Jason Moran

At The Kennedy Center

Scott Suchman/Courtesy of the Kennedy Center

Jason Moran (left), Alicia Hall Moran (center), The Bandwagon and Bill Frisell (right) perform at the KC Jazz Club.

Partner Content from WBGO

GO HERE TO HEAR FULL CONCERT

Jason Moran's

'Live: Time On The Quilts

Of Gee's Bend' Suite

On JazzSet

February 7, 2013Composer and pianist Jason Moran ushers in his era as Artistic Advisor for Jazz at the Kennedy Center in Washington, D.C., with this performance, captured by JazzSet in honor of Black History Month.

by Becca Pulliam and Mark Schramm

The Philadelphia Museum of Art recently commissioned Jason Moran to write music in conjunction with its exhibition of quilts made by a remarkable group of African-American women in a small rural community on a bend in the Alabama River.

The quilting tradition there dates back to pre-Civil War days, when slaves began sewing together strips of whatever fabric they could find to make bed covers and keep their families warm. It's a unique style with bold geometric designs and colors, handed down from one generation to the next, from the hard years of tenant farming after the Civil War to the Civil Rights era. The isolation of the community made the quilt designs unique, and in time the artistic merits of the quilts from Gee's Bend received international recognition.

In September 2002, the Museum of Fine Arts in Houston hosted a special exhibition featuring quilts by Annie Mae Young, Loretta Pettway, Mary Lee Bendolph and others. The quilts proved so popular that they toured museums around the country. The U.S. Postal Service even issued commemorative postage stamps. New York magazine art critic Mark Stevens wrote, "The strikingly beautiful quilts just might deserve a place among the great works of 20th-century abstract art."

After receiving his commission, Moran, his wife Alicia Hall Moran and family members toured the quilters' homes and workshops, heard their stories and bought their own quilts. Here at the KC Jazz Club, Moran drapes his over a music stand, and members of The Bandwagon "play the quilt," improvising on the patterns. Bill Frisell sets aside his guitar to read his letter to Moran about Frisell's own visit to Gee's Bend — how he took the ferry but went too far and almost missed the warm welcome.

Alicia Moran's voice is the thread running through Live: Time, as she sings the quilters' songs, first recorded in the field in 1941 and compiled on How We Got Over: Sacred Songs of Gee's Bend. She tells the story of a fictional couple — Sidney and her man Clovis, shot by a gun. Rust-colored blood stains the geometric shapes of their bedspread, and love flows, too, but there's more to the story.

The short story "Cold Water for Blood Stains" is by Asali Solomon and featured in the Winter 2013 issue of The Kenyon Review.

Set List

• "Let Me In / Restin' "

• "Blue Blocks / Lazy Gal"

• "Here Am I / Dear Lord"

• "Crazy"

• "This World Is A Mean World"

• "Quilting / Playing The Quilt"

• "You Ain't Got But One Life To Live / Live: Time"

Personnel

• Jason Moran, composer and piano

• Alicia Hall Moran, vocals

• Bill Frisell, guitar

• Tarus Mateen, bass

• Nasheet Waits, drums

Credits

Thanks to the Kennedy Center Jazz team of Kevin Struthers, Jean Thill and Raynel Frazier. Recording by Greg Hartman of the Kennedy Center, Surround Sound remix by Duke Markos. Script for Live:Time is by Mark Schramm.

JD ALLEN 

GO HERE TO HEAR THE PERFORMANCE

The Checkout is live at Dazzle Jazz Club in Denver, with saxophonist JD Allen’s Trio and special guests, Ron Miles and Henry Butler.  WBGO’s Josh Jackson is your host. Recorded 9/23/10 in Denver.

