Tuesday, February 20, 2018

Dancing in Blackness, a memoir by Halifu Osumare, Black Arts Movement co-founder

Praise for Halifu Osumare’s
Dancing in Blackness

"As per the West coast Black Arts Movement, especially its origins at San Francisco State College/now University, Halifu was there from the beginning and thus is a critical personality in the BAM dance genre, also as organizer of dance venues in the Bay, especially Oakland's Alice Arts Theatre, now Malonga Center. She is among such Bay Area choreographers as Grand Diva Ruth Beckford, Ed Mock, Raymond Sawyer, Ellendar Barnes, Deborah Vaughn, Linda Johnson, Traci Bartlow, Rehema Yenbere, Jamilah Charlene Hunter, Delores Cayou, et al."--Marvin X, BAM co-founder

Dancing in Blackness is a professional dancer's personal journey over four decades, across three continents and twenty-three countries, and through defining moments in the story of black dance in America. In this memoir, Halifu Osumare reflects on what blackness and dance have meant to her life and international career. 

Osumare's story begins in 1960s San Francisco amid the Black Arts Movement, black militancy, and hippie counterculture. It was there that she chose dance as her own revolutionary statement. She moved to Europe, where she taught "jazz ballet" and established her own dance company in Copenhagen. Returning to the United States, she danced with the Rod Rodgers Dance Company in New York City and played key roles in integrating black dance programs into mainstream programming at the Lincoln Center. After dance fieldwork in Ghana, Osumare returned to California and helped develop Oakland's black dance scene. Along the way, she collaborated with major artistic movers and shakers: among them, Katherine Dunham, Pearl Primus, Jean-Léon Destiné, and Donald McKayle. 

Now a black studies scholar, Osumare uses her extraordinary experiences to reveal the overlooked ways that dance has been a vital tool in the black struggle for recognition, justice, and self-empowerment. This is the inspiring story of an accomplished dance artist and a world-renowned dance scholar who has boldly developed and proclaimed her identity as a black woman.
"Osumare has engaged with black dance as performer, choreographer, educator, arts administrator, researcher, and activist in the United States, Africa, and Europe, and through multiple careers. In this equal parts memoir, autoethnography, history, encyclopedic catalog, and sociocultural analysis, she traces her activities from the 1960s through the late 1990s, as she becomes a tenacious advocate for black dance. . . . An eclectic melange."--Library Journal 

"Finally someone who knows a dancer's process and a choreographer's vision that has tackled the mystery that is the magic of contemporary African American dance. In Dancing in Blackness, Halifu Osumare has extricated the fundamental influence of Dunham, the choreographic strategies of Rod Rodgers, Eleo Pomare, Chuck Davis, Donald McKayle, and Alvin Ailey, as well as illuminating the paths they created for Jawole Willa Jo Zollar, Bill T. Jones, Garth Fagan, and Diane McIntyre. What a wealth of treasure and scholarly and aesthetic understanding Osumare brings to this often misunderstood and woefully neglected American art. Bravo!"--Ntozake Shange, author of for colored girls who have considered suicide / when the rainbow is enuf 

"Dancing in Blackness belongs on every dancer's and artist's shelf. It is a wonderful personal telling of the black experience in dance, in art, in life, and of the dance world in Boston, New York, and the whole Bay Area. It is beautifully written--an engaging and fact-filled narrative where you meet the choreographers of the period, their work and visions, trials, successes, and triumphs."--Donald McKayle, choreographer of Rainbow Round My Shoulder 

"Halifu Osumare is a relevant voice from the Black Arts Movement of the '60s and '70s. She has danced the talk, music, and history of that period and beyond. This is a must read for insight into a black artist's personal and professional journey."--Kariamu Welsh, editor of African Dance: An Artistic, Historical and Philosophical Inquiry 

"Coming of age amid the counterculture and Black Power in San Francisco, Osumare becomes a professional dancer in Europe and New York before returning home to realize her mission as an artist, activist, and thinker. Her memoir reveals an astonishing ability to evoke and to historicize her lived experience."--Susan Manning, author of Modern Dance, Negro Dance: Race in Motion 

