AFRICAN, BLACK & DIASPORIC HISTORY

newhistorybooks:

“Beneath the Surface is nothing short of a tour de force. Lynn M. Thomas’s ‘layered history’ does justice to the immensely difficult subject of skin lighteners. Carefully attending to the complex politics of race and color that are grounded in skin, Thomas at once provides a vibrant history of South Africa and a global history of commodity, beauty, and the body. This landmark study sets a new standard in the field.”

fortune-n-glory:

History Mini-Lesson of the Moment Vol. 6: Kwame Ture (Stokely Carmichael)

Our grandfathers had to run, run, run. My generation’s out of breath. We ain’t running no more.

Everybody knows Martin Luther King Jr. - he is the guy responsible for you getting that Monday off from school or work each January. Most people are familiar with Malcolm X also. He’s the guy with the hipster glasses who kind of looks like Denzel Washington. 

Unfortunately, one of the important leaders of the Civil Rights Movement remains largely unknown among the general population (large in part because he’s left out of high school history textbooks), despite being one of the most influential: Stokely Carmichael.

Born in 1941 in Port of Spain, Trinidad, Carmichael moved to Harlem (and later the Bronx) in the early 50s. After graduating from the Bronx School of Science, he attended Howard University in Washington, D.C. in 1960 - and it was here where he joined the Nonviolent Action Group (NAG) after being inspired by the increasingly prevalent sit-ins that would go on to define the Civil Rights Movement.

“When I first heard about the Negroes sitting in at lunch counters down South,” Carmichael told Life magazine in 1967, “I thought they were just a bunch of publicity hounds. But one night when I saw those young kids on TV, getting back up on the lunch counter stools after being knocked off them, sugar in their eyes, ketchup in their hair - well, something happened to me. Suddenly I was burning.”

He began participating in the Freedom Rides and other protests, often getting arrested (in 1998, shortly before his death, he said he lost count of his arrests, but estimated that it had been somewhere around 30 times). Despite being busy with this activism, he was able to graduate from Howard in 1964 with a degree in philosophy and was offered a full graduate scholarship to Harvard, which he would decline in order to focus on his activism. 

Carmichael was young, energetic, motivated, and handsome - a natural leader. Some described him as being both likable and cocky. One friend wrote that he believed Stokely was so fearless and confident that he could “stroll through Dixie in broad daylight using the Confederate flag for a handkerchief.”

By 1965, he was working with the Student Nonviolent Coordinating Committee (SNCC) in which he focused on getting black citizens in Alabama registered to vote. In one Alabama county, he helped increase the number of registered black voters from under 100 to over 2,500. A year later, Carmichael became to chairman of the SNCC at the age of 25. 

It was here that Carmichael’s philosophies would begin to shift away from King, a friend of his at this point. Later in life, he attributed his shifting philosophy to a night when he watched from his hotel window as black protesters where beaten and shocked with cattle prods by police. Soon, he began to promote the ideas of self-determination and he would popularize the term “Black Power” in a speech during the March Against Fear after the shooting of James Meredith (who, fortunately, survived and is still alive and well at the age of 79).

The conservative media immediately began to distort the meaning of “Black Power” and worked to vilify Carmichael in an attempt to put a decisive wedge between the philosophies of his self-determination and King’s nonviolent protests. In a continuing effort to weaken the movement, the term “reverse racism” was popularized by southern white supremacists. When protests ended in violence, the media often pointed a finger at Carmichael’s philosophies for inciting it and conservatives worked diligently to associate Carmichael’s activism with the ideas of militancy, guns, and anti-Americanism.

Carmichael described the term and his intentions: “‘Black Power’ means black people coming together to form a political force and either electing representatives or forcing their representatives to speak their needs.” He would further clarify his ideas in his 1967 book, Black Power: The Politics of Liberation. Many in the movement rejected the term, with King calling it an “unfortunate choice of words” and the NAACP condemning it as “the raging of race against race.”

Still, Carmichael persisted and soon also helped coin the term “institutional racism,” which he defined as “the collective failure of an organization to provide an appropriate and professional service to people because of their color, culture or ethnic origin.”

Despite their philosophical differences - which Carmichael always stressed were not as significant as the media led people to believe - he and King would remain close and often worked together before King’s assassination, particularly in their opposition to the Vietnam War. Both would become targets of J. Edgar Hoover’s illegal COINTELPRO program, which aimed to ”expose, disrupt, misdirect, discredit, or otherwise neutralize” civil rights organizations and leaders with tactics that included “psychological warfare; smearing individuals and groups using forged documents and by planting false reports in the media; harassment; wrongful imprisonment; and illegal violence, including assassination.”

While often associated with the Black Panther Party, he distanced himself from the organization in the late-60s as he believed their philosophies were not separatist enough. He began traveling the world, exploring and writing and speaking. While living in Guinea, he changed his name to Kwame Ture in honor of two African leaders whom he had met and befriended. 

He would continue his activism throughout the world - breaking most ties with America and using Guinea mostly as his home base, the CIA always keeping a close eye on him - until his death from prostate cancer in 1998. He always remained a controversial figure.

While largely left out of high school textbooks, Stokely Carmichael’s legacy lives on - least of all in the form of his son Bokar Ture, a University of Virginia and London School of Economics graduate who writes, travels, and has worked at the African Development Bank in Tunis, Tunisia.

