EVENT: Berkeley, California—Anniversary Concert

November 19

The ShePeople's First Anniversary!

Hosted by Singer/Songwriter Valerie Troutt

Doors open at 8pm

Intermissions with "SheGasm" raffle prizes!


After the performances: network, dance, laugh, check out art until 1am!

Tickets $15 in Advance / $25 at the Door

Purchase tickets here now!


What would happen if music and art were utilized by a community of female artists who were strong minded, beautiful and outspoken?


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The ShePeople’s is a rare breed of diverse women working together to generate positive energy and resources among female artists in Oakland, California. The ShePeople’s is a place for beginning and professional artists to share their work, get feedback and develop performance skills with a live audience.


Our collective holds a showcase every 3rd Friday, highlighting the Bay Area's female talent. All are welcome to check out amazing performances including dance, voice, spoken word, visual art, storytelling and so much more.


Please feel free to explore our website...learn more about the Collective, find out how to become involved, submit an Artist Submission form for a future showcase, browse through our artist directory and get inspired!


Please also consider supporting The ShePeople's. All monetary donations go towards our upcoming anniversary concert, future venues, and other related events.


Thank you for visiting our site!

 

                      Our Anniversary Concert is November 19th!

 

VIDEO: Family Drama Documentary “Family Affair” Getting Theatrical Release > Shadow And Act

Family Drama Documentary “Family Affair” Getting Theatrical Release

Family Affair, which I profiled on this blog previously, is written and produced by Chico David Colvard, and tells the story of how the filmmaker – at the age of 10 – shot his older sister in the leg. That random, accidental occurrence shattered his family, because, believing she would die from her injuries, his 9-year old sister revealed that their father had sexually molested her and her sisters for years.

Thirty years after the shooting, Colvard visited with family members to document their pain, their resilience and “the nature of forgiveness.”

The film premiered at the Sundance Film Festival earlier this year, and played at a number of other festivals throughout the year.

I just got word that the film will get a theatrical release, starting in New York City, running at the Quad Cinema from November 19th through the 25th, so just a week.

I’ll check it out.

FYI, Oprah saw it and liked it enough to acquire TV rights to it; it’ll air on her new OWN network some time next year.

Below is its new trailer:

VIDEO: The Girl Effect: The Clock is Ticking > kiss my black ads

The Girl Effect: The Clock is Ticking

 




By STUART ELLIOTT

FIFTEEN years ago, Nike made a splash with an advertising campaign known as “If you let me play.” The ads drew considerable attention — and praise — because they advocated the benefits for girls and young women of participating in sports.

Today, Nike’s foundation is taking to heart the concept of “girl power” that was embodied by the campaign, but now it is education, rather than sports, that is being celebrated for its transformative abilities. With an effort known as the Girl Effect, the Nike Foundation — supported by Nike and the NoVo Foundation — is trying to raise up adolescent girls in poverty-plagued, developing regions of the world.
Helping those girls to become better educated, the Girl Effect’s Web site asserts, helps them as well as “their families, their communities and their nations.”
Data on the site shows that positive changes can come in areas like health (the more schooling mothers get, the healthier their infants and children will be) and income (an additional year of secondary school will increase a girl’s wages by 15 to 25 percent).

 

 

 

 

INFO: Blacks struggle with 72 percent unwed mothers rate


Blacks struggle with 72 percent unwed mothers rate

By JESSE WASHINGTON
The Associated Press
Sunday, November 7, 2010; 12:01 AM

 

HOUSTON -- One recent day at Dr. Natalie Carroll's OB-GYN practice, located inside a low-income apartment complex tucked between a gas station and a freeway, 12 pregnant black women come for consultations. Some bring their children or their mothers. Only one brings a husband.

Things move slowly here. Women sit shoulder-to-shoulder in the narrow waiting room, sometimes for more than an hour. Carroll does not rush her mothers in and out. She wants her babies born as healthy as possible, so Carroll spends time talking to the mothers about how they should care for themselves, what she expects them to do - and why they need to get married.

Seventy-two percent of black babies are born to unmarried mothers today, according to government statistics. This number is inseparable from the work of Carroll, an obstetrician who has dedicated her 40-year career to helping black women.

"The girls don't think they have to get married. I tell them children deserve a mama and a daddy. They really do," Carroll says from behind the desk of her office, which has cushioned pink-and-green armchairs, bars on the windows, and a wooden "LOVE" carving between two African figurines. Diamonds circle Carroll's ring finger.

As the issue of black unwed parenthood inches into public discourse, Carroll is among the few speaking boldly about it. And as a black woman who has brought thousands of babies into the world, who has sacrificed income to serve Houston's poor, Carroll is among the few whom black women will actually listen to.