Personnel:
JD Allen – tenor saxophone
Ameen Saleem – bass
Rudy Royston – drums

Guests:
Ron Miles – trumpet
Henry Butler – piano (encore)

Producer and Host: Josh Jackson
Recorded by Joey Kloss and Devon Shorb
Mixed by David Tallacksen

Welcomes International Submissions:

Phantom Drift Literary Journal

(paying market)

Deadline: 31 March 2013

Phantom Drift is one of the few literary journals in the United States focused on fabulist writing. We aim to nurture the literature of fabulism, the fantastic, and the surreal by publishing an appealing, top-quality literary journal featuring only the best fiction and poetry from the U.S. and abroad. Our support for writers takes the form of not only providing a showcase for their works, but offering payment, a practice that both assures us the best of writers' work and supports literature as a whole.

FICTION:

We are looking for fabulist flash fiction and short stories. We like stories that favor the unusual over the usual; we like stories that create a milieu where anything can happen. Stories can take the form of myth or fable. They can invent or suggest an unreal ambience or describe a realistic landscape gripped by a surreal or unexplained event.

We are fond of Calvino, South American Magical Realism, and Talmudic legends. Kafka and Orwell now and will forever totally rock. Some contemporary favorite reads you might have missed include “Flying Leap” by Judy Budnitz, “Carmen Dog” by Carol Emshwiller, “Jealous Husband Returns in Form of Parrot” by Robert Olen Butler, “Wild Life” by Molly Gloss, “Serial Killer Days” by David Prill, “The Djinn in the Nightingale’s Eye” by A.S. Byatt, “ Riding the Red” by Nalo Hopkinson, “The Child Garden” by Geoff Ryman, and the “Interfictions” and “Polyphony” anthologies. The list of writers of stories we enjoy numbers in the thousands.

We accept simultaneous submissions if so noted, but request that you inform us immediately if your piece is accepted elsewhere. As a general rule we do not read previously published work, including work that appears on the web or in electronic format. Please send one fiction submission during each submission period, and we ask that writers wait for several weeks beyond the end of the reading period before querying about the status of your submission, though I will do my best to read and respond to work as quickly as possible.

We request first North American Serial Rights and exclusive rights for six months following publication. We request permission to publish an excerpt of your story on our website. We pay on publication ($10-25 for flash fiction to 2000 words and $50 for fiction 2001-6500 words), plus 1 contributor copy and additional contributor copies at a 55% discount.

Upload your story in RTF or Word by clicking SUBMIT button on our website and following instructions.

POETRY:

We prefer poetry composed in the new fabulist tradition. Phantom Drift exists because its editors wish to found a journal devoted to work that shatters or valuably distorts reality, whether this means surrealism, magical realism, fantastique, or bizarrerie. We value writing whose imagination is unafraid to shift shape, writing that generates unique alternatives to and uncharted voyages away from conventional realism. As poetry editor, I welcome your submissions and tend to favor poetry of a sinister bent, but am open to work readers might label new weird, slipstream, and/or fantastic. Poetry that demonstrates what Roger Caillois has referred to as “the impression of irreducible strangeness,” and that inspires what Franco-Bulgarian structuralist critic Tzevetan Todorov characterized as a “duration of uncertainty’’ between strange and marvelous explanations in the mind of the reader will be especially prized here.

Apart from these considerations, content, language, and form remain quite wide open. Submit sonnet, abcedarius, prose poem, or lipogram. Send gothic, supernatural, steam punk, or science fiction. If you possess unabashedly strange, unpublished work which shows such unusual tendencies as these, Phantom Drift wants to see it. Send us your weirdest verse in submissions of 3-5 poems. Our submission period is January 1 - March 31, and submission can be made on-line through the Phantom Drift website.

There are no fees for submissions.

Payment is $10 per poem and 1 contributor copy. Additional contributor copies will be available for 55% discount.

CONTACT INFORMATION:

For queries:Leslie What, Fiction Co-Editor, at phantomdriftfiction@yahoo.com, or Martha Bayless, Fiction Co-Editor, at pdfiction2@yahoo.com, or Matt Schumacher, poetry editor, at phantomdriftpoetry@yahoo.com

For queries/ submissions: via Submittable

Website: http://www.phantomdrift.org

 

Open to All Nationalities:

World Nomads Travel Writing

Scholarship 2013

Deadline: 19 April 2013 (2pm)

Keen to turn your passion for writing into a profession? This year we want to send you to Beijing, China!

