“The
Honorable Baba Askia Toure is the the sage and grio of culture and
thought. A man who was visited by Auset. Form the pyramid to the
projects to the stars one of the major influences behind who I am
today.”
“Free
people don’t have to say “Black Lives Matter”. Free people don’t have
to say that. That’s a known reality. Some of the more perceptive
scholars have called this Post Reconstruction two.” Askia M. Toure,
Poet and Black Arts Movement Legend
WIND-CHANT: A DIVA “PROFILES”She
was wild and fresh, a breeze from forever/ blown across frontiers of my
life. Her whispers/ were soft, spring breaths stroking leaves,/ guiding
them towards fecund maturity. I was/ rock, unbending, hopelessly rigid;
but she/ found secret depths, emerald valleys glowing/ in her mind.
Wind and rock, yin and yang,/ her golden voice sang in dark infinities,/
was sunlight where green reigned supreme/ in mythic landscapes
extolling Summer./ My beautiful one, a hurricane sweeping/ the tropics,
filling us all with emotion,/ insurgent devotion to all that surges and/
surrenders, sings and embraces totalities;/ emerges clean and whole to
perpetual/ rhythms alive in melanin realms where/ lost voices haunt
recurring dreamscapes,/ and spirits resurrect full moons, forever Eden. Toure Askia, April 2017
These
days, he resides and teaches in Boston, Massachusetts. He was a
writer-in-residence in Boston at the now defunct Ogunaaike Gallery in
Boston’s South End. He is currently working on a film about the Black
Arts Movement and completing further projects and poems of his writing.
Askia
expresses a pride in the next generation of millennials warriors and
draws a line straight from the Harlem Renaissance to our current
cultural milieu:
Elder
Askia Toure’, as one of our preeminent poets, National Poetry Month
might hold a particular significance to you. What kind of poetry have
you been working on lately?
While
having a background of modern lyrical and narrative poetry, rooted in
the Blues/Jazz tradition of Langston Hughes, Margaret Walker, and
Gwendolyn Brooks, I found myself drawn to the epic, as a form for
conveying specific cultural and spiritual experience. While a young
poet, in the Umbra group, and later in John Killens’ writers workshop at
Columbia University, I was advised by poet-critic Lorenzo Thomas to
explore the works of the Negritude poets, Aime Cesaire and Leon Damas. While “abroad,” I discovered W.B. Yeats, and the Irish tradition, the Romantic Percy Shelley, and the Chilean bard, Pablo Neruda.
I was deeply moved by Neruda’s Spanish Civil War poems, and the great
epic, “Song of the Red Army at the Gates of Prussia” However, my major
Neruda influence was his “Canto General,” or the General Song of South
America. These influences inspired my volumes “From the Pyramids to the Projects”, and “Dawn Song!”. Currently, I’m working on my Nile Valley epic, “Isis Unbound, the Goddess Songs” which include my first Nile Valley short stories.
Rich, lyrical poetry that explores themes such as apocalypse, the Black
Arts Movement and activism. Toure’s language reflects that of the
biblical Pslams, which were not meant for dramatic reading but rather to
be sung. Google Books
“The kids have went for the okie dokie with this thug rap” Askia Toure
As
one of the founding voices of the Black Arts Movement and Black Power
Movement, you have witnessed Jazz at its height and the emergence of Hip
Hop as a global sound. Where has black expression been and how has it
informed the black American experience?
My view is that Black expression is, or dominates culturally, the “American” experience. African-American classical music “Jazz” is functionally “American” classical music! Jazz is the “voice” of
Modern-Post-Modern era. Unfortunately, the U.S. is dominated by giant
corporations, created and controlled by the Anglo elite, which has never
accepted “Jazz” as American classical music. The liberal acceptance of
Wynton Marsalis and his mentor, Stanley Crouch is a half-hearted motion
to reflect the World’s recognition of “Jazz” as U.S. classical music.
“Jazz,”
of course, is the music of the descendants of slaves, and therefore,
could never be accepted by the descendants of the Anglo masters. The
study, “This Is Our Music, Free Jazz, the ‘Sixties and American
Culture,” by Professor Lain Anderson, University of Penn. Press, 2007,
reflects this particularly “American” cultural dilemma.
