay in London, on loan from Nigeria, for at least the next year.
Yet some of the most important museums in England cannot return their Benin Bronzes, even if they wanted to, without a change in the law. That includes the British Museum, which owns about 900 of the artifacts, arguably the world’s finest collection.
According to officials in Germany, a key turning point there occurred in 2019, amid growing public pressure. It was partly spurred by Macron’s speech and a rising awareness in Germany of its own colonial crimes — including the killing of tens of thousands of Nama and Herero people in what is now Namibia. The atrocity, carried out between 1904 and 1908, is widely seen as the first genocide of the 20th century.
Until then, the main vehicle for discussing the return of the Benin Bronzes had been the Benin Dialogue Group, a network founded in 2010 that brought together Nigerian representatives and figures from European museums with bronzes in their collections. The group, however, favored loans over transfers of ownership.
Some prominent German museum officials were already on the record opposing complete restitution. In an interview with Der Tagesspiegel in 2018, Hermann Parzinger, the president of the Prussian Cultural Heritage Foundation, which held the largest collection of Benin Bronzes in the country, said, “It is too simple to say that they were all stolen and to send them back.” He added, “Politicians should not try to outdo each other with pronouncements.”
Parzinger was among those overseeing the construction of the Humboldt Forum, a controversial project uniting several museums’ collections in a reconstructed Baroque palace in the center of Berlin. Although many Germans initially bristled at the project because it required the demolition of the former East German Parliament, which was seen as an act of historical erasure, that anger soon refocused on the provenance of many objects to be exhibited in the building, including about 500 Benin Bronzes.
In 2017, Bénédicte Savoy, a historian who advised Macron on restitution, resigned from the Humboldt Forum’s advisory board in protest, comparing the project to the Chernobyl nuclear accident site. Jürgen Zimmerer, a historian at the University of Hamburg, accused the Humboldt Forum’s leaders, including Parzinger, of having “colonial amnesia.”
As public anger mounted, German lawmakers began looking for ways to salvage the country’s most ambitious cultural project in decades.
According to Zimmerer, a key moment occurred in February 2019, when Angela Merkel, Germany’s chancellor at the time, invited a small number of historians and experts to a dinner to discuss restitution. Zimmerer recalled telling Merkel that an agreement with Nigeria about the bronzes needed to be reached before the Humboldt Forum’s upcoming opening, lest “the spotlight of the entire world” be focused on criticism of the project. He recalled her saying later that evening, “Then why don’t we give them back?” (A spokeswoman for the former chancellor declined to comment.)
Germany’s federal and state culture ministers convened the following month to approve guidelines for handling museum items from “colonial contexts.” The agreement stipulated that all objects that had been obtained “unethically” would be liable for return and directed institutions to facilitate claims by producing publicly available inventories.
Those guidelines also overruled reluctant museum leaders. “Society applied the pressure on the politicians,” Zimmerer said, “and the politicians applied the pressure on the museums.” He argued that the sudden rise in public support for restitution had been enhanced by an awareness of earlier moves to return artwork stolen by the Nazis. “People know that looted art is something you give back,” Zimmerer said.
In an interview, Parzinger, the museum official, explained his own change of heart. “The Benin Bronzes are so symbolic for colonial-era cultural theft that one cannot simply push it away,” he said.
A group under the leadership of Markus Hilgert, a leading cultural official representing Germany’s 16 states, began working on an online catalog listing the bronzes being held in disparate collections. “Objects are often not inventoried or digitalized, and it raised the question of how you can have a dialogue with a country of origin when you don’t even know what is in Germany,” Hilgert said. The resulting database, he said, “was the material foundation for taking up conversations with Nigeria.”
As the Germans signaled they were moving toward restitution, obstacles remained on the Nigerian side. Although the country had requested the return of the bronzes since the 1970s, there was conflict over who would take ownership of the artifacts. Both the Nigerian government and the oba of Benin, whose family ruled the historical Kingdom of Benin from which they were looted, claimed that they owned the items. Godwin Obaseki, the governor of Edo State, where Benin City is, said he acted as a facilitator to resolve the dispute.
“Things happened so quickly that we couldn’t get everybody on the same page fast enough,” Obaseki said.
Nigeria also lacked the facilities to safely store and exhibit the delicate items. Phillip Ihenacho, a Nigerian financier, said that in 2019, Obaseki asked him to find a solution to the country’s “deficit in museum infrastructure.” He noted that “there was pressure from the German end.”