Crisscrossed by freeways, spiked with high-rises, this vivid metropolis is China at its most dynamic. For a thousand years, the drama of China’s imperial history was played out in Beijing, with the emperor sitting enthroned at the centre of the Chinese universe, and though today the city is a very different one, it remains spiritually and politically the heart of the country.

In this Travel Writing Scholarship, your assignment will be to get under the skin of this city of 22 million, discover the stories of the culture and its people, and write about it all, under the mentorship of two seasoned travel writers.

HERE'S THE DEAL:

First you'll head off to Beijing to go on assignment for five days under the mentorship of Rough Guides writer Martin Zatko to review and update the Beijing chapters of 'The Rough Guide to China'.

Then join international travel journalist and Beijing local, Kit Gillet, for an adventure into his backyard to explore some of the hidden, and not so hidden (camping on the Great Wall anyone?) charms of the city.

All of this writing is sure to work up a pretty serious appetite, so for the last leg of the scholarship, you will spend three days with Hias Gourmet getting well acquainted with the history, art and technique that accompanies the Chinese love of their cuisine.

IMPORTANT DATES:

You need to be available between June 24th - July 6th, 2013 to participate on the assignment.

• April 19 Submission deadline

• May 10 Winner confirmed and announced

• June 24 Arrive in Beijing

• June 25-29 Writing Assignment with Martin Zatko

• June 30-July 2 Mentorship & Beijing adventure with Kit Gillet

• July 3-5 Chinese Food extravaganza

• July 6 Depart

• August 9 Copy deadline

YOUR ROUGH GUIDES BRIEF:

• We'll fly you to Beijing from your country of residence.

• After spending two days learning the ropes with mentor Martin Zatko, you will have a chance to explore this bustling, progressive city for two days on your own. In this time, you will research, review and update essential travel information for 'The Rough Guide to China', including accommodations, duck restaurants, theatres, teahouses and - best of all - the Forbidden City itself! On your final day, you will meet back up with Martin to go over your work together.

• Your mentor will be at hand to offer guidance, but essentially this is your assignment; you will travel on your own for this part of the journey so you must be comfortable travelling solo. Martin will assign you a specific area based on your travel experience.

• Your work will feature in the new edition of 'The Rough Guide to China', placing your foot firmly in the door of the elusive travel writing industry!

THROUGH LOCAL EYES

For your second mentorship experience in Beijing, you will spend three days with Kit Gillet, learning what life is like as a freelance journalist and discovering Beijing through his local perspective.

First, you’ll spend a night camping near (or actually on!) the Great Wall of China, to experience this wonder of the world firsthand – and without the crowds.

You will also spend time among the hutong alleyways that formed the ancient heart of the Chinese capital. Wander around the courtyards that still dominate the northern part of central Beijing, talking to locals and seeing the modern developments - restaurants, bars, micro breweries - that are turning some of the areas into chic city destinations for foreign tourists.

Finally, you will visit the artist commune of Songzhuang and galleries of Caochangdi to see the burgeoning Chinese art scene to find out how Chinese artists work and what inspires them.

FOOD AND CULTURE:

Nowhere else on the Chinese mainland can compete with the culinary wealth of Beijing: every style of Chinese food is available, plus just about any Asian and most world cuisines. Among all this abundance it’s sometimes easy to forget that Beijing has its own culinary traditions; Beijing duck (Beijing kaoya) and Mongolian hotpot are definitely worth trying!

For the final leg of your trip, our friends at Hias Gourmet want to give you a window into this rich food culture by offering up three culinary experiences of your choice. Go on a tea tasting safari, a night market excursion, a breakfast tour of the Sihuan market or noodle and dumpling making classes.

You'll also have some free time during this leg of the trip to explore Beijing and dig up some independent stories.

