This event will be part of the BAM 27 City Tour he has undertaken with BAM icons and the BAM Arkestra and Poet's Choir. It will feature the poet reading and in conversation with Davey D on local, national and global issues. It will include an exhibit of his archives.
Friday, January 9, 2015
Coming Soon: Black Arts Movement co-founder Marvin X in Concert at San Francisco State University
As part of the Black Arts Movement 50th Anniversary Celebration, Marvin X is proposing An Evening with Marvin X at San Francisco State University. Marvin X graduated in English/Creative Writing at SFSU. He is one of the founding members of the Black Students Union and his first play Flowers for the Trashman was produced by the drama department while he was an undergrad. He dropped out of SFSU to co-found Black Arts West Theatre in the Fillmore, 1966, with Ed Bullins; in 1967 he co-founded The Black House in San Francisco with Eldridge Cleaver. Marvin X later taught African American literature and Radio & television Writing at SFSU. He is the author of 30 books.
This event will be part of the BAM 27 City Tour he has undertaken with BAM icons and the BAM Arkestra and Poet's Choir. It will feature the poet reading and in conversation with Davey D on local, national and global issues. It will include an exhibit of his archives.
This event will be part of the BAM 27 City Tour he has undertaken with BAM icons and the BAM Arkestra and Poet's Choir. It will feature the poet reading and in conversation with Davey D on local, national and global issues. It will include an exhibit of his archives.
The Black Arts Movement declares Last Saturdays in Oakland's Black Arts District
The Black Arts Movement has declared February 27 as the first Last Saturday along Oakland's 14th Street, downtown, between Martin Luther King, Jr. Way and Alice Street. In anticipation of Mayor Libby Schaaf's official proclamation of the BAM District and the City Council President, Lynette McElhaney, introducing legislation to mark the BAM District in stone, leaders of the West Coast Black Arts Movement are preparing to celebrate the grand opening on February 27, 2015. The event will include performances by musicians, singers,poets, spoken word artists, art and craft vendors, physical, mental and spiritual wellness workers, food vendors along the BAM corridor that includes numerous historical landmarks, including the African American Library/Museum, C.L. Dellums Apartments, Ronald V. Dellums Federal Building, Elihu Harris State Building, Frank Ogawa Plaza, Marvin X's Academy of da Corner, Geoffrey's Inner Circle, Joyce Gordon Gallery, Oakland Post News Group offices, Caribbee Club and the Malonga Arts Center at 14th and Alice, also the cite where Oakland Post Editor Chauncey Bailey was assassinated in broad daylight. It will extend to the Alameda County Courthouse where the trial of Black Panther co-founder Dr. Huey P. Newton was tried for murdering an Oakland Police Officer. Newton was found innocent. For more information, call Black Arts Movement co-founder Marvin X @ 510-200-4164 or contact the Post News Group
510-287-8200.
Bay Area Black authors and activists celebrated the life of slain Post News Group Editor Chauncey Bailey at the Joyce Gordan Gallery, 14th and Franklin. Far right, standing is Paul Cobb, Publisher of the Post News Group; behind him is Gallery owner, Joyce Gordon
510-287-8200.
Bay Area Black authors and activists celebrated the life of slain Post News Group Editor Chauncey Bailey at the Joyce Gordan Gallery, 14th and Franklin. Far right, standing is Paul Cobb, Publisher of the Post News Group; behind him is Gallery owner, Joyce Gordon
Oscar Grant Rebellion occurred at 14th and Broadway
The funeral of Little Malcolm Shabazz was at the Islamic Center, 14th and Jackson
The 80th Birthday celebration for Dr. Nathan Hare was at Geoffery's Inner Circle, 14th and Franklin
Thursday, January 8, 2015
The William James Association Prison Arts Project
Prison Arts Project
What is the Prison Arts Project?
The major program of the William James Association is the Prison Arts Project (PAP), created through the vision and efforts of Eloise Smith. A pilot project was set up in 1977 at the California Medical Facility at Vacaville, with funding provided by the San Francisco Foundation, the National Endowment for the Arts, the California Arts Council, and the Law Enforcement Assistance Administration.
Eloise Smith’s vision was based simply on the value of providing all individuals with the most meaningful art experience possible; in her words, “that mysterious life-enhancing process we call the arts, a realm in which patient application and vivid imagination so often produce magic.”
The success of this initial program led to the formation of Arts-in-Corrections, an administrative office within the California Department of Corrections, which oversees the staffing of artist-facilitators at all prisons in California. Unfortunately, in January 2003, all Arts-in-Corrections artists’ contracts were terminated as the result of a budget crisis in California state government.