"An unapologetic, rapturous travelogue detailing life, love, and an abiding mission to further the place of black dance in global histories."--Thomas F. DeFrantz, author of Dancing Revelations: Alvin Ailey's Embodiment of African American Culture 

"Osumare affirms the spiritual and tangible power for dance to teach, energize, heal, and inspire all peoples on this human journey."--Joselli Audain Deans, consultant, Black Ballerina



Dr. Abdul Alkalimat on the Black Panther movie

The Black Panther movie: Why is it dangerous?  Why do we fall for it?
Abdul Alkalimat
Veteran Black Liberation Activist, Educator, Researcher and a founder of Black/Africana Studies.
(2/18/18)
The Panther movie is out and people are going in droves to check it out.  Both Black and white.  This requires clear hard-headed thinking.  It’s not about the actors in the film and their careers.  Can’t blame a brother or a sister for needing a payday and a chance to make it inside the system, in this case Hollywood.   It’s certainly not about the capitalists promoting it on all media, as they have the dual interest of making money and controlling our consciousness to prevent our movement from making sure they stop making all this money.  It has to be about our clear understanding of history, and how we can get free from this system. 
The first thing is that they know how to go fishing.  Beautiful Black people celebrating culture and positive relations.  A view of traditional Africa that defies all logic and historical experience but gives Black people a view of the past that can be imagined as the technological future.  This fits the imaginative rethinking of ancient Egypt as an answer for our future.  Our situation is so dire that we will reach out for this Hollywood fantasy as if it can be helpful, healing, and a lens through which to view history.  There is dialogue about freedom, but in no way reflects the past or gives positive advice for us.
Lies can’t get us where we need to go. 
Let’s take a quick look at this film.  It is a replay of the conflict of the 1960s between cultural nationalism and revolutionary nationalism, the US organization of Karenga and the Panthers of Huey Newton and Bobby Seale.  The story is about who is going to control the Kingdom of Wakanda.  The point of conflict is the Panther as a metaphor for a Black liberation change agent.  The cultural nationalist is the King of Wakanda, who uses their special natural resource plants to become the Black Panther.  He is a friendly associate with the CIA.  The reference to the actual Black Panthers, meaning the child of Wakanda (aka Killmonger) who grew up in Oakland, is a sort of gangster living a Fanonian fantasy that violence will change the world.  He too is the son of a member of the royal family. This guy was trained by the CIA and begins the film in alliance with a white South African fascist.  The big lie is that to be a Panther one has to be of “royal blood,”  and not simply a victim of the system who stands up to fight back. 
Another big lie is that the CIA is an ally in the fight for a better world.
The film is a commercial hodgepodge of references to other popular films:
1.       A young women plays the part of the tech-savvy Q of James Bond movies
2.       The space ships are a nod to Star Wars
3.       The CIA agent is the star from the Hobbit movies
4.       The car chases refer to the Fast and Furious films
5.       Moving into Wakanda makes you think of Stargate
In 2018 we live in a moment of spontaneous movement and there is the possibility that another version of the real Panthers will likely emerge.  Some original Panthers are still incarcerated and being brutalized by the system they dared to oppose.  A movie like this has the bait to pull us in like fish about to be hooked by the system.  People see the film and feel good, but isn’t that what people say about first getting high on drugs.  We know how drug addiction turns out.
This film is dangerous and we must be vigilant against culture used to control and oppress.

Power to the People! Long live the warrior spirit of the 
Black Panther Party
Power to the people of Oakland CA
City of Resistance!

Marvin X Speaks at San Francisco State University






Marvin X Speaks at San Francisco State University

Marvin X returned to his Alma Mater, San Francisco State University, for a Black History Month talk in Davey D's class on Hip Hop. Davey D asked the poet about ideological differences between the Black Arts Movement and the political liberation movement, especially between BAM at the Black Panther Party. The poet said much of the dispute centered around arm struggle, with the Panthers decrying all those who refused to pick up the gun. He said armed struggle became an issue in the founding of the BPP since Bobby Seale and Huey distinguished themselves from their intellectual friends when they picked up guns to defend the community against police occupation and abuse under the color of law.

