OP-ED: Neo-Slavery Under the US Constitution

Neo-Slavery Under the US Constitution

 

The first number is the percentage of Black Americans in the state and the second number is the percentage of Black Americans making up the prison population in that state.

  1. Arkansas 16% Black - 52% in Prison

  2. Georgia 29% Black - 64% in Prison

  3. Louisiana 33% Black - 76% in Prison

  4. Mississippi 36% Black - 75% IN Prison

  5. Alabama 26% Black - 65% in Prison

  6. Tennessee 16% Black - 53% in Prison

  7. Kentucky 7% Black - 36% in Prison

  8. South Carolina 30% Black - 70% in Prison

  9. North Carolina 22% Black - 64% in Prison

  10. Virginia 20% Black - 68% in Prison

  11. The above statistics are from Rev. Jesse Jackson Sr. at the weekly meeting of Operation Rainbow/PUSH on 25 March 2011.


    Americans Must Smash Neo-Slave System


    I feel so sorry for those Egyptians. --American black girl


    When will Americans dance in the streets for true freedom, justice and equality? When will they decide wage slavery is enough, that the slave system must be overthrown? Yes, the corporate, global finance, military, university complex must be thrown into the dustbin of history. When will Americans agree to seize the wealth created from their sweat, blood and tears, the work of their hands. Why should the top 1% own wealth equal to the bottom 90% percent?


    When will they dispose their capitalist bosses, seize them by the necks and cast them into the streets for their greed, mega bonuses and life of conspicuous consumption, while the wage slaves are refused a living wage that will advance them above the working poor level of existence? Like Tunisians and Egyptians, all sectors of society must come together to end the regime of the slave system, whether in white or black face.


    We are not fooled by a black skin for we know a duck when we hear it. The duck in the White House is a white swan in black face. He supplicates to those in the den of iniquity, the Wall Street robber barons, the former generals who run the military/corporate machine. Workers, students, religious people, teachers, artists, trysexuals, all must unite.


    Even the police and army must unite with the people. Even the gangs must stop killing and unite with the people. Sadly, this phony democracy must be replaced. Yes, the best democracy money can buy is unacceptable and unsustainable. The rotten Supreme Court has agreed your vote is up for sale and can be bought by the highest bidder. It cost Obama 700 million dollars to be selected President. His reelection will cost one billion dollars. It will be paid for by Wall Street and the corporations of the complex who are the puppet masters.


    Obama is merely a puppet. When American cities were dying and decaying, black mayors were given pseudo power. When the American empire and Republic is dying and in her death throws, a black president is acceptable. It is an act of desperation by a dying monster, too full of hubris to remove itself peacefully, who yet claims exceptionalism that is based on white supremacy mythology. Empires come and go, but the Emperor wants to hold power forever. American needs a systematic and structural change, for it doesn't matter whether the Democrats or Republicans are in power, they are one and the same, no matter than they sit on opposite sides of the aisle.


    They are both part and parcel of the US military, corporate, global finance, university, prison complex of institutions in the neo-slave system. All politicians are the hostage of lobbyists for whatever cause. Let us send them one million lobbyists to advocate for our cause. If the one million are not enough, we shall call the General Strike until they board a plane for some other world. When will Americans understand former generals run the corporations. The universities are part of the war machine.


    Weapons of mass destruction are invented on university labs. And now your President is calling for the return of military recruiters on campus so the permanent war machine can have its cannon fodder soldiers. Capitalism is against abortion because it wants your sons and daughters to grow up to be soldiers to maintain the global slave system. Let the boys and girls grow up to be 18 so they can go kill and die to maintain the empire, no matter that they come home in body bags, wounded, mentally deranged, suicidal and homicidal.


    They are valuable in the slave system. While our sons are captured by the slave catchers (police) and imprisoned by the slave system to become a valuable commodity of the corporate complex( fifty to sixty thousand dollars per inmate per year, two hundred thousand dollars per inmate per year for juveniles), simultaneously our daughters enroll in the universities, wherein they are brainwashed with white supremacy mythology, hence they too are prisoners in the slave system.


    They find themselves with advance degrees yet without an eligible mate since the pool of men is desecrated by the very nature of the slave system. Their potential men suffer the ravages of perennial unemployment, incarceration, drug abuse, mental illness and violence, whether internal or external.


    In short, by the very nature of the slave system, it must be overthrown, totally and absolutely, no quick fixing, no band aid, only radical systematic and structural change will suffice. We have no guns, no weapons except ourselves, our bodies marching in unity. So let us dance in the streets of America, coast to coast, sea to shining sea.


    Let the mighty beast fall. The government rules by the consent of the governed, they taught us in politics 1A. We must deny our consent. We must stand tall without fear, for we have been full of fear since birth. We have lived in fear, eaten fear for breakfast, lunch and dinner. No more fear. The only thing we fear is fear itself! The stunted man and woman must stand together for today, tomorrow and all the yesterdays. As poet Amiri Baraka says, "For every hurtful thing...."


    Surely you can see the Wall Street bandits have robbed you with pyramids schemes of pure speculation, selling toxic assets, bilking investors of trillions, extorting millions of common people of their basic wealth, their homes, depleting retirement funds of the working poor who retire after thirty years with a phony gold watch and must line up for food handouts to get through the month.


    The Federal Reserve is the chief instrument of the Global bandits, the masters of the slave system. It is the den of thieves of international capitalist greed and economic domination. Your money in the bank is now worthless, it is backed by nothing, only the paper it is printed on. Soon, you shall go to the restaurant with a wheelbarrow full of dollars to buy a hamburger. Before you finish eating, the price shall rise. They have just released 600 billion dollars of worthless paper. We must prepare our home survival kits of emergency food and other items for survival. We can see that the universe herself is moving to rectify matters that have come to the attention of Mother Nature.


    If we are not in harmony with Mother, we shall we wiped from the face of the earth, and most especially those in league with the slave system. Many of you shall never know work, for you are expendable in the slave system. The unemployed, underemployed, homeless, mentally ill, broken hearted, let us march to the White House Gates. Let us announce the New man and woman have arrived. And we shall not be moved.


    --Marvin X 1/31/11

     

    __________________________

     

    RBG On Slavery Days, Called By Any Other Name, From Chattel to the Prison Industrial Complex


    Burning Spear-Slavery days


    The PIC (Prison Industrial Complex) Exposed

     

    Just the Facts RBG : 

    Fact: The more things change the more things stay the same. The War On Drugs is the United Snakes of Amerikkka's way of fully reconstituting slavery. How you ask.

    Well, quite as it's kept slavery really was never completely abolished: The Thirteenth Amendment to the U.S. Constitution reads: neither slavery nor involuntary servitude, except as a punishment for crime where of the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction. With its ratification in December 1865, this amendment put an official end to the injustice of slavery as it was then practiced while at the same time paving the way for a new slavery that flourishes to this day; namely, the prison industrial complex (PIC).
    African Americans constitute about 12% of the American population, and around 13% of drug users, nearly the same number, which is what you'd expect. Additionally, 9.7% of Blacks use drugs, compared to 8.1% for whites, again similar numbers, in line with expectations. So you'd expect that the rates of incarceration for drug possession for Blacks and whites to be similar. But they're not. Blacks make up 35% of those arrested for possession, 55% of those convicted, and 74% of those sentenced. How, exactly, in a fair society, would 13% of drug users make up 74% of those sentenced for drug violations? And how can 35% of arrests make up 74% of inmates? This is nothing but socio-structural and institutionalized racism.

    In South Africa during Apartheid 851 per 100,000 black males were incarcerated. Currently in the United States, under the banner of the "War on Drugs" 4,919 per 100,000 black males are incarcerated. Nearly 1/3 of black men in their 20s are in prison, on probation or parole. Our institutionalized racism is worse than the worst post-slavery institutionalized racism.

    More African Americans are in jail now than were enslaved in the 19th century.

