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November 23, 2013

 

 

Wanda Coleman 03

Wanda Coleman, acclaimed L.A. poet,

has died at 67

Poet Wanda Coleman

Poet Wanda Coleman, a key Los Angeles literary figure shown in 1999, has died. (Los Angeles Times / December 20, 1999)

By Carolyn Kellogg

Poet Wanda Coleman died Friday after a long illness, her husband said. She was 67.

Coleman was a key figure in the literary life of Los Angeles. She, as our book critic David Ulin recently wrote, “helped transform the city’s literature.” She was a finalist for the National Book Award for her poetry collection “Mercurochrome” in 2001.

Born and raised in Watts, Coleman often wrote of issues of race, class, poverty and disenfranchisement. “Words seem inadequate in expressing the anger and outrage I feel at the persistent racism that permeates every aspect of black American life,” she once said. “Since words are what I am best at, I concern myself with this as an urban actuality as best I can.”

Despite the driving theme of anger in her work, Coleman was a delightful presence: sharp, funny and powerfully charismatic.

She began writing as a young woman and was part of the Watts Writers Workshop that began after the 1965 riots. She was also involved with Beyond Baroque in Venice.

She published her first poetry collection, “Mad Dog Black Lady,” in 1979. Her poetry was primarily published by Black Sparrow Press, home of Charles Bukowski.

She succeeded in all kind of writing. She won an Emmy for her work on “Days of Our Lives” and produced essays and short fiction. But she was primarily known as a poet, publishing a dozen poetry collections in her lifetime.

http://www.latimes.com/books/jacketcopy/la-et-jc-poet-wanda-coleman-67-has-died-20131123,0,2667185.story#ixzz2lY6EwNbD

 

 

 

buzzfeed

 

Why “12 Years A Slave” Star

Lupita Nyong’o Should Be

Your New Fashion Idol

FLAW. LESS.

BuzzFeed Staff

You might know Lupita Nyong’o as Patsey, the incredible breakout star of 12 Years a Slave.

 

You might know Lupita Nyong'o as Patsey, the incredible breakout star of 12 Years a Slave .

MCT

But you should also know her as YOUR NEW FASHION IDOL AND A GODDESS WALKING AMONGST US.

 

But you should also know her as YOUR NEW FASHION IDOL AND A GODDESS WALKING AMONGST US.

Jason Merritt/Staff

So, are you ready to take notes?

 

1. She knows how to rock an evening gown. Simple. Elegant.

Michael Kovac/Stringer

Jason Merritt / Getty Images
 
 

2. She can also switch it up with a more funky, casual look.

She can also switch it up with a more funky, casual look.
Charles Leonio / Getty Images

3. She has fun with some striking, structured looks.

Aaron Harris/Stringer

Larry Busacca/Staff
 
 

4. She never shies away from bold colors…

Mario Anzuoni / Reuters

Astrid Stawiarz/Stringer

Chris Pizzello/Invision / AP
 
 

5. …but also oozes goddess in this sleek, formfitting little black dress. 

...but also oozes goddess in this sleek, formfitting little black dress.
Ben A. Pruchnie/Stringer

6. She actually pulls off the impossible configuration that is the jumper!

 

She actually pulls off the impossible configuration that is the jumper!
Alberto E. Rodriguez/Staff

7. She knows how to rock a colored pant.

 

8. She was spotted at Paris Fashion Week looking hella fab. 

She was spotted at Paris Fashion Week looking hella fab.

9. She is basically just effortlessly chic.

She is basically just effortlessly chic.
Peter Kramer / NBC / NBC NewsWire via Getty Images

10. It is a universal fact that her lipstick game CANNOT BE TOUCHED.

Ben A. Pruchnie/Stringer

Kevin Winter/Staff

Christopher Polk/Staff
 
 

11. And all the magazines are starting to notice! She looks absolutely stunning in her spread for In Stylemagazine.

And all the magazines are starting to notice! She looks absolutely stunning in her spread for In Style magazine.
In Style Magazine / Via ohnotheydidnt.livejournal.com

12. And phenomenal in red for Interview magazine.

 

And phenomenal in red for Interview magazine.

