POV: Our Father's Not in Heaven: The New Black Atheism

Our Father’s Not in Heaven:

The New Black Atheism

By cord jefferson

Our Father's Not in Heaven: The New Black AtheismSeveral years ago, I pitched a freelance piece about black atheism to a prominent magazine geared toward African-Americans. The pitch was denied, but not for any real reason. "That one might be a bit, uh, hard," is all my editor said. I'd later come to find out that he was merely sheltering me from his ultra-Christian executive editor, who would never let a piece questioning religion run in the magazine.

Black America's religious problem isn't that it's highly religious—most of America is religious—it's that, in my experience, it's highly religious to the point of exclusion, as if black people living their lives without God don't count. Black atheists or agnostics are often looked at by other blacks as alien or pitiable. A black atheist quoted in the New York Times last year said his mother was bothered more by the admission that he is an atheist than the admission that he is gay. Another in the Huffington Post said that declaring she was an atheist to her black friends was "social suicide."

I can understand where they're coming from. In high school, I went on a day-trip to a convocation of Black Students Unions, where we were all asked to bow our heads and pray before lunch. I was shocked. I tipped my head out of politeness, but rather than pray, I just sat there and wondered if what we were doing was legal. A few years later, during my freshman year in college, a black girl asked me what church I was going to attend as if it were as certain as asking me where I planned on eating or breathing. When I told her I wouldn't be going to any church, she wrenched her face away from me, aghast, like I'd vomited onto her lap. "Oh," she responded, "OK." We literally never spoke again.

***

I can't remember exactly when the last line of Martin Luther King, Jr.'s "I Have a Dream" address began to bother me, but I think it was sometime around 6th grade. That was the year my history teacher had the class sit through all 14 hours of Eyes on the Prize, memorizing dates and important heroes and the names "Selma" and "Little Rock." Growing up with a black history-buff father, I'd heard the speech many times before. But I'd never pored over it in conjunction with a deep dissection of the Civil Rights movement as a whole. And when I finally did, I just couldn't get over that last line.

"One day, if everyone does get free at last," I asked my dad, "why would we thank God Almighty? Why not thank ourselves for working hard?" My father, who had been raised in the Baptist church and converted to Catholicism for his first marriage before leaving both, is the person who gave me my initial skepticism of religion, so he laughed at my question. "It's because if you believe in a certain kind of god," he answered after a long bit of silence, "you believe that that god provides you with everything. It's like thanking the sun for an ear of corn. You wouldn't be able to get the corn without a farmer or a truck, but before those things, you need the sun."

I always thought that was an elegant description of why some people thank god for even the smallest things, but it never fully sated me. And as I got older and more interested in what my ethnicity meant to me, I grew increasingly troubled by how linked so much of black history—and thus modern black America—is with religion.

To begin with, there are the Reverends King, Ralph Abernathy, Joseph Lowery, Fred Shuttlesworth, Al Sharpton, and Jesse Jackson, not to mention countless others both alive and dead. After escaping from slavery, Frederick Douglass was briefly a preacher in the African Methodist Episcopal Zion Church in New Bedford, Massachusetts. Booker T. Washington taught Sunday school at his Baptist church in West Virginia, and, when he was appointed president of the Tuskegee Institute, he said the school should be sure to impact the "moral and religious life of the people." Harriet Tubman believed the intense dreams she had of salvation and freedom were gifts from God. Even early America's preeminent black scientist, George Washington Carver, put his faith in the Lord, saying that the key to his success was a Bible passage: "In all thy ways acknowledge Him and He shall direct thy paths.'"

Elsewhere, there is the Southern Christian Leadership Conference. There are the Christian hymns turned folk anthems—"Go Tell It on the Mountain," "This Little Light of Mine," "We Shall Overcome"—that bathed Civil Rights marches in even more Christianity. There is the Black National Anthem, "Lift Every Voice and Sing," which mentions "God" four times compared to the single mention in the "Star-Spangled Banner" (there's no mention of God at all in the abridged version we sing). There is Black liberation theology, a form of worship that seeks to combat racism via Biblical principles and narratives. Black liberation theology became somewhat of a household term in 2008, when Barack Obama's pastor, Jeremiah Wright, was accused of being a radical purveyor of it.

Black religious life has always extended beyond Christianity, of course, to notable Muslims like Malcolm X, Elijah Muhammad, Yusef Lateef, Yasiin Bey (formerly Mos Def), and the many, many black Muslims who aren't famous. There is also an increasing number of African-American Jews, who have had some mild fame at least since Sammy Davis Jr. converted.

It's impossible to criticize the black community for its history of devotion to God. For a long time, black houses of worship doubled as war rooms to plan protest actions and galvanize people made weary by centuries of racist violence and legislation. When many black children attended Sunday school throughout the 19th and early 20th century, they not only received the standard Biblical lessons, they also learned to read and write, skills not necessarily afforded to them, often by law. By the time Dr. King was preaching in churches throughout the South, the strength of the black church was made obvious by how many white supremacists sought to destroy them with explosions and fire—the Klan wasn't bombing black bars or brothels, and there was a reason for that.

Blacks are now the most religious ethnic group in America, with 86 percent saying they're "very" to "moderately" religious compared to just 65 percent of whites. Even blacks who purport to have no involvement with any church, mosque, or synagogue whatsoever are generally unwilling to reject the concept of God entirely, making African-Americans also the least likely to call themselves atheist or agnostic. For us people of color with no devotion to religion whatsoever, a tiny minority within a minority, the internal culture clash can sometimes prove awkward. It's this culture clash that I find so irritating and ugly.