     

     

     

    HISTORY: How Slavery Really Ended in America

    How Slavery Really Ended in America

    Library of Congress, Geography and Map Division
    By ADAM GOODHEART

    On May 23, 1861, little more than a month into the Civil War, three young black men rowed across the James River in Virginia and claimed asylum in a Union-held citadel. Fort Monroe, Va., a fishhook-shaped spit of land near the mouth of the Chesapeake Bay, had been a military post since the time of the first Jamestown settlers. This spot where the slaves took refuge was also, by remarkable coincidence, the spot where slavery first took root, one summer day in 1619, when a Dutch ship landed with some 20 African captives for the fledgling Virginia Colony.

    Disunion

    One-hundred-and-fifty years ago, Americans went to war with themselves. Disunion revisits and reconsiders America’s most perilous period.

    Library of Congress, Prints and Photographs Division

    Maj. Gen. Benjamin F. Butler

    Two and half centuries later, in the first spring of the Civil War, Fort Monroe was a lonely Union redoubt in the heart of newly Confederate territory. Its defenders stood on constant guard. Frigates and armed steamers crowded the nearby waters known as Hampton Roads, one of the world’s great natural harbors. Perspiring squads of soldiers hauled giant columbiad cannons from the fort’s wharf up to its stone parapets. Yet history would come to Fort Monroe not amid the thunder of guns and the clash of fleets, but stealthily, under cover of darkness, in a stolen boat.

    Frank Baker, Shepard Mallory and James Townsend were field hands who — like hundreds of other local slaves — had been pressed into service by the Confederates, compelled to build an artillery emplacement amid the dunes across the harbor. They labored beneath the banner of the 115th Virginia Militia, a blue flag bearing a motto in golden letters: “Give me liberty or give me death.”

    After a week or so of this, they learned some deeply unsettling news. Their master, a rebel colonel named Charles Mallory, was planning to send them even farther from home, to help build fortifications in North Carolina. That was when the three slaves decided to leave the Confederacy and try their luck, just across the water, with the Union.

    It cannot have been an easy decision for the men. What kind of treatment would they meet with at the fort? If the federal officers sent them back, would they be punished as runaways — perhaps even as traitors? But they took their chances. Rowing toward the wharf that night in May, they hailed a guard and were admitted to the fort.

    The next morning they were summoned to see the commanding general. The fugitives could not have taken this as an encouraging sign. Having lived their whole lives near the fort, they probably knew many of its peacetime officers by sight, but the man who awaited them behind a cluttered desk was someone whose face they had never seen. Worse still, as far as faces went, his was not — to put it mildly — a pleasant one. It was the face of a man whom many people, in the years ahead, would call a brute, a beast, a cold-blooded murderer. It was a face that could easily make you believe such things: a low, balding forehead, slack jowls and a tight, mean little mouth beneath a drooping mustache. It would have seemed a face of almost animal-like stupidity had it not been for the eyes. These glittered shrewdly, almost hidden amid crinkled folds of flesh. One of them had an odd sideways cast, as if its owner were always considering something else besides the thing in front of him. These were the eyes that now surveyed Baker, Mallory and Townsend.

    The general began asking them questions: Who was their master? Was he a rebel or a Union man? Were they field hands or house servants? Did they have families? Why had they run away? Could they tell him anything about the Confederate fortifications they had been working on? Their response to this last question — that the battery was still far from completion — seemed to please him. At last he dismissed the three brusquely, offering no indication of their fate.

    Maj. Gen. Benjamin Franklin Butler arrived at the fort only a day ahead of the fugitive slaves, greeted at the esplanade by a 13-gun salute. That morning, Butler sat down to compose an important initial report. When an adjutant interrupted to inform him of the fugitives, Butler set down his pen. The War Department could wait. The three ragged black men waiting outside were a more pressing matter.

    Butler was no abolitionist, but the three slaves presented a problem. True, the laws of the United States were clear: all fugitives must be returned to their masters. The founding fathers enshrined this in the Constitution; Congress reinforced it in 1850 with the Fugitive Slave Act; and it was still the law of the land — including, as far as the federal government was concerned, within the so-called Confederate states. The war had done nothing to change it. Most important, noninterference with slavery was the very cornerstone of the Union’s war policy. President Abraham Lincoln had begun his inaugural address by making this clear, pointedly and repeatedly. “I have no purpose, directly or indirectly, to interfere with the institution of slavery in the states where it exists,” the president said. “I believe I have no lawful right to do so, and I have no inclination to do so.”

    Yet to Fort Monroe’s new commander, the fugitives who turned up at his own front gate seemed like a novel case. The enemy had been deploying them to construct a battery aimed directly at his fort — and no doubt would put them straight back to work if recaptured, with time off only for a sound beating. They had just offered him some highly useful military intelligence. And Virginia, as of 12 or so hours ago, was officially in rebellion against the federal government, having just ratified the secession ordinance passed a month before. Butler had not invited the fugitives in or engineered their escape, but here they were, literally at his doorstep: a conundrum with political and military implications, at the very least. He could not have known — not yet — that his response that day might change the course of the national drama that was then just beginning. Yet it was not the first time, nor would it be the last, that an unanticipated bureaucratic dilemma would force the hand of history.

    Despite his rank, General Butler had been a professional soldier barely four weeks. In private life, back in Massachusetts, he was a lawyer, and a very successful one — although he grew up poor, the swamp Yankee son of a widow who kept a boardinghouse in Lowell, the textile-mill town. Unable to attract clients through social connections or charm, he became an expert quibbler: a man who knew every loose thread in the great tangled skein of common law and who could unravel an opponent’s entire case with the gentlest of tugs. By his early 40s, he had also built a successful career as a state legislator and harbored larger political ambitions.

    A fellow officer once called Butler “less like a major general than like a politician who is coaxing for votes.” Race-baiting was red meat to many of his working-class constituents in Lowell, and he had always been glad to toss morsels in their direction. But after barely 24 hours at Fort Monroe, the new commander had already sized up his new constituency. The garrison was made up predominantly of eager volunteers from New England, many with antislavery sympathies. How was Butler to win the confidence — or even obedience — of such men if his first act as their commander was to send three poor blacks back into bondage?

    Butler’s features may have been brutish and his manners coarse, but inwardly, he nursed the outsize vanity of certain physically ugly men — vanity often manifest in a craving for approval and adulation. He also possessed a sympathetic, even occasionally sentimental, heart.

    Still . . . sentiment was a fine thing; so was the admiration of one’s subordinates. Ultimately, though, his duty was to his commander in chief. With a few strokes of his pen, Lincoln had made Butler a major general; the president could just as easily unmake him, sending him back to Lowell in disgrace — and with another stroke, for that matter, send the blacks back to their master as slaves.

    Whatever Butler’s decision on the three fugitives’ fate, he would have to reach it quickly. He had barely picked up his pen to finally begin that report before an adjutant interrupted with another message: a rebel officer, under flag of truce, had approached the causeway of Fort Monroe. The Virginians wanted their slaves back.

    Waiting before the front gate was a man on horseback: Maj. John Baytop Cary of the 115th. With his silver gray whiskers and haughtily tilted chin, he appeared every inch the Southern cavalier.

    Butler, also on horseback, went out to meet him. The men rode, side by side, off federal property and into rebel Virginia. They must have seemed an odd pair: the dumpy Yankee, unaccustomed to the saddle, slouching along like a sack of potatoes; the trim, upright Virginian, in perfect control of himself and his mount.

    Cary got down to business. “I am informed,” he said, “that three Negroes belonging to Colonel Mallory have escaped within your lines. I am Colonel Mallory’s agent and have charge of his property. What do you mean to do with those Negroes?”

    “I intend to hold them,” Butler said.

    “Do you mean, then, to set aside your constitutional obligation to return them?”

    Even the dour Butler must have found it hard to suppress a smile. This was, of course, a question he had expected. And he had prepared what he thought was a fairly clever answer.