13. And don’t let the white man’s lighting fool you, HER SKIN IS A FLAWLESS BLANKET OF FLAWLESS.

 

And don't let the white man's lighting fool you , HER SKIN IS A FLAWLESS BLANKET OF FLAWLESS.
Ben A. Pruchnie / Getty Images for BFI

14. Even in profile, she stands out.

 

Even in profile, she stands out.
Richard Harbaugh / ©A.M.P.A.S.

C’mon, son, look at that fade.

15. She looks so flawless, it’s hard to even pay attention to the famous friends she poses with.

 

She looks so flawless, it's hard to even pay attention to the famous friends she poses with.

16. It is a well-known fact that Vogue editor Anna Wintour spends the majority of her time aspiring to Lupita’s flawlessness.*

It is a well-known fact that Vogue editor Anna Wintour spends the majority of her time aspiring to Lupita's flawlessness.*
Stephen Lovekin / Getty Images

*Disclaimer: I have no idea what Anna Wintour does with her day.

17. But in addition to her existence as beauty personified, SHE ALSO HAS THE LAUGHTER OF A THOUSAND SMILING SUNS.

 

But in addition to her existence as beauty personified, SHE ALSO HAS THE LAUGHTER OF A THOUSAND SMILING SUNS.
Stephen Lovekin/Staff

And, of course, when Vulture spoke to her about her burgeoning fashion icon status, she was more than humble:

“You have to wear something to these events, so I wore things, and people took to them. It was not my agenda at all! But it’s fun, and I’m flattered that everyone is digging my style.”

 

BOW. DOWN. 

BOW. DOWN.
Frederick M. Brown/Stringer

 

>via: http://www.buzzfeed.com/hnigatu/why-lupita-nyongo-should-be-your-new-fashion-icon

__________________________


buzzfeed

Meet The “12 Years A Slave” Actress

No One Knows, But Everyone Will

Be Talking About

Kenyan native Lupita Nyong’o makes her stunning feature film debut in director Steve McQueen’s highly acclaimed chronicle of American slavery. How she got to this point is itself a Hollywood-friendly tale that is equal parts perseverance and great good fortune.

 BuzzFeed Staff

Lupita Nyong’o in 12 Years a Slave. Jaap Butendijk / Fox Searchlight

There are so many great actors teeming within 12 Years a Slave that singling out just one of them almost feels selfish. To start, Chiwetel Ejiofor (SaltAmerican Gangster) gives the performance of his career as Solomon Northup, a free black man living in New York in the mid-19th century who was kidnapped into slavery and wrote the titular memoir that served as the basis for the film. Michael Fassbender (PrometheusShame), meanwhile, is also winning raves for playing the dangerously cruel plantation owner Edwin Epps who ends up as Solomon’s master and tormentor. And then there’s Sarah Paulson, Paul Giamatti, Benedict Cumberbatch, Paul Dano, Alfre Woodard, Garret Dillahunt, Michael Kenneth Williams, and Brad Pitt, all stunning actors with fabulous résumés, contributing superlative performances under the direction of Steve McQueen (ShameHunger) from a screenplay by John Ridley (Red Tails).

There is one actor, however, who you have not heard of before this film, and who you will almost certainly be talking about after you see it. And her name is Lupita Nyong’o.

She plays Patsey, another slave on Epps’ plantation, who endures the worst kind of scrutiny from both Epps, who is obsessed with her, and his wife (played by Paulson), who detests her. It would be an enormously demanding role for any actress. But for Nyong’o, it not only marks her feature film debut, it’s also a role the Kenyan native landed three weeks before graduating from the Yale School of Drama last year, and one that could earn her a trip to the Dolby Theatre for the Academy Awards next March.

Not bad for someone who has wanted to act “from when I was an itty bitty girl,” as she puts it while settled comfortably on a hotel suite couch. How Nyong’o was able to make her childhood dream a reality is itself a Hollywood-friendly tale that is equal parts perseverance and great good fortune.