Ultimately, he said, the oba’s family, Nigeria’s museum commission and the government of Edo State agreed to join a trust together, with independent directors that oversee the construction and operation of the new museum.
Görgen, the culture ministry official, said the announcement of the museum plans in late 2020 helped eradicate any remaining doubts in Germany. After several rounds of negotiations in the spring of 2021, Germany and Nigeria signed a “memorandum of understanding,” and then the official agreement in July 2022. The agreement was finalized weeks ahead of the opening of the Humboldt Forum’s ethnological exhibits.
Visitors to the Humboldt Forum can still view several dozen Benin Bronzes, accompanied by signage clarifying that the objects belong to Nigeria. According to Parzinger, the agreement allows for 168 pieces chosen by Nigeria’s museum commission to remain in Germany “so that Benin’s art can be shown to the world.” The approximately 350 other bronzes that were part of the Berlin museum collections will be transported to Nigeria once the pavilion is completed.
Officials in Benin City hope the return of the artifacts and the construction of the Edo Museum of West African Art will herald a cultural revival and a boom in tourism. Obaseki, the Edo governor, said its effects would ideally resemble those of the Guggenheim Museum in Bilbao, Spain, which is credited with transforming the fortunes of that formerly gritty port city.
Ihenacho, however, made it clear that the bronzes’ return brought with it a new set of practical challenges for Nigeria. It remains unclear who will pay for the shipment and insurance of the remaining items in Germany, and he noted that the bronzes’ storage and upkeep will come at a considerable cost, including electrical bills for climate control. “These objects are going to cost a lot of money, so you had better be prepared,” Ihenacho said, noting that the country’s museum infrastructure was still being built up.
“To the West, this story is very much about the return of the Benin Bronzes,” Ilhenacho said, “but for most Nigerians, this is the beginning.”
URL
https://www.nytimes.com/2022/12/20/arts/benin-bronzes-nigeria-germany.html
MY THOUGHTS
Many talk of Black Unity in black countries but this history highlight one of the true problems with black unity in black countries. The fact that when Germany on its own, said nigeria owned all the bronzes that Nigeria had an internal battle to figure out who in nigeria will own them speak volumes to me. The first question in my mind, is how many other black countries will have similar difficulty? The good news is Nigeria figured out how to find a solution between all the parties in nigeria. and maybe this art venture may create a new approach in nigeria to administration. As Ilhenacho said, this is the beginning.
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Critics fear Benin Bronzes could be privatized by royal heir
Nikolas Fischer
05/08/2023May 8, 2023
Nigeria's President Muhammadu Buhari has given the Benin Bronzes restituted by Germany to Oba Ewuare II, the head of Benin's former royal family. Germany stands by the decision to restitute the sculptures."It was wrong to take them, and it was wrong to keep them," Germany's Foreign Minister Annalena Baerbock said while visiting Abuja, the capital of Nigeria, on December 20, 2022.
Baerbock, along with Germany's Commissioner for Culture and the Media, Claudia Roth, made the visit to return the first of 20 Benin Bronzes which were once looted from the west African region.
The artworks had been in Germany for 125 years, along with around 1,100 looted artifacts from the palace of the former kingdom of Benin, which is now in present-day Nigeria.
The objects made of bronze, ivory and other precious materials, are among the most important works of art on the African continent. Most of them were stolen by British colonialists around the year 1897.
Yet recent developments have some wondering if the Nigerian public will ever be able to view the returned bronzes in a museum — and if it even matters.
Several African and international media have reported that Nigeria's outgoing President Muhammadu Buhari has since transferred the bronzes to Oba Ewuare II, the current head of the former royal family of the Benin Empire.
A presidential decree was issued on March 23 stating the artworks, and subsequently returned works, will be given to Oba Ewuare II. Some worry that it could change plans for the returned artworks to be housed in institutions like the Edo Museum of West African Art, which will be opened in stages starting in 2024.
In Germany, the handover was given extra attention when Swiss scholar Brigitta Hauser-Schäublin wrote an opinion piece for the Frankfurter Allgemeine Zeitung newspaper in which she questioned the decision. "Was that the point of restitution?" Hauser-Schäublin wrote, also calling it a "fiasco." The scholar criticized the German government for making an agreement with Nigerian authorities that was too "lightly worded."
On March 23, Nigerian President Muhammadu Buhari announced that all restated artworks from the former kingdom of Benin would be given to the Oba of Benin, who is by right the original owner and custodian of the culture, heritage and tradition of the former Kingdom of Benin. This applies "both to artifacts that have already been returned and to those that have not yet been returned" according to Buhari. What Ewuare II does with the items is his decision.