    “I mean to take Virginia at her word,” he said. “I am under no constitutional obligations to a foreign country, which Virginia now claims to be.”

    “But you say we cannot secede,” Cary retorted, “and so you cannot consistently detain the Negroes.”

    “But you say you have seceded,” Butler said, “so you cannot consistently claim them. I shall hold these Negroes as contraband of war, since they are engaged in the construction of your battery and are claimed as your property.”

    Ever the diligent litigator, Butler had been reading up on his military law. In time of war, he knew, a commander had a right to seize any enemy property that was being used for hostile purposes. The three fugitive slaves, before their escape, were helping build a Confederate gun emplacement. Very well, then — if the Southerners insisted on treating blacks as property, this Yankee lawyer would treat them as property, too. Legally speaking, he had as much justification to confiscate Baker, Mallory and Townsend as to intercept a shipment of muskets or swords.

    Cary, frustrated, rode back to the Confederate lines. Butler, for his part, returned to Fort Monroe feeling rather pleased with himself. Still, he knew that vanquishing the rebel officer was only a minor victory, and perhaps a momentary one if his superiors in Washington frowned on what he had done.

    The following day, a Saturday, Butler picked up his pen and resumed his twice-interrupted dispatch to Washington. Certain questions had arisen, he began, “of very considerable importance both in a military and political aspect, and which I beg leave to herewith submit.”

    But before this missive reached its destination, matters would become even more complicated. On Sunday morning, eight more fugitives turned up at Union lines outside the fort. On Monday, there were 47 — and not just young men now, but women, old people, entire families. There was a mother with a 3-month-old infant in her arms. There was an aged slave who had been born in the year of America’s independence.

    By Wednesday, a Massachusetts soldier would write home: “Slaves are brought in here hourly.”

    “What’s to Be Done With the Blacks?” asked a headline in The Chicago Tribune. That was the question now facing the Lincoln administration. Within days after the three fugitive slaves crossed the river, their exploits — and their fate — were being discussed throughout the nation. At first the newspapers played it more or less as a comic sketch in a minstrel show: a Yankee shyster outwits a drawling Southern aristocrat. But Lincoln saw things in a more serious light. The president realized he might now be forced to make a signal verdict about matters he previously tried to avoid: slavery, race and emancipation.

    Lincoln and his cabinet gathered to address Butler’s decision — and ended up punting. While reminding Butler that “the business you are sent upon . . . is war, not emancipation,” they left the general to decide what to do with fugitive slaves — including whether or not to continue declaring them contraband of war. Unfortunately, no detailed account of the deliberations survives. But a letter from one cabinet secretary, Montgomery Blair, suggests they were driven by a motive as common in Washington then as it is now: “a desire to escape responsibility for acting at all at this time.” By that point, the administration had already received a second dispatch from Butler, describing the influx of women and children. With this in mind, Blair — a member of a slaveholding Maryland family — suggested one pragmatic “modification” to Butler’s policy. “You can . . . take your pick of the lot and let the rest go so as not to be required to feed unproductive laborers or indeed any that you do not require,” he urged. As to the slaves’ eventual fate, Blair wrote, of course no one was suggesting that they be set free. Perhaps at the end of the war, those who belonged to men convicted of treason could be legally confiscated and sent off to Haiti or Central America. (The New York Herald, meanwhile, proposed that the federal government should wait until the war ended and sell all the slaves back to their owners, at half-price, to finance its cost.)

    Yet Butler realized what Blair did not: events were unfolding far too quickly for any of that. Despite the counsels from Washington, Butler was not turning away “unproductive” fugitives. He replied: “If I take the able-bodied only, the young must die. If I take the mother, must I not take the child?” By early June, some 500 fugitives were within the Union lines at Fort Monroe.

    “Stampede Among the Negroes in Virginia,” proclaimed Frank Leslie’s Illustrated Newspaper, with a double-page spread of dramatic woodcuts showing black men, women and children crossing a creek under a full moon, then being welcomed heartily into the fort by General Butler himself (or rather, by the artist’s trimmer, handsomer version of him). One correspondent estimated that “this species of property under Gen. Butler’s protection [is] worth $500,000, at a fair average of $1,000 apiece in the Southern human flesh market.”

    Journalists throughout the Union quipped relentlessly about the “shipments of contraband goods” or, in the words of The Times, “contraband property having legs to run away with, and intelligence to guide its flight” — until, within a week or two after Butler’s initial decision, the fugitives had a new name: contrabands. It was a perfectly composed bit of slang, a minor triumph of Yankee ingenuity.

    Were these blacks people or property? Free or slave? Such questions were, as yet, unanswerable — for answering them would have raised a host of other questions that few white Americans were ready to address. Contrabands let the speaker or writer off the hook by letting the escapees be all those things at once. “Never was a word so speedily adopted by so many people in so short a time,” one Union officer wrote. Within a few weeks, the average Northern newspaper reader could scan, without blinking, a sentence like this one: “Several contrabands came into the camp of the First Connecticut Regiment today.”

    As routine as the usage soon became, however, a hint of Butler’s joke remained, a slight edge of nervous laughter. A touch of racist derision, too: William Lloyd Garrison’s abolitionist newspaper, The Liberator, carped, justly enough, that it was offensive to speak of human beings that way. Yet in its very absurdity, reflecting the Alice-in-Wonderland legal reasoning behind Butler’s decision, the term also mocked the absurdity of slavery — and the willful stupidity of federal laws that, for nearly a century, had acknowledged no meaningful difference between a bushel of corn and a human being with dark skin. Eventually, even black leaders adopted it.

    Back at Monroe — dubbed “the freedom fort” — fugitives continued arriving daily. Each morning, dozens lined up to pitch in with manual labor. Soon they seemed almost like members of the garrison. A Times correspondent wrote: “Their shovels and their other implements of labor, they handle and carry as soldiers do their guns. . . . I have no doubt they would make fair or even excellent soldiers.” Moreover, as the garrison’s medical chief remarked, “they are the pleasantest faces to be seen at the post.”

    Many of the Union soldiers had never really spoken with a black person before; the Vermont farmboys had perhaps never even seen one before leaving home. Now they were conversing with actual men and women who had been (and perhaps still were) slaves: people who had previously figured only as a political abstraction. Some fugitives shared horrific accounts; one man described “bucking,” a practice in which a slave, before being beaten, had his wrists and ankles tied and slipped over a wooden stake. Almost all spoke of loved ones sold away; the most chilling thing was that they said it matter-of-factly, as if their wives or children had simply died.

    Perhaps most surprising of all — for Northerners accustomed to Southern tales of contentedly dependent slaves — was this, in the words of one soldier: “There is a universal desire among the slaves to be free. . . . Even old men and women, with crooked backs, who could hardly walk or see, shared the same feeling.”

    General Butler grew ever more adamant in the defense of “his” contrabands, to a degree that must have shocked his old associates. By July, he began pressing the Lincoln administration to admit that the contrabands were not really contraband: that they had become free. Indeed, that they were — in a legal sense — no longer things but people: “Have they not by their master’s acts, and the state of war, assumed the condition, which we hold to be the normal one, of those made in God’s image? . . . I confess that my own mind is compelled by this reasoning to look upon them as men and women.”

    It would take another 14 months — and tens of thousands more Union casualties — before the Lincoln administration was ready to endorse such a view.

    “Shall we now end the war and not eradicate the cause?” the general wrote to a friend in August. “Will not God demand this of us now [that] he has taken away all excuse for not pursuing the right?” (During the rest of the war, Butler’s support for black civil rights — and harsh treatment of rebel sympathizers — made him hated throughout most of the South, where he won the nickname Beast Butler.)

    More and more people had begun to share Butler’s conviction that the fugitives at Monroe stood in the vanguard of a larger revolution. “I have watched them with deep interest, as they filed off to their work, or labored steadily through the long, hot day,” a Northern visitor to the fort wrote. “Somehow there was to my eye a weird, solemn aspect to them, as they walked slowly along, as if they, the victims, had become the judges in this awful contest, or as if they were . . . spinning, unknown to all, the destinies of the great Republic.”