It was only until the Panthers attended the Pan African Cultural Festival in Algeria that they gained an understanding of the necessary role of art and culture in the liberation movement.

What was ironic was that many of the Panther leaders came through Marvin X's Black Arts West Theatre, including Bobby Seale (co-founder), Eldridge Cleaver, minister of information, Emory Douglas, minister of culture, George Murray, minister of education, and Samuel Napier, minister of distribution. Bobby was in Come Next Summer, X's second play writtern prior to and performed before he established Black Arts West, 1966, with playwright Ed BullinsHurriyah (Ethna X), Carl Bossiere, Duncan Barber, Hillery Broadous.

This is why Marvin X disputes Larry Neal's assertion that BAM was the sister of the liberation movement. Marvin says BAM was more like the Mother, especially on the West Coast.

When Eldridge Cleaver financed the Black House with his royalties from the best seller Soul on Ice, 1967, after his release from prison, Marvin X and Ed Bullinsoperated the cultural component with Cleaver manning the political division, but Cleaver was exposed to a healthy dose of culture from co-founders Bullins and X, along with Amiri Baraka's Communications Project that performed at Black House. Other artists were Sarah Webster Fabio, Reginald LockettAvotcja and the Chicago Arts Ensemble.

Aside from armed struggle there were differences over the use of Marxism as a tool of analysis. Cleaver wanted the artists to be Marxist oriented but Islam was a greater influence than Marxist Leninism, although the writers and poets did indeed read Mao Tse Tung's Talks on Art and Literature at Yenan Forum.

But Islam dominated Black Arts West and Black House, aside from Cleaver and Ed Bullins, Black House members Marvin Jackmon (later Marvin X), Ethna Wyatt (later Ethna X), singer Willie Dale and his wife Vernastine were drifting into the Nation of Islam. While Cleaver had California Communist Party Secretary Roscoe Proctor giving seminars on Communism at Black House, Black Arts West Guru Alonzo Batinhad a profound influence on those drifting toward Islam. Ahmedia Muslim language instructor, Ali Sharif Bey, infused the artists with his knowledge of Arabic and Urdu. He was Marvin's first Arabic teacher and gave him his first Arabic name, Nazzam Al Fitnah, organizer from persecution.

Bey said the poet is an organizer or systematizer, for he creates a system or mythology with the body of his work. The third Islamic influence was from Aaron Ali, a former minister in the NOI but had been set down by the Honorable Elijah Muhammad. Aaron Ali was a shaykh or holy man who taught linguistics to all who entered his domain. One could not enter without assuming the most humble persona. He used to debate in the hood with San Francisco semanticist SI Hayakawa, the English professor who became President of SFSU and crushed the Student Strike at SFSU, using State violence. Aaron Ali called Hayakawa an Oriental with an Occidental Mind! By suppressing the student strike, Hayakawa proved Aaron Ali was right.
The issue of arm struggle exploded after Marvin X introduced Eldridge to Bobby Seale and Huey Newton. Eldridge immediately joined the Black Panther Party and proceeded to evict the artists. Thereafter relations between the politicos and artists/intellectuals degenerated.

The original split happened when Bobby departed from the SoulBook magazine intellectuals, Ernie Allen, Mamadou Lumumba, Carol Freeman,Isaac Moore and others, claiming there were cowards for not taking up arms, even though they had founded the first Black Panther Party in the Bay Area, the Black Panther Party of Northern California. When Huey Newton and Bobby Sealeconnected, they demanded the intellectual Panthers take up arms or give up the Panther name.