"A mama can't give it all. And neither can a daddy, not by themselves," Carroll says. "Part of the reason is because you can only give that which you have. A mother cannot give all that a man can give. A truly involved father figure offers more fullness to a child's life."

Statistics show just what that fullness means. Children of unmarried mothers of any race are more likely to perform poorly in school, go to prison, use drugs, be poor as adults, and have their own children out of wedlock.

The black community's 72 percent rate eclipses that of most other groups: 17 percent of Asians, 29 percent of whites, 53 percent of Hispanics and 66 percent of Native Americans were born to unwed mothers in 2008, the most recent year for which government figures are available. The rate for the overall U.S. population was 41 percent.

This issue entered the public consciousness in 1965, when a now famous government report by future senator Daniel Patrick Moynihan described a "tangle of pathology" among blacks that fed a 24 percent black "illegitimacy" rate. The white rate then was 4 percent.

Many accused Moynihan, who was white, of "blaming the victim:" of saying that black behavior, not racism, was the main cause of black problems. That dynamic persists. Most talk about the 72 percent has come from conservative circles; when influential blacks like Bill Cosby have spoken out about it, they have been all but shouted down by liberals saying that a lack of equal education and opportunity are the true root of the problem.

Even in black churches, "nobody talks about it," Carroll says. "It's like some big secret." But there are signs of change, of discussion and debate within and outside the black community on how to address the growing problem.

Research has increased into links between behavior and poverty, scholars say. Historically black Hampton University recently launched a National Center on African American Marriages and Parenting. There is a Marry Your Baby Daddy Day, founded by a black woman who was left at the altar, and a Black Marriage Day, which aims "to make healthy marriages the norm rather than the exception."

In September, Princeton University and the liberal Brookings Institution released a collection of "Fragile Families" reports on unwed parents. And an online movement called "No Wedding No Womb" ignited a fierce debate that included strong opposition from many black women.

"There are a lot of sides to this," Carroll says. "Part of our community has lost its way."

---

There are simple arguments for why so many black women have children without marriage.

The legacy of segregation, the logic goes, means blacks are more likely to attend inferior schools. This creates a high proportion of blacks unprepared to compete for jobs in today's economy, where middle-class industrial work for unskilled laborers has largely disappeared.

The drug epidemic sent disproportionate numbers of black men to prison, and crushed the job opportunities for those who served their time. Women don't want to marry men who can't provide for their families, and welfare laws created a financial incentive for poor mothers to stay single.

If you remove these inequalities, some say, the 72 percent will decrease.

"It's all connected. The question should be, how has the black family survived at all?" says Maria Kefalas, co-author of "Promises I Can Keep: Why Poor Women Put Motherhood Before Marriage."

The book is based on interviews with 162 low-income single mothers. One of its conclusions is that these women see motherhood as one of life's most fulfilling roles - a rare opportunity for love and joy, husband or no husband.

Sitting in Carroll's waiting room, Sherhonda Mouton watches all the babies with the tender expression of a first-time mother, even though she's about to have her fourth child. Inside her purse is a datebook containing a handwritten ode to her children, titled "One and Only." It concludes:

"You make the hardest tasks seem light with everything you do.

"How blessed I am, how thankful for my one and only you."

Mouton, 30, works full time as a fast-food manager on the 3 p.m. to 1 a.m. shift. She's starting classes to become a food inspector.

"My children are what keep me going, every day," she says. "They give me a lot of hope and encouragement." Her plans for them? "College, college, college."

On Mouton's right shoulder, the name of her oldest child, Zanevia, is tattooed around a series of scars. When Zanevia was an infant, Mouton's drug-addled fiance came home one night and started shooting. Mouton was hit with six bullets; Zanevia took three and survived.

"This man was the love of my life," Mouton says. He's serving a 60-year sentence. Another man fathered her second and third children; Mouton doesn't have good things to say about him. The father of her unborn child? "He's around. He helps with all the kids."

She does not see marriage in her future.

"It's another obligation that I don't need," Mouton says. "A good man is hard to find nowadays."

Mouton thinks it's a good idea to encourage black women to wait for marriage to have children. However, "what's good for you might not be good for me.," Yes, some women might need the extra help of a husband. "I might do a little better, but I'm doing fine now. I'm very happy because of my children."

"I woke up today at six o'clock," she says. "My son was rubbing my stomach, and my daughter was on the other side. They're my angels."

---

Christelyn Karazin has four angels of her own. She had the first with her boyfriend while she was in college; they never married. Her last three came after she married another man and became a writer and homemaker in an affluent Southern California suburb.

In September, Karazin, who is black, marshaled 100 other writers and activists for the online movement No Wedding No Womb, which she calls "a very simplified reduction of a very complicated issue."