And the job of airing the "black perspective" on cable news is very often given to people like Reverend Jackson or Reverend Sharpton or Roland Martin, who has a master's degree in "Christian Communications" from Louisiana Baptist University, an unaccredited religious institution. I don't care that so many African-American leaders are steeped in deep religious tradition; I care that those are the people called upon to speak for all of black America, and they always have been. Most white Americans are religious, too, and yet MSNBC or CNN would never call on the pastor Joel Osteen to dissect the problems facing all white Americans. The networks would understand, rightly, that Osteen's deep religious conviction makes him an inapt spokesperson for a group of people with diverse beliefs. That those networks don't afford blacks the same respect is telling, and it's a tacit acceptance of the myth that blacks and religion, particularly Christianity, are one and the same.

So that I don't come off as someone content to reject the status quo without offering a solution, I'd like to make a formal nomination: I nominate astrophysicist Neil deGrasse Tyson as the black leader America needs in the 21st Century. Though our numbers remain small, African-Americans willing to out themselves as agnostic or atheist represent a growing category, with one report finding that the percentage of blacks calling themselves nonreligious nearly doubled from 1990 to 2008. To that end, it's important to begin moving away from the near monopoly religious persons have over professional black leadership. This doesn't mean we have to stop listening to Reverends Sharpton and Jackson. Rather, I'd simply like us to start listening to and seeking out the opinions of blacks who eschew religious faith in favor of finding motivation and glory outside the church. I think we'd discover that many of the opinions religious blacks may think of as churchly are actually similar to those held by nonreligious blacks, which would be a lesson in and of itself.

So why Tyson? Not only because he self-identifies as an agnostic and says that there is "no evidence" to support the fact that anyone benevolent created the universe. But also because Tyson, whose Twitter account and YouTube reputation are stuff of internet legend, seems to be possessed of an inquisitiveness from which I believe the entire world could learn.

One of the things that irritates me to no end about black churches is how many of them spread noxious homophobia. Many white churches do the same, of course, but those aren't the ones preaching to communities being ravaged by HIV and AIDS. To be fair, Al Sharpton has come out against the black church's anti-gay nonsense before, yet it still persists, supported by pastors who believe the Bible both condemns homosexuality and trumps whatever any mortal like Sharpton says. That's always the problem with heralding a holy book while attempting to scoff at what people believe that holy book says; it's hard to have it both ways.

Tyson doesn't take his lessons from the Bible. Nor does he take his lessons from the Dawkins Manual on Condescending to Theists. When asked if he's an atheist, Tyson likes to say that the only "ist" he is is a "scientist." I think it's time more blacks followed Tyson's lead and, instead of looking to the Bible for answers, began looking for understanding in the realities and evidence around them. And based on what I've seen of the problems impacting the black community, from poverty to illness to violence to crushing racism, if there is a God up there watching us suffer this way, it's probably time to admit that he's not coming to save us.

What if black Americans woke up this weekend and didn't go to church or Sunday school? What if they instead took that time to enrich themselves in other ways, like talking to their families about their worries and insecurities, or reading books? What if the thousands of black Americans who follow Creflo Dollar, a multimillionaire megachurch pastor in command of mansions and a Rolls Royce, stopped donating their money and time to him, and instead used those resources to improve their own lives? What if they, as Tyson has done, became scientists out to explore their world in new ways? Would they get happier? Would the ones who hate gays finally be able to get over their fears? Would some of them sit at the kitchen table with their mothers and sob because the world seems so confusing and hurtful all the time? I don't know the answers to any of these questions, and perhaps they're the wrong questions to ask. But I do know that improving the black community via the church is an idea that seems to have run its course, and I'd like to move forward.

My paternal grandmother was a sweet woman with a third-grade education who spent her life working as a maid in a wealthy white factory owner's mansion. She was a Christian, and she prayed and said that God had blessed her and me and our family, and I loved her dearly. I now miss the sound of her voice.

One story my father tells about my grandmother is of the time he was standing with her in her kitchen in 1969, talking about the impending moon landing. "I just don't know how they're going to be able to do it," my grandmother said to my dad. "It seems impossible." "You don't understand, mom," my dad, who at this point had been to Vietnam, college, and law school, said. He motioned to the home around them. "The spacecraft is bigger than this entire house!" "I know that," my grandmother said. "So how's something that big going to get around all those teeny, tiny stars?"

My grandmother prayed for me until the day she died. I thank her for that, along with everything else she did for me, but I often wish she'd spent that time learning about the stars instead.

 

Cord Jefferson is the senior editor at GOOD magazine.

VIDEO: Why did you made me black Lord? > AFRO-EUROPE

VIDEO ART:

Why did you

made me black Lord?

 

The video entitled "The image of me", which is made by Danish video artist Jeannette Ehlers and Dutch visual artist Patricia Kaersenhout for the Black Magic Women Festival 2012 in Amsterdam Southeast,  portrays two women – one black and one white – who gradually change colour. The video is based on the poem "Lord Why Did You Make Me Black?" from African-American poet RuNett Nia Ebo.

The video is part of the exhibition BE YOU, which is curated by Renske de Jong & Sasha Dees. The exhibition runs until 28 December 2012. More on the artists and exhibition at www.oazo-air.com.

