Reblogged from afrofuturistaffair
I woke up shooting like THIS.
Thanks to horseman Thomas and his horse “Ebola” as well as the twins Amadou and Allassane, thanks to my team, Bintou, Modou, Madoudou, Doudou, Pape Sarr, Ka, Aziz, Nourou, Moussa, Bass and Ibou. Beaucoup de noms en “ou”!
#afrofuturism #yoff #dakar #senegal #africa #horse #twins
Reblogged from dynamicafrica
Today’s visual appetizers are selections of artist Vincent Michéa's work. Michéa has lived and worked in Dakar, Senegal for the past 28 years and says the city continues to inspire him. 'Dakar has one of the most beautiful qualities of light in Africa.'
Reblogged from nocturnalphantasmagoria
Joy James, “Afrarealism and the Black Matrix: Maroon Philosophy at Democracy’s Border.” The Black Scholar, Vol. 43, No. 4; p. 125 (via so-treu)
Reblogged from eternallybeautifullyblack
The Half Has Never Been Told: Slavery and the Making of American Capitalism by Edward E. Baptist
Americans tend to cast slavery as a pre-modern institution—the nation’s original sin, perhaps, but isolated in time and divorced from America’s later success. But to do so robs the millions who suffered in bondage of their full legacy.
As historian Edward Baptist reveals in The Half Has Never Been Told, the expansion of slavery in the first eight decades after American independence drove the evolution and modernization of the United States. In the span of a single lifetime, the South grew from a narrow coastal strip of worn-out tobacco plantations to a continental cotton empire, and the United States grew into a modern, industrial, and capitalist economy.
Until the Civil War, Baptist explains, the most important American economic innovations were ways to make slavery ever more profitable. Through forced migration and torture, slave owners extracted continual increases in efficiency from enslaved African Americans. Thus the United States seized control of the world market for cotton, the key raw material of the Industrial Revolution, and became a wealthy nation with global influence.
Reblogged from musakhead
Black Panther is a cartoon series by Marvel Animation in partnership with BET, which was blocked from being aired in the US. The creators manipulated the establishment into producing it, but only after it was financed and previewed did the establishment realize what had happened and then yanked it from airing. It is a most political savy cartoon and DVD sales have been atop the charts of comic movies since its release, making it a favorite of many. If you understand the West and its relationship to Afrika this will be one of your favs too!
Alfre Woodard, Kerry Washington, Jill Scott and Djimon Hounsou starring as Black Panther, round out an all star cast for this wonderful and valuable work of art. Watch, learn, enjoy and share.
THIS SHOW DANGEROUS TO BLOODCLAUT
Reblogged from socialjusticekoolaid
I’m a black man and it’s time to be accountable. It’s always left to black women to do and say everything. I decided to make these an post them, where i live, and travel. I want to state that the language is of this area (chicagoland) an directed solely at young black men who live here so it maybe off putting to people not from here. with that said im not posting all of the fliers here. Feel free to save. print an post these at your convince. This is part of SEU Blackstorm project. More to come.. - Yumii
You can follow our progess and future events here.
these are dope. seen em in hyde park, need to be national. yall know how it feels to see a sign defining misogyny and with a black power fist on it when youre just walking down the street?? exciting as fuck
I’m gonna start posting these around campus.
Reblogged from darksilenceinsuburbia
1. Detail of “Post Physical Slavery American Negro Archetype Number 4. “Knowledge (born Kevin Bigsley). Radical leftist (in theory and in practice to a lesser extent.) The greatest ally to himself and visual champion of the proletariat. Born hero.” Acrylic and graphite on canvas, 36”x 48.5”. Photo by Ellen C. Caldwell, courtesy of artist and Reginald Ingraham Gallery.
2. Detail of “Post Physical Slavery American Negro Archetype Number 3. “’Marvelous’ Marvell T. Powers. Strong, god-fearing, hard-working, wage earner. Any government’s ideal citizen. Desires nothing except for guap and physical love. A purely tactile creature. A lifelong acolyte of the temporal condition. Born soldier.” Acrylic and graphite on canvas, 36”x 48.5”. Photo by Ellen C. Caldwell, courtesy of artist and Reginald Ingraham Gallery.
3. Detail of “Post Physical Slavery American Negro Archetype Number 2. George Washington Filmore Jackson. Brilliant scholar, jazz saxophonist, perpetual self-hater, master of the waltz Viennese, the kowtow, and the bow and scrape. His body is always tilted at a 45 degree angle to his imagined superiors. Born disappointment.” Acrylic and graphite on canvas, 36”x 48.5”. Photo by Ellen C. Caldwell, courtesy of artist and Reginald Ingraham Gallery.
4. Detail of “Post Physical Slavery American Negro Archetype Number 1. Just ‘Toine Aka ‘Self Serve’ Informant and known traitor to the cause. Born snitch.” Acrylic and graphite on canvas, 36”x 48.5”. Photo by Ellen C. Caldwell, courtesy of artist and Reginald Ingraham Gallery.