Through some limited funding from private sources, the William James Association has been able to hire a few professional artists to teach at San Quentin State Prison and the women’s unit of the California Rehabilitation Center in Norco.
Philosophy
Bringing the arts to institutionalized individuals is based in the belief that participation in the artistic process significantly affects a person’s self-esteem and general outlook on the world. Art workshops teach self-discipline, problem-solving, and concentration through absorption in a specific creative endeavor.
The skills acquired through participation in the arts are translated to other aspects of one’s life. Art satisfies an individual’s need for creativity, self-expression, recognition, and self-respect.
“There are general feelings of hostility and hopelessness in prisons today and it is getting worse with overcrowding. . . Art workshops and similar programs help take us out of this atmosphere and we become like any other free person expressing our talents. Being in prison is the final ride downhill unless one can resist the things around him and learn to function in a society which he no longer has any contact with. Arts programs for many of us may be the final salvation of our minds from prison insanity. It’s contact with the best of the human race. It is something that says that we, too, are still valuable.”
- a prison inmate
Theprison system punishes negative behaviors but offers little to replace them. The capacity for personal change is great, although daunting within a repressive environment and culture of extreme power imbalance, racism, segregation and manipulation. The Prison Arts Project creates a sanctuary where inmates are treated with respect, courtesy and an openness to their unique expressions as creative human beings.
The Cell and the Sanctuary: Art and Incarceration
Note: The Black Arts Movement 50th Anniversary Celebration at Laney College will exhibit the work of San Quentin inmate art, February 7, 2015. The BAM celebration is from 10am to 10 pm. Call 510-200-4164 for more information. The event is free/donations accepted.
The Cell and the Sanctuary: Art and Incarceration: November 7, 2014 – February 22, 2015
3rd Floor Art ForumOvercrowded? Inhumane? Necessary? In a California prison, what does art look like?
See for yourself. Explore the paintings, drawings, sculptures and writing made by incarcerated individuals from prisons around California. These will be alongside installation, audio/video and 2-D works by teachers from their impactful art-in-prisons programs.
The incarcerated artists in this exhibition are on a unique path of self-discovery. They’re exploring arts as a means to become someone who can reconnect with the outside. Evidence suggests that arts-in-prisons programs lower recidivism (returning to prisons) by 27% and reduce disciplinary actions by 75%. They improve relationships between people within the prison as well as with guards and supervisory staff. Inmates exposed to arts programs are more likely to adjust to life outside prison and are less likely to become repeat offenders.
Featured in this exhibition, these teachers, artists and organizations are working together within the prison system to provide a direct link between incarcerated individuals and something larger than their dehumanizing cells. The arts become a vehicle for expression, self-identification and self-direction. If prisons are about transformation of the self, then these artists provide themselves with tools necessary to become someone new: artistic expression.
In collaboration with Barrios Unidos and the William James Association.
Explore the work of currently incarcerated artists as well as their teachers:
Ned Axthelm
Peter Bergne
Guillermo Willie
Stan Bey
Khalifah Christensen
Dennis Crookes
Isiah Daniels
Justus Evans
Bruce Fowler
Henry Frank
Roy Gilstrap
Ronnie Goodman
Thomas Grider
Gary Harrell
Amy M. Ho
John Hoskings
David Johnson
Ben Jones
Richard Kamler
Chung Kao
Darryl Kennedy
Rolf Kissman
Felix Lucero
Katya McCollah
Pat Messy
Omid Mokri
Gerald Morgan
Carol Newborg
Stan Newborg
James Norton
Eric “Phil” Phillips
Anthony Marco Ramirez
Adrienne Skye Roberts
Mark Stanley
Fred Tinsley
Tan Tran
Kurt Von Staden
Geno Washington
Michael Williams
Thomas Winfrey
Noah WrightBeth Thielen
Blowback: King Leopold and Genocide in the Congo
King Leopold II: Hidden Holocaust in the Congo
As reported by the UK Guardian,
"The hidden holocaust: Was Belgium's King Leopold II a mass murderer on
a par with Hitler or a greedy despot who turned a blind eye to a few
excesses? A new book has ignited a furious row in a country coming to
grips with its colonial legacy," Stephen Bates reports on 12 May 1999
-- As the sun sank slowly over Brussels, its fading rays glinted off
the glass domes and towers of the magnificent Victorian greenhouses in
the grounds of the royal palace at Laeken. Built to celebrate King
Leopold II's acquisition of the Congo a century ago, the greenhouses
stretch for more than half a mile and are among the most visible and
grandiose remaining symbols of a once enormous African empire, 60 times
the size of Belgium. The colony was the largest private estate ever
acquired by a single man - and one he never saw.