    Earthshaking events are sometimes set in motion by small decisions. Perhaps the most famous example was when Rosa Parks boarded a segregated bus in Montgomery, Ala. More recently, a Tunisian fruit vendor’s refusal to pay a bribe set off a revolution that continues to sweep across the Arab world. But in some ways, the moment most like the flight of fugitive slaves to Fort Monroe came two decades ago, when a minor East German bureaucratic foul-up loosed a tide of liberation across half of Europe. On the evening of Nov. 9, 1989, a tumultuous throng of people pressed against the Berlin Wall at Checkpoint Charlie, in response to an erroneous announcement that the ban on travel to the West would be lifted immediately. The captain in charge of the befuddled East German border guards dialed and redialed headquarters to find some higher-up who could give him definitive orders. None could. He put the phone down and stood still for a moment, pondering. “Perhaps he came to his own decision,” Michael Meyer of Newsweek would write. “Whatever the case, at 11:17 p.m. precisely, he shrugged his shoulders, as if to say, ‘Why not?’ . . . ‘Alles auf!’ he ordered. ‘Open ’em up,’ and the gates swung wide.”

    The Iron Curtain did not unravel at that moment, but that night the possibility of cautious, incremental change ceased to exist, if it had ever really existed at all. The wall fell because of those thousands of pressing bodies, and because of that border guard’s shrug.

    In the very first months of the Civil War — after Baker, Mallory and Townsend breached their own wall, and Butler shrugged — slavery’s iron curtain began falling all across the South. Lincoln’s secretaries John Hay and John Nicolay, in their biography of the president, would say of the three slaves’ escape, “Out of this incident seems to have grown one of the most sudden and important revolutions in popular thought which took place during the whole war.”

    Within weeks after the first contrabands’ arrival at Fort Monroe, slaves were reported flocking to the Union lines just about anywhere there were Union lines: in Northern Virginia, on the Mississippi, in Florida. It is unclear how many of these escapees knew of Butler’s decision, but probably quite a few did. Edward Pierce, a Union soldier who worked closely with the contrabands, marveled at “the mysterious spiritual telegraph which runs through the slave population,” though he most likely exaggerated just a bit when he continued, “Proclaim an edict of emancipation in the hearing of a single slave on the Potomac, and in a few days it will be known by his brethren on the gulf.”

    In August, Lincoln’s War Department tried to bring some clarity to the chaos by asking Union commanders to collect detailed information on each fugitive: not just name and physical description but “the name and the character, as loyal or disloyal, of the master” — since whether the master supported the Union or the Confederacy was, of course, essential to determining whether the particular man or woman counted as legitimate contraband. Such a system would let the federal government assure slaveholders that their “rights” were protected, and possibly return the slaves to their proper owners once the rebel states had rejoined the Union.

    But how were officers supposed to tell whether a master they had never laid eyes on was loyal or disloyal — even assuming that the slave was telling the truth in identifying him? Besides, didn’t the military have more pressing business at the moment, like fighting the war? The new contraband doctrine was utterly unenforceable almost from the moment it was devised, but it became hugely influential precisely because it was so unenforceable: it did not open the floodgates in theory, but it did so in practice.

    And it did so with very little political risk to the Lincoln administration. Indeed, preposterous as the contraband doctrine was as a piece of law, it was also — albeit inadvertently — a masterstroke of politics; indeed, it satisfied nearly every potential theoretical and political objection while being completely unworkable in the long run. “There is often great virtue in such technical phrases in shaping public opinion,” Pierce observed. “The venerable gentleman, who wears gold spectacles and reads a conservative daily, prefers confiscation to emancipation. He is reluctant to have slaves declared freemen but has no objection to their being declared contrabands.”

    The system was eminently practical in other terms. Regiments needed labor: extra hands to cook meals, wash clothes and dig latrines. When black men and women were willing to do these things, whites were happy not to ask inconvenient questions — not the first or the last time that the allure of cheap labor would trump political principles in America.

    Blacks were contributing to the Union cause in larger ways. Not just at Fort Monroe but also throughout the South they provided Northerners with valuable intelligence and expert guidance. When Lincoln’s master spy, Allan Pinkerton, traveled undercover through the Confederacy, he wrote, “My best source of information was the colored men. . . . I mingled freely with them, and found them ever ready to answer questions and to furnish me with every fact which I desired to possess.” They were often the only friends the Yankees encountered as they groped their way anxiously through hostile territory.

    Just as influential was what did not happen: the terrible moment — long feared among whites — when slaves would rise up and slaughter their masters. It soon became apparent from the behavior of the contrabands that the vast majority of slaves did not want vengeance: they simply wanted to be free and to enjoy the same rights and opportunities as other Americans. Many were even ready to share in the hardships and dangers of the war. Millions of white Americans realized they did not actually have to fear a bloodbath if the slaves were suddenly set free. This awareness in itself was a revolution.

    Most important, though, was the revolution in the minds of the slaves themselves. Within little more than a year, the stream of a few hundred contrabands at Fort Monroe became a river of tens — probably even hundreds — of thousands. They “flocked in vast numbers — an army in themselves — to the camps of the Yankees,” a Union chaplain wrote. “The arrival among us of these hordes was like the oncoming of cities.”

    When Lincoln finally unveiled the Emancipation Proclamation in the fall of 1862, he framed it in Butleresque terms, not as a humanitarian gesture but as a stratagem of war.On the September day of Lincoln’s edict, a Union colonel ran into William Seward, the president’s canny secretary of state, on the street in Washington and took the opportunity to congratulate him on the administration’s epochal act.

    Seward snorted. “Yes,” he said, “we have let off a puff of wind over an accomplished fact.”

    “What do you mean, Mr. Seward?” the officer asked.

    “I mean,” the secretary replied, “that the Emancipation Proclamation was uttered in the first gun fired at Sumter, and we have been the last to hear it.”

     

     

    This article is adapted from “1861: The Civil War Awakening,” by Adam Goodheart (agoodheart2@washcoll.edu), published by Knopf this month. Mr. Goodheart is the author of “1861: The Civil War Awakening,” from which his article in this issue is adapted. He is director of Washington College’s C. V. Starr Center for the Study of the American Experience, and contributes frequently to The Times’s online Civil War series, “Disunion.” Editor: Sheila Glaser (s.glaser-MagGroup@nytimes.com).

     

    VIDEO: “At the River I Stand” (Award-Winning Film Chronicling Events Leading Up To Martin Luther King Jr.’s Death) > Shadow And Act

    Watch Now – “At the River I Stand” (Award-Winning Film Chronicling Events Leading Up To Martin Luther King Jr.’s Death)

    I was just notified by California Newsreel that, in recognition of the death of Martin Luther King Jr, which happened on this day in 1968, the Award-winning film, At the River I Stand, which chronicles the 1968 AFSCME (American Federation of State, County and Municipal Employees) sanitation workers’ strike in Memphis, leading up to eventual assassination of MLK, will be available to watch for free, online for just this week.

    The film, produced by David Appleby, Allison Graham and Steven Ross, was awarded the 1994 Erik Barnouw Award for Best Documentary, by the Organization of American Historians.

    The struggle and triumph of dignity over injustice is the luminous tapestry of all great social movements… At the River I Stand’ is an inspiring visual testament and a call to witness to every viewer,” said AFSCME president Gerald W. McEntee. “‘

    The 58-minute documentary can be viewed in full from today, through the 11th, next week Monday. Click the image above to head over to www.newsreel.org, where it resides.