To make their point, the BPP of Self Defense fired off rounds at a house party in San Francisco hosted by the intellectual Panthers. Thus began the bitter struggle between the political nationalists and the cultural nationalists, culminating in the assassination of Alprentis Bunchy Carter and John Huggins in the BSU meeting from at UCLA.

The assailants were members of the US organization under the leadership of KwanzaFounder Maulana Ron Karenga, the supreme cultural nationalist who guided AmiriBaraka into Karenga's Kawaida religion, a syncretized belief system concocted by Karenga.

Apprently Karenga taught Baraka the organizing skills necessary to put together an organization that enabled Ken Gibson to be elected Newark, New Jersey's first black mayor. After Karenga's men were indicted for the murder of Carter and Huggins, Baraka severed his ties with Karenga and after witnessing Gibson selling out to Newark Plantation Master Prudential Insurance before inauguration day, yes, after organizing ten thousand North American Africans at the Congress of African People, Baraka is totally disillusioned with Cultural Nationalism and elected politicians, definitely after the Gary Convention of 1972 when they openly revealed their sell out personas.

It is at this point that Baraka dons the Marxist hat he wears today, thus switching with Cleaver who saw Jesus in the moon in his Paris exile and returned home a Born Again Christian. Cleaver switched to the right when it was clear the left was not going to assist him in returning from his Paris, France exile. He had fled the US after the shootout with Oakland Police Department in which Lil Bobby Hutton was murdered in cold blood by the OPD.

The notes above are a more detailed account than what was presented in Davey D's class.

I told the students revolution only happens when all forces in society unite, whether the armed struggle people, along with the non-violent persons, artists, workers, students, elders, children, teachers, preachers, prisoners and ex-prisoners, only then are we able to make revolution.

The poet asked the class to give a shout out to the people of Egypt, Tunisia, Libya, Yemen, Jordan, Bahrain, Saudi Arabia, Morocco who are in the process of revolution. What is ironic is that they used methods used in our revolution, especially during the civil rights era with Martin Luther Kings, Jr.'s non-violence. During their 18 days of deposing Pharaoh Mubarak, the people did not fire a bullet that we know about. They used our technique to win their freedom. With their million man march, they perfected our MMM and showed what we should have done when the million black men marched: we should have remained in DC until our agenda was met, no matter what, i.e., reparations, land, self-determination, sovereignty , etc. But we got out of town before sundown. Marvin quoted Sun Ra who taught him, "The Creator got things fixed, if you don't do the right thing, you can't go forward or backward, you just stuck on stupid."

Marvin told the students, "We may need to return to DC with a million black men, a million white men, a mission Asians, a million Latinos, a million gays and lesbians.

The people of the Middle East are showing you how to lay down before tanks, if you are really serious about shaking off the slave system. He told the students it is their fault if they are being subjected to tuition hikes at every turn, program cuts, and other high fees.

He told them he had met at student on the way to class that asked what should be done about tuition and fees. Marvin had told her to do exactly what her father did when he was a student at SFSU. He was part of the student strike to demand justice in academia, including a fair share of Associated Students funds, a black studies department. How can you SFSU students have this legacy yet accept the status quo? Close this motherfucker down! Dr. X said. The administration, representing the State, will come to you on bending knees, what do you students want? Full scholarships, ok. No program cuts, ok. No hiking of student fees, ok. Now, will you students please go home! Please leave the campus! If you stand up, the oppressor stands down. Look at the Middle East. Look at the history of SFSU!

Furthermore, Marvin X said, your President had guaranteed the insurgents in Iraq and Afghanistan that if they will lay down their arms and pledge allegiance to the constitutions of their lands, the USA will provide them with education, employment and housing.

If your President can do this for terrorists abroad, you must demand he do the same for youth at home.

Marvin X then gave his solution to the homeless problem. I have a simple solution, the life estate. This can end homelessness immediately by giving all homeless youth and adults a life estate, that is a title to an apartment or home that they own for life. The property cannot be transferred, sold, rented, willed or any other change of ownership. A transition of the owner, the property reverts to a community trust. The will take a basic level of stress off the poor. Marvin X said he'd watched a documentary of senior citizens in China who lived in a senior village with a life estate. But to end homelessness in America, the life estate can be utilized. X said it is all about thinking outside the box.