The Black Prayer 

(Original title "Lord Why Did You Make Me Black?" )

Lord, why did you made me black?
Why did you make someone the world would hold back?
Black is the color of dirty clothes of grimy hands and feet,
Black is the darkness of tired beaten streets.
Why did you give me thick lips, a broad nose, and kinky hair?
Why did you create someone who receives the hated stare?
Black is the color of the bruised eye when someone get hurt,
Black is the color of darkness, black is the color of dirt.
Why is my bone structure so thick, my hips and cheeks so high?
Why are my eyes brown, and not the color of the sky?
Why do people think I’m useless, how come I feel used?
Why do people see my skin and think I should be abused?
Lord, I just don’t understand it about my skin...
Why is it some people want to hate me and not know the person within?
Black is what people are “Labeled” when others want to keep away,
Black is the color or shadows cast, black is the end of the day.
Lord, you know my own people mistreat me, and you know that just ain’t right,
They don’t like my hair, they don’t like my skin, as they say I’m too dark or too light!
Lord, don’t you think it’s time to make a change?
Why don’t you redo creation and make everyone the same?

God’s Reply
Why did I make you? Why did I make you black?
I made you in the color of coal from which beautiful diamonds are formed,
I made you in the color of oil, the black gold which keeps people warm.
Your color is the same as the rich dark soil that grows the food you need,
Your color is the same as the black stallion and panther, Oh what majestic creatures indeed!
All colors of the heavenly rainbow can be found throughout every nation,
When all these colors blended, you become my greatest creation!
Your hair is the texture of lamb’s wool, such a beautiful creature is he,
I am the shepherd who watches them, I will ALWAYS watch over thee!
You are the color of the midnight sky, I put star glitter in your eyes
There’s a beautiful smile hidden behind your pain, that’s why your cheeks so high!
You are the color of dark clouds from the hurricanes I created in September,
I made your lips so full and thick, so when your kiss...they will remember!
Your stature is strong, your bone structure thick to withstand the burden of time,
The reflection you see in the mirror, that image that looks back, that is MINE!
So get off your knees, look in the mirror and tell me what you see,
I didn’t make you in the image of darkness: I made you in image of ME! 

 

 

HISTORY: Black man and woman in 16th century drawing come to life in film of John Akomfrah

John Akomfrah

Dutch journalist Abdelkader Benali meets London-based film-maker and cultural activist John Akomfrah at Imagining Europe. Born in Ghana and brought up in London, Akomfrah is a much decorated and admired film director whose 25-year body of work ranges from documentaries to feature films and audiovisual art installations. He is widely credited as one of the chief architects of modern Black British cinema after co-founding the Black Audio Film Collective in the early 1980s. 

John Akomfrah's films are widely acclaimed for their poetic juxtapositions of archival media footage, literary texts and compelling soundscapes. His ethical recycling of the archive pose questions on memory, migration and the complex relation between place and selfhood. 

For this closing event in ECF's four-day Imagining Europe programme, exerts of Akomfrah's works including Signs of Empire, Handsworth Songs and Mnemosyne as well as a preview of his latest film Peripeteia inspired a thought-provoking discussion on the routes of the migrant imaginary in Europe's past and present.

<p>Peripeteia trailer from Carroll / Fletcher on Vimeo.</p>

Black man and woman

in 16th century drawing

come to life in film

of John Akomfrah

 

British filmmaker John Akomfrah imagines the lives of a black man and woman who appear in a sixteenth-century drawing by German Renaissance master Albrecht Dürer. In an exhibition which runs from 5 October - 8 November 2012 in London he makes them come to life.

Head of a Negro by Albrecht Dürer from 1508 (left). Portrait of the Moorish Woman Katharina from 1521.  Dürer saw her in Antwerp, where she was the servant or slave of the Antwerp agent of the king of Portugal. The inscription says Katharina allt 20 Jar (right).

The exhibition Hauntologies is artist and filmmaker John Akomfrah's compelling meditation on disappearance, memory and death. In his first exhibition for Carroll/Fletcher, the virtuosity and depth of Akomfrah's practice is revealed in three new video, sound and installation works - never before presented in the UK - as well as a new presentation of a video essay from 1998.

The short film Peripeteia (2012), which is part of the exhibition, also takes as its starting point two drawings by the sixteenth century artist Albrecht Dürer. The portraits - one of a bearded black male, the other of a black woman wearing a close fitting bonnet - are among the earliest Western representations of black people, their existence now "lost to the winds of history". These elusive characters evolve into the film's ghostly protagonists, wandering in a contemporary moorland landscape, the past insinuating itself into the present. The painterly quality of Peripeteia has also been captured in a series of limited edition diptychs.

Read more about the film and see more picture at Shadow and Act.

  In an interview with Bárbara Rodríguez Muñoz (BRM,) John Akomfrah (JA) explains the film.

BRM The new film Peripeteia takes as its starting point two portraits by the sixteenth century artist Albrecht Dürer, which are believed to be one of the earliest Western representations of black people. How did you come across the drawings?

JA If I hadn’t gone into making films I would have gone into art history, which was one of my main obsessions when I was a child. I discovered these two particular draw¬ings about twenty years ago in a very famous collection called The Image of the Black in Western Art. It’s a five or six volume monograph, a huge monumental survey. So over the years I have become obsessed with this idea and the enigma of disappearance. These drawings are highly charged for me, almost totemic in what they mean: they are quintes¬sential examples of the violence of history. Because these two artifacts, which attest to an existence at some point, also suggest that we don’t live on a round planet but a flat one. Because everything about them looks like it went to the edge of the world and it fell off into oblivion. And I think that there are powerless and marginal figures like troubadours, religious groups, migrant communities, whose histories suggest that we live on a flat earth because their narratives and stories have just disappeared. So when you come across vestiges of that presence, one or two things that at the very least you try to achieve is an act of rescue. But it’s a complicated one since I am not by any means suggesting that this is the truth, but I am trying to construct the kind of wall of affinity in which my interests, subjectivity and desires are pinned on at the same time as their drawings. As I said I am not playing God, I can’t make them come back alive, but I can say they mean something to me, or that the idea of their existence suggests something to me. They do shock you. I’ve looked at them so many times, so intensively that I know almost everything that a face can tell you. I can tell you for instance how old she is, that one of her eyes is damaged, that she is in her pre-puberty and she is preoccupied with something. It looks like this is not necessarily how she would dress, she looks uncomfort¬able, out of her zone. Now it feels like their past and what we have done with them in the film have fused, and they have an identity for me. The act of making the film transforms both myself and the artifact.