Lupita Nyong’o at the Los Angeles premiere of 12 Years a Slave on Oct. 14, 2013. Mario Anzuoni / Reuters

The first step was even believing she could actually be a professional actress in the first place. “When I was growing up [in Kenya], there wasn’t much of an entertainment industry,” she says. “Entertainers were not financially stable, and always had to do other things to make ends meet.” Then there’s the sheer fact that there aren’t that many African women in movies at all. “The first time that it occurred to me that I could maybe make a career out of [acting] was when I watched The Color Purple,” Nyong’o says. “I saw people that looked like me on camera. I was like, ‘Wow! Maybe I can be like that!’”

Like many budding actors, she corralled her classmates to perform in plays with her, but when Nyong’o left Kenya to go to Hampshire College in the U.S., she only pursued film studies, as well as African studies, rather than acting itself. She worked as a production assistant on 2005’s The Constant Gardener, which shot in part in Kenya, and she did score a part in a Kenyan miniseries called Sugar. But that dream of acting in major feature films like The Color Purple began tugging hard at her heart. “I was going through a career crisis of ‘What’s my life about?’” she says. “I realized that I would really, truly regret it if I never tried to be an actor professionally. So I decided I would apply to the best schools I knew of in the U.S., which is a country that I’d come to know and love. I got into Yale. And I never looked back.”

Within her immediate family, Nyong’o says her dream was met with nothing but support. “My father used to be an actor in school — so he lives vicariously through me,” she says. “My parents always taught us to do the thing we felt we were called to do on this Earth, and just do it to pursue it with spirit of excellence, you know?” Her actual given name, Eba, is after her great-grandmother, “who was known for her storytelling.”

But without any real role models of major Kenyan movie stars to point to, everyone outside of her family was less than supportive of Nyong’o flying off to America to try her hand at acting. “I know some of it stems from love, but there was a lot of doubt,” she says. “I was definitely encouraged to keep the acting as an extracurricular activity, as a hobby, rather than the main focus.”

And then came 12 Years a Slave.

Francois Duhamel / Fox Searchlight

Lupita Nyong’o and Chiwetel Ejiofor

Francois Duhamel / Fox Searchlight

Sarah Paulson and Lupita Nyong’o

 
 

Nyong’o tried out three times to play Patsey, each time performing two of the character’s most emotionally intense roles in the film. For every audition, Nyong’o had to figure out how to step into scenes of profound emotional vulnerability in stark, anonymous audition rooms with bad lighting and overeager air conditioners. So she leaned on an acting maxim she picked up somewhere: “An audition is about getting the dart on the board, not hitting the bull’s-eye,” she says. “Obviously, you don’t have the kind of time to sit with a character and be marinated by the character. So you just go with what you know, until that point, and hope that that’s what they’re looking for.”

And it was. Still, at first, Nyong’o truly couldn’t believe she had won the role. “To get this was incredible,” she says before taking a deep, long breath. “I honestly could not believe that I had booked a job, and I spent the weeks before going up to Louisiana preparing for the role, but also being certain that I would get fired before I got there. I was just certain. I was just like, They made a mistake! They’re going to call me up and say, ‘Oh, sorry, we called the wrong person.’

Fassbender and McQueen apparently sensed how overwhelmed Nyong’o was feeling. “I remember in my first rehearsal with Michael, he said to me after the rehearsal, ‘You are my peer,’” Nyong’o remembers as her eyes begin to well up. She puts her hand to her chest, and her voice drops to a whisper. “And Steve said to me, ‘Thank you for being born.’ Oh, god, I’m even going to cry now.”

Lupita Nyong’o in Non-Stop Universal Pictures

Just when it seems like things are starting to get too heavy, Nyong’o breaks into a wide smile and laughs at herself, the kind of easy, generous, infectious laugh that comes as a relief after watching her harrowing work in 12 Years a Slave.

Still, it is difficult not to wonder at least a little how anyone could be functional enough to work again at all after enacting a role that could be so emotionally shredding. But Nyong’o was able to approach Patsey with a kind of pragmatic grace one wishes were much more common in Hollywood, proving she won’t have too much trouble in the future (and fortunately, her next role is much less intense — she plays a flight attendant alongside Downton Abbey’s Michelle Dockery in the Liam Neeson airline thriller Non-Stop, due out in February 2014). “It was very hard, but it was so necessary,” she says of playing Patsey. “I recognize that I have the privilege of stepping in and out of it. Patsey didn’t. This was her life. And the fact that this was real I think is what made it so much more possible. I’m not drawing from abstractions. I’m drawing from hard facts. So that was very grounding for me. It’s like, if Patsey could have lived this, surely you can do it for a few hours a day.”