He told students to strive for ideological clarity, to seek knowledge beyond their white supremacy education. Study events in the Middle East, study economic planning in the Americas, in Venezuela, Boliva, Nicaragua, Brazil. Study the complexities of Haiti. And whatever you do, don't whip the white man's ass like Haiti did. You see the result. He will hate you forever.

It is not much different in the American South. There are many in the south who still can't get over that they lost the Civil War. The South functions in a state of grand denial, yet every one is armed, the south is an armed camp, men and women are armed.

Brothers tell me they would never drive down those southern roads at night without their guns. The South sings the blues for the return of the Slave System. The Africans know the Whites would love to put them back in chains. The prison system is nothing but the slave system under the US Constitution that allows involuntary servitude. And then the South practices the most wretched wage slavery, forcing persons to work two and three minimum wage jobs to survive.

The poet turned to his book How to Recover from the Addiction to White Supremacy. The book was written in South Carolina, and when he went to copy the manuscript, the black woman clerk asked the poet where he was from. He said South Carolina. She said no you ain't because we don't say that word down here, White Supremacy. Yes, the South has a way to deal with language, more polite, more subtle, more innuendo , circumlocution, an etiquette of the most profound degree since it is about survival.

Marvin noted that black people in the South tell Cali Negroes not to come down there taking that talk then leave them with the white man. They've had four hundred years dealing with The Cracker and they don't need Cali Negroes stirring up things then leaving.

Nevertheless, he told the students he envisions a Second Civil War to finish the first, since the first left us in virtual slavery or essentially still a captive of the Slave System until today.

He told them as per their college education, don't believe the State is broke, or that America is broke, rather know the wealth is being hoarded by the blood suckers of the poor. It must be seized from them and redistributed to the masses of the people, especially the workers, the poor righteous teachers and others. Let's share the wealth! We shall not long endure capitalist greed.

And don't believe the media propaganda from the Jim Crow Media that America is broke. How can America be broke when half the money owned China is due American corporations who are part owners in Chinese corporations? Dr. Nathan Hare says don't believe anything the white man says until proven to be a fact.

As per Dr. Hare, Marvin turned to his book How to Recover from the Addiction to White Supremacy, telling students Dr. Hare teaches us there are two types of White Supremacy, Type I and Type II. Type II is Black people who suffer white supremacy, who must detox, recover and discover their true mission in life.

These are just a few of the points Marvin X made during his talk at San Francisco State University tonight.
A superb slice of history and analysis!--John Woodford, former Editor of Muhammad Speaks and Michigan Today, Professor Emeritus University of Michigan

A great, tremendous work!
--Dr. Fritz Pointer, Professor Emeritus,  Contra Costa College

Monday, February 19, 2018

Contents: Notes of Artistic Freedom Fighter Marvin X

“The artist elects to fight for freedom or slavery.
I have made my choice! I had no alternative!”
--Paul Robeson


Comments
A great, tremendous work!
--Dr. Fritz Pointer, Professor Emeritus/ Contra Costa College
A superb slice of history and analysis!--John Woodford, former editor of Muhammad Speaks and Michigan Today, Professor Emeritus University of Michigan


Table of Contents

Introduction Dr. Nathan Hare
Chapter One  
Transcendence
The revolutionary who never came in from the cold
Revolution against fear
Romanticism/Idealism

Left/Right Paradigm
Every day is a holy day
Why are North American Africans Reactionary?
US Violence--level the playing field--everybody pack!
Chapter Two
Parables
Parable of Conundrums and Quagmires
Parable of Violence in the Pan African Hood
Parable of the Heart
Parable of a Real Woman
Parable of Woman in the Box
Parable of God and Devil
Parable of Pit Bull
Parable of the Parrot
Parable of Rats
Parable of Black Man and Block Man
Parable of the Donkey
Chapter Three
Obama Drama/Trump Trauma
Pull yo pants up fada prez
Excuse me, Mr. Prez
Fictional interview with President Obama
Fictional President Obama speech to Muslims
Fictional President Obama speech on Afghanistan
Hillary Clinton and Donald Trump, a tale of two white elephants
Donald Trump, white man’s last hurrah