BRM The characters wanderings in the landscape are juxtaposed with close ups from Hieronymus Bosch’s masterpiece, The Garden of Earthly Delights. Why did you choose this Bosch painting?

JA For pretty much the same reasons as the drawings. It’s clear when you look very closely that the black figures have been made out of some acquaintances with black subjects, that there was an encounter. Whether or not it’s there to function as an allegory of excess and decline, for me this painting has always depicted a utopia, because itsuggests that the Adamic space of our emergence was multicultural!

BRM We were all together…

JA Yes, always together from the beginning. It might be an allegory of lust, a morality tale, but actually the materiality of the work suggests otherwise, and this is the fascinating thing about making images and paintings: they have a life that is independent of what they were supposed to say. It now exists as a record of a certain European encounter with the other. But there is still the mystery of who these people could have been? Where did Bosch meet them? What was their status? I always accepted them not as realistic representation but as real ones, they are not products of a fantasy.

BRM Could you talk about the possible life of the characters portrayed in Peripeteia? Who are they?

JA I suppose I want them to be pretty much like me. The most important thing is that they suggest an interior life. What could this interior life possibly be? This is when the archival photographs we finally used of their possible “origins” came in. The girl stands by a cliff and remembers two women who could be her mother and aunt, or they might be older people from the village she came from. But the fact is that if this young woman existed — and I think she did — and if she at any point in her life in Europe thought back — and I think she would have done so several times — and if she had imagined where she came from, these found photographs would have been a vision. We are giving them a plausible interiority and this inner chamber is populated by many possibilities: happiness, sadness, memories... And beyond that, once they acquire an ontology they are then free to move on.

 

 

VIDEO: 10 Great Performances From 10 Legendary Jazz Artists: Django, Miles, Monk, Coltrane & More > Open Culture

10 Great Performances

From 10

Legendary Jazz Artists:

Django, Miles, Monk,

Coltrane & More

 

 

Billie Holiday Sings ‘Strange Fruit,’ 1959:

Last week we brought you a post titled “Miles Davis and His ‘Second Great Quintet,’ Filmed Live in Europe, 1967,” featuring Herbie Hancock and Wayne Shorter. The response was enthusiastic, and it reminded us that a great many of you share our love of jazz. It got us thinking: Why not gather the material from our favorite jazz posts and organize it in one place? So today we’re happy to bring you ten great performances from ten legendary artists.

We begin with Billie Holiday (above) singing her painful signature song of racism and murder, “Strange Fruit.” The song was written by teacher and unionist Abel Meeropol, who was horrified when he saw a 1930 photograph of two black men hanging from a tree in Indiana, victims of a lynch mob. Holiday first recorded “Strange Fruit” in 1939 and continued to sing it, despite some resistance, for the rest of her life. The performance above was taped in London for the Granada TV program Chelsea at Nine in February of 1959, just five months before Holiday’s untimely death at the age of 44.

Dave Brubeck Performs ‘Take Five,’ 1961:

The legendary pianist Dave Brubeck died earlier this month, just one day short of his 92nd birthday. To remember him on that day we posted the clip above from a 1961 episode of the American public television program Jazz Casual, with Brubeck and his quartet performing the classic song “Take Five” from their influential 1959 album, Time Out. The musicians are: Brubeck on piano, Eugene Wright on bass, Moe Morello on drums, and Paul Desmond (who wrote “Take Five”) on alto saxophone. For more on Brubeck, including a delightful clip of the elderly master improvising with a young Russian violinist at the Moscow Conservatory, see our Dec. 5 post, “Remembering Jazz Legend Dave Brubeck with a Very Touching Musical Moment.

Chet Baker Performs ‘Time After Time,’ 1964:

Last December we featured the clip above of Chet Baker playing the Sammy Cahn and Jule Styne standard, “Time After Time,” on Belgian television in 1964. Baker is joined by the Belgian flautist Jacques Pelzer, French pianist Rene Urtreger and an Italian rhythm section of Luigi Trussardi on bass and Franco Manzecchi on drums. Baker sings and plays the flugelhorn. For more of Baker’s music and a poignant look at his troubled life, be sure to see our 2011 post, Let’s Get Lost: Bruce Weber’s Sad Film of Jazz Legend Chet Baker.

Duke Ellington on the Côte d’Azur, 1966:

On a beautiful summer day in 1966, two of the 20th century’s great artists–Duke Ellington and Joan Miró–met at a museum in the medieval French village of St. Paul de Vence, high in the hills overlooking the Côte d’Azur. Neither one understood a word the other said, but Miró showed Ellington his sculpture and Ellington played music for Miró. In the scene above, narrated by the noted jazz impressario Norman Granz, Ellington and his trio play a new song that would eventually be named “The Shepherd (Who Watches Over His Flock).” The trio is made up of Ellington on Piano, John Lamb on Bass and Sam Woodyard on drums. To learn more about that day, including recollections from the only surviving member of Ellington’s trio, see our May 10 post, “Duke Ellington Plays for Joan Miró in the South of France, 1966: Bassist John Lamb Looks Back on the Day.”