     

    __________________________

    GO HERE TO SEE ENTIRE DOCUMENTARY

     

    AT THE RIVER I STAND
    VHS and DVD 
    56 minutes, 1993
    Directors: David Appleby, Allison Graham and Steven Ross
    VHS and DVD 
    56 minutes, 1993
    Directors: David Appleby, Allison Graham and Steven Ross
    ABOUT THE FILM

     

    1994 Erik Barnouw Award for Best Documentary, Organization of American Historians


    THE 1968 MEMPHIS SANITATION WORKERS STRIKE AND THE ASSASSINATION OF DR. MARTIN LUTHER KING

    Stream the film for free April 4 - 11!

    Memphis, Spring 1968 marked the dramatic climax of the Civil Rights movement. At the River I Stand skillfully reconstructs the two eventful months that transformed a strike by Memphis sanitation worker into a national conflagration, and disentangles the complex historical forces that came together with the inevitability of tragedy at the death of Dr. Martin Luther King, Jr.

    This 58-minute documentary brings into sharp relief issues that have only become more urgent in the intervening years: the connection between economic and civil rights, debates over strategies for change, the demand for full inclusion of African Americans in American life and the fight for dignity for public employees and all working people. 

    In the 1960s, Memphis' 1,300 sanitation workers formed the lowest caste of a deeply racist society, earning so little they qualified for welfare. In the film, retired workers recall their fear about taking on the entire white power structure when they struck for higher wages and union recognition. 

    But local civil rights leaders and the Black community soon realized the strike was part of the struggle for economic justice for all African Americans. Through stirring historical footage we see the community mobilizing behind the strikers, organizing mass demonstrations and an Easter boycott of downtown businesses. The national leadership of AFSCME put the international union's full resources behind the strike. One day, a placard appeared on the picket lines which in its radical simplicity summed up the meaning of the strike: "I am a man." 

    In March, Martin Luther King, Jr. came to Memphis as part of his Poor People's Campaign to expand the civil rights agenda to the economy. The film recreates the controversies between King's advisors, local leaders, and younger militants - debates that led to open conflict. When young hotheads turned King's protest march into a violent confrontation with the brutal Memphis policy, King left. 

    King and the nation realized his leadership and nonviolent strategy had been threatened. King felt obliged to return to Memphis to resume a nonviolent march despite the by-now feverish racial tensions. The film captures the deep sense of foreboding that pervaded King's final "I have been to the mountaintop" speech. The next day, April 4, 1968, he was assassinated. 

    Four days later, thousands from Memphis and around the country rallied to pull off King's nonviolent march. The city council crumbled and granted most of the strikers' demands. Those 1,300 sanitation workers had shown they could successfully challenge the entrenched economic structure of the South. 

    Endemic inner-city poverty, attempts to roll back gains won by public employees, and the growing gap between the rich and the rest of us make clear that the issues Martin Luther King, Jr. raised in his last days have yet to be addressed. At the River I Stand succeeds in showing that the causes of (and possibly the solutions to) our present racial quandary may well be found in what happened in Memphis. Its riveting portrait of the grit and determination of ordinary people will inspire viewers to re-dedicate themselves to racial and economic justice
    -----------------------

    RESOURCES
    Visit www.we-r-1.org for April 4 actions in support of the rights of working people.
    -----------------------

    PRODUCERS
    David Appleby began making and producing documentaries 30 years ago with his first film, Remains(1979). His independent and collaborative film work has earned him a Peabody Award, a duPont-Columbia Award, three CINE Golden Eagle awards, as well as a regional Emmy and a national Emmy nomination. He is currently a professor at the University of Memphis. Other titles by the producer: Hoxie: The First Stand 

    A professor of Media Studies in the Department of Communication at The University of Memphis, Allison Graham currently researches and teaches American culture, and media. Her work spans documentary film production, journalism, and scholarly publication, for which she has received several national awards, international and national grants, and an Emmy nomination.

    Steven Ross writes, produces, and directs documentary and fiction films. He is currently a Communications professor at the University of Memphis. His films have been broadcasted on PBS, the Arts and Entertainment Network, and have been screened at several international film festivals.

    An online transcript is available for this title.

     

    >via: http://newsreel.org/video/AT-THE-RIVER-I-STAND

    PUB: Crashtest magazine by and for high school students

    Considering The Robot Within Since 2010

     (image from endgaget.com)


    Crashtest is a magazine by and for high school students. If you are currently a student in grades nine through twelve, we want to hear from you. Here are the details:

    What: Crashtest publishes poetry, stories and creative non-fiction in the form of personal essays, imaginative investigation, experimental interviews, whatever, but please don’t send us the book report you wrote for English or your Speech and Debate abstract on why (insert trend) is (good or bad) for (insert interest group). In other words, we’re looking for writing that has both a perspective and a personality. We’re looking for writing that has something to say. Our editors are also all writers; we work in many different forms and have many different ideas about what makes writing “good.” As a result, we don’t have a specific kind of writing we’re looking to publish. If you write poetry that rhymes, great!, as long as you do it well. If you write short stories in which characters grow wings and fly around the town’s bell-tower, great!, as long as the story has the guts to pull it off.

    Our only request is that you don’t send us work which you found boring or tedious to write. No enforced school assignments, please! If, on the other hand, you wrote something for school, or at home, or out of sheer self-preservation on the most boring family trip in history, and you think it is funny or sad or insightful or unique or in some way INTERESTING then please let us read it.

    Our only other request is that you don’t send us fan fiction. We can all watch the same movies and read the same books, but we can’t all get into your head and that’s where we’re interested in being.

    Who: Any student grades nine through twelve from any high school in the country (or abroad) can submit to Crashtest, but we’d like to know a little bit about who you are and where you come from. Please include a brief cover letter in the body of your email submission that tells us a little bit about yourself, your name and your grade at the very least. Our reading process is blind, which means all names are removed and our genre editors and readers judge each piece of writing solely on its own merit, but once we decide to publish you, we need to know who you are. So tell us!

    How: Crashtest only accepts email submissions. To submit please select three to five poems, one short story or one essay/interview/play/other that you think best represents your work. Attach it to the email as a Word Document (.doc file) or a Rich Text Document (.rtf file.) PLEASE NOTE: writing attached in a weird file format will be discarded unopened. We are paranoid about viruses and would rather be safe than sorry. In the body of the email please include your cover letter where you tell us a little bit about yourself (at the very least your name and your current grade) and in the subject heading let us know which genre you are submitting in by typing: Poetry Submission, or, Fiction Submission, or Essay/Interview/Play/Other Submission as it applies.

    Crashtest accepts submissions year round and we try very hard to get back to everyone in a timely fashion. When school is in session, we will generally get back to you within a month of your submission, but in the summer (June through August) this will definitely take longer as we will be slaving away at summer jobs, or at the beach, or holed up in our rooms trying to teach ourselves telekinesis or some other of the myriad things for which the summer provides a handy vacuum. Please give us a little time before you email to ask about your submission, but if it has been more than two months with no word from us, feel free to query by sending an email to our submissions address.

    All work submitted to Crashtest must be previously unpublished on the web, or by a national magazine. If you’ve published something in your school literary magazine or in the school newspaper, we’d still like to see it. If you’ve published that work in any other kind of magazine, send us something unpublished to consider. If you’ve put the poem or story up on your blog or wherever, please take it down before you send to us. Simultaneous submissions are fine, but make sure you let us know right away if the work is accepted for publication by another press or magazine. If we go through the whole editorial process to accept you and you dash our hopes by telling us it’s already been published in the Whistling SnortMonkey Review we will be upset and put a black mark next to your name and henceforth and forever after you will be dead to us. You can submit in multiple genres at the same time, but please only send us one collection of poems and one short story or essay at a time. Also, be patient and wait to hear back from us before you submit again.

    Got all that?

    If the answer is yes: submit at editor@crashtestmag.com.