It is said that when he showed his nephew the greenhouses, the youth
gasped that they were like a little Versailles. 'Little?' snorted the
king.
Leopold always did think big. But the row over the king's notorious
stewardship of his African territories still has the ability to evoke
raw emotions in a country trying to come to terms with a brutal colonial
past.
The question is: was the spade-bearded old reprobate a mass-murderer,
the first genocidalist of modern times, responsible for the death of
more Africans than the Nazis killed Jews? Was his equatorial empire, the
setting for Conrad's Heart of Darkness and the terrible Kurtz with the
human heads dangling round his garden, the scene of a largely forgotten
holocaust? The old wounds have been re-opened by the publication of a
book called King Leopold's Ghost, by the American author Adam
Hochschild, which has brought howls of rage from Belgium's ageing
colonials and some professional historians even as it has climbed the
country's best-seller lists.
Alice Seeley Harris, Manacled
members of a chain gang at Bauliri. A common punishment for not paying
taxes, Congo Free State, c. 1904. Courtesy Anti-Slavery International /
Autograph ABP
The debate over Belgium's colonial legacy could not be more timely. In
the realm beyond the palace walls where Leopold's great grandson Albert
II is now king, the openly racist extreme rightwing Vlaams Blok, which
blames much of the country's ills on coloured immigrants from Africa, is
bidding to become one of the biggest parties in next month's elections.
And the planes which soar over the greenhouses as they depart Brussels
sometimes carry human cargo - black asylum seekers being unceremoniously
deported, occasionally naked and still bleeding, back to Africa. Last
September, the Belgian immigration service succeeded in suffocating one
of them, a Nigerian woman called Semira Adamu, 20, on board the plane
that was to take her home, by shoving her head under a pillow. The
police videoed themselves chatting and laughing while they pushed her
head down. It took them 20 minutes to kill her.
The history of Leopold's rule over the Congo has long been known. It was
first exposed by American and British writers and campaigners at the
turn of the century - publicity which eventually forced the king to hand
the country which had been his private fiefdom over to Belgium.
But Hochschild's book has hit a raw nerve for a new generation with its
vividly drawn picture of a voracious king anxious to maximise his
earnings from the proceeds of rubber and ivory.
It is clear that many of Leopold's officials in the depots up the Congo
river terrorised the local inhabitants, forcing them to work under the
threat of having their hands and feet - or those of their children - cut
off. Women were raped, men were executed and villages were burned in
pursuit of profit for the king.
But what has stuck in the gut of Belgian historians is Hochschild's
claim that 10 million people may have died in a forgotten holocaust. In
outrage, the now ageing Belgian officials who worked in the Congo in
later years have taken to the internet with a 10-page message claiming
that maybe only half a dozen people had their hands chopped off, and
that even that was done by native troops.
They argue that American and British writers have highlighted the Congo
to distract attention from the contemporary massacre of the North
American Indians and the Boer War.
Under the headline 'a scandalous book', members of the Royal Belgian
Union for Overseas Territories claim: 'There is nothing that could
compare with the horrors of Hitler and Stalin, or the deliberate
massacres of the Indian, Tasmanian and Aboriginal populations. A black
legend has been created by polemicists and British and American
journalists feeding off the imaginations of novelists and the re-writers
of history.' Professor Jean Stengers, a leading historian of the
period, says: 'Terrible things happened, but Hochschild is exaggerating.
It is absurd to say so many millions died. I don't attach so much
significance to his book. In two or three years' time, it will be
forgotten.' Leopold's British biographer, Barbara Emerson, agrees: 'I
think it is a very shoddy piece of work. Leopold did not start genocide.
He was greedy for money and chose not to interest himself when things
got out of control. Part of Belgian society is still very defensive.
People with Congo connections say we were not so awful as that, we
reformed the Congo and had a decent administration there.' Stengers
acknowledges that the population of the Congo shrank dramatically in the
30 years after Leopold took over, though exact figures are hard to
establish since no one knows how many inhabited the vast jungles in the
1880s.
It is true too that some of those reporting scandals had their own
knives to grind. Some were Protestant missionaries who were rivals to
Belgian Catholics in the region.