"I just want better for us," Karazin says. "I have four kids to raise in this world. It's about what kind of world do we want."

"We've spent the last 40 years discussing the issues of how we got here. How much more discussion, how many more children have to be sacrificed while we still discuss?"

The reaction was swift and ferocious. She had many supporters, but hundreds of others attacked NWNW online as shallow, anti-feminist, lacking solutions, or a conservative tool. Something else about Karazin touched a nerve: She's married to a white man and has a book about mixed-race relationships coming out.

Blogger Tracy Clayton, who posted a vicious parody of NWNW's theme song, said the movement focuses on the symptom instead of the cause.

"It's trying to kill a tree by pulling leaves off the limbs. And it carries a message of shame," said Clayton, a black woman born to a single mother. "I came out fine. My brother is married with children. (NWNW) makes it seem like there's something immoral about you, like you're contributing to the ultimate downfall of the black race. My mom worked hard to raise me, so I do take it personally."

Demetria Lucas, relationships editor at Essence, the magazine for black women, declined an invitation for her award-winning personal blog to endorse NWNW. Lucas, author of the forthcoming book "A Belle in Brooklyn: Advice for Living Your Single Life & Enjoying Mr. Right Now," says plenty of black women want to be married but have a hard time finding suitable black husbands.

Lucas says 42 percent of all black women and 70 percent of professional black women are unmarried. "If you can't get a husband, who am I to tell you no, you can't be a mom?" she asks. "A lot of women resent the idea that you're telling me my chances of being married are like 1 in 2, it's a crapshoot right now, but whether I can have a family of my own is based on whether a guy asks me to marry him or not."

Much has been made of the lack of marriageable black men, Lucas says, which has created the message that "there's no real chance of me being married, but because some black men can't get their stuff together I got to let my whole world fall apart. That's what the logic is for some women."

That logic rings false to Amy Wax, a law professor at the University of Pennsylvania, whose book "Race, Wrongs and Remedies: Group Justice in the 21st Century" argues that even though discrimination caused blacks' present problems, only black action can cure them.

"The black community has fallen into this horribly dysfunctional equilibrium" with unwed mothers, Wax says in an interview. "It just doesn't work."

"Blacks as a group will never be equal while they have this situation going on, where the vast majority of children do not have fathers in the home married to their mother, involved in their lives, investing in them, investing in the next generation."

"The 21st century for the black community is about building human capital," says Wax, who is white. "That is the undone business. That is the unmet need. That is the completion of the civil rights mission."

---

All the patients are gone now from Carroll's office - the prison guard, the young married couple, the 24-year-old with a 10-year-old daughter and the father of her unborn child in jail. The final patient, an 18-year-old who dropped out of college to have her first child, departs by taxi, alone.

"I can't tell you that I feel deep sadness, because I don't," says Carroll, who has two grown children of her own. "And not because I'm not fully aware of what's happening to them. It's because I do all that I can to help them help themselves."

Carroll is on her second generation of patients now, delivering the babies of her babies. She does not intend to stop anytime soon. Her father, a general practitioner in Houston, worked right up until he died.

Each time she brings a child into this world, she thinks about what kind of life it will have.

"I tell the mothers, if you decide to have a baby, you decide to have a different kind of life because you owe them something. You owe them something better than you got."

"I ask them, what are you doing for your children? Do you want them to have a better life than you have? And if so, what are you going to do about it?"

---

Online:

On the Web: No Wedding No Womb:http://bit.ly/cBUuacDemetria Lucas:http://bit.ly/9UbGmSAmy Wax:http://bit.ly/dwNsOu

--

Jesse Washington covers race and ethnicity for The Associated Press. He is reachable at jwashington(at)ap.org.

 

VIDEO: Office Hours with Maurice Wallace on Prison in African-American Literature > NewBlackMan

Office Hours with Maurice Wallace on Prison in African-American Literature

 

 

Maurice Wallace is an associate professor of English and African and African American studies at Duke University. In this live "Office Hours" webcast November 5, 2010, he discusses how prison has been portrayed in -- and how it has shaped -- African-American literature. He is joined by Patrick Alexander, a Duke graduate student in English, who for the last four summers has taught a literature class at a local prison.

 

 

PUB: Scinti Writing Contest

Scinti

Contest

People-Watching by Left-Hand

Scinti Story Contest

Everyone has a story. We want yours.

We are looking for true stories that astound, enchant, enlighten and startle us. We want to be swept up and away, pulled from our moorings, left shaken and inspired. We want to think, wonder, imagine, believe.

Do you have a story that is especially meaningful to you, something hilarious or harrowing that touched you deeply, changed your heart, your soul, your way of seeing the world? It can be the story of you, a loved one, a stranger, a moment, a day, a lifetime. We hope you’ll share it here with us and with people around the world.