Nyong’o chuckles nervously. She is the type of person who can speak with genuine wonder about having her own trailer — “I remember walking in and I was like, ‘Oh wow, there’s a cot there. Oh there’s a fridge. My god there’s a TV!’” Even when she shares that she suffered from insomnia while shooting, Nyong’o cannot help but interpret that experience through the best possible lens. “The insomnia was a combination of grappling with the pain that I was conjuring,” she says, “and the joy of doing it with such an incredible group of people who are just as inspired, challenged, and committed to telling this story.”

 

>via: http://www.buzzfeed.com/adambvary/lupita-nyongo-12-years-a-slave

 

 

 

 

For Harriet | Celebrating the Fullness of Black Womanhood

Monday, November 11, 2013

 

 

 

From Keisha to Kylie:

Are Black Women’s Names

Tools of Empowerment

or Confinement?

keisha kylie


by Lyndsey Ellis

Last week, a young woman from Kansas City, Missouri made national headlines after changing her first name from Keisha to Kylie in response to racist bullying. She’s only 19 years old, she lives in a not-so-diverse neighborhood and, to make things even more complicated, she’s biracial.

I don’t intend to judge or bash Kylie’s decision to go with a new name. I don’t agree or disagree with her decision, but hope that it makes her sleep better at night, assuming that she won’t be taunted anymore by her peers. Still, I couldn’t help expressing nagging thoughts on the subject that refuse to go away.I’m upset and I’ll tell you why.

Growing up, I dealt with the exact opposite longing: to have a name that was considered ‘blacker’ and more in tune with my identity as an African-American. I can recall times where I’ve been playfully teased about my so-called white girl moniker by classmates with eccentric names that somehow reflected their African roots at my predominately black school, although I never had reason to view it as something done out of malice. I’ve even joked with my mother about her wanting me to have more chances at getting a decent job as her reason behind choosing a more traditional name, but a complete name change never occurred.

Reading Kylie’s story caused an old hurt to surface, one that I didn’t realize I’d owned. This pain is rooted in the fact that black women everywhere, regardless of social status, educational background, or economic standing, succumb to the same racial constraints brought on by society that cause us to place more emphasis on how our name defines us rather than our character.

Some may argue that the choices behind our names are just shaped by the kind of racially biased world we still live in. But, it’s time we start asking ourselves if we’re satisfied with silently condoning the offensive treatment that comes with having a name considered too black or too white. Restraints brought on by bigotry should no longer be tolerated, and a call for open dialogue among people in our communities is one of the only ways to break the vicious cycle.

What constitutes the blackness or the whiteness of a name anyway? How long are we going to let judgmental and racist attitudes dictate our actions, even in relation to something as sacred as choosing a name? What alternative solutions are available to those who want to avoid being misunderstood and ostracized on the basis of what’s on their birth certificate? And, how will effectively addressing this issue add to the emotional stability and self-worth of people of color, particularly black females?

These are questions that I hope remain fresh in my mind when it comes time to give birth and name my own children. I’ve found that I’d much rather try to tackle the root of the problem than brood over whether my kids’ authenticity as black citizens will be questioned by people of their own race, what type of crowd they’ll fit into, or if they’ll advance in their careers sooner with a certain type of name. And, I’m hoping beautiful, young women like Kylie will also be given the space and opportunity to reflect on ways to tear down the existing flawed social structure without having to alter any part of themselves to do so.

 

 

 

 

 

Marian Osman

Marian Osman

“You’ve Made a Wager of Our Future”:

Somali Youth Activist Pleads to

U.N. Summit for Climate Action

http://www.democracynow.org – Just before we went to air today, Somali youth climate activist Marian Osman addressed the main plenary at the U.N. climate talks in Warsaw, Poland. “There’s a Somali proverb that goes: a mere finger can’t obscure the sun,” Osman said. “You cannot hide the truth by deception; as any one of the thousands whom are in need in Somalia and the Philippines this week could tell you, no amount of political stalling can hide the fact that a climate crisis is here.” Earlier this month, a deadly cyclone slammed the Puntland region of Somalia, wreaking havoc on an already vulnerable population. 