WHAT YOU'LL NEED TO PRODUCE:

Along with your work on 'The Rough Guide to China', you will be required to keep a daily travel journal on WorldNomads.com (no less than 200 words per daily entry), as well as produce three pieces to be published on World Nomads sharing your adventures in Beijing.

WHO CAN APPLY:

• This opportunity is open to students, emerging and non-professional writers and lovers of travel looking for a career change.

• The scholarship is open to all nationalities, however, you must have an exceptionally high degree of proficiency in written English.

• The opportunity is designed to give you a taste of what it's like to be a travel writer on the road, so you must be comfortable doing some travel on your own.

• Minimum age 18 by the date the scholarship application closes (April 19, 2013)

• You need a current passport with at least six months left before expiry.

• You must be available as per the dates set out. Please note these dates are not changeable in any way, you must be available for the entire assignment.

• You should be an exceptional writer with a lust for adventure travel, a desire to experience new cultures and above all, a burning desire to become a professional travel writer!

WHAT CONSTITUTES A PROFESSIONAL TRAVEL WRITER?

Essentially this is a 'learning opportunity' for someone who is looking for an introduction into the travel writing industry and more importantly, is keen to be mentored.

As a guide, for the purposes of the opportunity, we would consider you to be professional writer if you have been published regularly in newspapers, travel magazines or travel journals. We would also consider you to be a professional writer if you derive more than 25% of your income from writing.

If you have had a few stories published, or keep a regular travel blog then we would not consider this professional.

We would also like to further clarify that a professional writer of any sort (travel writer or otherwise) is not eligible to apply if they derive more than 25% of their income from writing.

Please consider the spirit of the program which is intended to help those with a burning desire to be a professional travel writer and need some help getting started.

APPLY NOW:

If you want it, you've got to show it. To apply you need to:

1. Write. Craft a 2500 characters or less (this includes spaces) travel focused essay based on a personal experience around one of the following themes;

• 'Catching a Moment'

• 'Understanding a Culture through Food'

• 'A Local Encounter that Changed my Perspective'

• 'Sharing Stories - A Glimpse into Another's Life'

It's up to you to convince our judging panel through your writing that you have the spirit of adventure and passion for travel writing to be chosen for this scholarship. We will be looking for:

• great descriptive ability

• strong eye for detail

• ability to uncover and tell a compelling story

• excellent spelling and grammar and a knack for avoiding clichés

2. Complete an entry form which includes contact details and a maximum 1200 character essay on why you should be chosen and what the opportunity will mean for you. Your answer will provide considerable weight in the judging process.

3. One entry per person.

4. The entry must be submitted in English.

The recipient of the Scholarship, along with the shortlist of best entries will be published on the WorldNomads.com website on May 10th, 2013.

Link: conditions of entry

CONTACT INFORMATION:

For submissions: via the online application page

Website: http://www.worldnomads.com/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Call For Submissions: ¿Y Tu Abuela, Donde Está?: Multi-dimensional Afro-Latina/o Identities In The 21st Century

By Racialicious Team On February 12, 2013

The Migration of Afro-Latin@s. Via williamsbsu.wordpress.com

What do you think?

“The Black and White Dialogue on race and culture in the United States has consistently ignored the existence of more than 150 million people of African ancestry in the other Americas. The total absence of Afro-Latinas/os from the Caribbean Mexico, Central America and South America in the consciousness of the national discourse in the United States, including in institutions that educate and inform the civil society of the nation, contributes to the absolute disregard of the presence and realities of African Diasporic communities within the U.S. national territory and aboard. This lack of recognition and omission of the history, contributions and lives of more than 150 million people of African ancestry, many of whom reside here in the United States renders their contributions and lives irrelevant.”   

What do you think?

–Dr. Marta Moreno Vega, Women Warriors of the Afro-Latina Diaspora, “Afro-Boricua: Nuyorican de Pura Cepa,” page 75

What do you think?

“Of the estimated 11 million enslaved Africans brought to the New World from the late 1400s to the 1860s, most were taken to Latin America and the Caribbean, with only some 645,000 landing in the United States. “So when you’re talking about blackness, you’re really talking about Latin America.”