     

    PUB: sex crimes against black girls | Anthology

    Pictured above: “Forsaken” by Numa Perrier

    sex crimes against black girls

    ...for the black girls whose voices are silenced by sexual violence

    CALL FOR SUBMISSIONS

    Sex Crimes against Black Girls: The Anthology

    Edited by:

    Shantrelle P. Lewis & Yaba A. Blay

     

    About the Anthology:

    Historically regarded as matters private to our community, those, that if put in plain sight, might inadvertently corroborate White supremacist imaginations of Black pathology, sex crimes against Black girls are the dirtiest of our laundry – nasty, gaping wounds too infected to heal on their own.  Whether at levels macro, when children in war torn countries like Uganda, Liberia, and Sierra Leone are forced to take on roles as sex slaves, or on the micro-level, when daughters and nieces are violated by their brothers, cousins, uncles and fathers, sex crimes against Black girls, no matter how secreted, occur every minute, of every day, around the globe. Originally inspired by Hortense Spillers’ (2003) poignant essay, “‘The Permanent Obliquity of an In(pha)llibly Straight’: In the Time of the Daughters and the Fathers,” and subsequently motivated by the overwhelming response to and success of Bedford Stuyvesant Restoration Corporation’s Center for Arts and Culture Skylight Gallery’s 2011 “Sex Crimes Against Black Girls” mixed media exhibition curated by Shantrelle P. Lewis, this anthology seeks to uncover realities often shrouded by racial, gender, and cultural mandates – absolute respect for elders, familial loyalty, and/or  lifting and supporting the Black man – at all costs, at any expense, even one’s own. Sex Crimes Against Black Girls seeks to give voice to those once silenced.

    We invite writers/scholars/artists/activists of African descent, both female and male, to submit creative works that address the molestation, incest, rape, sexual assault, and sexual exploitation/oppression of Black girls (read: Black girls and women). We seek works that not only lend insight into the variety of dimensions for which sex crimes against Black girls have implications (personal, political, social, emotional…), but further challenge prospective viewers/readers to confront their own secrets, violations, painful experiences, fears, and shame. Although we are especially interested in those works that are painfully and unapologetically truthful and revealing, we are also seeking contributions that have a positive and/or hopeful tone with concrete examples of resistance and recovery. In this way, Sex Crimes against Black Girls will both acknowledge painful realities and also strategies for self-, family-, and community-care, love and restoration. And while the book will indeed position the Black female voice as primary and authoritative, in also welcoming the Black male voice, it will present a multiplicity of realities – all valid, and all reflectively necessary for us to propel ourselves into a space of healing, growth, and empowerment – the ultimate goal of this project.

     

    Submissions:

    As currently conceptualized, the anthology will consist of a variety of sections, each prefaced by artwork. Each section will then include those contributions relevant to the issues/themes explored by the featured artwork. Potential issues/themes include but are not limited to:

    • historical/social/cultural discourse on the Black female body
    • childhood sexual “exploration” (child on child)
    • childhood sexual violation (adult on child)
    • child sex slavery
    • child pornography
    • sexual assault/rape
    • female victimizers
    • female complacency/complicity in female sexual exploitation/oppression
    • shame/silence/hiding in the aftermath
    • finding/claiming voice
    • community responsibility
    • mending relationships
    • healing and recovery

    Additionally, we are seeking first-person essays, both reflective and critical, from male writers. 

    Guidelines:

    We welcome a variety of creative formats, including critical essays, personal memoirs, short fiction, and poetry.

    • critical essays, personal memoirs, short fiction: 20-25 pages, inclusive of notes/references/images
    • review essays (music/book/film): 10 -15 pages, inclusive of notes/references/images
    • poetry– no more than 3 pages per poem and 3 poems per artist

    Please submit abstracts/proposals (300-500 words), along with a brief biographical sketch (75 words or less) no later than May 16, 2011 to the editors at blackgirlvoice@gmail.com and include the word “submission” in the subject line. Include your abstract/proposal and bio in the body of your email as well as a Microsoft Word attachment. Submissions selected for inclusion in the final volume will be due on or before August 31, 2011. All work submitted must be original and should not have been published or under consideration elsewhere.

    About the Editors:

    SHANTRELLE P. LEWIS is an independent curator of African Diasporan Art who currently serves as the Director of Public Programming and Exhibitions at the Caribbean Cultural Center Africa Diaspora Institute (CCCADI). The granddaughter of New Orleans artist, Charles Lewis and a fourth generation graduate of HBCUs, Ms. Lewis was introduced to the performing and cultural arts of African Americans by her parents who are collectors themselves. A New Orleans native, Shantrelle returned home in September 2007, after a 12-year stint on the east coast, to assist in post-Katrina revitalization efforts.  For two years, she worked in the capacity of Executive Director and Curator of the McKenna Museum of African American Art. During that time, she also served as a member of the teaching faculty in the African World Studies Department at Dillard University. Having received a BS in Biology from Howard University, and an MA in African Studies from Temple University, Ms. Lewis has demonstrated a commitment to researching, documenting and preserving African Diasporan culture.  Her international travels to places such as Cuba, Ghana, Nigeria, Brazil, Jamaica, the Dominican Republic, Haiti, Puerto Rico, Spain and London have allowed her to observe the manifestation of the African aesthetic first hand. As an independent curator, Shantrelle initiates projects that are meant to incite, inspire, and shift the paradigms of their audiences. Her curatorial credits include exhibitions on a variety of topics ranging from Contemporary Haitian Art, a tribute to Betty Davis, the Haitian Revolution, The Feminine in African Sacred Traditions, and New Orleans sacred traditions. As part of her lifetime commitment to her beloved city, Shantrelle is producing and directing her first documentary The Wild Magnolia, as part of an oral history project of the Magnolia Housing Projects, which will also include a book of photography and a permanent exhibit to be housed at the site’s community center.

    YABA A. BLAY is a Visiting Assistant Professor of Africana Studies at Lafayette College where she also teaches courses in Women’s & Gender Studies. She received her doctorate in African American Studies and Women’s Studies from Temple University. Her research interests include African cultural aesthetics and aesthetic practices, the politics of embodiment and Black identities, African feminist theory, and critical media literacy. Dr. Blay has published several essays in such publications as Blackberries and Redbones: Critical Articulations of Black Hair/Body Politics in Africana Communities,  Jenda: A Journal of Culture and African Women’s Studies, the Journal of Pan African Studies, Words. Beats. Life: The Global Journal of Hip-Hop Culture, the Encyclopedia of the African Diaspora, the Encyclopedia of African Religions, and the Encyclopedia of Africa and the Americas. In addition to her publications, she is an active editor, having edited special issues of Jenda: A Journal of Culture and African Women’s Studies and the Journal of Pan African Studies, both focusing on the socio-aesthetic practice of skin bleaching in Africa and the Diaspora, as well as catalogue to the “Sex Crimes against Black Girls” exhibition at Bedford Stuyvesant Restoration Corporation’s Center for Arts and Culture Skylight Gallery. Dr. Blay is the recipient of a 2010 Leeway Foundation Art and Change Grant through which she will publish a portrait documentary entitled The Other Side of Blackness, which explores the intersection of skin color politics and negotiations of Black identity.

    Please send all inquiries to the editors via email at blackgirlvoice@gmail.com with “inquiry” in the subject line. 

     

    PUB: William Van Dyke Short Story Prize | Contests

    William Van Dyke Short Story Prize PDF Print E-mail

    We are now accepting entries for the 2012 Short Story Prize. We are proud to announce that this annual short story contest is now being sponsored by the William Van Dyke Charitable Fund and has been renamed The William Van Dyke Short Story Prize. The prize award has also been generously increased to $1,000. We are so grateful for this gift. We are also thrilled to announce that our finalist judge is award-winning author Leif Enger.

    The entry deadline is October 1st, 2011. The winning story from the 2011 Prize, selected by Leif Enger, appears in Issue 19 of Ruminate. You can also read 2009's winning story, selected by award-winning author Bret Lott and awarded a notable mention in the Best American Short Stories anthology.