See all of our coverage from the U.N. climate summit in Warsaw, Poland:
http://www.democracynow.org/topics/wa…

 

 

 

 

 

 

 

 

 

 

 

 

atlanta black star
October 29, 2013

10 Fearless Black Female Warriors Throughout History

 

Posted by 

Queen Mother Yaa Asantewaa – Manhyia Palace Museum, Kumasi

Queen Mother Yaa Asantewaa – Manhyia Palace Museum, Kumasi

Asantewaa

Queen Mother Yaa Asantewaa (c. 1840–October 17, 1921)

Yaa Asantewaa was the queen mother of the Edweso tribe of the Asante (Ashanti) in what is modern Ghana.  She was an exceptionally brave fighter who, in March 1900, raised and led an army of thousands against the British colonial forces in Ghana and their efforts to subjugate the Asante and seize the Golden Stool, the Asante nation’s spiritual symbol of unity and sovereignty.

Yaa Asantewaa mobilized the Asante troops and for three months laid siege to the British fort of Kumasi. The British colonizers had to bring in several thousand troops and artillery to break the siege, exiling Queen Yaa Asantewaa and 15 of her closest advisers to the Seychelles. She lived in exile until her death in October 1921. Yaa Asantewaa’s War, as it is presently known in Ghana, was one of the last major wars on the continent of Africa to be led by a woman.

 

 

Harriet Tubman

Harriet Tubman (born Araminta Harriet Ross; 1820 – March 10, 1913)

Harriet Tubman was an African-American abolitionist, humanitarian, and Union spy during the American Civil War. Born into slavery, Tubman escaped to Philadelphia in 1849, then immediately returned to Maryland to rescue her family.

She subsequently made more than 19 missions to rescue more than 300 slaves with the help of the network of antislavery activists and safe houses known as the Underground Railroad. She later helped recruit men for John Brown’s raid on Harpers Ferry October 16-18, 1859, to free enslaved Blacks.

In June 1863, Tubman became the first woman to lead an armed expedition in the Civil War. She guided the Combahee River Raid, which liberated more than 700 enslaved Blacks in South Carolina: the largest liberation of enslaved Black people in American history.

 

Queen Nanny leader of the Jamaican maroons

Queen Nanny or Nanny (c. 1685 – c. 1755)

Queen Nanny, a Jamaican national hero, was a well-known leader of the Jamaican Maroons in the 18th century. Nanny was kidnapped from Ghana, West Africa, as a child, and was forced into slavery in Jamaica. Growing up, she was influenced by the Maroons and other leaders of the enslaved Africans. The Maroon people were enslaved Blacks who fled the oppressive plantations and formed their own communities in Jamaica’s interior.

Nanny and her brothers ran away from the plantation and hid in the Blue Mountains area. From there, they led several revolts across Jamaica. Queen Nanny was a well-respected, intelligent spiritual leader who was instrumental in organizing the plans to free slaves.

For over 30 years she freed more than 800 slaves and helped them settle into Maroon communities. She defeated the British in many battles and despite repeated attacks from the British soldiers, Grandy Nanny’s settlement, called Nanny Town, remained under Maroon control for several years.
Ahosi or Mino Dahomey Amazons

Ahosi or Mino Dahomey Amazons

Ahosi or Mino (Dahomey Amazons)

The Dahomey Amazons or Mino was an all-female military regiment of the Fon people of the Kingdom of Dahomey in the present-day Republic of Benin. They existed from the 17th century to the end of the 19th century. While European narratives refer to the women soldiers as “Amazons,” because of their similarity to the semi-mythical Amazons of ancient Anatolia, they called themselves Ahosi (king’s wives) or Mino (our mothers) in the Fon language.

The Ahosi were extremely well trained, and inculcated with a very aggressive attitude. They were ferocious fighters with a reputation for decapitating soldiers in the middle of battle, as well as those who were unfortunate to become their captives.