What do you think?

–Miriam Jimenez Roman

What do you think?

Context:

What do you think?

“¿Y Tu Abuela, Donde Está?: Multi-dimensional Afro-Latina/o Identities in the 21st Century” is an exhibition examining Afro-Latino identity and culture in a contemporary context. The title is appropriated from a popular phrase within the Spanish-speaking Latin American community that examines the racial and cultural heritage of people of African descent. Sometimes used as a biting remark towards Latinos who elect to identify racially and culturally as something other than “Black” or of African descent, the phrase alludes to the idea of individuals literally hiding their background by keeping their grandmother, presumably a dark-complexioned woman, in the back part of their homes where no one can see her. However, some Latinos have also appropriated the adage to proudly profess their African heritage. As North America’s population shifts and the rate of Latin Americans grows in the United States, there has been an increase in interest of the historical, cultural, cosmological and political narratives of Latina/os of African descent and those who racially identify as “Black.” But most importantly, there has also been a push by Afro-Latina/os for the acknowledgement of the existence of a population of millions of people of African descent living outside the U.S. in Mexico, Central and South America and the Caribbean. The term “Afro-Latino” has also given rise to nuanced conversations about non-Spanish speaking Latin Americans from places such as Brasil and the Francophone Caribbean. CCCADI has been at the forefront of conversations about Afro-Latinos since its founding by Dr. Marta Moreno Vega, an Afro-Puerto Rican scholar, for the past three decades. As an institution, CCCADI is committed to delving deeper into this complex conversation to examine where Afro-Latina/os are today as individuals and as a community, particularly as younger generations boldly proclaim their Latino AND African identities.

What do you think?

HOW TO SUBMIT

What do you think?

 

What do you think?

PLEASE NOTE:

What do you think?

In Submission Line please write – “Submission: Y Tu Abuela – First and Last Name” 

What do you think?

In order for your submission to be considered complete, please forward ALL of the items below:

What do you think?

1. Please submit 5-10 low-res jpeg images with descriptions completed on Inventory List (title, medium, dimensions, date(s) of completion). Images should be submitted via a flickr link or CD.

What do you think?

2. CV or Resume

What do you think?

3. Artist Statement – as it relates specifically to the exhibition’s topic.

What do you think?

4. Brief bio

What do you think?

5. For videos, email link or file. (Must be Quicktime compatible).

What do you think?

6. Submission Application (Scroll to the bottom of the page, then cut and paste form.–Ed.)

What do you think?

7. Inventory List

What do you think?

INCOMPLETE SUBMISSIONS will not be considered.

What do you think?

NOTE: Please upload low-res images/media via flickr and/or vimeo and send a link. Please be prepared to submit hi-res images upon request. Subject Line: “Submission: Y Tu Abuela – First and Last Name”

What do you think?

Forward submissions and questions to:

What do you think?

Shantrelle P. Lewis at slewis.cccadi@gmail.com

What do you think?

DEADLINE

What do you think?

March 5, 2013

What do you think?

EXHIBITION DATES

What do you think?

May 2013

What do you think?

GALLERY:

What do you think?

ImageNation/Raw Space | 2031 Adam Clayton Powell | New York, NY 10027

What do you think?

About CCCADI:

What do you think?

The Caribbean Cultural Center African Diaspora Institute (CCCADI), commonly known as the Caribbean Cultural Center, was conceived in 1976 by Dr. Marta Moreno Vega who had a vision to create an international organization to promote and link communities of African descendants wherever our communities are present.  Dedicated to making visible the invisible history, culture and welfare of peoples in African descent, the Center is based in New York City but effectively works for the social, cultural and economic equity of African Diaspora communities around the world.

What do you think?

About the Curator:

What do you think?