     

    Guidelines:

    -The submission deadline for the short story contest is midnight October 1st, 2011.
    -The entry fee is $15 (includes a free copy of the Spring 2012 Issue).
    -You may submit one short story per contest entry and it must be 7000 words or less. There is no limit on the number of entries per person.
    -$1000 will be awarded to the winner and publication in the Spring 2012 Issue will be awarded to the winning story and runner-up story.     
    -A blind reading of all entries will be conducted by a panel of RUMINATE readers, who will select 8 short stories as finalists.
    -Close friends and students (current & former) of the finalist judge are not eligible to compete. Nor are close friends or family of the RUMINATE staff.
    -All submissions must be submitted via our online submission form below. We will not accept mail or email submissions. We do not accept previously published entries.
    -You may pay online below or mail your payment.
    -Winners will be announced in the Spring Issue, March 2012.
    -We will be notifying all entrants of submission status in early January, 2012.
    -Please remove your name, bio, and any contact info from the file that you submit.
     

    Submission is a two-step process:

     

     

    1. You must first pay the submission fee by selecting the "Pay Now" button below. A new window will open at the Paypal website where you can either pay by credit card (you do not need a Paypal account for this option), or with your Paypal account if you have one.


     

    Short Story Entry Fee
    and 1 Year Subscription

    (Save $10 off the regular
    subscription price with this
    special offer.)

     

     Short Story Entry Fee

     

     

     

     

    2. After paying the submisison fee for the short story contest, you can fill out the submission form and upload your story by selecting the link below. 

    Submission Form

     

     

    *You may also pay by mail. Upload your work using the above submission form and then mail a check made payable to RUMINATE MAGAZINE, attention Short Story Prize at 140 N. Roosevelt Ave., Fort Collins, CO 80521.  Along with your entry fee, please let us know the title of the piece you have submitted and make sure your entry fee is postmarked by October 1st, 2010.

     

    Please Note: RUMINATE adheres to the following Contest Code of Ethics, as adopted by the Council of Literary Presses and Magazines , of which RUMINATE is a proud member: "CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers bypublishing exceptional writing. We believe that intent to actethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to 1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors; 2) to provide clear and specific contest guidelines -- defining conflict of interest for all parties involved; and 3) to make the mechanics of our selection process available to the public. This Code recognizes that different contest models produce different results, but that each model can berun ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage." 

    Ruminate Magazine sponsors three annual writing contests: our poetry contest, short story contest, and nonfiction contest. We are one of the only Christian-minded literary magazines to sponsor short story contests, poetry contests, and nonfiction contests, and while our contests--just like our magazine--are not defined as Christian poetry contests or Christian short story contests or Christian essay contests, we do believe we are providing a forum for the conversation between art and faith to exist and continue. Past winners from the Ruminate Magazine writing contests have been recognized by Poets & Writers Magazine and have received notable mention awards in The Best American Short Stories anthology or have gone on to appear in other collections or anthologies. Past finalist judges of our poetry contests and short story contests include Bret Lott, David James Duncan, Luci Shaw, Vito Aiuto, Greg Wolfe, and Leif Enger. We hope our writing contests provide a significant venue for our talented contributors to receive the support and recognition they deserve.

     

    REVIEW: ART EXHIBIT—Romare Bearden at Michael Rosenfeld Gallery - Review - NYTimes.com

    Visions of Life, Built From Bits and Pieces

    Romare Bearden (1911-88) spent more than 30 years striving to be a great artist, and in the early 1960s, when he took up collage in earnest, he became one. A small exhibition at the Michael Rosenfeld Gallery, organized to celebrate the centennial of Bearden’s birth, delivers this message with unusual clarity. It contains only 21 collages, all superb, in an intimate context that facilitates savoring their every formal twist and narrative turn, not to mention the ingenious mixing of mediums that takes them far beyond collage.

    Michael Rosenfeld Gallery

    "Untitled (The Family)," circa 1969 More Photos »

     

    Multimedia

    The works at Rosenfeld were made from 1964 to 1983. Some are not much larger than sheets of typing paper; others are more than four feet on a side. Their suavely discordant compositions involve both black-and-white and color photographs and occasional bits of printed fabric; almost all depict some scene of black life, past or present or imagined.

    Michael Rosenfeld Gallery

    Bearden's collage “The Dressmaker” (1983). More Photos »

     

    Their varied subjects include jazz musicians bent over their instruments; rural families cooking or eating dinner; and a dressmaker who, with the nude figure of her client changing clothes, offers a wry variation on the artist-with-model theme. There is also a radiant storybooklike rendition of the fall of Troy, with black-skinned soldiers. And amid the prevailing, exquisitely nuanced complexity there are moments of utter and serene simplicity, like “La Femme de Martinique,” on her way to market, all but filling a narrow strip of masonite with her regal Egyptian stance.

    The colors in these works are sometimes bright and flat in the manner of Matisse’s papier-collés, which were a clear influence. Sometimes they have been sanded away, distressed in ways that conjure both the urban poverty Bearden frequently depicted and the fading Italian frescoes he so loved. And sometimes, as in a worn and rosy work titled “The Tenement World” (1969), crumbling architecture, frescoes and Matisse all come to mind.

    As historical shows go, this one feels unusually of-the-moment. For one thing the improvisational cross-fertilizing of art mediums that Bearden helped pioneer via collage is more and more the norm; for another, paper has probably never been more popular as an art material, for work in both two and three dimensions. Most obviously the scaled-up version of collage that he favored and his propensity for pieced-together, abstraction-infused figures have many echoes in the work of contemporary artists, from Mark Bradford to Anya Kielar to Matthew Monahan.

    Bearden took up collage sometime in the late 1950s, after a relatively fallow period during which what little painting he made was mostly abstract. A trip to France and Italy with his wife in 1961, to see many of the museums and churches he had visited 10 years before while studying painting on the G.I. Bill of Rights, may have reconnected him to figuration.

    In 1963 he helped organize Spiral, a group of African-American artists interested in finding new ways to portray black life in America. Bearden suggested that the group collaborate on collage, an implicitly collaborative medium. This didn’t happen, but evidently he found his métier in the process of demonstrating the possibilities.

    By then Bearden was in his early 50s, a late bloomer by most standards. But as the Rosenfeld show demonstrates, his collages have a pictorial sophistication, cultural erudition and emotional wisdom that it is hard to imagine in a younger artist.

    Michael Rosenfeld Gallery

    Bearden's “Of the Blues” (1974). More Photos »

     

    They are full-flavored distillations of the culturally rich, occasionally privileged life Bearden had led up that point: his experience of black life growing up in the South and then in Harlem during the Harlem Renaissance; his immersion in jazz and African sculpture; his study at the Art Students League with George Grosz; his stint as a political cartoonist with a Baltimore newspaper (during which he did extensive research on the history of cartooning); his friendships with artists white and black, including Stuart Davis, Jacob Lawrence, Norman Lewis and William H. Johnson; his familiarity with the evolution of the New York School painting and its Cubist roots; and his experience, stretching over more than 30 years, of observing urban life up close while supporting himself as a social worker in New York City.

    Bearden’s canvases from the 1940s — which deftly juggle aspects of Social Realism, Cubism, folk art and Renaissance painting — are less-original rehearsals for the collages. What was lacking was the visual and social specificity provided by images cut from magazines and newspapers (and possibly copied, using a photostat machine, from art history books) and the physical specificity of his particular approach to collage.

    Collage enabled Bearden, a consummate synthetic artist, to present his synthesis in a raw state, with its ingredients distinct. The notion of disparate elements forming a whole without dissolving is of course a wonderful metaphor for America at its best. It also created the risk of sentimentality, which Bearden routinely avoided.

    This exhibition traces his rapid expansion of the medium. The profuse closely knit motifs of “King and Queen of Diamonds” are all cut from magazines and newspapers, as are those in the relatively spare “Illusionists at 4 PM,” of 1967. The title and open architectural space of this work seem to pay homage to Giacometti; the figures combine Egyptian postures with African-mask faces and hands that are both Caucasian and black. The suggested source material makes its own point about race and class: newsweeklies, National Geographic, lily-white magazine ads.