The artworks could therefore be exhibited in his private palace museum, making it unclear whether they would ever be on display to the Nigerian public. It's also unclear whether or Ewuare II could sell the works to collectors.
The German government, however, does not question the restitution of the artworks, regardless of where they end up. "The right thing to do is still to return looted art to the places that today represent the people and culture from which this art was once stolen," a spokesman for State Minister of Culture Claudia Roth told German news agency dpa on May 7. Roth said she would work with the German Foreign Office to better understand what the outgoing President Muhammadu Buhari's decision means for future restitutions. "To this end, we want to hold talks with the new Nigerian government as soon as it is in office," Roth's spokesperson said.
Germany's Foreign Office expressed a similar sentiment: "Whoever will receive the returned bronzes, which Nigerian institutions and persons will be involved, and where the responsibility for preservation and accessibility lies, are questions that will be decided in Nigeria," it said in Berlin on Sunday. "There were no conditions attached to the return of the bronzes to Nigeria."
The process "does not call into question the transfer of ownership back to Nigeria," Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, said. It was "based on the fact that it was a case of violent looting — this context of injustice was always undisputed," Parzinger told dpa. He stressed Nigeria's autonomy, adding that the government was "of course free to decide how to deal with these objects."
It's also not the first time artifacts have been handed over to the Oba of Benin. In early 2022, the Nigerian president gave Ewuare II two artifacts returned by England.
"This restitution stands for the recognition of the injustice of a colonial past that has made looted property its own," Claudia Roth, Minister of State for Culture said in an interview with DW. The restitution would hopefully also close open wounds, "because we are also giving back to some extent the cultural identity that we stole."
As for whether or not the Nigerian public would see the Benin Bronzes, Hermann Parzinger of the Prussian Cultural Heritage Foundation was optimistic, saying that he had no doubt that the works would be available to the public in a museum. In addition, a third of the artifacts currently in Germany's collection would be on long-term loan to the Humboldt Forum in Berlin.
URL
https://www.dw.com/en/critics-fear-benin-bronzes-could-be-privatized-by-royal-heir/a-65550237
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@Pioneer1 In truth I have none but the black film archive https://blackfilmarchive.com/ have a newsletter you can sign up to email, sometimes I share in AALBC like now, but they have many films. and also get the newsletter of the following https://sshmp.uchicago.edu/ in my view, black cinema is real but the problem is, it is low budget, and black people in the usa in particular don't like to embrace our situations, we like to be part of white people's situations.
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if you are interested https://aalbc.com/tc/profile/6477-richardmurray/?status=2184&type=status
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Black Home Movies
Sir Solomon Jones’ Home Movies, 1925-1926
The Sir Solomon Jones home films are a dynamic showcase of Black living. His movies are some of the earliest accessible intracommunity chronicles of Black life. Solomon Jones displays the intimacy of hairdressing, football games, and Turkey Day in this silent survey.
URL
https://blackfilmarchive.com/Sir-Solomon-Jones-Home-Movies-1925-1926
URL
https://beineckelibrary.aviaryplatform.com/collections/1058/collection_resources/35014
Wedding Reception
What does tenderness look like? In this short home movie, Thomas F. Freeman records the pomp and circumstance of the union of two hearts.