As
for Hip Hop, I view it as basically a youth musical expression of the
Millennials, Black Arts’ grandchildren. Because of African-American
national oppression, Hip Hop was interfered with by white musical
corporations and transformed from youthful cultural pride with groups
such as Sista Soulja, Queen Latifa, X-Clan, Common, KRS1 and Public
Enemy into the degenerate “Gangsta Rap” thuggery, led by Lil Wayne &
company. Within the original cultural imagery, young women were
celebrated as beauties and “queens”, but with the Corporate
“intervention,” the Lumpen “thug” negative was emphasized, and young
Black females were denigrated as “chicken-heads, skeezers, bitches and
“ho’s.” As a prominent Black journalist and novelist pointed out, his
teen-age daughters complained that nobody sang them any love-songs! A
negative “first” for Black urban Blues & Soul music.
“The poems in this collection address the cultural and spiritual needs
of Black people. In Dawnsong! In these poems Toure takes the reader back
to ancient Egypt and, at the same time, demonstrates the relevance of
Egyptian history and, at the same time, demonstrates the relevance of
Egyptian history and mythology to the lives of contemporary Africans on
the continent and in the diaspora. “
MILES, BEYOND 2000: A FINAL ELEGY (for Miles Davis)
“Jazz is finished. We better get it together!” — Miles, 1975
Driving
through America’s neon graffiti,/ one remembers Miles’ furious quest:/ a
master disciplined, fiery, determined;/ a man—-zealous, powerful,
elegant—-forging/ Driving through America’s neon graffiti,/ one
remembers Miles’ furious q uest:/ a master disciplined, fiery,
determined;/ a man—-zealous, powerful, elegant—-forging/ in the fluidity
of grace: a dark, griot mind/
exploring
depths of Inner Space—-and Time/ so marginal in his magical paradigm
blazing/like a nuclear sun. Miles who created new/Essence and rhythms
via Great Black Voices—/ orality, beyond puritan morality, unleashing/
Apocalypse. A prophet seeking visions, past/ Bluesy “style” collapsed
beneath the ferocious/
Genocide
of “Dollarism”: Anglo imperialists/ scheming to blast our Harlems into
myriad/ Free Fire Zones among Dantesque Infernos./ So, how would life
flourish within this/ Nation of Poets, Shouters, Screamers when/ the
Blue Song fades in Urban Gulags,/ and only primitives remain among its
echoes?/ Who would we be then: what ancient agony/ withered, though
essential, awaits in bleak/ Silence spewed with crack pipes, condoms,/
glocks, and the shock of recognition among/ nameless, faceless spirits
writhing in the dusk?
Askia Toure, April 2017
http://streamafrica.com
Askia Muhammad I (ca. 1443 – 1538), born Muhammad Ture or Mohamed Toure in Futa Tooro, later called Askia, also known as Askia the Great,
was an emperor, military commander, and political reformer of the
Songhai Empire in the late 15th century, the successor of Sunni Ali Ber.
http://streamafrica.com
Your
name is that of a kingdom governor, military strategist and statesman.
He was renowned for encouraging literacy amongst his followers in in the
Empire of Songhai. How has that name impacted your life?
My
name change developed out of the Black Arts Cultural Revolution. While
reaching back to Africa, and the Ancestors, we embraced what we
discovered about African Civilization and history. I chose the Songhai
emperor, Askia the Great, who was a legendary and inspiring leader and
ruler of the Songhai empire of West Africa. We rebelled against the
culture of our Anglo former enslavers, and sought to get rid of our
“slave -read Anglo-Saxon- names.” We hoped to create radical, new
traditions among us which we could leave to the younger generations. It
was in that spirit, that Maulana Karenga and colleagues created the
African holiday known as Kwanza, which has become a new tradition among
our people.
Black Lives Matter - I ask you this question listening to a video in which you stated, “Free
people don’t have to say “Black Lives Matter”. Free people don’t have
to say that. That’s a known reality. Some of the more perceptive
scholars have called this Post Reconstruction two.” - How do you believe that American Lives Matter at this juncture in World History?
This
period is potentially entering into the second Civil War and the
condition of African Americans and other peoples of colors and mirrors
that of African Americans and Native Americans in the 1900s. We are
still colonized. They have just shifted the slavery to the inner cities
and prison industrial complex. The urban police in the cities across
the country take the same position as the slave patrols. Matter of
fact, the way black people are treated now, they are worse than the
slave patrols. Because the slaves were considered valuable for their
economic value in picking cotton. Now, an active minority appears to
be capable of shooting down
I
think it is critical as a senior activist, it is a number one on
priority to engage the Millennials to make them aware of their legacy
and to talk the history with them. I think that is very important. As
we did in the 90s and 2000s, we will develop institutions whereby we
can transform and transfer a lot of experience to the younger
generation. They are very receptive they ask a lot of questions. A
lot of our colleagues have sat down with them and we are so proud of
them. A lot of them are the children of the buppies but in a lot of
cases they went looking for the old folks that were the Black Arts
Movement and Black Power Movement. I am so proud of them. We got
along instantly. They are sort of see us as living legends because
they generally know the story of our struggle. We are to them what
John Henry Clarke was to us.