Yet Leopold certainly emerges as an unattractive figure, described as a
young man by his cousin Queen Victoria as an 'unfit, idle and
unpromising an heir apparent as ever was known' and by Disraeli as
having 'such a nose as a young prince has in a fairy tale, who has been
banned by a malignant fairy.' As king, he did not bother to deny charges
in a London court that he had sex with child prostitutes. When the
bishop of Ostend told him that people were saying he had a mistress, he
is reputed to have replied benignly: 'People tell me the same about you,
your Grace. But of course I choose not to believe them.' His wiliness
in convincing the world that he had only humanitarian motives in
annexing the Congo, in persuading the Belgian government essentially to
pay for his purchase and in buying up journalists, including the great
explorer Henry Morton Stanley, to promote his cause show both cunning
and skill.
Henry Morton Stanley
Emerson claims Leopold was appalled to hear about the atrocities in his
domain, but dug his heels in when he was attacked in the foreign press.
He did indeed apparently write to his secretary of state: 'These horrors
must end or I will retire from the Congo. I will not be splattered with
blood and mud: it is essential that any abuses cease.' But the man who
(as Queen Victoria said) had the habit of saying 'disagreeable things to
people' was also reputed to have snorted: 'Cut off hands - that's
idiotic. I'd cut off all the rest of them, but not hands. That's the one
thing I need in the Congo.' Although few now defend him, strange things
happen even today when the Congo record is challenged. Currently
circulating on the internet is an anguished claim by a student in
Brussels called Joseph Mbeka alleging he his thesis marked a failure
when he cited Hochschild's book: 'My director turned his back on me.'
Daniel Vangroenweghe, a Belgian anthropologist who also published a
critical book about the period 15 years ago, says: 'Senior people tried
to get me sacked at the time. Questions were asked in parliament and my
work was subjected to an official inspection.' At a large chateau
outside Brussels in Tervuren is the Musee Royal de l'Afrique, which
Leopold was eventually shamed into setting up to prove his philanthropic
credentials. It contains the largest African ethnographic collection in
the world, rooms full of stuffed animals and artefacts including
shields, spears, deities, drums and masks, a 60ft-long war canoe, even
Stanley's leather suitcase.
There is one small watercolour of a native being flogged, but a visitor
would be hard-pressed to spot any other reference to the dark side of
Leopold's regime. Dust hangs over the place. A curator has said changes
are under consideration 'but absolutely not because of the recent
disreputable book by an American'.
The real legacy of Leopold and of the Belgians who ran the country until
they were bloodily booted out in 1960 has been the chaos in the region
ever since and a rapacity among rulers such as Mobutu Sese Seko which
outstripped even the king's. Leopold made £3m in 10 years between 1896
and 1906, Mobutu filched at least £3bn. When the Belgians left there
were only three Africans in managerial positions in the Congo's
administration and fewer than 30 graduates in the entire country.
Vangroenweghe says: 'Talk of whether Leopold killed 10 million people or
five million is beside the point, it was still too many.' I asked
Belgium's prime minister, Jean-Luc Dehaene, about the Congo legacy this
week. 'The colonial past is completely past,' he said. 'There is really
no strong emotional link any more. It does not move the people. It's
part of the past. It's history.' (source: The UK Guardian)
Humanitarian disaster
Mutilation
Failure to meet the rubber collection quotas was punishable by death. Meanwhile, the Force Publique were required to provide a hand of their victims as proof when they had shot and killed someone, as it was believed that they would otherwise use the munitions (imported from Europe at considerable cost) for hunting.[13] As a consequence, the rubber quotas were in part paid off in chopped-off hands. Sometimes the hands were collected by the soldiers of the Force Publique, sometimes by the villages themselves. There were even small wars where villages attacked neighbouring villages to gather hands, since their rubber quotas were too unrealistic to fill. A Catholic priest quotes a man, Tswambe, speaking of the hated state official Léon Fiévez, who ran a district along the river three hundred miles north of Stanley Pool:
All blacks saw this man as the devil of the Equator...From all the bodies killed in the field, you had to cut off the hands. He wanted to see the number of hands cut off by each soldier, who had to bring them in baskets...A village which refused to provide rubber would be completely swept clean. As a young man, I saw [Fiévez's] soldier Molili, then guarding the village of Boyeka, take a net, put ten arrested natives in it, attach big stones to the net, and make it tumble into the river...Rubber causes these torments; that's why we no longer want to hear its name spoken. Soldiers made young men kill or rape their own mothers and sisters.[14]One junior European officer described a raid to punish a village that had protested. The European officer in command 'ordered us to cut off the heads of the men and hang them on the village palisades ... and to hang the women and the children on the palisade in the form of a cross.'[15] After seeing a Congolese person killed for the first time, a Danish missionary wrote: 'The soldier said "Don't take this to heart so much. They kill us if we don't bring the rubber. The Commissioner has promised us if we have plenty of hands he will shorten our service."'[16] In Forbath's words:
The baskets of severed hands, set down at the feet of the European post commanders, became the symbol of the Congo Free State. ... The collection of hands became an end in itself. Force Publique soldiers brought them to the stations in place of rubber; they even went out to harvest them instead of rubber... They became a sort of currency. They came to be used to make up for shortfalls in rubber quotas, to replace... the people who were demanded for the forced labour gangs; and the Force Publique soldiers were paid their bonuses on the basis of how many hands they collected.In theory, each right hand proved a killing. In practice, soldiers sometimes "cheated" by simply cutting off the hand and leaving the victim to live or die. More than a few survivors later said that they had lived through a massacre by acting dead, not moving even when their hands were severed, and waiting till the soldiers left before seeking help. In some instances a soldier could shorten his service term by bringing more hands than the other soldiers, which led to widespread mutilations and dismemberment.