URL
https://blackfilmarchive.com/Wedding-Reception
URL
https://texasarchive.org/2011_00779
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At a UBS media conference earlier this week, Bob Bakish, CEO of Simon & Schuster parent company Paramount Global, said that with the sale to Penguin Random House now dead, the company still plans to divest the publisher, though he didn’t say exactly how. “We haven’t changed our point of view,” Bakish said. "[S&S] is not a core asset, because it is not a video asset. Our company is a video company.” He added: “We are going to do something in the marketplace with it as we move forward,” although what and when that will be is still to be determined. Bakish told the conference that Paramount has collected the $200 million breakup fee it was owed from PRH since the acquisition didn’t go through. He also gave a nod to the record year S&S is having, saying the only good news coming from the failed sale is that the publisher’s financial performance is “materially higher than when we auctioned it.” “It will all be fine eventually," Bakish said, “but it was a sub-optimal journey.” ARTICLE https://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/91087-paramount-ceo-says-s-s-will-be-divested.html IN AMENDMENT The redstone family, white jews, have properly organized their firm, the days of multimedia big firms is over for most of the large media firms in the usa. And so they all have gone on selling sprees to get rid of non money makers. But any ideas on who should buy simon and shuster? The holiday season is upon us, and it’s safe to say that festivities are kicking into high gear. However, as you enjoy your favorite seasonal traditions, it’s important to remember that, just like most things in our lives, copyright has had a role in shaping it. Whether it’s a movie becoming a holiday classic due to it being (briefly) in the public domain, holiday songs still very much under copyright, multiple legal questions around a children’s classic or some long-running myths that have changed the way people view some of the season’s most important characters, copyright has been a factor. So, since it is the holiday season, let’s take a look at five ways copyright has helped shape our season’s traditions. 1: It’s a Wonderful (Copyright) Life < https://www.plagiarismtoday.com/2013/12/05/wonderful-copyright-life/ > It’s a Wonderful Life is currently a Christmas staple. It’s now of the best-known and best-loved holiday films. However, that wasn’t always the case. Released in 1946 and based on a 1939 short story, the film itself lapsed into the public domain in 1974 after Republic Pictures, the movie’s rightsholders, failed to renew the copyright on the movie. However, when TV networks learned of the oversight, they jumped on it. Eager to fill hours of airtime in December, networks began playing the film almost constantly. For those who grew up before 1992, you likely remember the film being on a constant loop during the winter months. That began to change in 1993. Boosted by a separate copyright case over the film Rear Window, Republic Pictures, obtained the rights to both the music in the film and the original short story. They began sending out notices of copyright claim to TV stations and signed a long-term deal with NBC that gave them exclusive rights to air it. It’s a movie that only became famous because it was free and now is largely protected by copyright, thanks to a shifting legal landscape. 2: Christmas Music < https://www.plagiarismtoday.com/2011/12/19/5-public-domain-christmas-songs-and-5-that-arent/ > Christmas music is an interesting duality. On one hand, many of the most popular Christmas songs are well into the public domain (at least for the composition). On the other, many others are not and become lucrative revenue generators for decades to come. For example, Mariah Carey’s All I Want for Christmas is You has earned well over $60 million in royalties over the song’s run. Originally released in 1994, it has charted every year since its release, even hitting number one in 2019 < https://www.plagiarismtoday.com/2019/12/17/copyright-royalties-and-christmas-music/ >, 25 years after its debut. One of the challenges is that it can be very difficult to tell which songs are and are not in public domain. That’s because many newer songs work to feel like “classics” that are much older and, after they’ve been around multiple decades, it’s easy to forget their relatively recent origins. However, don’t let this lead you to think that you can’t play modern music at your private party. That is one of the many copyright myths that come with the holiday season. < https://www.plagiarismtoday.com/2015/12/15/5-christmas-copyright-myths/ > 3: The How the Grinch Stole Christmas Parodies < https://www.plagiarismtoday.com/2022/12/08/is-the-grinch-slasher-film-a-protected-parody/ > As many likely already know, a new slasher film featuring the character The Grinch was released in theaters this weekend. However, the film is unlicensed by the Suess estate and, as we discussed last week, the filmmaker is moving forward with confidence due to the legal protections of parody. However, this is a lesson that the Seuss estate has already learned. In 2016, the estate targeted an Off-Broadway performance of a one-woman play named Who’s Holiday. The play was to feature a grown up version of Cindy Lou Who, the character from the original book, who would be a vulgar adult who drinks, uses drugs and likely killed The Grinch. The legal threats prompted the play’s creator, Matthew Lombardo, to file a proactive lawsuit seeking a declaratory judgment of non-infringement. He won that case in September 2017. < https://www.playbill.com/article/whos-holiday-playwright-matthew-lombardo-wins-case-against-dr-seuss-enterprises > The Seuss estate is well-known for being aggressive with litigation. However, it appears that this win may have set the stage for more than just Who’s Holiday and opened the door to other parodies of the famous Christmas book and cartoon. 