Entry Requirements:

1. “Like” Scinti on Facebook.

2. You can express yourself in any format – stories (100 to 3000 words), poems, photo stories, hand written letters, drawings, whatever you can imagine!

3. All formats must be digital (emailed).

Feel free to send previously published stories you have written, such as stories from your blog. If you are using previously-published material, please provide a link (if applicable) to your work so we can give credit where credit is due.

Rules:

1. Submissions must be true stories, not fictional.

2. Submissions must be your own original content.

3. Although entries remain the property of the writer, finalists agree to acknowledge first publication in Scinti.com in the credit line for all subsequent publications (unless your work has been published previously).

Process and Prizes:

Deadline: January 31, 2011

After reviewing each submission, we will pick the most scintillating stories for our finalists and the winners will be by popular choice, based on Facebook likes on our fan page.

The prizes are as follows:

1. First Prize – $100
2. Second Prize – $50
3. Third Prize – $25

Finalists and winners will be announced by end of February 2011.

Entry Submission:

Send the following information along with your submission. Please limit three submissions per person.

Your Name

Your Email

Your Entry Title

Your Message (a couple of sentences about yourself including your state/country)

Your Entry

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Photo by Left-Hand

 

PUB: Stories_CompetitionPage

Short Story & Poetry Competitions:

To celebrate the birth of www.bluethumbnail.com we are organizing our first bluethumbnail competitions; one for short stories and the other for poems; both with the theme…


BLUE BLUE BLUE BLUE BLUE


What do you see or hear when you read that word?

Create something bluer than blue.

 

Short Stories:

We are looking for well written stories; surprising, subtle and playful, with characters that could walk of the page.  Experiment if you like, but you must convince your readers. We want to be swept off our feet.

  • Original stories, please, of maximum 3000 words.

  • Closing date is January 2nd, 2011.

  • Entrance fee is £6  (£3 for bluethumbnail.com members)

  • The writers of the top twenty entries will be offered a one year FREE membership to www.bluethumbnail.com and their stories will be posted on the site.

  • The Winner of the 1st prize will be offered a FREE PLACE at our one week WRITER’S RETREAT by the sea in Greece in 2011/ 2012.

  • The second prize consists of 5 FREE  sessions of ‘tutoring online’. You can either follow the tutoring program or get editorial feedback on your work from a published author.

  • Our 5 runners-up will be offered a 50% discount at the WRITERS RETREAT  in Greece or a free online session of Personal Tutoring or Feedback on written work.


Poetry:

We are looking for original work, surprising, subtle and playful; dark as the sea or light as the sky; or light as the sky and dark as the sea, whichever seems right to you: We want to be swept off our feet.

  • Up to 200 words.
  • Closing date is January 2nd, 2011.
  • Entrance fee for poems is £4.00 (£2.00 for bluethumbnail.com members)
  • The writers of the top ten entries will be offered a one year FREE membership to www.bluethumbnail.com and their poems will be posted on the site.
  • The Winner of the 1st prize will be offered a FREE PLACE at our one week WRITER’S RETREAT by the sea in Greece  in 2011/ 2012.
  • The second prize (in each category) consists of 5 FREE sessions of ‘tutoring online’. You can either follow the tutoring program or get editorial feedback on your work from a published author.
  • Our 5 runners-up (in each category) will be offered a 50% discount at the WRITERS RETREAT  in Greece.



Interested? Send an email to info@bluethumbnail.com This e-mail address is being protected from spambots. You need JavaScript enabled to view it for the competition rules.

Please specify whether you are interested in the short story competition or the poetry competition. We are looking forward to your email!.

 


BLUE Competition
1 Short Story £6.00 1 Poem £4.00 1 Short Story - Bluethumbnail Member £3.00 1 Poem - Bluethumbnail Member £2.00

 

PUB: Crazyhorse

The Crazyhorse Fiction Prize
and the Lynda Hull Memorial Poetry Prize

Winners receive $2000 each and publication in Crazyhorse.

 

The deadline to enter this year's prizes: January 15, 2011.

Enter by uploading a file of your manuscript online or by mailing in a paper manuscript. Each manuscript entered should consist of up to twenty-five pages of fiction or up to three poems (up to 10 pages total of poetry). For each manuscript entered, include a reading fee of $16 per manuscript, which includes a one-year/two-issue subscription to Crazyhorse. More than one manuscript may be entered. For each additional fiction or poetry manuscript entered and entry fee paid, your subscription to Crazyhorse will extend by one year/two issues. Subscriptions begin with Crazyhorse Number 79, Spring 2011; the winning manuscripts will be published in Crazyhorse Number 80, Fall 2011.