Seh-Dong-Hong-Beh was one of the great leaders of the Mino. In 1851 she led an army of 6,000 women against the Egba fortress of Abeokuta. Because the Mino were armed with spears, bows and swords while the Egba had European cannons, only about 1,200 survived the extended battle.

European encroachment into West Africa gained pace during the latter half of the 19th century. In 1890, King Behanzin used his Mino fighters alongside the male soldiers to battle the French forces during the First Franco-Dahomean War. The French army lost several battles to them because of the female warriors’ skill in battle.

 

assat shakur

Assata Olugbala Shakur (born July 16, 1947)

assata shakur 

Assata Shakur is an African-American activist who was a member of the Black Panther Party and Black Liberation Army  between 1971 and 1973. Assata worked through the BPP and the BLA to fight racial, social, and economic oppression, but became the target of U.S. government’s counter-revolutionary COINTELPRO program. This program used a wide range of tactics, including framing, false imprisonments and assassinations of leaders, to disrupt the radical movement.

Between 1973 and 1977 in New York and New Jersey, Shakur was indicted ten times, resulting in seven separate criminal trials. Shakur’s charges ranged from bank robberies; attempted murder of two police officers; and eight other felonies related to the shootout on the New Jersey Turnpike. Of these trials, three resulted in acquittals; one in a hung jury; one in a change of venue; one resulted in a mistrial due to her pregnancy; and one in a conviction. Three indictments were dismissed without trial. Shakur escaped prison and fled to Cuba after her conviction for the death of New Jersey State Trooper Werner Foerster.

On May 2, 2013, the Federal Bureau of Investigation announced that they had raised the bounty on Shakur’s head to $2 million and placed her on its “Most Wanted Terrorists” list, making her the first woman to be so designated and effectively criminalizing the Black freedom struggle of that era.

For people wondering if Shakur was guilty, the Huffington Post reported that at the trial, three neurologists would testify that the first gunshot shattered her clavicle and the second shattered the median nerve in her right hand. That testimony proved that she was sitting with her hands raised when she was fired on by police.

According to Wikipedia, further testimony proved that no gun residue was found on either of her hands, nor were her fingerprints found on any of the weapons located at the scene. Nevertheless, Shakur was convicted by an all-white jury and sentenced to life in prison.

 

meroic warrior

Amanirenas (died c. 10 B.C.)

Amanirenas (also spelled Amanirena) was one of the greatest kandakes, or queen mothers, who ruled over the Meroitic Kingdom of Kush in northeast Africa. She reigned over the kingdom between c. 40 B.C.-10 B.C.  When Roman emperor Augustus levied a tax on the Kushites in 24 B.C., Amanirenas and her son, Akinidad,  led an army of 30,000 men to sack the Roman fort in the Egyptian city of Aswan.They also destroyed the statues of Caesar in Elephantine.

Under orders from Augustus, the Roman general Petronius retaliated, but met strong resistance from Amanirenas and her troops. After over three years of harsh fighting, the two parties agreed to negotiate a peace treaty. The Romans agreed to return their army to Egypt, withdraw their fort, give the land back to the Kushites and rescind the tax.

The brave warrior queen, Amanirenas is remembered for her loyal combat, side-by-side, with her own soldiers. She was blinded in one eye after she was wounded by a Roman. However, the full extent of the Roman humiliation has yet to be disclosed since the Kushite account of the war, written in the Meroïtic script, has not been fully decoded.

CANDACE AND SON DESTROYED THE ROMAN FORT

 

 

Carlota Leading the Slaves in Matanzas, Cuba, 1843,, Lili Bernard

Carlota Leading the Slaves in Matanzas, Cuba, 1843, Lili Bernard

Carlota Lukumí (died 1844)

carolta Lukumi machete

Carlota was kidnapped from her Yoruba tribe, brought in chains to Cuba as a child and forced into slavery in the city of Matanzas, working to harvest and process sugar cane under the most brutal of conditions.