Shantrelle P. Lewis is Brooklyn-based curator and a native of New Orleans who returned home in September 2007 to assist in its revitalization efforts after a 12-year stint on the east coast. For two years, she worked in the capacity of Executive Director and Curator of the McKenna Museum of African American Art. In October 2009, Ms. Lewis relocated to New York, and joined the staff of the Caribbean Cultural Center African Diaspora Institute (CCCADI), where she was Director of Exhibitions and Programs for three years.   Having received her bachelor’s and master’s degrees in African American Studies from Howard and Temple Universities respectively, her curatorial work is grounded in a Black Studies theoretical-activist framework. Her extensive travels internationally have allowed Shantrelle to experience and witness the manifestation of the African Diasporan aesthetic firsthand. As a curator, Ms. Lewis uses exhibitions to respond critically to socio-political and cosmological phenomenon through an African-centered lens. In Fall 2011, Shantrelle was a curatorial resident at Open Ateliers Zuidoost in Amsterdam, NL. The recipient of a 2012-13 Andy Warhol Curatorial Fellowship, Ms. Lewis is currently engaged in research about the Dutch Caribbean Diaspora for a 2015 Exhibition at CCCADI’s soon-to-be renovated historic firehouse on 125th Street. Ms. Lewis has demonstrated a commitment to researching, documenting and preserving African Diasporan culture.

This Is My Body

from Jason Stefaniak 

*If the video won't play on your mobile device, WATCH IT ON YOUTUBE: youtube.com/watch?v=z2ME8sR-bnY

**Subtitled Version (English): vimeo.com/48314213

Views = Power, so please share, tweet, email and spread this video! Ask your friends and family to do the same and if you have a favorite women's group or political organization, share it with them too!

Read the monologue and post your own videos @: Facebook.com/ThisIsMyBody

Created by Jason Stefaniak and Siobhan O'Loughlin
JasonStefaniak.com SiobhanOloughlin.com

Thank you to all of the generous "This Is My Body" donors:
Christa Harmon. Maureen Hassenbohler. Lisa Rojas. Lauren McDade. Stephanie Cox. Rachel Fauber. Liz Estela. Scott Berjot-Stafiej. Faith Goodiel. Kristina Ticknor. Brendan Leahy. Megan and Tito Colon. Garrett Mannchen. Katrina Rojas. Kristan and Papo Rojas. Gerry Rojas. Dana Facchine. Jason Kwon. Kathryn Ticknor. Kiel McLaughlin. Beth Goodiel. Jess Bass. AnnaRose King. Brie Aines. Andrew Daugherty. Mitch Troescher. Chris Ciancimino. Gloria and Darrin Frizelle. Krista Armentrout. Melissa Brown. Sam Margolis. Deb Moriarty. Brad Snyder. Lisa Marie. Lisa Simmons. Patrick Martinez. Diane Ambrosio. Alexis Riley. Bill Logan. Mary and Pablo Rojas. Sarah Elfreth. Joyce Wu. Becca Epstein. Lauren Seserko. Ivona Stanoeva. Isadora Guerreiro. Janice Murphy. Annie Fleming.

commiekinkshamer:

TRIGGER WARNING: RAPE, SEXUAL ASSAULT

anarcho-queer:

Teacher Raped By NYPD Cop Goes Public, Wants Albany To Change Rape Laws

Lydia Cuomo is incredibly brave. A year and a half ago, the 26-year-old was on her way to start her new job as a second-grade teacher in the Bronx, but an off-duty police officer threatened her at gunpoint and raped her in the courtyard of an Inwood apartment building. The officer, Michael Pena, was convicted of sexual assault but not on the rape charges (he later pleaded guilty to rape as part of a plea deal). Cuomo is now going public to convince Albany to put anal and oral penetration into the New York State definition of rape.

In an interview with the Daily News, Cuomo said, “I feel like essentially I had a silver platter of a rape case. I had witnesses, I had DNA, I had my own testimony, I had two cops. I had them saying, ‘We admit he sexually assaulted you,’ and I didn’t get the verdict I needed the first time, and that just highlights to me the problem in the system.” She added, “Anal’s not rape? On what planet do you live? It never occurred to us that that’s not rape.”