How to enter a manuscript file online

Click below to upload a .pdf or .rtf file of your manuscript. Pay each uploaded manuscript's $16 entry fee by secure online credit-card payment via Authorize.net, or by check or money order.

If paying by check or money order, write it to “Crazyhorse”. Check must draw from a US bank. With check or money order payment, include a printout of the e-mail you will receive after you upload your prize manuscript. Or, include the first name, last name, and manuscript number associated with your entry so that your payment can be matched with your manuscript. Mail entry fee payment checks to Entry fee payment, Crazyhorse, Department of English, College of Charleston, 66 George Street, Charleston SC 29424, USA

Each manuscript entered should consist of up to twenty-five pages of fiction or up to three poems (up to 10 pages total of poetry). Like mailed manuscripts, uploaded manuscript files will be read blindly, unassociated with your contact information. Do not include identifying information on the manuscript itself; all manuscript entries are made anonymous for review.

Click here to upload a .pdf or .rtf file of your manuscript. Upload a .pdf or .rtf file only. If .rtf, use a common font (such as Times or Arial) and check your file to see that your formatting (italics, tabs, columns, etc.) displays as you wish.

Entrants must upload manuscript files and pay entry fees by end of day, Jan. 15, 2011.


How to enter a paper manuscript

Mail in each paper manuscript along with a $16 entry fee for each manuscript entered. Write check or money order to “Crazyhorse”. Check must draw from a US bank.

Each manuscript entered should consist of up to twenty-five pages of fiction or up to three poems (up to 10 pages total of poetry). Each entry should have a cover page placed on the top of the manuscript with the entrant’s name, address, e-mail, and telephone number. Do not include identifying information on the manuscript itself; all manuscript entries are made anonymous for review.

Mail manuscript and entry fee payment together to

Fiction Prize / Poetry Prize
Crazyhorse
Department of English
College of Charleston
66 George Street
Charleston SC 29424
USA

Entrants must mail paper manuscripts and mail check entry fees by postmark deadline of Jan. 15, 2011. Include an e-mail address or a self-addressed stamped envelope for notification of winners. Paper entry manuscripts can not be returned by SASE.
 

General entry information

 

All manuscripts entered must be original and previously unpublished. All entries are considered for publication in Crazyhorse. New prize-entry subscriptions will begin with Crazyhorse Number 79, Spring 2011. Renewal prize entries will extend the entrant's subscription. The winning manuscripts will be published in Crazyhorse Number 80, Fall 2011. Entries are accepted from Oct. 1, 2010 to Jan. 15, 2011. Winners will be announced in spring, 2011.


Prize process and timeline

All manuscripts entered are made anonymous before they are reviewed: the identity of each entrant is separated or removed from each entrant’s manuscript and each manuscript is only identified by number when it is read by reviewers.

The Crazyhorse editors will together review each manuscript entered and select up to 30 finalists in each genre for review by the prize judges in each genre.

Each finalist's manuscript is reviewed by a judge in the respective genre. The fiction judge selects one story from the fiction prize finalists as the winner; the poetry judge selects one poem from the poetry prize finalists as the winner.  Only after the deadline to enter manuscripts has passed is a judge for each genre selected.  Past judges have included Ann Patchett, Ha Jin, Antonya Nelson, Dan Chaon, T. M. McNally, Diana Abu-Jaber, Michael Martone, and Charles Baxter for fiction; for poetry, past judges have included James Tate, Billy Collins, Marvin Bell, Dean Young, Albert Goldbarth, Nance Van Winckel, Dara Wier, and Mary Ruefle. The identity of each genre’s judge will be disclosed with the announcement of each genre’s winner and finalists at the end of the judging.

After the two winners are announced, the editors consider manuscripts entered in the prizes for publication in Crazyhorse.

 

 

 

 

 

 

 

 

INFO: Study Abroad: Returning "Home": A Blue(s) Mood > Howard University - College of Arts and Sciences

Returning "Home": A Blue(s) Mood

 

 

We are back in Heliopolis, site of the ancient city of On, ten minutes from Cairo International Airport. Tomorrow morning, we return to New York and to our lives and studies with renewed spirits, reshaped visions and the foresight born from measured contemplation of where we have been. Still, the moment is not without its bittersweet undertones, its mood indigo. Last night in Luxor, we convened around the dinner table to reflect on our two weeks together. A breeze blew in from the Nile, drying the tears that flowed, mingling with voices offering gratitude and determination. Many evoked the names of family and friends who raised money to subsidize their voyage, vowing to repay the investment with detailed descriptions and the lessons learned from the places they’d studied. Ernest, with his trademark coolness, thanked us all for stretching him. Angi observed that she sat in a place that her father has dreamt of visiting his entire life. Brittani evoked the Biblical passage that the race (in this case to recover our past and use it to rebuild our present and future) is not to the swift or strong, but to they that endureth to the end.

