HISTORY + VIDEO: “Birth of the Big Apple” History of the 1937 Swing Dance Craze > Dust Tracks On a Road

elmoyork:  Frankie Manning and Ann Johnson (members of Whitey’s Lindy Hoppers) performing the Lindy Hop in Hellzapoppin’, 1941Image courtesy of The Arizona Lindy Hop Society  oh thank you, captions.elmoyork:

Frankie Manning and Ann Johnson (members of Whitey’s Lindy Hoppers) performing the Lindy Hop in Hellzapoppin’, 1941
Image courtesy of The Arizona Lindy Hop Society

>via: http://dusttracksonaroad.tumblr.com/post/38803740361/elmoyork-frankie-manning...

“Birth of the Big Apple”

History of the 1937 swing dance craze that swept the nation. Fascinating look at the African-American roots of this dance in the Ring Shout from the days of slavery. Savoy Ballroom footage shows Whitey himself with Whitey’s Lindy Hoppers. Columbia, South Carolina roots of the Big Apple.

 

ESSAY: FLYING THE RED, THE BLACK AND THE GREEN FLAG OF LIBERATION

photo by Alex Lear

 

 

 

Flying The Red, The Black and

The Green Flag of Liberation

 

In the Spring of ’69 the revolution had smashed full forced into Southern University New Orleans. We had taken over the school. Literally. We ran everything. Actually continued the classes and full day-to-day operations. But the nominal administration had no say so.

 

When we first took over we didn’t simply barricade a building and issue a list of ten demands. No, we were much more sophisticated. We marched into the administration building and one by one ran off the administrators, installed students in their place, and ordered that the school would keep on functioning but with a new and revolutionary leadership.

 

Two specifics will suffice to illustrate my point. When we went into Dean Bashful’s office, he was understandably outraged. He refused to move. So I motioned to a couple of the brothers who literally grabbed the dean and the chair he was in, lifted both from behind the desk and wheeled his ass on out into the corridor, slamming the door shut behind him. We then stationed two stalwarts on duty with orders not to let Bashful back in.

 

Second, we called the state government in Baton Rouge and told them we had taken over the school and would be in charge until new terms were negotiated and if they didn’t believe us, call back in five minutes and we would answer the phone. We had, of course, already commandeered the switchboard. When Baton Rouge called back, we answered with our same list of demands.

 

Some people thought they would just send in the police and force our hand but we knew differently. We had already had a major showdown with the police involving literally hundreds of students when we took down the American flag for a second time. A bunch of us were arrested but got out quickly and proceeded to organize a campus that was on fire because the police had gone crazy beating and maceing students who weren’t even initially involved in the demonstrations.

 

Our core leadership was not composed of teenagers but rather of veterans who were returning to school on the GI Bill. A number of us had served overseas, some in Viet Nam. By then, it was no secret, we were armed and dangerous but also extremely crafty. We didn’t flash our guns to the news media and we had made alliances with many of the faculty who were as opposed to the machinations of the administration as the students were.

 

Our all-male core leadership had been working together since the fall of 1968 and we kept the circle tight, did not recruit new members. We were wary of people who suddenly wanted to hang with us, in part because we were certain that undercover cops were trying to infiltrate. The Bad Niggers For Regression was more like a family than a political formation and we kept it that way. Our revolution only lasted two months so we never had to face major problems of losing leaders over time nor of bringing in new people. Questions, such as recruiting women into the inner circle never got raised as we careened through those two months at breakneck speed.

 

Everything was happening so fast and there was so much pressure on us, so many different forces at work both for and against us. We literally had to shape our revolution in the process of making revolution, there was no time off, no time to reflect, meditate and plan. Seems like it was one crisis after another that had to be addressed immediately with no room for error. Under such conditions, people tend to go with what they know, rely on what worked in the past, only trust tried and proven people.

 

One of the most profound contradictions of revolution is that during a revolution because events are moving fast and the opposition is fighting fiercely to unseat the revolution, what results is that the revolutionary leadership becomes both conservative and suspicious, unwilling to change itself in any major way and reluctant to admit new people into the core leadership. Of course, the average person lives their life without ever having to direct a revolution.

 

America was literally on fire and/or smoldering one year after the assassination of Martin Luther King. The winds of revolution were blowing everywhere. You either set sail or hunkered down until the storm passed over. Making a successful revolution is no joke. Indeed, as we quickly found out, overthrowing the old order was easy compared to running a new order. To me, taking over was not our major accomplishment. Our success was in running the school.