“I have known Toure when he was Roland Snellings and
he was published in Soulbook, Journal of Black Poetry,Black Scholar and Black Dialogue
Magazine. However, more importantly, when I arrived in Harlem in 1968,
he was the one who gave me a tour. When I came back to the US as a
draft dodger, I departed Chicago for Harlem after the death of Dr.
Martin Luther King. Askia was the one who gave me my tour of Harlem. I
was working at the Lafayette Theater with Ed Bullins. We were
associated with the Last Poets, LarryNeal, Barbar Anne Teer, Nikki
Giovanni, Sonja Sanchez, Amiri Baraka, Sun Ra. We were all there
together.” Marvin X Jackmon a.k.a. El Muhajir, co-founder of the Black Aesthetics Movement, Black Arts Movement, publisher www.themovementnewsletter.blogspot.com
Askia Toure and Marvin X, co-founders of the Black Arts Movement
blackbirdpressnews.blogspot.com
“I
am going to tell you just to cut to the chase, the most significant
event I attended with Askia. We were at Spelman College in Atlanta and
we were doing poetry readings. Askia was reading a poem about Venus
and Serena Williams. He read that poem and of course it glorifies the
ebony woman and everything that they represent. After he read this poem
and applause broke out in the audience, we were afraid. I had never
experienced applause like that as the response was like an earthquake.
The whole room shook. I think Askia was afraid as well because it was
so powerful. But that is the power of his work.” Marvin X a.k.a. El Muhajir, poet, playwright and essayist
We
created the largest black cultural movement in the history of the
United States. We created the black arts journals. We created over 20
journals of various regions of the United States from the east coast to
the uni And yet there is no mention of that throughout the
literature.
What
really disturbs me is that the establishment would not deal with our
work because you are dealing with a society that tries to ignore those
contributions but the fact is that the black literary world would not
exist without our movement and has romanticized the Harlem Renaissance.
Because I came from the Umbra black magazine which came under the
authority and guidance of Langston Hughes. So we always revered papa
Langston but what you have now is assimilationist Negros who would not
deal with their own heritage because. The movement was basically
created by Amiri Baraka, Sonia Sanchez and myself.
Later,
there was Nikki Giovanni in Chicago due to Negro Digest Hoyt W. Fullard
and Hakeem Donnell Reed and the writers and artists out of Chicago. It
went out to the West Coast with Marvin X. Jackmon and Eldridge Cleaver.
All across the country we were linked up. Out of New Orleans, it
was John Dent. Umbra magazine was the message for all of that. We were
all in it, in Chicago and Detroit and so forth. We put forth major
movement. These assimilist Negros were ducking and dodging in the
1960’s until now.
____________________________
See now? Askia
Muhammad Toure’ is the spirit unrivalled in living and the spirit
fleshed from ancient ruler to ruling griot, the times were not lost on
him but made by him, enhanced by him, made whole by metaphysical
knowings. How are we born? How will we die? Askia Toure is not
concerned with that. The charlatans flee his presence. He knows
the secrets and it is within how we live, enhanced by an eternal fire
with no end, lighting days and ending nights. Black Pride! Fire that
crushes the narcissism, barbarism and nihilism of capitalism. From the
Niles to the Kilimanjaro, he carries within a barrel chest broad, the
beat for generations- from Black Power Movement to Millennials carrying
forth the fight for black liberation, from the pride of ancients, his is
the voice carrying instruction. Black Panthers strut tall and long.
From the tall grass of the Sahara to the Oakland, Chicago, Detroit and
NYC urbans. From the Pyramids to the Streets of Harlem, his is
instruction that will born Hip Hop, make the world spin like on boogie.