 

When we left the U.S. two weeks ago, the country was just entering the latest denoument of fatigue that accompanies supercharged stories of racial strife. The dying embers of the the latest contretemps, this one involving the “intellectual entrepreneur” Dr. Henry Louis Gates, Jr., offers a useful example of what we must confront and what must not distract us as scholars of African descent. As Glenn Loury noted in the New York Times, Gates could have used his arrest and the media spotlight it afforded him to focus the country on the many instances when men and women of African descent have found themselves without the ability to defend themselves from legalized injustice, as well as on the many who languish behind bars wrongly or with sentences far more severe than their alleged offenses. Instead, Gates chose to highlight himself and move quickly to the rhetoric of forgiveness and reconciliation. In other words, he made another futile attempt to entertain the question that W.E.B. DuBois offered “nary a word” in response to a century ago, “How does it feel to be a problem?”

 

Race is a social reality in today’s global society. It is also a recent world historical phenomenon, and one that must ultimately be discarded if humanity is to develop beyond our fears and live our dreams as more than a handful of select individuals scattered in webs of privilege and sheltered isolation. The reality of Kemet and classical Africa removes the consideration of race as the lens through which those who study it view the world and approach social problems. Examining the ways that these Africans thought about themselves and their reality has the potential to re-attach us, first as Africans and ultimately as human beings, to the rich trove of ideas about self and society, world and cosmos that began with the dawn of organized thought and continues, unbroken, in the traces of the intellectual genealogy of Africana.

 

Last week, by examining in line by line fashion The Memphite Theology, our study tour group regained a point of view from the Kemetic wisdom literature on the relationship between matter and sentience, and considered the world’s most influential culture’s explanation of how to know the world we live in while contemplating that world’s essence. By tracing out the expression of this understanding at every stop we have made, culminating in this return to the ancient city of On, we have begun to understand the usefulness of discarding smallish, unhelpful frameworks for thinking about what is and what can be. Race becomes a puny thing, an ugly glitch in the long line of the best of what human beings have imagined.

 

Jacob Carruthers summarizes the idea of God in the Memphite Theology and the Kemetic worldview, noting that, for the Egyptians, God was the interaction of the fundamental essence of the eternal elements of all that is, described in their texts as four principles: Solvency [Nenew/Nenewt], “the primeval condition and substance of creation which has neither form nor stability”; Infinity in time and space [Hehew/Hehewt]; Darkness [Kekew/Kekewt], or the unicity of leveling perception; and endless, directionless Movement, hidden but constantly present[Tenemw/Tenemwt or, in many texts, Imun/Imunet].

 

As these eternal elements interacted, they expressed themselves in an act of ordered improvisation, a Sep Tepy (“first occasion”) moment of creation signified by the Netcher (expression of the Divine) Ptah. The Kemetians described this moment as “Medu,” or “speech,” the first word. Subsequently, Carruthers goes on to note, reality becomes an unending progression of the word, a genealogy of speeches that stretches from timeless infinity through now and the future, and includes the moment of thought that forms each moment in the human being. It attended the articulation of the elements out of which humans were said to have formed: Earth (Geb), Sky (Nut), Air (Shu) and Moisture (Tefnut). It then brought about the comingling of these elements as the expression of the four pairs of ancestors to human beings: Wosir (Osiris), Auset (Isis), Setekh (Set) and Nebhet (Nepthys). These were simply names for forces that have always existed but which always reveal themselves to the Egyptians’ limited perception in ways that were best managed by imagining and giving name to that which they could not see.

 

The Egyptians did not attempt to imagine that the interaction of these principles was not, in fact, the order of things in reality. In naming order Ma’at, in fact, they expressed a sentiment born from scientific observation that everything that is, always has been, and resolves itself ultimately in harmony, from the order of the stars to the rising and setting of the sun and the inundation of the Nile and the beating of the heart. For the Kemetic thinker, only our memory of witnessing and experiencing this ever-resolving harmony (provided by devices of writing and measuring gifted to humanity through the ideas of Djehuty and Seshat) is limited, and then only by the space we are willing to give our recorded memory and our creative intelligence, themselves issue of the self-same eternal principles.

 

Is this intellectual approach really different than the science that physicists evoke to discuss “string theory?” Does it differ qualitatively from the children that the Memphite Theology gave birth to, from the Abrahammic faith traditions to the various improvisational expressions of Africana deep thought, from Vodun, Cadomble or Santeria to the Africanized Protestantisms of Shango (Shouter) Baptists, Pentacostals or good old “shoutin’ Baptists?”. Of course not. The Kemetians did not distinguish between science, technology and spirituality, between sacred and secular, in any sense we would recognize today. Their faith was born from steady, patient observation: They believed, in the words of the 16th century African scholar from the great mosque of Timbuktu, Ahmed Baba, “in God and Science.”