Death toll
A reduction of the population of the Congo is noted by all who have compared the country at the beginning of Leopold's control with the beginning of Belgian state rule in 1908, but estimates of the deaths toll vary considerably. Estimates of contemporary observers suggest that the population decreased by half during this period and these are supported by some modern scholars such as Jan Vansina.[17] Others dispute this. Scholars at the Royal Museum for Central Africa argue that a decrease of 15% over the first forty years of colonial rule (up to the census of 1924).[citation needed]According to British diplomat Roger Casement, this depopulation had four main causes: "indiscriminate war", starvation, reduction of births and diseases.[18] Sleeping sickness was also a major cause of fatality at the time. Opponents of Leopold's rule stated, however, that the administration itself was to be considered responsible for the spreading of the epidemic.[19]
In the absence of a census providing even an initial idea of the size of population of the region at the inception of the Congo Free State (the first was taken in 1924),[20] it is impossible to quantify population changes in the period. Despite this, Forbath claimed the loss was at least 5 million;[21] Adam Hochschild, and Isidore Ndaywel è Nziem, 10 million;[22][23] However no verifiable records exist. Louis and Stengers state that population figures at the start of Leopold's control are only "wild guesses", while calling E.D. Morel's attempt and others at coming to a figure for population losses as "but figments of the imagination".[24] To put these population changes in context sourced references state that in 1900, Africa as a whole had between 90 million[25] and 133 million people.[26]
Wednesday, January 7, 2015
Photo of Black Party Party members in front of the Alameda County Court House
The Black Arts Movement District may extend to the Alameda County Courthouse, site of the Huey Newton trial and the trial of those who assassinated Post Newspaper Editor Chancey Bailey.
photo Kamau Amen Ra
Val Serrant at BAM Celebration
Van Serrant has performed with Marvin X for decades. We are honored to have him in the BAM Poet's Choir and Arkestra at Laney College.
John Santos in the Black Arts Movement Poet's Choir & Arkestra at Laney College, Feb. 7, 2015
We are honored the great John Santos has agreed to participate in the
50th anniversary celebration of the Black Arts Movement. He will perform with the BAM Arkestra & Poet's Choir--Marvin X
John Santos: Keeper of the Culture
The Black Arts Movement Arkestra and Poet's Choir performs at 8pm in the Laney College Theatre
photo collage Adam Turner
Fantastic Negrito at Laney College Black Arts Movement Festival
“We are
Soldiers in the same tribe, because we carry this Flag of Musical Truth.
Fantastic Negrito is a deity contained in a human capsule. When he sings, he
can’t quite be contained and the only way to know I’m telling the Truth... is
to see him live.”
-Tre Hardson, Artist and Producer of The Pharcyde
Fantastic
Negrito is a man’s truth told through black roots music. Each song tells a
story about this musician from Oakland who struggled to “make it,” who “got it,”
and who lost it all. It’s the story of a man who experienced the highs of a
million dollar record deal and the lows of a near fatal car accident that put
him in a coma. It’s the story about a life after destruction, a reawakening and
rebirth. Negrito’s music emphasizes rawness and space. Slide guitar, drums and
piano all brought together to create soulful beats. Fantastic Negrito leaves
the original sounds of Lead Belly and Skip James intact and builds bridges to
modernity by looping and sampling his own live instruments. For anyone who ever
felt like it was over yet hoped it wasn’t, this is your music; blues harnessed,
forged in realness.
Night
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