She was bright, musical, determined and clever. In 1843, she and another enslaved woman named Fermina led an organized rebellion at the Triumvarato sugar plantation. Fermina was locked up after her plans for the rebellion were discovered. Using talking drums to secretly communicate, Carlota and her fellow warriors freed Fermina and dozens of others, and went on to wage a well-organized armed uprising against at least five brutal slave plantation operations in the area. Carlota’s brave battle went on for one year before she was captured, tortured and executed by Spanish landowners.

 

 

via http://lunaserene.deviantart.com/

Queen Nzinga Mbande (c. 1583 – December 17, 1663)

Queen Nzinga Mbande was a highly intelligent and powerful 17th-century ruler of the Ndongo and Matamba Kingdoms (modern-day Angola). Around the turn of the 17th century, Nzinga fearlessly and cleverly fought for the freedom of her kingdoms against the Portuguese, who were colonizing  the Central African coast at the time to control the trade of African human beings.

To build up her kingdom’s military might, Nzinga offered sanctuary to runaway slaves and Portuguese-trained African soldiers. She stirred up rebellion among the people still left in Ndongo, by then ruled by the Portuguese. Nzinga also formed an alliance with the Dutch against the Portuguese. However, their combined forces were not enough to drive the Portuguese out. After retreating to Matamba again, Nzinga started to focus on developing the kingdom as a trading power and the gateway to the Central African interior. At the time of Nzinga’s death in 1661 at the age of 81, Matamba had become a powerful kingdom that managed to resist Portuguese colonization attempts for an extended period of time. Her kingdom was only integrated into Angola in the late 19th century.

 

Nayabingi Priestess

Nyabingi Priestesses Muhumusa (died 1945) and Kaigirwa (unknown)

Muhumusa and Kaigirwa were feared leaders of the East African Nyabingi priestesses group that was influential in Rwanda and Uganda from 1850 to 1950. In 1911 Muhumusa proclaimed “she would drive out the Europeans” and “that the bullets of the Wazungu would turn to water against her.”

She organized armed resistance against German colonialists and was eventually detained by the British in Kampala, Uganda, from 1913 to her death in 1945. She became the first in a line of rebel priestesses fighting colonial domination in the name of Nyabingi, and even after being imprisoned she inspired a vast popular following. The British passed its 1912 Witchcraft Act in direct response to the political effectiveness of this spiritually based resistance movement.

In August 1917, the “Nyabinga” Kaigirwa followed in Muhumusa’s footsteps, and engineered the Nyakishenyi revolt, with unanimous public support. British officials placed a high price on her head, but no one would claim it. After the British attacked the Congo camp of Kaigirwa in January 1919, killing most of the men, Kaigirwa and the main body of fighters managed to evade the army and escape.

However, the British captured the sacred white sheep and burned it to dust before a convocation of leading chiefs. After this deed, a series of disasters afflicted the district commissioner who killed the sheep. His  herds were wiped out, his roof caved in and a mysterious fire broke out in his house. Kaigirwa attempted another uprising, then went into the hills, where she was never captured.

 

 

 

Tarenorerer Aboriginal leader, known as WALYER
Tarenorerer
 (c.1800-1831)

Tarenorerer of Emu Bay in northern Tasmania was an indigenous Australian leader of the Tommeginne people. In her teens, she was abducted by Aborigines of the Port Sorell region and sold to white sealers on the Bass Strait Islands, where they called her Walyer.

She became proficient in speaking English and took particular notice of the use and operation of firearms. In 1828, Tarenorerer returned to her country in the north of Tasmania, where she gathered a group of men and women from many bands to initiate warfare against the invading Europeans. Training her warriors in the use of firearms, she ordered them to strike the luta tawin (white men) when they were at their most vulnerable, between the time that their guns were discharged and before they were able to reload.

She also instructed them to kill the Europeans’ sheep and bullocks. G. A. Robinson, who was charged with rounding up the Aborigines, was told by sealers that Tarenorerer would stand on a hill to organize the attack, abuse the settlers and dare them to come and be speared.