 

Initially we had focused on the lack of resources and the need for capital improvements. For example the library had empty bookshelves. We did not have enough professors to teach the classes we needed. There was no black studies department. We resisted the idea that college was simply supposed to train students to become workers in corporate America. We wanted community development.

 

Indeed, we did not have detailed demands. The second time we raised our flag of black liberation and the police attacked students and mercilessly beat us down we were prepared to defend ourselves in court but we did not fully realize that our next step was not simply to take over the school but to run the school.

 

Running the school demanded we create an administration. I don’t remember exactly how it happened but we chose students other than the core leadership to put in charge of day to day operations. Organizing resistance was one thing, maintaining social services a different discipline altogether. For the rest of my life I would be confronted with the contradiction of leading resistance to the status quo and the push for me to become an administrator of a new status quo. At the time I didn’t realize that one of the central contradictions all revolutions have to face is how to effect reconstruction after the overthrow of an existing order. We never got a chance to fully address that issue because we were only in charge for two months, April and May of 1969, but what a glorious two months that short time period was.

 

When the authorities visited the campus, everything seemed normal but the top administrators knew they were no longer in charge and many of them simply retreated in the face of our forces. One administrator I must mention was the treasurer, I believe his name was Mr. Burns. He took his job ultra-seriously and explained why he wouldn’t let us take over his office. He talked about sensitive financial information about each student and also all the financial instruments and what have you.

 

I remember looking into his eyes and saw something I had to respect. He knew we had the upper hand, knew that we had evicted Bashful, and also knew, I’m sure, that he didn’t have the force to stop us but he stood his ground and was ready to take whatever we might dish out to uphold his vow to do his job. We had to respect that. After all, he was not our enemy even though he was a functionary within a system against which we were waging war.

 

So we conferred amongst ourselves and came up with a solution. I don’t remember how thoroughly we discussed it or whether I thought if we did take over the bursar’s office we would have created a major headache for ourselves with the law enforcement officials, who would no doubt be called in if any significant amount of money came up missing. So after a few minutes we returned to Mr. Burns office and told him we were closing his whole operation down. He could lock up everything, put whatever he needed to put in the safe and after securing whatever sensitive materials, equipment and money he felt necessary, he should lock his inner office and take the keys with him. We weren’t going to let him continue running the office but we wouldn’t put anybody in there either. That was the only office on campus we didn’t inhabit. We let it go dark.

 

I think we shook hands on it, maybe not. But I do remember he was one of the few that looked us in the eye without looking away. I didn’t see hatred or fear in his eyes, and I hoped we looked the same way to him. I may have some of the details mixed up but I’m certain that we worked out an agreement. He was a man of honor ready to face whatever for his beliefs and we in turn were also men of honor even if we were taking over. Our goal was to transform the school, not destroy it.

 

In the weeks that followed the take over, the school continued to function. We had no argument with the workers at the school, nor with the clerical staff and a number of key people in management. In fact for most of the workers and the faculty, we introduced a measure of freedom to do their jobs as they deemed best. We unleashed the productive force of experienced workers able to make decisions without some chump administrator riding their back. I’m convinced our decisions to safeguard the jobs and positions of the working personnel was another reason things went smoothly.

 

On one level, if you visited the campus during the take over, things seemed to be ordinary—well, ordinary once you got over the shock of seeing the red, black and green flag of liberation flying high in front the school. Our takeover was an extraordinary achievement. Not only did we keep the baby, we changed the water and kept the bathtub clean. During the whole takeover, on a day to day basis SUNO was functioning as well as, if not better than, it ever had.

 

The fact that operations proceeded at an orderly pace allowed the authorities to claim that we hadn’t really taken over. Of course, it didn’t matter to us what they said in the newspapers and on television. As long as the flag was flying, it was clear who was really running the school.

 

Another issue I’m clear about is this: history will not document much about our takeover. The master never gives the full 411 on slave revolts. Indeed, as much as possible they erase the event in the official records. So, I am never surprised when years later scholars, activists and even some progressive historians don’t know anything about the SUNO uprising. They never talk about those days when the lion not only ate the hunter but dared other hunters to come up in the jungle.

