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.
Remember this song from Ludacris and Mary J. Blige? “Runaway Love” came to my mind last week when the stories of the Missing DC girls started to spread throughout media. One particular story highlighted a young girl who ran away because she felt mistreated in foster family.
Much too often the mistreatment of young black girls are ignored and neglected. Black girls stories go untold. Society, including black culture does not see them as being as much in harm’s way as young black boys. But young black girls are in danger too, including suffering from the risk of sexual assault committed by grown men, boys and even authority figures, abusive and neglectful families, and also receiving higher rates of suspension, expulsion and harsher punishment from schools and police than their white counterparts. For example, this story of Ashlynn Avery, who was attacked by her suspension supervisor for falling asleep in class and then violently arrested.
I am happy to announce that I will be moderating a panel Black Speculative Arts Movements conference on April 22nd at the Bronx Museum of Arts. The panel is the first in the Astro-Caribbean series.
According to the founders of BSAM, “Black Speculative Arts Movement, aka BsaM, is an annual Afrofuturism, black comics, and arts convention held at multiple colleges and universities throughout the United States.BSAM encompasses different positions or basis of inquiry: Afrofuturism, Astro Blackness, Afro-Surrealism, Ethno Gothic, Black Digital Humanities, Black (Afro-future female or African Centered) Science Fiction, The Black Fantastic, Magical Realism, and The Esoteric.
Our annual conventions, co-founded by associate professor and chair of the Humanities department at Harris-Stowe State University, Reynaldo Anderson, and founder of Midwest Ethnic Convention for Comics and Arts – MECCA, Maia Crown Williams, will include vending from a vast amount of comics, art, and artisan creators and vendors, live performances, a full international film festival via MECCAcon, afrofuturism, social activism, and comic centered seminars, classes, hand on workshops, plays, and much more. Students are also welcome to submit proposals to participate as well. We also heavily encourage schools to attend in groups.”
This conference is named #BSAMfuturismo2017 and you can buy tickets here. Read below the panel description and the panelists who will be joining me!
Recently I received a copy of Octavia Butler’s Kindred graphic novel, which was adapted by Damien Duffy and John Jennings. Reading the story in graphic novel form gave me a chance to see aspects of the book that I didn’t pay as much attention to as before. One was the mechanism by which Dana traveled back in time. On her second trip back to the past, Rufus mentions to Dana that he had seen her in the water right before she came traveled back to the past to rescue him. Rufus tells Dana that he saw her with his eyes closed and that he had stepped into a “hole” in the river where he saw her in a room full of books. He also heard both Dana and Kevin before the second time Dana came back. Rufus, although problematic, has inklings of visionary insight, but does he because of his connection to his future legacy in Dana (Rufus only has black descendants as he only had children with Alice) or because he was at the edge of imagining a different society but the slaveholding, racist, sexist, generally oppressive society around him impeded that?
One of my favorite mottos is to find the magic in the mundane because in doing so you realize how interdependent we all are to each other and to the universe. When we look at the sun and moon, we are so normalized to them that we can easily forget how we are dependent on them for our existence and how much they shape our existence. It has been our ability to use our imagination to see the world beyond the mundane and search for knowledge and meaning as well as our creation of technologies to observe the universe that has allowed us to see that. As I was reading Wendy Hui Kyong Chun’s “Race is/as Technology, or How to Do Things to Race,“she writes that “According to Martin Heidegger in his 1955 ‘The Question Concerning Technology,’ the essence of technology is not technological. Indeed, by examining tools, we miss what is essential about technology, which is its mode of revealing or “enframing.” So how does the creation of technologies to look and observe also reveal ourselves? Who is watching who and who is creating who at the same time?
I’m on Wattpad! As I continue writing my fantasy novel, I want to keep practicing my story-writing skills, therefore, I will be posting short fiction on there.
My first is called, “A Stitch In Time,” which follows a teenage girl who meets an unexpected guest who lives in her home and discovers that her mother is about give away a sewing machine with special powers, something this new guest also wants. If you like Anansi stories, you might like this one!