 

But now, faced with a world that struggles to free itself from the maddening recent habit of reducing people to “races,” how do we capture in language this sense of the interconnectedness of all things? Western scholars have often evoked the alphabet as a progression in the human capacity to articulate ideas, noting that using symbols exclusively for sound (as distinct from using them for both sounds and ideas) frees the mind to recombine thoughts in endless variation. The fact that the modern alphabet is derived largely from Kemetic Medew Netcher notwithstanding, the Egyptians created their inscription system in an attempt to produce a method for capturing ideas, sights, sounds—even smells and tastes—in a coding process that hovered somewhere between the abstract and the concrete.

 

In an unbroken genealogy, African people have maintained these improvisational approaches to speech, apprehending the unknowable nature of the Sep Tepy but generating technique after technique for capturing more of it than mere words can achieve: In other words, Africana inscription systems consistently free “speech” from the straightjacket of word/script exclusivity. From the parent Medew Netcher of classical Africa, we see the danced reinscription of the orbit patterns of the stars Sirius and Sirius-B of the Dogon, who claim to have migrated with this knowledge to West Africa from the East; we observe the varying conceptual inscriptions of the Akan, collapsed into Adinkra symbols of cloth and metal and ink and bourne according to their collective memory along a similar migration arc; we note the ground markings of the Ki-Kongo Cosmograph, forming the perpetual cycle and spiral of reality whose movement traces the “four moments of the sun” in identical fashion to the Kemetic concepts of Kheper, Ra and Atum.

 

And, our memory re-attached by the memory of Djehuty and the measurements and records of Seshat, we trace anew the unbroken genealogy of these Africana improvisational speeches, Medew forced into ships and emptied living and whole into the Western hemisphere, reconvening itself and blending and reblending its systems of word, sound, sign, smell and taste, speaking yet again in the Sep Tepy that links classical Africa to the contemporary African world.

 

We may usefully refer to an essential element of these speeches as the “Blue Note,” that conduit of apprehension and expression that, like its ancestor Medew Netcher, enters the senses as a concrete expression and frees the mind and spirit to join as one, offering the ability to Sedjem, or “hear,” the highest form of intelligence for the Egyptians, so important that they inscribed the admonition to hear on the wall enclosing the double holy of holies at the late period Kemetic center for healers, Kom Ombo.

 

What is the best-known conduit of the Blue Note, the Blues, except a perpetually resolving expression of Ma’at? How different is the speech of the word-less Blue Note that Louis Armstrong sends forth for the three and a half minutes of West End Blues from the speeches of Khun Inpu in the Kemetic narrative of The Nine Petitions of the Farmer Whose Speech Is Good? Is the in-between the pentatonic scale wail of the Ki-Kongo/Bambara descended New Orleanian not improvising the original speech of Ptah within the perpetually resolving harmony of Ma’at, and in so doing allowing us to release our frustrations, hopes and determination into the expectation that, like Inpu before the magistrates and Per Uah, we shall find that which is true? When Inpu threatens to evoke the Netcher Inpu (Annubis) as the final arbiter of right and wrong, thereby bringing the corrupt officials to account before the scales of Ma’at, we can see Louis Armstrong sweating and smiling, handkerchief in hand, slicing through the subterfuge of minstrelsy with a trumpet sound that could, in the words of Ossie Davis, “kill a man.”

 

When Martin King, the night before his death, envisions the promised land, is this not an expression of the apprehension of Ma’at? “I Have a Dream,” far from an exercise in hopeful expectation of a failing system of Western “democracy,” becomes an improvisational re-inscription of Africana expectations of the resolution of dissonances into harmony when viewed through the lens of the judgment scenes we have traced in the tombs of Horemheb and Ramses IX, and read in the texts that adorn the walls of Abydos.

 

The western framework cannot hold such concepts. It is too ill-constructed, too immature. Ralph Ellison’s genius descriptions of the Blues overflow the modest and ill-equipped vessel of American exceptionalism into which he pours them, and the lineage of Homer, Hesiod, Dante, Shakespeare, Hawthorne and Thoreau which feed that vessel. But the Blues are at home with Ma’at, in vertical conversations with the classical genealogy and in horizontal conversations with its varied and various relatives across the African world. Like the main character in the Kemetic story of the “shipwrecked sailor,” the Blue Note points the way home, and home, Thomas Hardy’s admonition from the sidelines notwithstanding, is a place to which you can always return. Just as the Per Uah told the wayward Sinhue to “return to the Black Land (Kemet): It’s the place where you came into existence,” so the Blues reminds us of a place that exists beyond physical time and space and yet suffuses the time and space of any place that we find ourselves. It is speech writ large, like Medu Netcher.