4: A Pair of Christmas Copyright Myths < https://www.plagiarismtoday.com/2015/12/15/5-christmas-copyright-myths/ > As with anything else, there are a slew of copyright myths that come with the season. Though we’ve already touched on some in this article, one that definitely needs to be discusses is the myth that Coca-Cola owns Santa Claus. While it is true that Coca-Cola ads from the 1920s and 1930s played a key role in setting how most people think of Santa, the description of Santa they were based upon was actually from the poem A Visit from St. Nicholas, which is more commonly known as The Night Before Christmas. That poem was released in 1823 and has long lapsed into the public domain. This means that the version of Santa we all know isn’t owned by anyone. But that doesn’t mean that all Christmas traditions are public domain. The Elf on the Shelf was first published in 2005 and is still very much protected by both copyright and trademark. Though the owners of the intellectual property haven’t been quite as litigious as the Seuss estate, they did file a lawsuit in 2011 against a parody book that was slated to be published. They failed to get an injunction in that case too. Still, it goes to show that the season’s traditions are a mix of new and old, setting up for some bizarre copyright issues. 5: The Battle Over Baby Yoda < https://www.plagiarismtoday.com/2019/12/19/the-battle-over-baby-yoda/ > 2019 was an interesting year for Star Wars fans. In November, Disney+ opened its doors and released The Mandalorian. Though the series was an instant hit, it was the character of “Baby Yoda” that received the lion’s share of attention. However, there was a problem. With the series releasing in November, official toys and merchandise for the character wouldn’t be released until May 2020. This meant that the 2019 holiday season would be Baby Yoda free, and that prompted many crafters to step in and fill that void. Sites like Etsy and Ebay became flooded with unauthorized merchandise around the character. Everything from knitting/crochet patterns, dolls, paintings and more. Disney, for their part, came down hard, sending out a wide array of takedown notices targeting such unofficial merch. However, it was far too little, far too late. With no official merchandise, there was simply no way Disney could fill the void and others kept flooding into it. The case became something of a warning. Though copyright enforcement can help and do great things, it can’t help you when you have the most popular toy of the year and no actual toys to sell. Bottom Line Simply put, copyright plays a part in nearly every aspect of our lives. Often that connection is behind the scenes, many layers removed from the end user. Still, it shouldn’t be a surprise that copyright has altered the holiday season. So much of our traditions center around books, movies, songs and other kinds of protectable works that it’s inevitable. Luckily, for most people, it’s fairly easy to have an infringement-free holiday season. Most of these issues are things that streaming services and retailers have to worry about, not end users. It’s just interesting to think about the subtle ways copyright has and continues to steer those traditions as time moves on. ARTICLE https://www.plagiarismtoday.com/2022/12/12/5-ways-copyright-has-shaped-the-holidays/ IN AMENDMENT Did you know all of these, I wondered why its a wonderful life stop being played constantly
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We Need To Unite With EACHOTHER First
richardmurray replied to Pioneer1's topic in Culture, Race & Economy
I concur, Black people need to unite functionally. I read all the comments, so I am not feeling the desire to comment long. The comments here show two things. One, the definition of who is black has become more complicated within the black community in the usa at least. To rephrase. Black people in the usa do not have consensus on who else is black and that needs to be clarified but it isn't easy for the internal variance in the usa of whom is black is wide. Black people in Jamaica or Nigeria or India have an easier path to self identity. I don't know if a people can have an open definition to themselves but either black people make a definition all black people accept or an open definition is developed. Two, all Black leaders want betterment for Black people, and that includes Clarence Thomas or Barack Obama, but all black people in the usa have to comprehend that Black leaders in the USA come very varied and thus what they do you may disagree with vehemently, and that has to be ok. -
Was This Professional? What Do Yall Think?
richardmurray replied to Pioneer1's topic in Culture, Race & Economy
In the 1800s there was a caning in the congress of the usa, so:) a little loud voices isn't that big of a deal right:) -
Zahera of Nalak-bel
The poem is entitle=> Yerewfo, The Bard to Zahera: The cup of Zahera plus six fool
Audiobook
https://www.kobo.com/us/en/audiobook/yerewfo-the-bard-to-zahera-the-cup-of-zahera-plus-six-fool
Book cover black and white version
https://www.deviantart.com/hddeviant/art/Zahera-of-Nalak-bel-BW-941242244
Book cover color version
https://www.deviantart.com/hddeviant/art/Zahera-of-Nalak-bel-Color-941248429-
Tumblr Video
https://richardmurrayhumblr.tumblr.com/post/704104158830149632/zahera-of-nalak-bel-the-poem-is-entitled
Tumblr Audio
https://richardmurrayhumblr.tumblr.com/post/704103903297404928/zahera-of-nalak-bel-the-poem-is-entitled
Youtube videotiktok video
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What is the United Nations Doing About HAITI?