 

And, by the way, “jungle” is a loaded term. If we said rain forest, nobody would bat an eye in disgust or immediately imagine wild animals and savages. So not only does the lion never win in the hunter’s history books, we also have to put up with the indignity of our environments being termed a “jungle.” But then what would you expect from those who imagine that the “woods” and “forests” are a locus of evil—check European nursery rhymes, check Hollywood movies, indeed, check your own imagination—who lives in the woods?

 

In many, many ways we were not only in a physical battle, we were more importantly engaged in a propaganda battle. I believe the limited success we actually had was partially due to the fact that for the first time in a long time, the “trains” at SUNO ran on time. We received mad respect from students, faculty and staff for the way we conducted the takeover. We were not into revolution for the hell of it. We were determined to improve our school and that’s what we did.

 

Others may remember these times differently than I do. They can write their own versions of our common history. Ultimately, what matters most to me is that among the people who were there, the students who participated in the take over, there is general agreement—the spring of 1969, those were the real “good old days.”

 

While everything was cool on the campus, the state had a problem. John McKeithen, who was the reigning governor, had stated often that he was going to return law and order to the campus and that anarchy would not be tolerated. His specific response to our SUNO takeover was that he was not going to negotiate under threats and certainly was not going to visit the campus while student demonstrations were still going on.

 

McKeithen’s grandstanding was irrelevant as far as we were concerned. We had control of the campus and that was that. Then McKeithen made a gross mistake. He scheduled a public appearance in New Orleans at a church located one block off Canal Street in the heart of the downtown business district. We found out about the time and place of McKeithen’s speech and trapped him.

 

Our movement was notorious for our instant demonstrations. We would organize convoys and could mobilize a couple hundred students anywhere in New Orleans literally within fifteen or twenty minutes. McKeithen was speaking in a church that had only two doors: a front door and a side door that fed into an alley which ran along side the church but only opened to the front street address. In other words, if you blocked the street in front the church where was no other way out.

 

SUNO was located at least six miles away from that church and there was no direct route from SUNO to the church. McKeithen was to make a brief speech and then be whisked away, or so they thought. By the time McKeithen had concluded his speech we had over three hundred, chanting students in the street blocking his exit from the church.

 

The authorities were stymied. They didn’t want a repeat of the mob scene and wild melee that happened when we were arrested for taking down the American flag. We stood around outside in our usual jovial mood—we had the upper hand and we knew it. We even joked with the undercover cops whom we knew on sight, a couple of them we knew by name.

 

In a weird way, some of the detectives had a measure of respect for us because we were smart, quick and also fearless. They knew we had guns and that we were smart enough not to make stupid or needlessly provocative moves that would have given the police a chance to wipe us out. So there we were approximately ten-thirty in the morning, the streets full of fired-up SUNO students and the governor of the state trapped inside a church.

 

One of the cops asked me, what yall gonna do? I told him that was not the relevant question. The relevant question is what’s the governor going to do.

 

At first there was no direct communication. But all kinds of behind the scenes pressure must have been mounted because shortly somebody from the governor’s office came out to “talk.” What did we want?

 

Our position was simple. We were here to see the governor and we weren’t going to talk to anyone else. Period.

 

After a lot of back and forth which entailed us rejecting one ridiculous proposal after another, they finally relented and said the governor would talk to us. Pick one or two representatives and we could meet inside the church. No way, Jose. That’s not our style. We have open meetings. Everybody had to be able to hear what was going on. The governor had to meet with all of us or none of us.

 

The church was not big enough, or whatever. OK. Well, the only solution is for the governor to come to SUNO where we had spaces big enough for a public meeting. Agreed. The governor will meet yall at SUNO. No way, Jose. We are going to go to SUNO together.

 

I remember the tense moments after we allowed the governor to approach the state limousine. McKeithen’s big, beefy body guards were dwarfed by the press of students—nothing was going to move unless we said so. When it came time to get into the car, one of the body guards tried to push me aside. I pushed back. And for a moment there was a stand-off. We would not back down. McKeithen nodded at one of the guards and the guard let two of us get in the back seat next to the governor. And then we crept off as the student body slowly parted to make way for McKeithen going to SUNO.

 

This was a dangerous moment. I was not worried about being arrested. We formed a caravan on the way back to SUNO. McKeithen to his credit decided it was better to go to SUNO than to have what they surely would have called a riot.

