Jada Pinkett Smith performing with her metal band, Wicked Wisdom

So cool.

"Black feminism emerged as a theoretical and practical effort demonstrating that race, gender, and class are inseparable in the social worlds we inhabit. At the time of its emergence, Black women were frequently asked to choose whether the Black movement or the women’s movement was most important. The response was that this was the wrong question. The more appropriate question was how to understand the intersections and interconnections between the two movements. We are still faced with the challenge of understanding the complex ways race, class, gender, sexuality, nation and ability are intertwined—but also how we move beyond these categories to understand the interrelationships of ideas and processes that seem to be separate and unrelated."

Angela Davis

Quote is from a recent interview titled Progressive Struggles Against Insidious Capitalist Individualism: Interview With Angela Davis and provides an important look at intersectionality as lived by her (clearly, if you know her history) and Black women in general. 

(via gradientlair)

(via amaalsdrifting)


Toubou mother, Niger

The way she’s holding that basket :>

(via black-culture)

"The place in which I’ll fit will not exist until I make it."

James Baldwin (via sensualproverb)

(Source: cecileemeke, via orobolicious)



(Source: decoratedskin, via abstrackafricana)


Samburu Woman

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Kehinde Wiley’s (Hi-Fructose Vol. 29) opulent portraiture subtly stirs the status quo. As an American artist, Wiley honed his craft in accordance with a legacy of Euro-centric art history that left him simultaneously awed and alienated. One would be hard-pressed to find a grandiose portrait of a person of color in the works of the Renaissance masters in the Met or the Louvre. This is the motivating factor of Wiley’s oeuvre: to elevate images of average people of African descent through his ornate depictions, exposing the singular beauty of his subjects through dramatic compositions that evoke the Baroque period.

While he started out this aesthetic exploration by scouting subjects in major US cities, Wiley’s art has taken him all over the world to work with people of the global African diaspora. His latest series, “The World Stage: Haiti” is currently on view at Roberts & Tilton Gallery in Culver City and features 12 new paintings based on his recent travels. Read more on Hi-Fructose

(via dynamicafrica)


#black excellence  #black achievement

IPS high school student receives prestigious Gates Millenium Scholarship

Alex Dunlap, 16, gets full ride through doctorate

by Tanya Spencer

INDIANAPOLIS - A Broad Ripple High School student is one of only 1,000 students in the country to receive the prestigious Gates Millennium Scholarship .

The scholarship — funded by the Bill and Melinda Gates Foundation — covers a full ride to any college or university in the country, all the way through a doctoral degree if the recipient chooses.

At 16, Alex Dunlap is poised to graduate Broad Ripple Magnet High School a year early in May. She knew all her hard work had paid off when she got the letter announcing her scholarship.

[Continue reading article of watch news report of the announcement at The Indy Channel.]

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Detail of the monochrome panel.


(via orobolicious)


Qatar withdraws from Asian Games in hijab row

We knew about the hijab ban but we have to be here. We have to show everyone that we are ready to play, but the International Association is not ready.”


(via governmentcheeses)

"The truth is that this country does not know what to do with its black population now that the blacks are no longer a source of wealth, are no longer to be bought and sold and bred like cattle; and they especially do not know what to do with young black men…It is not accidental that the jails and the army and the needle claim so many, but there are still too many prancing about for the public comfort. Americans will, of course, deny, with horror, that they are dreaming of anything like ‘the final solution’ – those Americans, that is, who are likely to be asked: what goes on in the great, vast, private hinterland of the American heart can only be guessed at by how the country goes these days. Some pale, compelling nightmare – an overwhelming collection of private nightmares – is responsible for the irresponsible ferocity of the Omnibus Crime Control and Safe Streets Act. Some vindictive terror on the part of the people made possible the Government’s indefensible and obscene performance in Chicago. Something has gone violently wrong in a nation when the government dares attempt to muzzle the press – a press already quite supine enough – and to intimidate reporters by the use of the subpoena. Black men have been buried alive in this country more than once – many men now living have seen it with their own eyes; black men and boys are being murdered here today, in cold blood, and with impunity; and it is a very serious matter when the government which is sworn to protect the interests of all American citizens unabashedly allies itself with the enemies of black men. Let us tell it like it is: the rhetoric of a Stennis, a Maddox, a Wallace, historically and actually, has brought death to untold numbers of black people and it was meant to bring death to them. This is absolutely true, no matter who denies it… Now, in the interest of the public peace, it is the Black Panthers who are being murdered in their beds, by the dutiful and zealous police. But, for a policeman, all black men, especially young black men, are probably Black Panthers…just as, in a Vietnamese village, the entire population, men, women, children are considered as probable Vietcong. In the village, as in the ghetto, those who were not dangerous before the search-and-destroy operation assuredly become so afterward, for the inhabitants of the village, like the inhabitants of the ghetto, realize that they are identified, judged, menaced, murdered, solely because of the color of their skin. This is a curious way of waging a war for peoples’ freedom as it is of maintaining the public peace"

James Baldwin, No Name in the Street, 1972, via Race Files

James Baldwin was incorrect about some things, though:

Black people are *still* a source of wealth for white people.

We are *still* bought and sold and bred (or sterilized) like cattle.

All that has changed is the venue.

And the price.

(via sonofbaldwin)

"The legacy of anti-Black racism is that Black struggle gets deemed the property of all other social justice struggles. The symbols and tactics of Black struggle are deemed the common property of all. Black people are required to show solidarity with other people of color, without other people of color owing solidarity to Black communities. Black oppression is always analogized to other forms of oppression in a manner that disappears Black oppression itself. It is presumed we already know everything about Black oppression, so we can just use it as an empty signifier to explain other oppressions."

Dr. Andrea Smith (via mangoestho)

(Source: baritonepats, via amaalsdrifting)


Next Chapter: Mohau Modisakeng on investigating the impact of cultural histories on contemporary society

What does it mean to you to be an emerging artist working on the African continent in the 21st century?

It means that I am actively engaged with a deep-rooted culture and heritage of the African continent, which has proven to be resilient, surviving the effects of colonialism and globalization, adapting and expanding. Yet I feel like I’m both at the center of it all and simultaneously at the margins of the global cultural community.

Artist Mohau Modisakeng speaking to Another Africa’s Houghton Kinsman.

Source |

© Mohau Modisakeng, Ditaola VI, 2014. Courtesy of Mohau Modisakeng and Brundyn+,Cape Town.


(via amaalsdrifting)

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