melz

dr. bourgois’ copy, loaned for my thesis. (Y)

dr. bourgois’ copy, loaned for my thesis. (Y)

ta-nehisi on red lining. brilliant

ta-nehisi on red lining. brilliant

In order for me to speak a truer word concerning myself, I must strip down through layers of attenuated meanings, made an excess in time, over time, assigned by a particular historical order, and there await whatever marvels of my own inventiveness

Hortense J. Spillers | Mama’s Baby, Papa’s Maybe: An American Grammar Book (1978)

(Source: derica)

:o)

:o)

zadie smith talk at penn. (at University of Pennsylvania Museum of Archaeology and Anthropology)

zadie smith talk at penn. (at University of Pennsylvania Museum of Archaeology and Anthropology)

dynamicafrica:

A place that was used as a slave yard during the Trans-Atlantic Slave Trade. #Gambia #TheGambia #Africa #AfricanHistory #DynamicAfrica #InstaAfrica #vscocam

dynamicafrica:

A place that was used as a slave yard during the Trans-Atlantic Slave Trade. #Gambia #TheGambia #Africa #AfricanHistory #DynamicAfrica #InstaAfrica #vscocam

http://bookish-soliloquies.tumblr.com/post/94188327306/it-is-vital-to-note-that-harriet-jacobs-author-of

bookish-soliloquies:

It is vital to note that Harriet Jacobs, author of Incidents in the Life of a Slave Girl, was the first African-American woman to publish her own slave narrative in 1861.

She wrote, “I have not written my experiences in order to attract attention to myself; on the contrary, it would have been…

reading incidents in the life of a slave girl by Harriet Jacobs. shivers all the way through

kanyedaily:

Kanye’s music video for “Heard Em Say” (The Macy’s version). I figured I’d upload it because I can’t find it anywhere on Youtube. This is one of my favorite music videos of his. 

one of my favorite kanye songs, and songs period.

(Source: KanyeDaily)

The Notorious B.I.G.

—Machine Gun Funk

enunciated:

Notorious B.I.G.- machine gun funk

cavetocanvas:

Kara Walker,No mere words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble heart that she brings about their physical Ruin and earthly Demise, 1999
From SFMOMA:

Although she studied painting and printmaking at the Atlanta College of Art and the Rhode Island School of Design, Kara Walker is best known for her large-scale, cut-paper installations.
Her silhouettes are a direct reference to a popular art form of the nineteenth century, coincident with slavery. Their violent, often sexual imagery is drawn from folk, literary, and visual traditions. Typically arranged as a series of nonlinear narrative vignettes, they retell the history of racism in America.
The traditional rendering of silhouettes in black and white also reflects racism’s visual component. While evoking the past, they efface individual details to create figures that are both stereotypes and archetypes. The artist explains, “The silhouette says a lot with very little information, but that’s also what the stereotype does. So I saw the silhouette and the stereotype as linked. Of course, while the stereotype, or the emblem, can communicate with a lot of people, and a lot of people can understand it, the other side of this is that it also reduces difference, reduces diversity to that stereotype.”

cavetocanvas:

Kara Walker,No mere words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble heart that she brings about their physical Ruin and earthly Demise, 1999

From SFMOMA:

Although she studied painting and printmaking at the Atlanta College of Art and the Rhode Island School of Design, Kara Walker is best known for her large-scale, cut-paper installations.

Her silhouettes are a direct reference to a popular art form of the nineteenth century, coincident with slavery. Their violent, often sexual imagery is drawn from folk, literary, and visual traditions. Typically arranged as a series of nonlinear narrative vignettes, they retell the history of racism in America.

The traditional rendering of silhouettes in black and white also reflects racism’s visual component. While evoking the past, they efface individual details to create figures that are both stereotypes and archetypes. The artist explains, “The silhouette says a lot with very little information, but that’s also what the stereotype does. So I saw the silhouette and the stereotype as linked. Of course, while the stereotype, or the emblem, can communicate with a lot of people, and a lot of people can understand it, the other side of this is that it also reduces difference, reduces diversity to that stereotype.”