 

We had already informed the assembled students of what was going on. Our cars had already begun forming up. The governor was not going by himself. Oh, no. We were going to convoy to SUNO.

 

The ride to SUNO was both quiet and uneventful, and at the same time tense and anxious. None of us knew exactly what the next step was going to be other than the governor was going to speak directly to SUNO students and bring McKeithen to the campus was a major victory for us. At moments such as those, you have to be able to think quickly in response to the pressures of time and circumstance. We sat side by side in the back seat, each of us silently trying to figure out our next move.

 

By the time we got to SUNO, the news media had cameras set up and it was the top of the hour item on all three local networks. McKeithen had vowed he would not negotiate with student protestors and now he was going to SUNO to speak to the students. The designated meeting spot was the school cafeteria. When we walked in a mighty cheer rang out.

 

McKeithen took one look at the stage and balked. He was not going to get on any stage with that flag on it. Everywhere we went, the red, black and green flag of black liberation was displayed. That is how our movement was known and now that McKeithen was at SUNO, the governor was threatening to leave without speaking because he was not going to share a stage with our flag.

 

As I remember it, there were three flags on the stage: the American flag, the state of Louisiana flag, and our flag of black liberation. McKeithen looked me in the eye and set his jaw in tense determination. If we wanted him to get on the stage, we would have to remove our flag. It was an obvious face-saving move on his part.

 

My solution to the conundrum was relatively simple. I said, OK, take all the flags off the stage. No flags. No problem. We outfoxed McKeithen. And that’s how Governor McKeithen went to SUNO and agreed to negotiate with the students.

 

That day he promised there would be negotiations about student demands and we in turn agreed that once the negotiations started in earnest we would cease demonstrations. All the way through the negotiation process, I kept expecting some sort of trickery but after close to a week of meetings an agreement was hammered out. Included in the agreement was the right to fly the black flag of liberation on the campus and that is why today, SUNO is probably the only college or university in the nation where the red, black and green can be raised and flown on its own flag pole in front the school.

 

There are two flag poles in front the administration building, facing the main avenue that runs in front the school. Alas, it has been years since the red, black and green has flown.

 

In June of 1969 SUNO closed for the summer and when it re-opened in the fall, over a thousand students were expelled and not allowed to enroll. Our leadership had court orders restraining us from setting foot on the campus. Nevertheless, none of that stopped the movement. Over the next two years there were more demonstrations, including another take over of the administration building.

 

The Spring of ’69 demonstrations and not been the first nor were they the last. Oretha Castle Haley and other students before us held demonstrations out at SUNO. After us, Earl Picard and another generation of students led major demonstrations. SUNO was full of older than average, working class students. Adults. People who had jobs and chidren to raise. People whom you could not treat like naïve teenagers. That is the background and the context within which my personal experiences were subsumed.

 

The SUNO struggle was who I was, everything else was secondary. Everything.

 

We modeled our movement on what we understood of the liberation struggles then coming to fruition in Africa. I was particularly impressed with Amilcar Cabral and the PAIGC in Cape Verde/Guinea Bissau. One of Cabral’s clear directives, which I took as a personal maxim, was: “mask no difficulties, tell no lies, claim no easy victories!

 

For two months April and May of 1969, SUNO was a liberated zone. We ran a newspaper giving our analysis of things. Held daily meetings with students in the science lecture hall. Allowed any and everyone to speak at the meetings. And in general out-organized our oppositions.

 

One thing we did that was important. We delegated leadership positions far and wide, and not simply to those in our inner circle.

 

Once someone was put in charge, they were in charge and made all decisions. One of the brothers who ran the school paper was gay. My position was as long as the paper was coming out on time and was well done nobody had anything to say about who should or should not be running the paper. Period.

 

Forty years later I still run into comrades and fellow students from the SUNO Spring of ’69. I don’t know most of them personally but they know who I am and I embrace them, literally, embrace them in celebration for who they are and for their participation when it counted. For many, many people SUNO was a highlight of their life experiences.

 

Today, when I have these chance encounters, I am always proud. I am forever grateful to have had the opportunity to be part of the SUNO struggle. The majority of the lives that were touched were not the uppity-ups, the petit-bourgeoisie in training to become functionaries in the state machinery. No. I’m talking about ordinary street people. We speak with pride and love when we briefly reminisce about the SUNO days.