“He was just a father,” Bokar said of Carmichael. “He never told me what he did, really. He just told me what was good to do: ‘Work for your people.’”

Sources: 1, 2, 3, 4, 5, 6, 7

————————

• Vol. 1: The Emerald Gem: Bare-Knuckle Boxing in 19th Century England
• Vol. 2: Roosevelt’s List: The Japanese-American Concentration Camps
• Vol. 3: Two if by Sealand
• Vol. 4: Robert Owen: Social Reformer
• Vol. 5: Martin Luther was a Dick

Given the current climate it very important that people know who this is.

(via diasporicroots)

doormouseetcappendix:

Contos Dos Orixas by Hugo Canuto 

Click here for more information

(via india617)

newhistorybooks:

“Land of Tears is a brilliant and beautifully written book on a crucial moment in the colonial history of Central Africa. Robert Harms reveals the global and local contexts of the complex transformations of African societies in the last decades of the nineteenth century, with a special focus on the rainforest ecosystem and the strong local African resistance. An erudite, balanced, and timely book, and an engaging read.”

diasporicroots:

Orixas/ Orishas:

OS Deuses Vivos Da Africa,

The Living Gods of Africa in Brazil (Abdias do Nascimento)

Abdias do Nascimento’s unique painting and poetry deeply immerse the reader and spectator in the religious culture of African origin in Brazil. Orishas and symbols of Yoruba and Central African origin, in their unique Brazilian context, join the deities of Egyptian, Asante, Ewe religions, and the voduns of Haiti. Together with African liberation heroes from all over the world, they interact in a living and dynamic imagery. Outstanding for its unique and unprecedented use of color, Abdias do Nascimento’s art enriches and deepens our comprehension of the multiple dimensions of African culture in the world.

This bilingual publication (English and Portuguese) is a tribute to the third centennial of Brazil’s Pan-African liberation hero, Zumbi dos Palmares, who died fighting for his people’s freedom in 1695. Zumbi symbolizes Afro-Brazilians and their culture, a heritage not only of the African world but of all humanity.

The volume brings together scores of color reproductions of Nascimento’s paintings, along with three epic poems and a major essay, all on themes of the Afro-Brazilian people, their religion, and its African origins.

seeselfblack:

The Man Who Made Black Panther Cool

Christopher Priest broke the color barrier at Marvel and reinvented a classic character. Why was he nearly written out of comics history?

By Abraham Riesman

“I’m an asshole. I’m abrasive. I am so sure that I’m right about virtually everything. I can sing you an aria of reasons to not like me,” says comics writer Christopher Priest, his bass voice rising to the brink of anger but never quite tipping over. “Not liking me because I’m black is so juvenile and immature, because there’s many reasons to not like me.” He’s speaking, as he often does, about the racism — both overt and structural — that he’s faced in the comics industry over his 40-year career. But that set of attributes, seen from another angle, can apply to the reasons to like him, or at least admire him — he’s unwaveringly outspoken, endearingly opinionated, as well as a pioneer in the comics industry. He’s also likely the only comics writer to have taken breaks from his career at various times to toil as a musician, pastor, and bus driver.

Priest, who’s 56, is about to see some of his most influential work go wide in a major way. His turn-of-the-millennium run at Marvel Comics, when he was writing the character Black Panther, has served as an inspiration for this year’s feverishly anticipated Marvel Studios film Black Panther. Given the comics world’s self-image of liberal inclusivity, and the fact that Priest is the first black writer to work full time at either Marvel or DC, starting with his first regular writing gig back in 1983, you might think he is long established as an elder statesman of the industry.

But until recently, Priest had bounced from job to job (including the aforementioned bus driving) and was largely denied the recognition he deserves. Indeed, talk to comics historians and they’ll have to pause for a minute and think before they conclude that, yes, he probably was the first African-American writer to truly break that barrier in superhero comics. Even among fervent fans, his milestones are far from common knowledge. He’d worked in quasi-obscurity for three decades before angrily retiring in 2005, opting to pursue work as a man of God in Colorado.

During that period of self-imposed exile, though, something happened, something Priest himself finds curious: He not only became recognized; he became a kind of icon. His run on Black Panther now merits its own multivolume reprint, Black Panther by Christopher Priest: The Complete Collection. He has reentered the spotlight, returning to Marvel — a place with which he has had a contentious relationship, to say the least — to write a new title, as well as taking on DC’s flagship team-up series, Justice League. To his surprise, he finds that crowds now pack convention halls to see him speak.

At a moment when Marvel Studios is making a self-consciously bold statement on inclusivity with Black Panther, Priest’s breaking of a color line deserves to finally be acknowledged. While Priest did not invent the Black Panther character — a superhero and king of a fictional African nation who had been kicking around Marvel for decades — in many ways he revolutionized it.

“He had the classic run on Black Panther, period, and that’s gonna be true for a long time,” says Ta-Nehisi Coates, who currently writes Black Panther for Marvel. “People had not put as much thought into who and what Black Panther was before Christopher started writing the book.” While previously the Panther had been written as a superhero, Coates notes, “[Priest] thought that Black Panther was a king.” It seems doubtful there’d even be a movie about him today if not for Priest’s refurbishing. Yet Priest himself has been chronically underappreciated…

Continue reading over Vulture.com

(via afrodiaspores)