richardmurray replied to Chevdove's topic in Culture, Race & Economy
@Pioneer1 the answer is no to your question. White countries wealth comes from hundreds of years of dominating others. but when world war II was finished the white billionaires of england or france couldn't rebuild england or france. The USA rebuilt england or france, think on that. England was a winner in world war II and their white billionaires couldn't rebuild england, the usa was needed. So Black billionaires while many exist today, a government of wealth is needed to build up a country, -
Representation in the Gaming Industry
richardmurray replied to Conceptart88's topic in Culture, Race & Economy
@Conceptart88 use the internet and simply ask monks or asians who are associated with monks. One of the tragedies of the internet is many groups have emails have message systems to communicate with. Use them. Ask them directly, how do you want to be viewed in video games? What are your peeves with how monks are represented? Do you know of some monks who are lesser known, who are not of asian descent but of african descent, indigenous native american descent. Ask about. If I was in your shoes that is what I will do. And when you have a black character? ask the folks here what they think. When you develop a character, beyond it being accepted or culturally suitable, knowing more about a subculture or culture can expand how you see the character and its own plot or usefullness or abilities in the game. -
What is the United Nations Doing About HAITI?
richardmurray replied to Chevdove's topic in Culture, Race & Economy
Haiti needs help, but like many countries in humanity, the help it needs is beyond the means for people in the usa who want to help it, cause the usa is the problem. The american continent is the problem. I don't want to sound defeatist, but what many forget to say about haiti is that when black people earned its long fought freedom from usa/france/uk/spain it was surrounded by enemies. Haiti was the first country in the american continent since it became commonly called the american continent that being black was positive. From Argentina to Canada being black wasn't positive. even if slavery didn't exist in one corner of the american continent, Black people being oppressed by whites/blancos/mestizos/mullatoes was present throughout the entire continent outside of haiti. People forget Cuba, the closest country to haiti , didn't have a similar revolution. And black people in cuba were oppressed by whites or mestizoes. Jamaica a little farther but the same. Haiti's problem is, it's environment was totally opposed to one of its founding principles, black power. Now in modernity , after a long time of abuse from neighbors, how can haiti be helped from the outside? Haiti's solution must come from within, but it can't be from haitian's in NYC, or Black folk in the usa or some other country in the american continent still dominated by whites, talking about making it better. -
AAFCA calls ‘The Woman King’ the Best Film of 2022
richardmurray replied to Troy's topic in Culture, Race & Economy
Good share @Troy And I repeat my sentiment that the critics didn't state but I think has value as well. Yes the woman spoke about a section of black history that many black people don't know. It dealt with africa during the time of white european enslavement with a human while complex story , befitting that time. The actions sequences and performances were great. But I do think the production of that film warrants awards to. It was produced by a lot of black folk, i think majority black production, definitely significant and pan black, meaning black people from either side of the atlantic invested money in a movie made in south africa. I am not suggesting the actors/plot/special effects/costumes don't matter. But, even if the film was a failure in all of those aspects I think the production warrants that. You spoke of awards and they are important for media narrative, but at the end of the day, films need money to be produced and films are works of art that usually don't return the financial investment, so you need symbols of your community investing in film to hopefully spur more of it. -
World of African Superheroes: Coloring Book for All Ages Relaxing Inspiring Cultural Empowering Creative Coloring Book: Black Superhero Coloring Book by Mr. Akinseye Brown (Author) https://aalbc.com/tc/profile/6477-richardmurray/?status=2181&type=status OCTAVIA TRIED TO TELL US is hosting a PopUp because Octavia Butler's KINDRED is coming to the screen! 12/17/2022 is the date Find more information at the following link https://aalbc.com/tc/profile/6477-richardmurray/?status=2182&type=status
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OCTAVIA TRIED TO TELL US is hosting a PopUp because Octavia Butler's KINDRED is coming to the screen! Every episode drops on Hulu on Tuesday, December 13 and we'll be talking about it on Saturday December 17. We'd love for you to join us! Click below for more details and to register.