Django Reinhardt Performs ‘J’attendrai Swing,’ 1939:

With only two good fretting fingers on his left hand, gypsy guitarist Django Reinhardt created one of the most distinctive instrumental styles in 20th century music. The clip above is from the 1939 short film Jazz “Hot”, which features Reinhardt, along with violinist Stéphan Grappelli and the Quintette du Hot Club de France, perfoming “J’attendrai Swing.” (“J’attendrai” means “I will wait.”) To learn about Reinhardt and the fire that cost him the use of most of his left hand, be sure to see our Aug. 10 post, “Django Reinhardt and the Inspiring Story Behind His Guitar Technique.”

John Coltrane Plays Material From A Love Supreme, 1965:

In December of 1964 the John Coltrane Quartet recorded its masterpiece, A Love Supreme, in one session. A highly original blending of hard bop and free jazz with spiritual overtones, the album is recognized as a landmark in jazz history. The Smithsonian Institution declared it a national treasure. But Coltrane reportedly played the material only once in public, at a 1965 concert in Antibes, France. You can see a portion of that performance above, as Coltrane and his quartet play  ”Part 1: Acknowledgement” from the four-part composition. The quartet is composed of Coltrane on tenor saxophone, McCoy Tyner on Piano, Jimmy Garrison on bass and Elvin Jones on drums. To watch and listen as the band plays “Part 2: Resolution,” see our 2011 post, John Coltrane Plays Only Live Performance of A Love Supreme.

Miles Davis on The Robert Herridge Theater, 1959:

Most of the great performances on this page were preserved by government-funded broadcasting companies, particularly in Europe. Left to its own devices, the “invisible hand” of the television marketplace was fairly content to ignore jazz and allow its great artists to pass unnoticed and unrecorded. A notable exception to this trend was made by the CBS producer Robert Herridge, who had the vision and foresight to organize an episode of The Robert Herridge Theater–a program normally devoted to the storytelling arts–around the music of Miles Davis. In an extraordinary 26-minute broadcast, shown above in its entirety, Davis performs with members of his “first great quintet” (John Coltrane on tenor and alto saxophone, Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums) and with the Gil Evans Orchestra.  (The sixth member of the smaller combo, alto saxophonist Julian “Cannonball” Adderly, can be seen briefly but doesn’t play due to a splitting migraine headache.) The broadcast took place between recording sessions for Davis’s landmark album, Kind of Blue.  The set list is: “So What,” “The Duke,” “Blues for Pablo,” “New Rhumba” and a reprise of “So What.” For more on Davis, see our Oct. 25 post, The Miles Davis Story: the Definitive Film Biography of a Jazz Legend.”

Thelonious Monk in Copenhagen, 1966:

Here’s a great half-hour set by Thelonious Monk and his quartet, recorded by Danish television on April 17, 1966. The lineup includes Monk on piano, Charlie Rouse on tenor saxophone, Larry Gales on Bass and Ben Riley on Drums. They play three songs–”Lulu’s Back in Town,” “Don’t Blame Me” and “Epistrophy”–with Monk giving the others plenty of room to solo as he gets up from the piano to do his stiff, idiosyncratic dance. For more on Monk, see our 2011 post on the extraordinary documentary film, Thelonious Monk: Straight No Chaser.

Bill Evans on the Jazz 625 show, 1965:

In March of 1965 the Bill Evans Trio visited the BBC studios in London to play a pair of sets on Jazz 625, hosted by British trumpeter Humphrey Lyttelton. The two 35-minute programs are shown above, back-to-back. The trio features Evans on piano, Chuck Israels on bass and Larry Bunker on drums. To read the set list for both shows, see our May 31 post, “The Bill Evans Trio in London, 1965: Two Sets by the Legendary Combo.” And for a fascinating introduction to the great jazz pianist’s philosophy of music, don’t miss our April 5 post, “The Universal Mind of Bill Evans: Advice on Learning to Play Jazz and the Creative Process.”

Charles Mingus in Belgium, 1964:

In April of 1964 the great bassist and composer Charles Mingus and his experimental combo, The Jazz Workshop, embarked on a three-week tour of Europe that is remembered as one of the high-water marks in Mingus’s career. The performance above was recorded by Belgian television on Sunday, April 19, 1964 at the Palais des Congrés in Liège, Belgium. Mingus and the band play three songs: “So Long Eric,” “Peggy’s Blue Skylight” and “Meditations on Integration.”  The group features Mingus on bass, Dannie Richmond on drums, Jaki Byard on piano, Clifford Jordan on tenor saxophone and Eric Dolphy on alto saxophone, flute and bass clarinet. A sixth member, trumpeter Johnny Coles, was forced to drop out of the band after he collapsed onstage two nights earlier. For more of Mingus’s music and a look at his troubled life, see our Aug. 2 post, “Charles Mingus and His Eviction From his New York City Loft, Captured in Moving 1968 Film.”

 

VIDEO: Weekend Music Break > Africa is a Country

Weekend Music Break

Here’s a resolution for the new year: to feature more Togolese pop. If you don’t know who the above Toofan duo is, google “Cool Catché”. Kuduro on the other hand we can never feature enough — this is a new video for MC Maskarado:

Don’t miss this week’s NPR piece on kuduro by the way, “The Dance That Keeps Angola Going”; they interviewed AIAC’s Marissa Moorman for it.

Next, from Uganda: Vampino and friends (arriving “from far”) visit a rural village; a party ensues. A different kind of dance-hall/pop/(add style):

Gambian artists Xuman, Djily Bagdad, Tiat and Ombre Zion take a stand ‘Against Impunity’:

South African Tumi Molekane directed a video for MC Reason (who is signed on Tumi’s record label):

Talking about labels…here’s a new video for South African rapper Kanyi. The story is funny-sad, but probably quite real too:

A video for Fatoumata Diawara’s song about men trying their luck crossing the Mediterranean to get to Europe. Here’s a translation of the lyrics.

