Hello! Welcome back to my Astro-Caribbean series with a double dose of Space:Queens for you! Last week, I had artist Shervone Neckles and now I present to you Damali Abrams! Damali is a talented visual artist, writer and herbalist, who is using her talents to help to heal the world. Enjoy my interview with her below:
1) Tell the readers a little bit about yourself.
I am Damali Abrams the Glitter Priestess. I make art and herbal remedies.
My work is about healing and transcendence, as well as creating a space of liberation for the Black imagination.
2) As a visual artist, tell us about the transformative power of image.
I’m a visual thinker as well as a writer. There are certain ideas that I can only express as images, others only as words.
Our culture does not value visual art as much as it does writing but the things that we see affect us so deeply on a subconscious level, in ways we often don’t even realize. Images are very powerful and can be extremely transformative. The things we see most often profoundly affect who and what we become.
My aunt Cicely invited me to be on her show in Westchester, Give and Take: The Positives in Life. In the interview, I talk about my blog, Afrofuturism, the fantasy novel I am writing, and I read one of my poems, too!
Happy Black Speculative Fiction Month!
By the way, I am currently raising money to buy a new laptop and to advance my writing. Head to my GO FUND MEpage! Those who donate will have their names featured on my new Supporters page!
As I currently work on my fantasy novel based in Queens and inspired by the Underground Railroad (two of the characters are based on Harriet Tubman and William Still), I look forward to featuring others who are continuing to share the legacy of our ancestors and heroes who fought for freedom and for us to be here in this moment today.
One of those people is Lacresha Berry, a local Queens-based educator, singer-songwriter and playwright. Currently, she is writing a one-woman show about Harriet Tubman and t-shirt line for Air Tubman. Continue reading to find out more about her and her previous and upcoming work within the community.
“I just felt it was important to understand our histories in context to the larger global community and tell stories that haven’t been told. Instead of complaining about not being taught these things, I wanted to create a conversation that there are black Kentuckians. We exist and we helped to shape the state that it is today. We contributed to country music, blues and bluegrass.”
1) Tell us a little bit about yourself.
My name is Lacresha Berry and I’m an artist—educator, artivist, singer-songwriter, playwright, actress, and sometimes lyricist. I was raised in the great state of Kentucky. I came to NYC—actually this month, in 2003. So, I guess you can say I’m a New Yorker now. Well, at least I live the life of one. I graduated from the University of Kentucky with a BA in theatre. I came to NYC for grad school at NYU. At the time, I was really into costume design and got accepted at Tisch for Costume Design for Stage and Film. I ended going for about a year and began full time teaching in 2005 after stints of being a sub and after-school teacher.
Welcome back to the next installation of my Space: Queens segment!
Last Saturday, I attended the 2nd annual Afrofuturism conference at The New School and in the panel I attended, Conjuring Black Futures, moderator, Jamal Lewis mentioned that conjuring is associated with possibility, the “otherwise.”
I had the pleasure to interview Shanté Paradigm Smalls, a local professor at Queens’ own St. John’s University, and how she is manifesting the “otherwise” in her own work involving sci-fi, fantasy, comics, hip-hop, and queer studies.
2) Tell us about your current projects. I read that you are working on two projects — “Hip Hop Heresies: New York City’s Queer Aesthetics” and “Androids, Cyborgs, Others: Black Futurism, Black Fantasy.”
So, I’m finishing up my first scholarly manuscript Hip Hop Heresies: New York City’s Queer Aesthetics which traces queer articulations of race, gender, and sexuality in New York City hip hop culture from the mid-70s to roughly the present. I do this by examining film, music, and visual art. It’s a really fun project that started with my work when I was a Masters’ student at NYU and then I further developed it in my doctoral program in Performance Studies at Tisch. I plan on turning the manuscript into the press by early summer. The second project, Androids, Cyborgs, Others is in its nascent stages, but is concerned with depictions of black futurity in music, tv and film, and genre writing (including comics). The great thing about both these projects is I get to take my life-long love of hip hop culture and sci-fi and do scholarly, critical work on them. My life is really pretty amazing.
Hey everybody! Welcome to the first installment of my Space:Queens segment, where I explore afrofuturistic art, culture and influencers in my home borough of Queens, NY!
First up is Yvonne Shortt, who is the creative director ofRPGA Studio, Inc., and is the curator for Queens Art Initiative, where she works on several community-based art and technology projects in the borough. Enjoy!
1) Tell the readers a little bit about yourself and and what inspired your love of technology and math.
I’m an an artist, mathematician, African American female, technologist, and mother. My inspiration came from my uncle who started a company to help the deaf communicate with others and my mom who bought me my first computer, a Commodore 64. Also my aunt, her belief that hard work makes all possible shaped me.
2) How do you see Queens as a place of possibility and speculative/futuristic exploration?
We have so many people from so many countries and this diversity is an amazing power to draw from. It reminds me to use diversity in my work in my exploration – diversity including art, design, technology, education… This is what makes my work important and relevant I think.
Welcome back! Here is part 2 of my interview with Louis Chude-Sokei! You can read part 1 here.
“…What will matter in the long term is the impact we have on the (Sci-fi) genre itself, not on its packaging or clichés…”
4) Science fiction and fantasy have in the past been centered around European/Western stories and tropes and even in Afrofuturism, it was promoted previously as mostly Western/U.S.-centric. Briefly, how do you see Caribbean cultures, African cultures and other cultures around the world as early incubators, already exploring those ideas of science fiction, fantasy and futurism? Why is it important to explore those ideas in these cultures?
Science Fiction (SF) itself was produced directly by the response to slavery and colonialism in England and America. This is a fact. Therefore SF has always had within its DNA racial, colonial and sexual concerns—so its a mistake to see the genre as either “white” or “Western” or “European” since all of those categories depend on slavery and colonialism and, of course, industrialization. As such it isn’t necessarily anything-“centric,” though the modern history of SF hasn’t been as good as it should be about making all of this clear, hence the necessary interruption that is Afrofuturism as well as the explosion of global SF.
Happy New Year!!!!! Welcome back to Futuristically Ancient!
Last year, I introduced to you all to the upcoming release of Louis Chude-Sokei’s The Sound of Culture. Well, the book is finally here and I had the privilege to interview Louis about his book and his research. Louis is a truth-speaker and an illusion-breaker who is not afraid to challenge and enlighten us on preconceived notions about our identities and histories. That is what I enjoy about this is exploring and presenting the numerous looks into our past that help us to understand and weave together our current time and move us forward! Enjoy Part 1 of Louis’ interview today and part 2 on Wednesday!
“…I also began to think through theories of masquerade and carnival as a way of apprehending the productive instability of so-called “blackness” and to subject American racial thinking to a more diasporic lens…”