 

One can imagine the Blues playing as one enters the sacred chambers at the temple of Seti I at Abydos. The Blue Note could reconcile the tender scenes of Seti adjusting the rainments of the Netchers, from the crown of Wosir to the garments of Auset. As Earth, Wind and Fire sang to us to “tell the story/morning glory/all about the Serpentine Fire,” it seems as if the Kemetic people took the idea of inscribing spiritual transcendence to heart.

 

As challenged by long-term memory loss as its author may be, nevertheless the Blues-tinged lines and sounds of 50 Cent’s “Many Men" is still much better equipped than Thucydides or Patton to help us understand the mood and mind of Ramses II, depicted in the temple at Abu Simbel astride his steed and preparing to plunge his Set battle division into the heart of the Hittite army.

 

"Many men/wish death upon me/Blood in my eye dawg and I can't see/I'm trying to be what I'm destined to be/And [Hittites] trying to take my life away/I put a hole in a [Hittite] for messing with me/My back on the wall/now you goin' to see/Better watch how you talk/when you talk about me/Cause I'll come and take your life away."

 

It is a Blues moment, infused with part Stagolee, part Muddy Waters channeling Jesus Christ in the temple. In the temple built next door for his wife, Nefertari, a simple glance at the adoring Ramses offering lotus flowers and incense to his wife is not enough: This is not Romeo and Juliet, or Brad and Angelina. Looking above Nefertari's head, one translates the glyph “Hemetch,” not semantically as “wife” in English, German, Spanish or French, but literally as “well of water.” If there is confusion to what water means to a people surrounded by desert, or to a Black Man, one simply has to reference the great speech of Harold Melvin and the Blue Notes, the nearly eight minute “I Miss You.” Clearly, these are African people, these Egyptians.

 

Ausar battles his brother Setekh. Ausar is murdered, his body cut into pieces in some versions of the story and strewn in the Nile. Auset is alerted to the deed and, with her sister NebHet, retrieves all the pieces of her husband's body except the phallus, which is ultimately replaced with a proxy that allows her to impregnate herself with Ausar's seed and give birth to Heru. How many Egyptologists have linked this narrative to writers from Sophocles to Freud?

 

Perhaps the virtuoso performance of Son House’s Death Letter by the Blues emperess Cassandra Wilson before a live audience in New York City for the Great Night in Harlem album would, in linking indelibly to the unbroken genealogy of Africana medew, remove these ill-considered gestures. Riding the groove convened with congas, electric bass and guitar, she pulls tight the threads of lyric and tone she has woven through the ears and souls of the listening participants, enveloping the audience and every subsequent listener in a grand and irresistible call and response. It is medew, reaching a level of Ancestral communion that flows through her smoky contralto and helps us understand what Auset must have felt when she heard the news, and what she did in its wake:

 

"I got a letter this morning/how do you reckon it read/it said “hurry hurry, on account of the man you love is dead/got a letter this morning/how do you reckon it read?/It said “hurry hurry, the man you love is dead”…

 

"I packed up my suitcase/took off down the road/when I got there/he was lying on the coolin' board/Packed up my suitcase/took off down the road.../when I got there/he was lying on the coolin' board."

 

“Looked like it was 10,000 people/standing round the burial ground/I didn’t know I loved him/Till they layed him down/Look like it was 10,000 people/standing round the burial ground/Lord, I didn’t know that I loved him/until they layed my daddy down…

 

“You know I got up this morning/right about the break of day/I was hugging the pillow/Where he used to lay/I got up two in the morning/well, right at the break of day/I was hugging the pillow/where he used to lay…”

 

“Everybody hush!/Thought I heard him call my name/Wasn’t loud/it was so sweet and plain…/so sweet…./hush…/everybody hush…/I heard him call out my name…”

 

 

And what of the child born of that Blues moment of pain, triumph and the restoration of Ma'at? The story of Heru is not, as gestured toward by the German Egyptologist Jan Assman, a narrative that might be compared as a revenge fantasy in some fashion to Hamlet. Not if you refocus the speech as an antecedent to the sentiment expressed by Clarence Carter in “Patches.” One can hear Auset telling her son that she is counting on him “to pull this family through/my son, it’s all up to you.” Like the Blues, the narratives of Kemet are expressions of an understanding that transcends the limiting narratives of tragedy, comedy or the genre divisions of internal and external conflict. They are reminders that every challenge comes with the tools through which to meet and transcend it. And, we must remember, beyond the challenges lies the reassuring presence of Ma’at.