Malian trio Smod (remember them) is all for ‘a united Mali’:

Wonderful new video for Asa’s Bond-esque ‘The way I feel’:

And one of the albums I’ve been listening a lot to this year — more about that next week — is Carmen Souza’s Kachupada. This is her version of Cape Verdean artists Humbertona and Piuna’s 1970s classic ‘Seis one na Tarrafal‘:

 

PUB: ACC Creative Writing Department: Balcones Prizes

The Creative Writing Department at Austin Community College is committed to recognizing outstanding works of literary merit through its Balcones Literary Prizes, worth $1,500 each.

 

The Balcones Center for Creative Writing at Austin Community College is pleased to announce the Balcones Fiction Prize ($1,500) in recognition of an outstanding book of literary fiction.

Click Here for more information regarding the Balcones Fiction Prize.

Click Here to download the nomination form.

Prize Information Eligibility:

  • Books of prose may be submitted by author or publisher; send three copies; books must bear a publication date between January 1, 2012 and December 31, 2012.
Deadline: January 31, 2013. Reading fee: $30; checks payable to Austin Community College

Address: Joe O'Connell, Balcones Fiction Prize Director, Austin Community College, 1212 Rio Grande Street, Austin, Texas 78701

Phone: (512) 584.5045

Email: joconne@austincc.edu

 

The Balcones Center for Creative Writing at Austin Community College is pleased to announce the Balcones Poetry Prize ($1,500) in recognition of an outstanding book of poetry.

Click Here for more information regarding the Balcones Poetry Prize.

Click Here to download the nomination form.

Prize Information Eligibility:

  • Books of poetry of 42 pages or more may be submitted by author or publisher; send three copies; books must bear a publication date between January 1, 2012 and December 31, 2012.
Deadline: January 31, 2013. Reading fee: $25; checks payable to Austin Community College

Address: John Herndon, Associate Director, Austin Community College, 1212 Rio Grande Street, Austin, Texas 78701

Phone: (512) 828.9368

Email: jherndon@austincc.edu

 

 

 

PUB: The Big Moose Prize

Each year Black Lawrence Press will award The Big Moose Prize for an unpublished novel. The prize is open to new, emerging, and established writers. The winner of this contest will receive book publication, a $1,000 cash award, and ten copies of the book. Prizes will be awarded on publication. 

Entry period: December 1 - January 31 To enter, please refer to the guidelines below.

CONTEST GUIDELINES

How to submit:

In order to reduce the costs of printing and postage and in the spirit of being a bit greener, Black Lawrence Press now accepts electronic submissions rather than hard copies for our contests. Please submit your manuscript and submission fee via Submishmash.

Need help with our submissions manager? 

Deadline:

The annual deadline for the prize is January 31. We accept entries starting December 1.

About the judges:

Black Lawrence Press does not use interns to screen entries. All entries are judged by the editors.

Notification:

Because of the high volume of entries received, all finalists and semi-finalists will be announced 
on the Black Lawrence Press blog. All finalists will be announced on or before March 15 of each year. The winner will be announced shortly thereafter.

Other Notes:

Simultaneous submissions are acceptable, but you must notify Black Lawrence Press immediately if your manuscript is accepted elsewhere for publication. 

All finalists will be considered for standard publication. In addition to each year's winner, Black Lawrence Press often offers standard publication to one or more other finalists. 

Thank you for your interest in Black Lawrence Press.

 

PUB: The Chattahoochee Review

THE LAMAR YORK PRIZES FOR

 

FICTION AND NONFICTION


Two prizes of $1,000.00 each and publication in The Chattahoochee Review are awarded to a winning story and essay in the annual Lamar York Prizes for Fiction and Nonfiction, which honor the founder and former editor of The Chattahoochee Review.

 

  • Send stories and essays of up to 5,000 words, double-spaced.

  • Entries must be postmarked or submitted via Submittable (under the appropriate contest category) between October 1 and January 31. All entries will be considered for publication.

  • Submissions are judged anonymously. Please include a cover letter with the entry’s title and entrant’s name, address, and phone number. Remove identifying information from the submission. We would greatly appreciate a note letting us know how you heard about the contest in your cover letter.

  • Simultaneous submissions are discouraged but permissible, though we ask to be notified immediately upon acceptance elsewhere (gpccr@gpc.edu).

  • An entry fee of $15 (nonrefundable) includes a one-year subscription to The Chattahoochee Review beginning with the Spring 2013 issue. Each additional entry requires a separate fee but may include a gift subscription; please make a note with payment.

  • No theoretical, scholarly, or critical essays will be considered, but all other approaches and topics are welcome. Only unpublished essays and stories will be considered. While manuscripts will not be returned, authors may include a stamped, self-addressed postcard for notification of receipt of manuscript.

  • Winners will be announced on TCR’s website in March and published in the Spring 2013 issue.

  • The editors support the Council of Literary Magazines and Presses Contest Code of Ethics, and will judge the prizes this year. The Editor and an outside judge in each category will make the final decisions. Faculty of GPC, former students of the editors, and close friends or associates should refrain from submitting.

Council of Literary Magazines and Presses (CLMP) Contest Code of Ethics:
“CLMP’s community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, 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 be run 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.” 

 

VIDEO: Poet Maya Wegerif

MAYA WEGERIF
Maya Wegerif AKA Maya The Poet was born in South Africa, has lived in Tanzania and now resides in the United States. With her biggest influences being poets Iyeoka and Kgafela Oa Makgogodi, Maya has been writing for as long as she can remember, covering a range of topics including some rather outspoken politcal views. Some of the more prevelant themes in her writing are feminism and Black consciousness. A die-hard Afr(i can)ist Maya believes that “Afrika for Afrika is the order of the day."