 

In the Spring of ’69, I had just turned twenty-two. I and most of my comrades were physically fit, mentally quick, and on revolutionary fire. Being the grandson of two preachers, some would say I had inherited the gift of gab, but in that department I was no different that local leaders in black communities and among black students all across America. We all could rap.

 

Of course, my commitment to writing and theatre was a big plus. I had the ability to utter witty phrases that captured the essence of what we wanted and often mercilessly ridiculed our opponents.

 

I had a poem I frequently performed during that period. The poem was called “Knuckle-headed Niggers.” I would run down a list of deficiencies evidenced by knuckle-heads. People would be falling out laughing. I ended the poem with my fist shot high in the air in a black power salute and urged my audience to do the same. And then, while bouncing my fist against my own head, I would say, “now tap your fist against your head—how does your head sound to you!”

 

We were determined to be true revolutionaries and not simple-ass, knuckle-heads thinking that revolution was a party. No, people were putting their lives on the line, some of us, such as my grandfather and Jean Kelly’s mother had actually died during this time period. We weren’t just college students playing pranks.

 

We knew: to play at revolution was to be put down. We were serious, the times were serious. One way or another, change was going to happen. Our goal was to the best of our abilities to direct the changes in our society, and where we lacked the ability to direct, we certainly had the ability to influence.

 

Our flag was flying, our people were on the move, change was being made. At SUNO, in New Orleans, and all across America, these were difficult and dangerous times and simultaneously was a beautiful era of revolutionary optimism and opportunity. Nineteen sixty-nine, a great time to be alive.

 

—kalamu ya salaam

 

PUB: Southern Indiana Review Michael Waters Poetry Prize > Poets & Writers

Southern Indiana Review

Michael Waters Poetry Prize

Deadline:
February 1, 2013

Entry Fee: 
$20
E-mail address: 
sir@usi.edu

A prize of $2,000 and publication by Southern Indiana Review Press will be given annually for a poetry collection written in English. All entries are considered for publication. Michael Waters will judge. Submit up to 80 pages of poetry (no more than one poem per page) with a $20 entry fee ($5 for each additional entry) by February 1. Call, e-mail, or visit the website for complete guidelines.

Southern Indiana Review, Michael Waters Poetry Prize, University of Southern Indiana, 8600 University Boulevard, Evansville, IN 47712. (812) 464-1784. Ron Mitchell, Editor.

via pw.org

 

PUB: The Devil's Kitchen Reading Awards in Poetry and Prose

The 2013 Devil's Kitchen Reading Awards in Poetry and Prose 

 

The Department of English at Southern Illinois University Carbondale and GRASSROOTS, SIUC's undergraduate literary magazine, are pleased to announce the 2013 Devil's Kitchen Reading Awards. One book of poetry and one book of prose (novel, short fiction, or literary nonfiction) will be selected from submissions of titles published in 2012, and the winning authors will receive an honorarium of $1000 and will present a public reading and participate in panels at the Devil's Kitchen Fall Literary Festival at Southern Illinois University in Carbondale, Illinois. The dates for the 2013 festival will be October 23-25, 2013. Travel and accommodations will be provided for the two winners.

 

Entries may be submitted by either author or publisher, and must include a copy of the book, a cover letter, a brief biography of the author including previous publications, and a $20.00 entry fee made out to "SIUC - Dept. of English." Entries must be postmarked December 1, 2012 - February 1, 2013. Materials postmarked after February 1 will be returned unopened. Because we cannot guarantee their return, all entries will become the property of the SIUC Department of English. Entrants wishing acknowledgment of receipt of materials must include a self-addressed stamped postcard. February 1, 2006. Materials postmarked after February 1 will be returned unopened. Because we cannot guarantee their return, all entries will become the property of the SIUC Department of English. Entrants wishing acknowledgment of receipt of materials must include a self-addressed stamped postcard.-->

 

Judges will come from the faculty of SIUC's MFA Program in Creative Writing and the award winners will be selected by the staff of GRASSROOTS. The winners will be notified in May 2013. All entrants will be notified of the results in June 2013.

 

The awards are open to single-author titles published in 2012 by independent, university, or commercial publishers. The winners must be U.S. citizens or permanent residents and must agree to attend and participate in the 2013 Devil's Kitchen Fall Literary Festival (October 23-25, 2013) to receive the award. Entries from vanity presses and self-published books are not eligible. Current students and employees at Southern Illinois University Carbondale and authors published by Southern Illinois University Press are not eligible.