Kindred Goes Hollywood Pop Up
Saturday, December 17, 2022
3 pm PT/ 6 pm ET
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World of African Superheroes: Coloring Book for All Ages Relaxing Inspiring Cultural Empowering Creative Coloring Book: Black Superhero Coloring Book 01 Paperback – Large Print, November 5, 2022
by Mr. Akinseye Brown (Author)$9.99 USA dollars
https://www.am*zon.com/World-African-Superheroes-Inspiring-Empowering/dp/B0BLM3LLD8?asin=B0BLM3LLD8&revisionId=&format=4&depth=1
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haha @Troy yes:)
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@Troy thanks for sharing. I read the whole article. She says the film has committed actors, i suggest then performances, and positive quality cinematography, but calls it mediocre. If I go to see a jackass film , I do not expect to see a movie like the seventh seal. A will smith film in my recent memory tends to be a star led vehicle that tends to throw a light wrench into the genre it is in. She states the film is a slave era film but based on her description, I say this is a superhero film, that uses a convenient historical figure, one whose truth will never be known, to allow for the superhero genre's mechanics to be utilized in a historical fiction context concerning the usa. Is it everyone's cup of tea? of course not. But when I think of Hancock/Bright/Hitch/After Earth Will Smith likes roles where he is in a two genre film, which doesn't clearly delineate which one it is. Hancock many say is a superhero film, and I concur. But... it is also a realist film, like grapes of wrath. Is Hancock really about a superhero saving the day or is it about a man whose trying to figure out how to be good at the only job he wants? Many say Bright is a buddy cop film and I concur. But... it is also a high fantasy film, like lord of rings with , I argue more, fantastical elements at times merging our modern world with the world of elves and dwarves in a blunt way. Hitch many say is a romantic comedy, and I concur. But... most of the film isn't romantic or comedic. I argue most of the film is loner. It has the feel of La Notte , the italian film, with the couple which ends in my view brilliantly cause it doesn't finalize anything. But the film feels like a divorce film. Kramer vs Kramer with out the kid in a way. After Earth many say is a science fiction action flick, and I concur. But... i sense in the film more of an inverted western. This is like an inversion of shane. And in all the films, it ends on an upbeat. If you come to the movie theater's expecting "twelve years a slave" in form or structure you will be disppointed. You need to look at it thinking, what if a slave had a superhero life? how can that work.
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Lego Fried Pork Cutlet Rice Bowl great fun
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@Chevdove yes, not having equal or cohabitable answers should not stop Black folk from finding an answer all Black folk can live or thrive with
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The CBL Staff Wishes You a
Joyous Holiday Season!
We're reflecting on 2022 and giving thanks for a highly productive year. Most outstanding is the success of our 20th Anniversary Jubilee Celebration on October 20. It is our honor to share a bit of the magic from that night with those who weren’t able to attend.
Please enjoy these inspirational
welcoming remarks from our friend
Sonia Sanchez
As 2022 closes, we know that many of you are working on your year-end giving plans to nonprofit organizations. Did you know that CBL relies on donations from the community to thrive? Our year-round literary programs and special events need your financial support.
We hope we can count on you to help make 2023 our best year ever! If so, please donate what you can by Saturday, December 31, 2022.
Donate HERE < https://www.rfcuny.org/eventpayment/events/index?college=medgar > (via Research Foundation CUNY aka RFCUNY).
Have a wonderful holiday season. Enjoy your end-of-year celebrations!
~ Team CBL
The Canvas Institute invites the community to the opening reception of the art exhibition titled Someone Like Me, featuring the Beverly Moorehead Doll Collection. This event will be hosted by Dr. Brenda M. Greene, executive director of the Center for Black Literature at Medgar Evers College, and the exhibit's curation team, Sadé Dinkins and Teresa Caliari.
The exhibit takes the viewer on a symbolic journey through a life-sized doll house. Composed of different themed "rooms" and a wide variety of dolls, this exhibit has something for all ages, backgrounds, and identities.
Someone Like Me Exhibit
Opening Reception
Saturday, December 10, 2022
2:00 pm
at Canvas Institute
150 Victory Boulevard
Staten Island, NY
To RSVP for the reception, contact
Sadé Dinkins at shadink@gmail.com
THE WINTER 2023 RETREAT
AT-A-GLANCE
Novelist Kia Corthorn and poet Willie Perdomo are the faculty members for the Winter 2023 four-day retreat at Medgar Evers College (Brooklyn, NY).
The dates are February 23 - 26, 2023. Aspiring writers (21 and over) are encouraged to apply.
The application is downloadable < https://centerforblackliterature.org/wp-content/uploads/2022/12/WSRWC2023_4WEB_Application_Winter.pdf > (online version coming soon).
We Are Thrilled to Welcome
WILLIE PERDOMO
-- New York State Poet Laureate --
as a Returning Faculty Member
for the Wild Seeds Retreat
for Writers of Color (Winter 2023)
ABOUT THE RETREAT
The Wild Seeds Retreat for Writers of Color provides a writing community where established and emerging writers can focus on the craft of writing and create cross-cultural conversations around the literature created by writers of the African diaspora. Writing fellows have an opportunity to draw upon their experiences as writers in a racialized society; to become knowledgeable about the issues facing other writers of color; and to study with a professional in the genres of fiction, memoir, and poetry.