Chapter Four
Reviews
Black Panther
Django
Sun Ra Arkestra at SF Jazz Center
Oakland  Symphony Vietnam Concert
Mama at Twilight, Death by Love, a play by Ayodele Nzinga
Film Fences
Oakland Symphony Black Panther Concert
Lifer, the Glen Bailey Story, a play by Ayodele Nzinga
Chapter Five
BAM/BAMBD
BAM 50th Anniversary Celebration
Oakland’s Black Arts Movement Business District
BAM Dream and Wish List
Economics and the BAMBD
BAM/BAMBD Billion Dollar Trust Fund
How the BAM/BAMBD Billion Trust Fund will be allocated
Letter of invitation to join BAM 27 Tour
Abstract for the Black Arts Movement 27 City Tour
BAM Speakers Bureau
Straight Outta Oakland
Black Bourgeoisie Art and Opportunism
BAMBD Meets Carmel Developers; letter to Carmel
Talk with architect Fred Smith on Afrocentric Design of the BAMBD
Toward Non-violence in the BAMBD
Confidential Notes that ain’t confidential; reply by Oakland City Council President Lynette McElhaney
Letter to Oakland Mayor Libby Schaaf; her reply
Call for United Front at Oakland City Hall Black History Celebration
Chapter Six
Harvey Weinstein and Mythology of Pussy and Dick
Should Everyman confess sex guilt?
Harvey is Everyman
Chapter Seven
Notes on Da Nigga Debate
How to Recognize a Real Nigga
Psycho-linguistic Crisis of North American Africans
Silence is the  language of Unity!
Chapter Eight
The Cross and Lynching Tree: Assassination of Editor Chauncey Bailey
Between the devil and deep blue sea
Chauncey, A Shakespearean Tragedy
OPD Gang
Chauncey and Malcolm X
Fake News Chauncey Bailey Project

Chauncey’s last story

Black Bird Press, March release,
300 pages, $29.95

mxJackmon@gmail.com

Saturday, February 17, 2018

Marvin X pre-review notes on the film Black Panther and the Black Panther Party, Oakland CA



Dr. Huey P. Newton said, "Marvin X was my teacher, many of our comrades came through his black arts theatre, e.g.Bobby Seale, BPP co-founder, Emory Douglas, Minister of Culture, Samuel Napier, Minister of Distribution of the Black Panther Newspaper and Eldridge Cleaver, Minister of Information, et al." See Marvin X's play of his last meeting with Huey Newton in a West Oakland Crack House, entitled Salaam, Huey Newton, Salaam, a scene from the full length docu-drama by Marvin X, One Day in the Life, produced in the Bay Area by Marvin's Recovery Theatre and in New York at Woody King's Federal Theatre. On the east coast the full length drama was performed at Sista's Place, Brooklyn, NY, Brecht Forum, Manhattan, and at Amiri Baraka's Kimako's Place, Newark, NJ.

If the film Black Panther is the neo-Roots, no matter if we saw Kunta reduced to Toby and we now enjoy Panther as a much needed Balm in Gilead to return Toby to Kunta in the process of reverse psycho-sociology for the culturally starved Pan African nation, and most especially North American Africans in the belly of the Beast, then let us enjoy this moment of make believe Hollywood fantasy, for we need any means necessary to regain our mental equilibrium, as our most revered sociologist and clinical psychologist, Dr. Nathan Hare, father of Black Studies and Ethnic Studies, teaches us.