Instruction that will born the new era hereto un-named. Instruction
that will cleanse itself and renew the contract for our beautiful women,
through whom travel the unborn, the unknown, the new heroes. King
griot Askia Muhammad Toure’ - He is ours, a smile as broad as the
heavens, dimples deep as waterfalls cascading. Our living, breathing
liberation. No cheap commercial, this the real thang, a cosmic heart
beating. His is the divine masculine, percolating territories from
ancient kingdoms to afro- futuristic landscapes. In his palms, the palm
lines are oceans and mountains, hereto un-named. Futures unfurling
with great African names. A mystic preacher, metaphysical in form, his
is the wisdom of the ages, the metaphysics of the sages, raging fierce
for the divine feminine, every syllable uttered, a sly tryst increasing
the entwinement betwix his masculine and her feminine. Oh, how Askia
Muhammad Toure’ loves his woman. He loves his women as only black man
with a black soul could. He would kill for his women but so much more
powerful is his towering vulnerability and gentle soul, he will live for
his black woman, and passage of time will not still this beautiful
will. His is the terrible fire sweeping through towering myriad
conscience, keeping us straight woke! His is the spirits and
souls and tribal edicts of technologies that are coals waiting to be be
lit by new soul, new knows, new millennials. Askia Muhammad Toure’s is
the immortal soul of our beloved ancestor resurrected. A mythic
figure beyond time.
CANDACE/1
She
was blue(s), a deep indigo;/ her vital spirit vibrated/ an enchantment
of cool silver,/ like a nightclub scenario:/the bloods blowing strong/
in every mellow key, reaching/ harmony on Duke’s “Satin Doll.”/ And the
tonal/emotional nuances/ vibrated through one’s intimate/ universe. All
of this embodied/ in her Solo: her Life Song, among/ dreams & vistas
of subtle karma./ She was cool vibes by Milt,/Ramsey’s immaculate
arpeggios/ echoing a vital sensuality/ of melanin realms “when dawns/
were young.” She was woman/ and myth—primal, elegant, splendid—reborn in
puritan/ climes, among pioneers and/ corporate satraps, millennia/ from
Napata; subtle regal cool.
Note:
The Candaces were the female rulers of Kush, the only “Queendom” of
recorded history. They challenged Rome, and attempted to liberate Kmt
(Egypt) from Roman rule. Napata was their 1st capitol.
In my essay The Psycho-linguistic Crisis of the North American African, we discussed language usage as a primary component in the destruction of the African mind brainwashed with European language and mythology. But this psycho-linguistic transformation was carried out with the black bullwhip on the Black African's ass. It was "shock therapy" that forced Kunta Kinti to renounce his name or African identity and become the so-called Negro Toby! So how do we reverse the process to resurrect the African personality buried in the deep structure of the socalled Negro mentality, yes. that mind steeped in passivity, sloth and ignorance? Must not the whip be employed as it was in the original experiment? Well, what did Elijah Muhammad mean when he said, "We must force Black unity!"? What type of force must be employed? If it is physical force, then he meant the whip! If we sense a sado-masochism here, what was life in the American slave system?
Diasporic Music which started on CFNY-FM in Toronto a few days after
Bob Marley joined the ancestors in May 1981 is back on the radio dial.
Norman (Otis) Richmond aka Jalali and Malinda Francis aka Mali
Docuvixen can now be heard on http://blackpower96.org/ www.uhururadio.com which is based in St. Petersburg, Fla. The show is
heard every Sunday from 2pm to 4pm
The show was featured on CKLN-FM 88.1 in Toronto and was one of the
most popular shows on the station and the city. Richmond also produced
and hosted Saturday Morning Live and From a Different Perspective,
Many who Richmond mentored have gone on to host TV and radio show on
the CBC, Flow 93.5 and G98.7.
Richmond quotes Junie Morrison (Ohio {Players, Parliament/Funkadelic},
“We've been around for such a while/ Be kinda hard not to have a
style”.
The show features one hour of interviews and one hour of music. The
show has interviewed Gerald Horne, Efia Nwangaza, Abdul
Alkalimat,Lawrence Hamm, Ezili Danto, Rupert Lewis, Abayomi Azikiwe,
El Jones, Marvin X, John Woodford, and others.
Richmond was the first and one of the only people to broadcast the
commentaries of Mumia Abu-Jamal in the Great White North.
Richmond says he has a “Marcus Garvey Mix” and plays music from Cape
Town to Nova Scotia. Abdullah Ibrahim aka Dollar Brand, Shauntay
Grant, Maestro Fresh Wes, Michie Mee, Bob Marley, Peter Tosh, Calypso
Rose, Motion and others are featured on the show weekly.
BAMBD calls for community support of the Berkeley Flea Market
Remember
the time when the Berkeley Flea Market was the chief market place of
North American Africans and Africans from the Diaspora? Remember when it
was the crossroads of Pan African culture in the Bay?