 

Send all materials to: 

Devil's Kitchen Reading Awards/GRASSROOTS

Dept. of English, Mail Code 4503

Southern Illinois University Carbondale

1000 Faner Drive

Carbondale, IL  62901

 

(please indicate "Poetry" or "Prose" on envelope)

 

For further information, e-mail grassrootsmag@gmail.com or call 618-453-6833. www.siu.edu/~groots/dkawards.html>, or call 618-453-6833.-->

 

 

PUB: Kresge Foundation Literary Artist Fellowships > Poets & Writers

Kresge Foundation

Literary Artist Fellowships

Deadline:
February 1, 2013

Nine fellowships of $25,000 each will be given annually to poets, fiction writers, and creative nonfiction writers living in metropolitan Detroit. The fellowships are designed to enable writers to devote time and resources to advance their literary career. Residents of Macomb, Oakland, and Wayne counties who are not currently enrolled in a degree-granting program are eligible to apply. Submit 10 to 15 pages of poetry or prose, a résumé, a writer's statement, a community impact statement, and a description of the work to be accomplished by February 1. There is no entry fee. Visit the website for the required entry form and complete guidelines.

Kresge Foundation, Literary Artist Fellowships, College for Creative Studies, 201 East Kirby, Detroit, MI 48202. (313) 664-7940.

via pw.org

 

PERU + VIDEO: Monica Carillo - AfroPeruvian Youth Find Their Power « Progressive Pupil

AfroPeruvian Youth

Find Their Power

While Brazil was the largest recipient of slaves during the Transatlantic Slave Trade, African slaves were sent all over Latin America. In Peru, people of African descent currently account for roughly 10% of the population and face a number of economic, health and education issues that continue to keep them on the margins of Peruvian society.

slave trade

The transatlantic slave trade brought Africans to North and South America.

Founded in 2001, Centro de Estudios y Promocion Afro-Peruano (Center for the Study and Promotion of AfroPeruvians), also known as LUNDÚ, promotes and develops grassroots organizing among AfroPeruvian communities through artistic and cultural projects to create change. Leading these efforts is Monica Carrillo, a poet, activist and organizer who saw the need to undo racism, beginning with youth. LUNDÚ is the only feminist, youth founded and led organization in Peru, addressing issues ranging from sexual and reproductive health to education through the mediums of publications, documentary films and grassroots organizing.

Lundu OrganizingLUNDÚ has a number of projects going on. Most notably, their Inclusive, Anti-Racist Education Program focuses on improving the quality of life for AfroPeruvian youth by creating equitable conditions for access to primary, secondary and higher education – especially in rural communities. They do this by providing a scholarships for participants. Their Network of AfroPeruvian Youth is composed of 20 youth leaders from the El Carmen district. They work promote human rights, sexual health, reproductive rights. They publish the blog Estética en Negro or Black Aesthetics. The blog works to strengthen the identity and self-esteem of children of color and help them develop the skills they need to combat racism, violence and exclusion. Their program Advisory Center operates as a reference for organizers to develop advocacy skills through trainings focused on community organizing, sensitization and facilitating dialogue about sexual and reproductive rights. The overall aim of LUNDÚ is to give AfroPeruvian children and girls, both from rural and urban areas, the chance to overcome obstacles through an awareness of ethnicity and gender.

LunduLUNDÚ is an important organization because Latinos both within and outside of Latin America are generally imagined as being outside the Diaspora. Racism towards Black Latinos is commonplace alongside a denial of their African roots. From the outside, most people only imagine Latinos as people who look like Ricky Ricardo or Sofia Vergara, which constantly leave AfroLatinos out of the picture. The work that LUNDÚ does helps engage the ethnic reality thousands of people in the Diaspora experience on a daily basis.

