Currently I am in the revision process of my poetry collection, and I was looking for a few inspirations for one of the poems in it. British-Jamaica dub poet Linton Kwesi Johnson came to mind and it lead me to one of his poetry recordings, “Reality.”
Last weekend, I attended theBankra Caribbean Festivalproduced by Braata Productions and Andrew Clarke. One of the draws of the festival was looking at the cultural exhibit of puppets made in the image of popular Caribbean folklore characters, including the Soucouyant. Mama D’Leau, the Douens (Dwens), the Moko Jumbie, Papa Bois, and Anancy (Anansi). The slideshow is below with the artwork and the descriptions are after:
It is a surreal feeling to know that you could go to war and fight for your country, survive the war and instead of coming back as a celebrated hero, be assaulted and lynched by the people whose freedom you fought for them to have. That was the reality of many black veterans who returned from World War I and World War II, a history that is not taught. For fear of black people becoming to “uppity” and demanding their rights after coming back from war, there were white people who needed to make examples of black veterans and keep them in their place, that they owed nothing to these soldiers who went off to fight a fight for them.
The Arch. The Ark. The Archive. The Arcane. The Archon. The Architect. The Archangel. The ArchAndroid.
The Chief Holder of a Culture’s Knowledge for Future Recollection.
The Cybernetic Helms(wo)man of the Ship Sailing to a New Horizon.
Last weekend, I attendedSummoning the Archiveat NYU. Attending it inspired me to think of the “archive” in relation to communities of color and Afrofuturism. A few archivists/librarians/curators of color have existed in speculative fiction. For example, remember the bluesman Peter Wheatstraw from Ellison’s Invisible Man who carried discarded blueprints in his cart? How about Akomfrah’s data thief in the Last Angel of History? Or the Puerto-Rican librarian at Columbia University, Nydia Ochoa, who helps Sierra (breaking the rules of the institution as Sierra is not a student) find out more about her cultural heritage in Daniel Jose Older’s Shadowshaper? Or Wanuri Kahiu’s Pumzi, which follows a museum curator who braves the outside world because of her dreams that life can exist out there?
So as you know a few weeks ago I had the opportunity to be part of the Black Speculative Arts Movement Conference, #BSAMFuturismo2017, at the Bronx Museum of Arts! Well, let me share with you some of the highlights from the day!
*Aesthetics and Actions in Afrofuturism/Black Speculative Thought:
Before I get to the above topic, I wanted to share this film that I had the chance to see —Òrun Aiyê, which was directed by Jamile Coelho and written by Cintia Maria. It is a stop-motion animated film that tells a candomble version of theYoruba creation story.
Since tomorrow I will be moderating the Astro-Caribbean panel, Midnight Robber Chronicles, which was inspired by Nalo Hopkinson’s speculative novel Midnight Robber, I thought I’d share an a British artist whose work centers on exploring the significance of Caribbean carnival.
According to Trinidadian/Irish- British artistZak Ove, Caribbean carnival, especially those in Trinidad, started as a mockery of European colonialists, but then became a declaration of “we can be anything” and “not just what we’ve been duped” into believing we are by these colonialists. It became an investigation through transfigurement and costume into all kinds of mythologies and into a sense of Africanism that had been subdued and suppressed through slavery.