    But by the late 1960s Bearden was subjecting collage to various mechanical and hands-on manipulations. These included rephotographing (via photostat) and enlarging his own collages for further use, a practice pursued by artists from the outsider Henry Darger (whose work had not yet been rediscovered at the time) to budding appropriationists like Richard Prince and Barbara Kruger, starting in the mid ’70s. “Watching the Good Trains Go By,” from around 1969, with its group of colorfully clothed figures, is actually a collage on top of an earlier rephotographed collage. If you look closely, images that appear to be pieced together lack the telltale seams.

    Parts of the jangled group of horn players depicted in the much larger “Savoy” of 1975 are similarly seamless. Sharp-edged collage elements — especially eyes — have been added, jolting the softer faces enlarged from earlier collages out of their reverie. Various almost wizardly manual processes contribute: the photostats’ gray tones appear to have been splashed away and then spray-painted with color. The image exudes a reddish irradiated haze, backed by hints of yellow and orange, that in and of itself suggests a brassy sound.

    In other works Bearden achieved irresistible effects simply by scratching the surfaces of the collages, most memorably perhaps in the rarely exhibited “Untitled (The Family),” from around 1969. Here a series of cascading white incisions defines the folds of a black suit worn by a man who stands with his wife, a child in his arms, as if before an itinerant photographer.

    Michael Rosenfeld Gallery

    “La Femme de Martinique,” by Romare Bearden (1911-1988), mixed media collage on masonite. More Photos »

     

    Working and reworking his motifs and materials in ways at once extravagant and economic, Bearden synthesized not only his own visual and lived experience but also great chunks of 20th-century art and the cultures that fed it. His collages point to our present, and beyond, in ways that still, 23 years after his death, we barely know.

    “Romare Bearden Collage: A Centennial Celebration” is on view through May 21 at Michael Rosenfeld Gallery, 24 West 57th Street, Manhattan; (212) 247-0082, michaelrosenfeldart.com.

     

    OP-ED: Is masculinity in crisis? > MsAfropolitan

    Is masculinity in crisis?

    Recently, two elderly men came into the same crowded train carriage as me. One had a walking stick so the other assisted him on to the train and on to the seat which I stood up to offer. I’d guess the men were in their early 80s but I’m not good at predicting the ages of either the very old or very young.

     
    ‘Thank you young lady,’ the man with the stick said as I stood up. They were in good spirits.

     
    I’ve written here about my tendency to eavesdrop. Maybe because of this I have developed a skill of “hearing” even the unsaid. I sensed namely that without saying much these two old men were reminiscing about someone whom I reminded them of. They flirted with me in that charming way old men do  by not meaning it really, with a kind of nostalgic respect. The conversation about the woman whom I resembled either physically or metaphysically lasted no longer than a minute.

     

    ‘I wonder what happened to her, ‘ one of the men said.

     

    ‘Yes,’ the other responded, thoughtfully, exhausting the topic.

     

    I stopped listening to the rest of their conversation. My inner storyteller was satisfied. The observation I’d made, which I am now writing as much as an attempt to understand it myself, as to share a story with you, was that the men shared a physical closeness which came along with a perceivably comfortable emotional component to it. Their friendship was coated by a comradely intimacy which I rarely see younger men demonstrate to each other.

    As there is guilt in innocence, there is innocence in guilt. – Yoruba proverb

    One thing that irks me about much of the written word about Africa, whether in newspapers, academic books or novels, is the uncritical way in which many writers still produce so called historic facts about Africa without reflecting about their own objectivity and the understanding of the society they write about. For example, it’s one thing to defend the European slave trade by writing about how Africans also heartlessly sold slaves. It is another, often more truthful thing, to write about the Africans who sold slaves as men who indeed were as heartless and brutal as the white slave-traders, but who nonetheless also were leaders of communities and saw the transactions as a way to enhance their positions. History can not erase an atrocity but if written carelessly it can erase power. It is untrue that influential African men gave up their sovereignty. Yes, at the expense of the less fortunate they negotiated their authority, sometimes selfishly, sometimes carelessly and often, as leaders do till this day, because they believed that making sacrifices would produce a greater outcome for their own power.

    My great granddad donated a piece of land to the British so that they could build a school because education was a welcome bargain. If we look at that example, historians could account that he yielded to British superiority, or, as his legacy remains in his town, that he was a philantrophist who didn’t even request a payment for an exchange which would benefit his society.

    The lengthy detour from my topic serves to say that I’m reluctant to write about masculinity with anything else but cautious objectivity and distanced curiosity.

    It occurred to me on the train, listening to those two old men, why masculinity may be in crisis. It somehow seems that there is a level of intimacy which human beings thrive on, that our current definition of masculinity oppresses. To an extent, it seems that only when death lurks, such as at old age, or war, or illness, does patriarchal culture allow intimacy and sentiments between males.

    In so many ways, being able to show vulnerability as well as defense, tenderness as well as protectiveness and closeness as well as cool, seem to be characteristics of many of our heroes like Jesus, Ghandi, Mandela, Einstein to name a few. Yet we live in a culture where even women increasingly dispossess feminine traits and where people would blame feminism for this rejection rather than the fact that masculine traits are those that succeed in patriarchy. The fact is, neither masculine nor feminine have to be tied to biological sex. Men can possess some qualities that are considered feminine and vice versa. However, if feminine features are tied to women only, then aren’t men denied some of the most important tools that humanity has been given to develop with?

    Looking at history it isn’t difficult to distinguish leaders that estimated power over strength and toughness over compassion and the crimes that were committed in their names. In a culture where male leaders outnumber females by far, I wonder, how can our current definitions of masculinity look after people that need not only muscular protection but also an intimate understanding of what it means to be alive and human with a range of sentiments?

    Would love to hear your thoughts, ladies and gents.

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    cc Is masculinity in crisis? photo credit: Steve Snodgrass

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    The MsAfropolitan Mission

    The term Afropolitan is a hybrid of the words African + cosmopolitan. This is a great in depth description if you want to read more about Afropolitanism.

    If you would like to read an interview feature about MsAfropolitan and me, such can be foundhere

    MsAfropolitan (miss Afropolitan) too is hybrid and there is likely to be something here for anyone who has a global perspective.

    MsAfropolitan is a lifestyle and culture-analytical blog about topics that affect particularly, but not exclusively, cosmopolitan African women.

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    MsAfropolitan aims to highlight the successes and resourcefulness of African women in the diaspora through the MsAfropolitan Boutique

    MsAfropolitan welcomes male and female readers from all the corners of the world. I believe it to be a fact that the African woman has and continues to leave a positive impact on the world, just like every other group. It is my hope people can share an interest in the stories of African diaspora, in the same manner African diaspora has always taken interest in the stories of the rest of the world.

     

     

     

    VIDEO: First Look At Congolese Gangster Flick “Viva Riva” (Trailer, Clips & Interview W/ Director) > Shadow And Act

    First Look At Congolese Gangster Flick “Viva Riva” (Trailer, Clips & Interview W/ Director)

    Yes! Finally! A trailer, some clips, and an interview for a film I’ve been touting since I saw it at a New York African Film Festival press screening here in New York City, about 2 weeks ago.

    It’s titled Viva Riva, and is written and directed by Djo Tunda Wa Munga, the Congo-Kinshasa-based filmmaker, where it’s also set.

    It made its word premiere at the Toronto International Film Festival last fall, and has been gradually traveling the globe, accumulating critical acclaim and fans along the way – yours truly included.

    I reviewed the film last week, so I won’t rehash. Feel free to read my thoughts HERE, if you haven’t already.

    As already reported on this site, Viva Riva has a stateside distributor and will be released in the USA, beginning on June 10th, likely in a limited spread.

    First, here’s the trailer:

     

    And here are a series of clips:

    And here’s an interview with the filmmaker, while at this year’s SXSW Festival, where it screened.