After the trial, Assemblywoman Aravella Simotas tried to get Albany to change the definition last year—”This legislation will ensure that no other victim will face the same indignity that this Bronx schoolteacher suffered“—but nothing happened. Simotas said, “New York lags behind such liberal bastions as South Dakota and Tennessee in how we define rape. New York should be at the forefront to protect crime victims.”

Cuomo, who is not related to the governor, told the Daily News how she was surprised that the jury didn’t convict Pena of rape, “When we found out the reason why, it just seemed so ludicrous to me. I think, quite frankly, it’s insulting… Ultimately I was being told, ‘Oh, you were anally raped and orally raped, but we don’t believe you were raped; you were sexually assaulted.’” She also explained why she’s making her identity known, “I think this is part of my way of moving on. I think I was given this opportunity to take this horrible, painful and negative thing and make it positive.”

Pena was sentenced to 75 years for sexual assault, the jury had a mistrial regarding the rape charges.

Note: In the state of New York, rape is defined as forced vaginal penetration. So legally, (cis)men cannot be raped and (cis)women who are force to have anal or oral sex are not considered ‘raped’.

Source: anarcho-queer

Reblogged: wretchedoftheearth

 

 

girljanitor:

THE MYTH THAT “MINORITIES” GET MORE SCHOLARSHIPS DEBUNKED SINCE 5EVER

This is something that comes up time and time again like clockwork.Here’s a”just the facts” post.

Racists LOVE this tired old saw. The problem is that it’s complete and utter bullshit, it always HAS been, and IT IS THE OPPOSITE OF REALITY.

Caucasian students receive more than three-quarters (76%) of all institutional merit-based scholarship and grant funding, even though they represent less than two-thirds (62%) of the student population.
Caucasian students are 40% more likely to win private scholarships than minority students. These statistics demonstrate that, as a whole, private sector scholarship programs tend to perpetuate historical inequities in the distribution of scholarships according to race.

-The Distribution of Grants and Scholarships by Race

BUT WHAT ABOUT FINANCIAL NEED BASED SCHOLARSHIPS????

OH HEY IS THERE ANOTHER SOURCE FOR THIS?

It debunks the race myth, which claims that minority students receive more than their fair share of scholarships. The reality is that minority students are less likely to win private scholarships or receive merit-based institutional grants than Caucasian students. Among undergraduate students enrolled full-time/full-year in Bachelor’s degree programs at four-year colleges and universities, minority students represent about a third of applicants but slightly more than a quarter of private scholarship recipients. Caucasian students receive more than three-quarters (76%) of all institutional merit-based scholarship and grant funding, even though they represent less than two-thirds (62%) of the student population. Caucasian students are 40% more likely to win private scholarships than minority students.

STOP PARROTING RACIST MYTHS INSTEAD OF ACTUALLY FACT CHECKING

Scholarships Go Disproportionately To White Students

White Students More Likely To Win Scholarships

White students get Minority Scholarships

Texas State Offers Scholarship EXCLUSIVELY FOR WHITE PEOPLE

One Million dollars’ Worth of White “Ethnic” Scholarships Don’t Trouble Student Group Protesting “Minority Scholarships

B-b-but what about the “Evils” Of Affirmative Action in Higher Education??? Oh yeah, WHITE WOMEN ARE THE #1 BENEFICIARIES OF AFFIRMATIVE ACTION.

So stop saying this shit. you’re just plain fucking WRONG. Also, racist.

Picturing freedom:

How former slaves

used photography to imagine

and create their new lives

after Emancipation

 

 

By Daily Mail Reporter

PUBLISHED: 24 December 2012

A scruffy African-American family stands outside their run-down home while a dapper young man sits up straight in a waistcoat and suit: These are the never-before-seen faces of slavery and Emancipation, revealing families' lives before and after they were freed.

The images themselves played a key part in allowing the men, women and children freedom - being distributed through the northern states as propaganda during the push for abolition, and employed by former slaves to showcase their new images.