 

__________________________

 

 

MAYA WEGERIF

Ayiba’s Seyiram Torkonoo interviewed Maya Wegerif, a South African poet and TV presenter currently studying in the U.S. Seyiram talks with Maya about her identity, writing process, and future aspirations.

Seyiram: Hi, Maya.

Maya: Hi, how are you?

 

Seyiram: Good. Before we begin, I am going to ask you a few basic questions. Where are you from?

Maya: I am from South Africa. I was born in a village called Shirley village in the north of South Africa.

 

Seyiram: What are you studying at Mount Holyoke College?

Maya: I am currently a gender studies major, undecided minor. It is going to be between creative writing and politics. I am still working on that one.

 

Seyiram: Tell us a little bit about your childhood. Where you grew up, what kind of stuff you did and how fun your childhood was.

Maya: [laughs] Wow. It was very interesting because, of course, I am mixed race. My dad is white and my mum is black and we lived in Shirley for quite a few years. Racially, it was very interesting because half of the people thought I was albino. Most of the people were black and my dad was one of very few white people that some people had ever seen. It was very interesting. I had great childhood memories from Shirley.

 

Seyiram: What is your favorite childhood memory?

Maya: I have so many! One that comes to mind is for preschool. I started at this English preschool in the town that was nearby. We had this Halloween thing and, of course, my family knew nothing about that. [laughs] We had to bring masks and candle holders and my mum went and got these two tiny pumpkins and she was going to carve them into some kind of mask for me. And that failed completely! So we ended up having to draw a mask on paper and cut the little holes for eyes. [laughter] It was scary but mostly because it was nothing. It wasn’t a scary monster. It was just not anything. The kids laughed at me because they had fancy costumes and I had this paper on my face.

 

Seyiram: When and how did you discover your talent for writing?

Maya: I have very bad memory, which might be the reason why I have to write so much to remember what is happening. So the first time I think I was aware was, I was writing something, which is funny because I do not remember what I was writing. Apparently I was writing this poem and my mum found it in my diary. She read it and submitted it to this poetry competition and it was published and I was eleven years old. So since then, I guess that I am kind of a poet.

 

Seyiram: When did you get introduced to spoken word?

Maya: For some reason, spoken word came naturally. It wasn’t something I thought about. It kind of seemed like the natural step and maybe that was because I watched a bit of performance poetry. My parents were into cultural events and watched poetry and so it was a natural thing. I always thought that if I write well, then I would share it.

 

Seyiram: Was that at an early age?

Maya: It started off with parents just making me read in front of their friends. I remember that at school I organized a few poetry events. Then I was asked to read at a lot of various events. At the same time, I was writing and having some of my work published in some anthology of poems. However, there were works that I wrote and never shared out loud and there was a distinction between works I could share and ones that will stay with me.

 

Seyiram: I think it is interesting that your parents are your biggest fans.

Maya: Yes, they are. My parents are the best and the funny thing is that they named me after Maya Angelou.

 

Seyiram: Is there a big spoken word scene in South Africa?

Maya: It is actually quite impressive. Compared to the States, there are not as many platforms but it is quite big. We used to go to some poetry readings and open mics and stuff. It will still be very difficult to make money off spoken word. It is nice because there is a very South African style about poetry. I don’t want to generalize it and say that all poets had this style but there is a certain feel of ‘South-African-ness’ to it.

 

Seyiram: What was your first poem and how did you come up with it?

Maya: So, I guess it was the one that my mother ended up finding. It was a poem called ‘Life’ which you have to ask yourself what an eleven year-old knows about that topic. How did I come up with it? I have no idea.

 

Seyiram: Can you remember any lines?

Maya: I know one of the lines was ‘Life is hard.’ It was just so embarrassing. [laughs] I looked at it later and I think it was called ‘Trials and Tribulations.’ [laughter]

 

Seyiram: Who or what inspires you?

Maya: I am inspired a lot by my own reaction to things. So a lot of my poetry turns out to be my own reflections and sometimes I will have feelings and thoughts about things and I will write because I want to work them out for myself. Sometimes, they don’t turn out very poetically but I have been inspired a lot by my own overflow of emotions, feelings, thoughts, and opinions. In terms of people who make me want to get up and do stuff, I watch a lot of TED. It is always inspiring seeing entrepreneurs work through these processes and come up with products and stuff. That always inspires me. It reminds me of how an idea can start from a very small place. I love success stories! I think they inspire me a lot.

 

Seyiram: What is your process when you write? Do you decide you are going to write a poem about something or does it just come to you?

Maya: Sometimes it just comes. I went through a phase where I was obsessed with wordplay. I was just discovering how much I could abuse the English language. So I got to a place where my poems used to come from concepts. So I would say I am going to describe life in South Africa as a game of monopoly and then develop the idea from there. That was very useful and I will definitely give that tip for free. Just thinking about an overall concept first hash helped me so much in coming up with is that I will look at my diary, which will give me introspective pieces. So looking at my diary and the thoughts I have written in there and turning it into poetry has been a great source for me. Also, when people start asking you to speak for certain events, a lot of the time you have to write material for that and that is very difficult for me. It is difficult to make material on a topic that I was not engaged in. I mean, it can work and sometimes you need to be forced into writing.

 

Seyiram: What is the best poem you have ever written?