 

 

>via: http://atlantablackstar.com/2013/10/29/10-fearless-black-female-warriors-throughout-history/

 

_09.jpg.scaled1000

 

Why I Don’t Leave The Apartment

Until After Ten Some Mornings 

 

i like to lay

in the curve

of your physique

 

you breathing

into the black

of my hair

 

the pressure

of thigh

to thigh

 

the beige softness

of your inner hand

slow moving

 

across

the tubular darkness

of my arousal

 

my

left arm reached

back massaging

 

the supple

flesh of your

lower back

 

for long minutes

quarter hours spent

with nothing

 

but skin

& pleasure

between us

 

—kalamu ya salaam

_____________________

 

Kalamu ya Salaam – vocals

Stephan Richter – clarinet

Wolfi Schlick – reeds

Frank Bruckner – guitar

Mathis Mayer – cello

Georg Janker – bass

Michael Heilrath – bass

Roland HH Biswurm – drums

 

 

Recorded: June 14, 1998 – “ETA Theatre” Munich, Germany

 

 

 

 

 

 

christian scott 07

CHRISTIAN SCOTT

christian scott 06

Christian Scott was born in the cradle of jazz, New Orleans . His uncle Donald Harrison Jr. , saxophonist acknowledged he discovered music, and it touches on his first trumpet at the age of 12 years. Has a real talent, he does not put a lot of time to tame the instrument. He participated in the recording of the album of his uncle at the age of 16 years and then joined the Berklee College of Music, where he graduated in three years instead of five .

On stage , Christian Scott is surrounded by equally talented musicians , Corey Fonville on drums, Lucca Curtis on bass , Lawrence Fields on piano, saxophone and Braxton Cook . Leader of the quintet , Christian Scott is now widely imposed in the world of contemporary jazz. 

 

 

 

 

 

 

art farmer 04

ART FARMER

art farmer 02

http://www.youtube.com/watch?v=imxkvD2uVFo

Art Farmer highlights an amazing one hour Art Farmer concert from 1964 featuring the great flugelhornist in his prime. Farmer’s top-notch band includes legendary guitarist Jim Hall (fresh from Sonny Rollins’ band), drummer Pete LaRoca and Steve Swallow on bass. This legendary ensemble plays both standards and originals with ease and finesse and highlights why Farmer was considered one of the most innovative horn players in all of jazz

Personnel:
Flugelhorn- Art Farmer
Guitar- Jim Hall
Bass- Steve Swallow
Drums- Pete La Roca

Songs
Sometime Ago
Bilbao Song
Darn That Dream
Valse Hot
So In Love
I’m Getting Sentimental Over You
Petite Belle
Bags’ Groove

 

 

 

slipstream

Slipstream Press Poetry Chapbook Competition

Deadline: 
December 1, 2013 
Entry Fee: 

 $20

 

E-mail address: 

 editors@slipstreampress.org

 

A prize of $1,000, publication by Slipstream Press, and 50 author copies is given annually for a poetry chapbook. The editors will judge. Submit a manuscript of up to 40 pages with a $20 entry fee, which includes a copy of the winning chapbook and an issue of Slipstream Magazine, by December 1. Visit the website for complete guidelines.

Slipstream Press, Poetry Chapbook Competition, P.O. Box 2071, Niagara Falls, NY 14301.

 

>via: http://www.pw.org/writing_contests/poetry_chapbook_competition_1

 

ledge magazine

2013 Poetry Chapbook Competition

 

PRIZE: Winning poet will receive a $1,000 cash award and 25 copies of the published chapbook.

SUBMIT: 16-28 pages of original poetry with title page, biographical note and acknowledgements, if any. Please include your name, mailing address, email address, and phone number (optional). Simultaneous submissions are accepted, but we ask that you notify us if your manuscript is accepted elsewhere. Poets may enter more than one manuscript.

ENTRY FEE: $20. All entrants will receive a copy of the winning chapbook upon its publication in the fall of 2014.

NO RESTRICTIONS on form or content. The Ledge Press is open to all styles and forms of poetry. Excellence is the only criterion.

PLEASE include a SASE for the competition results or manuscript return.

EXTENDED POSTMARK DEADLINE: November 30, 2013.

SEND ENTRIES TO:

The Ledge 2013 Chapbook Competition 
40 Maple Avenue
Bellport, NY 11713

 

>via: http://www.theledgemagazine.com/Annual%20Contests.html