ABOUT THE FACULTY MEMBER
Willie Perdomo is the author of Smoking Lovely: The Remix (Haymarket Books, 2021), The Crazy Bunch (Penguin Random House, 2019), The Essential Hits of Shorty Bon Bon (Penguin Random House, 2014), and Where a Nickel Costs of Dime (Norton, 1996). Winner of the Foundation for Contemporary Arts Cy Twombly Award for Poetry, the New York City Book Award in Poetry, and the PEN Open Book Award, Perdomo was also a finalist for the National Book Critics Circle Award, and the Poetry Society of America Norma Farber First Book Award.
He is co-editor of the anthology, Latínext, and his work has appeared in The New York Times Magazine, Poetry, Washington Post, The Best AmericanPoetry 2019, and African Voices. Perdomo is currently a Lucas Arts Literary Fellow, a core faculty member at VONA/Voices of our Nation Writing Workshop, and teaches at Phillips Exeter Academy. | Source: www.willieperdomo.com
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We Wish You a Joyous
Holiday Season!
We're continuing our reflection of 2022 and giving thanks for a highly productive year. Most outstanding is the success of our 20th Anniversary Jubilee Celebration in October 20.
In case you missed it, we're sharing a bit of the magic from that night.
Please enjoy these inspirational
words of support from our friend
Dr. Cornel West
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From Karl Blackkkstone < https://www.fanfiction.net/u/90042/BLAKKSTONE?fbclid=IwAR3ZvFihAEO9gyQ32EGaUUeLUzJJLcDcpjyhhbOhZizmtheE8-G5WRz_7yU >
Greetings, all.
Here is a recent paper I wrote during my university course. It might be relevant for some here.
https://1drv.ms/b/s!ArspJ5yABJDqg7QFLvbHAk04QhXqOg?e=pl9K5K
My comment:
I read it from top to bottom.
I define Afrofuturism as stories concerning the future of Black folk, whether they be in the USA or not, or of African descent or not. I define Black as a label to humans in a phenotypical range.
Two points I think warrant an open discussion. I put them in brackets.
<In the 1990s, when Mark Dery coined the term ‘’afrofuturism’’, there were very few Black science-fiction writers>
<In the 2020s, there is more diversity in stories and storytelling. As ‘’afrofuturism’’ is getting more well know, several Black storytellers –in the United States, the Caribbean and in Africa –are getting their voices heard. The movement is getting stronger.>What determines if someone is a writer? I have always argued that a writer is someone who writes. The assessment to technique in writing doesn't dictate if one is a writer, in my view.
In the year 1990, how many Black high school or college students wrote a story, any length, that involved science fiction. You wrote, there were very few Black science fiction writers. I argue, the quantity of writers wasn't small, the opportunity to be published was small. To have reprints of their work for sale was small. But that does not mean the quantity of writers was small. At least in my view.
And if my prior words have truth, than the issue isn't the multiversity in stories or storytelling, as much as, the opportunity to make profit from writing has expanded in modernity.
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@ProfD The problem is every DOSer has the right to choose the USA to be their home or not. No choice is right or wrong. But a middle ground doesn't exist between the choices. And in the history of the USA or the british colonies that preceded it, DOSers do choose opposing sides and thus the frictions. Garvey was not a DOSer but his movement had more energy in the DOS community than the NAACP, whose face was a DOSer albeit of mulatto heritage. And we know what happened between Dubois and Garvey. The reality is Dubois , who chose as you said, was willing to undermine the most important leader to black people who felt as I said. And that friction has never left the DOS community even as its percentage in the larger Black community in the USA dwindles. So I end with a rephrase. Many Black people have chosen to not make the USA their home and thsoe DOS did and do need a home to go to. @Chevdove I hope I inspire thoughtfulness. At the end of the day most Black people want betterment for Black people. The problem is, over ninety percent consensus on what betterment looks like did not and still does not exist in the black community in the usa and thus Black people tend to butt heads over their different visions. I quote armstrong williams, a black member of the party of lincoln: he never dealt with racism in the south. The issue isn't about truth or correctness but how can a black person who relates to the usa like armstrong williams work side a black person who relates to the usa like assata shakur? how? This website's forum proves that our mere communication becomes nothing. We just don't have consensus. Never did in the past, do not know. But absent it, we are always in a mix.
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Title: Artwork process for ‘Nubia wonder woman’
Video Process
Artist: Clarence Bateman
https://www.deviantart.com/clarencebatemanart/art/Artwork-process-for-Nubia-Wonder-Woman-910623152Prior Post
https://aalbc.com/tc/profile/6477-richardmurray/?status=2092&type=status
Post with Clarence Bateman