More than 150 of the photographs feature in a new book, Envisioning Emancipation, which has been published to coincide with the 150th anniversary of the Emancipation Proclamation of 1863 on January 1.

 

On the road to freedom: An African American soldier in Union uniform with wife and daughters between 1863 - the year of the Emancipation Proclamation - and 1865

Changes: Photography was also used a propaganda to show how former slaves could become respectable people. Top, a studio portrait of an African American sailor taken between 1861 and 1865. Bottom, a self-liberated teenage woman with two Union soldiers in 1862

At work: Fugitive African Americans fording the Rappahannock River in Virginia in 1862 - the year before the Emancipation Proclamation

Most of the images, which reveal what freedom looked like for black Americans in the Civil War era, were taken between the 1850s and the 1930s.

They have been collated by Dr. Deborah Willis, a professor at the department of photography and imaging at the Tisch School of the Arts at New York University, and Dr. Barbara Krauthamer, an assistant professor of history at the University of Massachusetts-Amherst.

The women spent years searching museums and archives throughout the country in a bid to expand the photographic record that would allow readers to look at race and freedom in a new way.

'We wanted a range of images that showed the scope of the thinking about what freedom looked like,' Dr. Willis told the New York Times. 'We consciously looked for black photographers; we consciously looked for images of women, whose stories have often not been included.'

Respectable: A woman, Sarah McGill Russwurm, is pictured next to her brother, Urias Africanus McGill, a merchant in Liberia. They are pictured in 1854

 

Working together: A photograph from 1864 reads: 'Colored army teamsters, Cobb Hill, Va'. It is one of 150 pictures in a new book about photography and Emancipation

 

 

Horrors: The authors also discovered never-before-seen battle pictures. Here, men collect the bones of soldiers killed in battle, Cold Harbor, Virginia in 1865

 

Forging on: Left, a soldier in Union uniform between 1863-1865, Right, a formerly enslaved man holds a horn with which slaves were called, near Marshall, Texas

And as they searched, they found numerous images challenging the ideas of slavery - 'images that have gone missing from the historical record,' Dr. Willis said.

Alongside pictures of enslaved people on plantations, there were images of wealthy black families posing together, black Union soldiers, Emancipation Day celebrations and reunions between former slaves, the Times reported.

The book also contains photographs taken in the bid for emancipation. There are 'before' and 'after' images of children, showing how they could transform into respectable youngsters, and slave children with white skin to create sympathy among white northerners.

Other images allowed northerners to witness the cruelty of slavery and the respectable individuals the former slaves had become. And black leaders, including Frederick Douglass and abolitionists Sojourner Truth and Harriet Tubman, often turned to the medium, to further their abolitionist campaigns.

Careers: Susie King Taylor, pictured top in 1902, was the first African American to teach openly in a school for former slaves. Pictured bottom in 1915 is Booker T. Washington, a teacher, author, orator, and adviser to Republican presidents. He would speak on behalf of black people who lived in the South

 

 

New life: A whole family poses by a building in Savannah, Georgia in 1907

 

 

Smart: The caption reads: 'District of Columbia, Company E, Fourth U.S. Colored Infantry, at Fort Lincoln'. The image was taken between 1862 and 1865

 

Documenting change: This image of an African American woman holding a white child in 1855 features in a new book, Envisioning Emancipation

There are also examples of how photography was used by the supporters of slavery, using images as evidence of its 'natural order and orderliness'.

And, following the Emancipation Proclamation in 1863, the use of photography evolved - eventually being used by black men and women to show off their new, postslavery looks and to portray their hopes of freedom.

Subsequently, the book, which was published earlier this month, shows how photography was central in the war against slavery, racism and segregation

 

Read more:

• New York Times :: ¿Envisioning Emancipation¿: Book Documents Slavery¿s End
• Amazon.com: Envisioning Emancipation: Black Americans and the End of Slavery (9781439909850): Deborah Willis, Barbara Krauthamer: Books

via dailymail.co.uk