__________________________

 MONICA CARILLO, an Afro-Peruvian Hip-Hop activist, writer, poet, singer, musician, community leader, journalist, human  rights advocate, feminist and educator, working to empower her  community, especially working with younger generations of Peruvian young  people that live under poverty. Carrillo, who goes by the name Oru, creates music that mixes poetry, afro-beat, soul, hip-hop and Afro Peruvian music to illuminate the contributions made by those of African descent living in Peru, to bring attention to the ongoing effects of racism and sexism and as a form of self expression.  Her music has been featured throughout the globe, most notably on MTV Europe.  Concerned about the effect of racial and sexist discrimination on other young Afro-Peruvian women, Carrillo founded LUNDU, the Center for Afro Peruvian Studies and Advancement,  an anti-sexism, anti-racism, anti-homophobia organization focused on empowering a new generation of Afro-Peruvian leaders. It is currently the only group working on issues of gender, sexuality and human rights in Afro-descendent communities in Peru. Carillo was recently attacked for her anti-racism campaign that demanded that a &ldquo;black mammy&rdquo; character be removed from a television show. She has given speeches and conferences in the US, South Africa, England,  Brazil, Colombia trying to call the attention to the problems of her  communities. Carillo is the recipient of the &ldquo;Young women  that fight for the future&rdquo; award by the NYC-based advocate organization  MADRE. <a href=http://www.oruperu.com/" />

 

MONICA CARILLO, an Afro-Peruvian Hip-Hop activist, writer, poet, singer, musician, community leader, journalist, human rights advocate, feminist and educator, working to empower her community, especially working with younger generations of Peruvian young people that live under poverty. Carrillo, who goes by the name Oru, creates music that mixes poetry, afro-beat, soul, hip-hop and Afro Peruvian music to illuminate the contributions made by those of African descent living in Peru, to bring attention to the ongoing effects of racism and sexism and as a form of self expression. Her music has been featured throughout the globe, most notably on MTV Europe. Concerned about the effect of racial and sexist discrimination on other young Afro-Peruvian women, Carrillo founded LUNDU, the Center for Afro Peruvian Studies and Advancement, an anti-sexism, anti-racism, anti-homophobia organization focused on empowering a new generation of Afro-Peruvian leaders. It is currently the only group working on issues of gender, sexuality and human rights in Afro-descendent communities in Peru. Carillo was recently attacked for her anti-racism campaign that demanded that a “black mammy” character be removed from a television show. She has given speeches and conferences in the US, South Africa, England, Brazil, Colombia trying to call the attention to the problems of her communities. Carillo is the recipient of the “Young women that fight for the future” award by the NYC-based advocate organization MADRE.

http://www.oruperu.com/

__________________________

 

Empowering

Perú's Black Communities

Monica “Oru” Carrillo

Empowering Perú's black communities against racial discrimination and sexism.


As a Peruvian black woman, Monica Carrillo who herself faces racism and sexual discrimination, has become a role model and an advocate working to empower the Afro Peruvian community, particularly the young. She wants Peru’s rich African heritage to be included as part of the Peruvian national identity. Her work with impoverished black youth has given her international recognition. 


The name, LUNDU, originates from a traditional African dance in The Kongo region of Western Africa, it means “successor.”

In addition, she is a hip-hop artist, writer, poet, singer, musician, journalist, and educator.Monica, or Oru, as she is called, mixes poetry, Afro-beat, soul, hip-hop and Afro Peruvian music to highlight contributions made by black Peruvians to combat racism and sexism. Her music has been featured internationally, particularly on MTV Europe, addressing how discrimination, sexism effects young black Peruvian women.


“The other day I left my house...and counted the number of insults I received in 20 minutes: 12. People say these things and they don’t run away, because they feel they’re in the right.”
--Monica “Oru” Carrillo

Oru founded LUNDU, the Center for Afro Peruvian Studies and Advancement (see Black Peruvian Rights Struggle), which strives to improve conditions for blacks who represent between seven and 10 percent of Perú's population. She and her organization LUNDU received threats because of their successful campaign to remove a racist television program from the airwaves (see Perú's Racist Propaganda). 

LUNDU helps young Afro-Peruvians overcome discrimination using the arts, advocacy, education, civic engagement, and economic and educational opportunities. LUNDU’s outreach to black youth involves life skills, sexual education, black pride workshops, and empowerment against violence, abuse, and forced sex, and unwanted pregnancies. Oru has been quoted as saying, our girls believe their lives are worth something.
Related Posts on Black Perú

>via: http://ahorasecreto.blogspot.com/2011/08/afro-peruvian-soul-and-hip-hop-activ...

