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.
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?
Recently I’ve been reading Tracey Baptiste’sYA book, The Jumbies, which is a supernatural fantasy book that takes place on the island of Trinidad. I won’t give away what the book is about; instead I suggest for you to go read it, but I will tell you that one of my favorite characters is the witch because she is truth teller. Here is a poignant passage I resonated with and that I believe is relevant for now:
“Everybody thinks they need magic. Everybody wants answers. Get rid of this boil. Help me find money. She doesn’t love me anymore. Why won’t my cane stalks grow tall as my neighbors? Everybody wants a fast, easy solution. Maybe if you took care of you’re skin, you wouldn’t have gotten the boil in the first place. Maybe if you worked harder you would make more money. Maybe that person isn’t the right one for you. Maybe if you found a better way to farm, your crop would come up better. But nobody wants to hear those things. They want a bottle. Instant success! Something to drink, or sprinkle, or spill on the ground. They want magic from nothing. Magic doesn’t come from nothing. It comes from somewhere. And it isn’t so extraordinary. It’s just work. It’s just using your head and your heart.”
In many ways, the indoctrination of an instant gratification culture obsessed with instant power, wealth and fame is part of the blame to how we got to this point. Let us learn, as Baptiste teaches us in The Jumbies, that to create true change and to fight back, we must trust our true instincts, understand our connection to the earth and that doing real magic takes work.
First up is my first official Futuristically Ancient video that I edited, featuring artists Damali Abrams and Dennis RedMoon Darkeem presenting their work JCAL’s First Friday’s in Jamaica, Queens. As we go forth in a new year and with the disturbing atmosphere surrounding us right now due to the upcoming inauguration, cabinet picks, the confirmation hearings, and ethics of it all, I hope these visionary artists can give you a few words of encouragement and upliftment. As Damali said, “if we can’t begin to imagine something outside of tragedy, then we will never be able to create any new realties for ourselves.” I believe both Damali’s and Dennis’s work encapsulate what I’d like to call “scarab imaginations” of what is possible and how to make creative use of pain or waste.