Maya: I have favorites over periods of time. I think one of my favorite pieces is a poem I wrote called ‘Waterfalls and Volcanoes.’ It is not very popular. I would say my most loved poem is my poem ‘Why you talk so white’ which gave me a lot of unexpected publicity. But personally, my favorite poem is ‘Waterfalls and Volcanoes.’ A lot of people have built me as a person who writes poems that are politically motivated. I am a very politically motivated person so a lot of my poetry comes out like that but a lot of it isn’t. A lot of it is also me trying to do my own thing and I end up appreciating those poems more because they end up helping me.

 

Seyiram: How do you connect with home? How do you stay in touch with home when you are here?

Maya: That is very interesting especially when you are abroad temporarily. You can’t establish yourself fully here because you know that it is temporary and I have every desire and intention to go back home as soon as I am done with my degree. Social media plays a huge role in connecting me to what is happening back home. I am trying my best to get in touch with myself here.

 

Seyiram: How do you keep your strong South African identity here?

Maya: I have been suffering. Lately, I have been conscious of how my ‘T’ sounds. [laughter] They have been fading into the American ‘D’ sound which is so disturbing, but at the same time forcing myself to pronounce those ‘T’s will create another accent which is not legit. I have to accept that there is no ‘me’ that has already been formulated. That me being here is also in that process of formulating myself, so I must not try to block anything out. I have to accept that this is part of my experience and try and draw that into my work and into myself.

 

 

 

 

 

 

 

 

 

 

Seyiram: How did you get involved with Channel O?

Maya: That was cool. They were looking for representatives in different countries and I was in Tanzania at that time and I was taking some time off from school so that was brilliant timing. The manager of Channel O Africa, Leslie Kasumba, was in Tanzania at that time. I met her and she urged me to go for the audition and basically to be the Tanzanian representative there. I went and they liked me surprisingly because I was not prepared. In my mind, I thought there was no way that I will be the Tanzanian representative if I was South-African but what ended up happening was that they sent me to South Africa to work at their main office there for about four months. It was great. Through that experience, I got to meet a lot of African musicians and I had to learn a lot about African music just to work there. The best for me as a poet was that I got to script a lot of their social outreach programs like their Outreach campaign for the famine that was going on in East Africa at the time. I scripted a poem for that and had several African artistes perform that which was so much fun to do. They also let me script and put together the World’s AIDS campaign which was so much fun to do. That was a nice opportunity.

 

Seyiram: Where do you hope to see yourself in five years?

Maya: Wow. Where do I see myself? Wow. In South Africa, I think. That is just because I want to be in a place that I can’t get deported. I want to go back to South Africa and start my own project there. See myself there, networking and starting something up.

 

Seyiram: What do you think the future of African art is?

Maya: Well, there is a global problem for art, which is that it is not very lucrative or that it is very lucrative for few. With African art, I think that because already the context in which it exists is with even less resources, there is a deeper problem. So what you have essentially is that parents will discourage their children, which is quite understandable if it is not going to be lucrative. The challenge is that art is not very lucrative. Another challenge is the imperialism or soft imperialism that Africa has to deal with. The trick will be in not returning to something that was a hundred years ago, but incorporating the history that we’ve had and incorporating the fact that we have suffered many layers of oppression. This should shape our art. For the art to be as honest and progressive and helpful as possible, it is going to need to take that into account and not try to ignore the colonial history of it. In terms of the future, African artists need to incorporate contemporary ideas, what it means to be an African now is not the same as what it meant to be an African fifty years ago and I think that needs to come out. I think that is starting to happen. There is great photography, and other forms of art and I must congratulate it. In terms of my own challenges, being an African writer, means being a writer and writing in English. That is tough. Is it about carving space in what is essentially a western world or it is about trying to define ourselves, but in another person’s language? It really is mind-blowing and I think exploring that could lead to some good art and hopefully cause a change in development.

 

Seyiram: Why are you proudly South African?

Maya: I am proudly South African because that is the country where I was born and raised. It is the country who made me who I am in many respects. I am proudly South African because I love South African people. Most of the people I would say I know and love are chilling in that country right now. I have seen South Africans do some amazing things. It is one of the youngest democracies in the world, and I have seen people do some amazing, amazing things that make me so proud. There is so much to be done, but I am proud of that, too. I am proud that I can go back and be part of this change. I lived quite a few years in Tanzania and so I mostly know about South Africa and Tanzania, but I want my work to influence Africa as a whole. I think there have been a lot of interesting collaborations. I see myself first as African, then as South African.

 

Seyiram: Thank you so much Maya, this was amazing.

Maya: Thank you!

>via: http://issues.ayibamagazine.com/mayathepoet/

 

 

 

EDUCATION: Black Excellence: Cameron Clarke Receives Perfect SAT Score > Clutch Magazine

Black Excellence:

Cameron Clarke Receives

Perfect SAT Score

cameron-clarke

With all the media coverage criticizing black men, it’s always great to hear of those making extraordinary accomplishments in their lives. One such achiever is Cameron Clarke, 18, of Fort Washington.

The senior at Germantown Academy in Fort Washington, PA, received a perfect score on his SAT (2400). He is one of 360 students who received a perfect score this year out of 1.66 million test-takers, according to SAT officials.

The National Merit Scholarship semifinalist told Philly.com this accomplishment is a result of hard work:

“I put in a lot of work. I took a prep class with some of my friends, and I did a lot of practice tests from a book. But that only prepares you so much. The difference between getting, like, a 2400 and a couple of points lower is just focus.”

Both focus and persistence can be credited for Clarke’s perfect score. He scored a 2190 the first time he took the SAT. Clarke then took the test a second time, believing he could score even higher. And that he did.

His next goal? Attending his dream college: Princeton. The academic superstar, who writes for his school paper, participates in a math club, tutors other students, and is a senator in his school’s student government, has a great shot.