 

 

OBIT + VIDEO: Jayne Cortez

JAYNE CORTEZ

Jayne Cortez (May 10, 1936 - December 28, 2012) was a poet, and performance artist. Cortez was born May 10, 1936 in Fort Huachuca, Arizona, and grew up in California. She is the author of ten books of poems and performer of her poetry with music on nine recordings. Cortez has presented her work and ideas at universities, museums, and festivals in Africa, Asia, Europe, South America, the Caribbean and the United States. Her poems have been translated into many languages and widely published in anthologies, journals and magazines, including Postmodern American Poetry, Daughters of Africa, Poems for the Millennium, Mother Jones, and The Jazz Poetry Anthology. She was organizer of "Slave Routes the Long Memory" and "Yari Yari Pamberi: Black Women Writer Dissecting Globalization", both conferences held at New York University. She is president of the Organization of Women Writers of Africa, and appears on screen in the films Women In Jazz and Poetry in Motion. She married Ornette Coleman in 1954 and divorced him in 1964. She is the mother of jazz drummer Denardo Coleman. In 1976 she married sculptor Mel Edwards. She lived in Dakar, Senegal, and New York City where she died.

__________________________

SHE LEAVES US

WITH SCARIFICATIONS

I first met Jayne Cortez in 1973. We read together at Dingane’s Den located on 18th Street in Washington, D.C. She signed a copy of her chapbook Pisstained Stairs and The Monkey Man’s Wares and gave it to me. This was back in the day when a book was just $2.00. Cortez was one of the established writers at that time who were very supportive of my early work, the others were Eugene Redmond, Lance Jeffers, Haki Madhubuti, Stephen Henderson, Sterling A. Brown and Leon Damas.
What Cortez gave me was poetry ears. Maybe this is why I could listen to Ornette Coleman after listening to her. Cortez made me listen to the music (again). My favorite John Coltrane poem will always be “How Long Has Trane Been Gone.”  But who will ever forget how she ended her poem
“Theodore” with that classic Cortez slap against consciousness:

Yes remember
the name was
T. Navarro
they called him
Fats for short
and his life
was snuffed by
inadequate people
whose minds was
Dry as chicken-shit-slime

Jayne Cortez had a fan club consisting of other writers. I’ll always associate her with Quincy Troupe. I suggest we honor Cortez by finding a copy of Yardbird Reader, Volume 5 that was published in 1976. Here one will find Charles Davis, Eugene B. Redmond, Stanley Crouch, Deborah A. Gilliam, Charles C. Thomas, Verta Mae Grosvenor, and Clyde Taylor writing about her. Troupe however is the first to give testimony.  His words seem to resonate tonight as I think about Jayne Cortez:

Many times we recoil in horror from what we hear and feel in the poetry of Jayne Cortez; sometimes many of her poems make us want to weep, not for her, but for ourselves, our own transgressions, our own particular weaknesses, as well as the weaknesses of the world; then there are the poems that makes us angry, both at Ms. Cortez, for telling us a particularly, penetrating truth, and at ourselves for committing the acts that the poem is addressing itself to; but at no time in listening to and reading the poetry of Jayne Cortez, are we failed to be moved by the power of her impact.

I hope as we remember Jayne Cortez we also remember the men in her life. When I met her in 1973, I also met her partner Mel Edwards. One thing that should be celebrated more in the African American community are those “cultural love couples.”  Edwards designed many of Cortez’s books that she released through her own Bola Press. He took her pictures. He was always there when she came to DC to give a reading. It was several years after 1973 that learned more about the stature of Edwards; he was that humble. It was Jayne Cortez who was always talking about Leon Damas and Christopher Okigbo. She was at the center of all those poets one finds in the landmark anthology Giant Talk: An Anthology of Third World Writings  compiled and edited by Quincy Troupe & Rainer Schulte. Cortez’s life touched the entire black world. Too often only gravity or a life like Walter Rodney will accomplish this.
I hope we have not seen the last of the Firespitters. I kiss these words by Cortez one more time:

Ask me
Essence of Rose Solitude
chickadee from Arkansas that’s me
i  sleep on cotton bones
cotton tails
and mellow myself in empty ballrooms
i’m no fly by night
look at my resume
i walk through the eyes of staring lizards
i throw my neck back to floorshow on bumping goat
skins
in front of my stage fright
i cover the hands of Duke who like Satchmo
like Nat (King) Cole will never die
because love they say
never dies

E-Note by E. Ethelbert Miller