Well, if
vendors and shoppers don't rush to keep it alive, it is in serious
danger of closing down. The non-profit corporation which operates the
Flea Market at the ASHBY BART Station are threatening to close the
market on Sundays because they cannot afford the expense of Sundays due
to the low turnout of vendors and customers. A petition was circulated
demanded it remain open on Sundays but it is a business and no business
can remain operating in the red! This is an economic reality.
Of
course we know gentrification or ethnic cleansing has decimated the
North American population in Berkeley, the Bay Area and throughout the
US. Thus it is not surprising the ASHBY Flea Market is in dire straights.
But we think it can be resuscitated with Pan African Unity, otherwise
it will join the dustbin of history of other cultural/economic districts
such as West Oakland and the Fillmore in San Francisco.
ASHBY
Flea Market organizers have called upon Oakland
poet/playwright/organizer/planner Marvin X and the Black Arts Movement
Cultural and Business District (BAMBD) planners to assist in a revival of the Berkeley Flea Market. The BAMBD planners have agreed to help in the resuscitation of the market so vital to Berkeley's Pan African identity, even though BAMBD planners realize the ASHBY Flea Market may suffer a fate similar to the BAMBD
unless there are investment partnership agreements with Berkeley
developers who eye the flea market space as ideal for expanding the long
planned Berkeley corridor from downtown Berkeley through the Lorin
District to downtown Oakland which will erase the traditional North
American African presence in South Berkeley. Alas, this is why the cause
is lost unless North American Africans and those of the Diaspora unite
in Pan African unity to push back those reactionary pseudo liberal
whites who have no qualms about further displacement of North American
Africans in Berkeley. For a clearer perspective on how North American
Africans view their situation, we suggest they check in with Berkeley
NAACP president Al Mansour
who has described the fight for space and place as ethnic cleansing, to
the utter dismay of Berkeley's pseudo liberal whites. Alas, shall we
quote Dr. Martin Luther King, Jr. in his Letter from a Birmingham Jail,
"I'd rather deal with the KKK than pseudo white liberals.!"
The BAMB
will do all we can to keep the ASHBY Flea Market alive as a symbol and
reality of North American African cultural and economic identity and
independence. But your help is needed as vendors, cultural workers,
artists and customers. We are begging you to vend at the ASHBY Flea
Market; we are begging you to shop at the market in the name of
self-determination and cooperative economics. Let's bring this cultural
and economic entity back to it's former glory as the cross-roads of Bay
Area cultural livelihood!
At present, other ethnic
groups benefit from our consumerism as per spending with other than our
own kind, even at the ASHBY Flea Market. There are a plethora of ethnic
groups who sell to us but will never buy from us. This has got to stop. I
talk about this in my Parable of the Donkey. North American Africans
are the donkey of the world: any ethnic group can set up shop in our
community and prosper, send money back to their home countries while we
go down down down.
I was elated this morning at the
ASHBY Flea Market when I purchased coffee and peace cobbler from a
sister and she gave me change with bills marked with red, black and
green, the colors of the Pan African nation. She said her mother had
told her to mark bills in this manner. I informed her I shall mark all
my bills the same way.
Marvin X and Vendor Nur Jehan
UPDATE ON BERKELEY FLEA MARKET
The Berkeley Flea
Market and the Juneteenth Committee have tentatively agreed to unite
for the success of both entities. We should expect the 2017 Juneteenth
to include the Berkeley Flea Market. Stay tuned as we seek to give new
life to the Berkeley Flea Market, crossroads of North American African
culture and African Diaspora culture, as well as culture and economic
activity of global ethnic groups.
As
per North American Africans, this Saturday, there were North American
African visitors from Brooklyn, New York, Alabama and elsewhere. One
brother from Brooklyn who works at Medgar Evers College, recognized
Marvin X at his Academy of da Corner booth and asked when he was coming
back to Brooklyn. Marvin responded, "When you invite me!"
Poet/author Prosperity Carter with customer holding her poetry collection Beyond Fame
At the Tampa, Florida Black Expo, poet/author Prosperity Carter dusts off a customer checking out her forthcoming book How to Get Off the Shelf Collecting Dust. She will be featured in the March issue of The Movement Newspaper, Voice of the Black Arts Movement International, of which she is Associate
Editor. In May, Prosperity will study at the University of Ghana, West Africa. While in Ghana, she will be hosted by The Movement's Pan Africa Editor, Hip Hop diva Muhammida El Muhajir, now residing in Accra. While in Africa she will be on assignment for the Oakland Post News Group. Prosperity is now available for speaking and reading engagements coast to coast and globally. Contact the Black Arts Movement Speakers and Artists Bureau: 510-200-4164; mxjackmon@gmail.com