FYI, Dr. Nathan Hare was the first chair of Black Studies on a major American university campus at San Francisco State College, now University, 1968. The student struggle to establish black and ethnic studies caused the longest and  most violent student struggle in US academic history. Well, unlike the Kent State struggle, no students were murdered, but at SFSU, students  were beaten down by SFPD on horses, many jailed and in imprisoned in the Third World Strike.

As an undergrad at SFSU, we are honored to have been a student when the Negro Students Association, 1964, suffered an internal struggle to become the Black Student Union and forced SFSU to establish black and ethnic studies with the mission to serve the community. A key move was simply demanding equity of funds from the Associated Students budget.

For sure,  the student struggle at SFSU was not to create a class of tenured nigguhs who are equal in psycho pathology with the Hollywood fantasy Panther, especially in their pursuit of what Dr. Nathan Hare calls the Kingdom of Africana, that mythical place that is the cause of Harold Cruse's Crisis of the Negro Intellectual that yet perpetuates the world of make believe we inhabit (Dr. E. Franklin Frazier, Black Bourgeoisie, 1962) and conspicuous  consumption.

Dr. Nathan Hare followed Frazier, yes, at Howard University,  with his sociological classic Black Anglo-Saxons. From a Pan African perspective, we can understand how Black Studies morphed into the Kingdom of Africana with knowledge of how the African colonial elite became the administrators and educators of the newly independent African nations, along  with our similar understanding of neo-slaves uplifted throughout the Third World. These newly independent nations threw off the chains of colonialism only to suffer neo-colonialism. Kwame Nkrumah said, "Neo-colonialism is colonialism playing possum!"

Again, nothing since Roots has jolted the psyche of culturally starved North American Africans and Africans throughout the Diaspora. The tragic reality is that neither Roots nor the current Panther film will ultimately assuage the very real Liberation of North American Africans and Africans throughout the Diaspora, especially those followers of Kwame Nkrumah and Kwame Toure' who called for the United States of Africa.

But let us consider what we can learn from Panther that will usher us into so-called Afrofuturism, the idea of a future world based on African mythology and a scientific vision of the future. The Black Arts Movement genius, musician, philosopher, poet Sun Ra must be the root of any serious discussion of Afrofuturism that is the foundation of deep structure Panther ideology. Alas, not only does Sun Ra's mythology inform the film but the real life Black Panther Party. Sun Ra gave a conscious return to our Kemetic mythology, yet extended the myth with his explorations into outer space with his music and theatrical productions that combined Kemetic or Egyptian mythology with an equal mythological narrative of us as space beings. See his classic film Space is the Place filmed in Oakland.

Sun Ra's Kemetic and Space myth brought an original mythology to the North American African historical and literary narrative. His Black Arts Movement associate, Amiri Baraka, approached his effort with his utilization of the Nation of Islam's Myth of Yacob, the mad scientist who created the devil white man through genetic engineering. I added to the BAM's mythological imagination with my myth-ritual dance drama Resurrection of the Dead, Black Educational Theatre, San Francisco, 1972.

Resurrection of the Dead, in BAM ritual theatre tradition, transcended drama when the "actors" took holy names in the naming ceremony and kept their names for life! Lead singer/actor Victor Willis will tell you it was the energy gained from Resurrection of the Dead that made him successful when he got to New York and ultimately become lead singer of the Village People.

If Panther wakes up the long dormant consciousness of Pan Africans, it will have done a masterful job in spite of its fantastical creation.

Finally, there are those critics who seriously questions the very idea of African royalty since the historical record is clear the African upper class was crucial in the Triangular Trade. Dr. Walter Rodney has delineated the fundamental role of kings and queens in the sale of our people to the Europeans, Arabs as well. Rodney notes how all African social institutions were corrupted to satisfy the greed of African kings and queens: the religious, judicial, military, political, economic institutions conspired to send us into that longs day journey into night. Thus, from slavery to the now, we must question socalled African royalty and most importantly those corrupt kings and queens for life known as politicians, many of whom yet rule African nations, alas, with wealth derived from the slave trade.
--Marvin X
2/17/18

Marvin X notes on the fantasy Panther film and the Black Panther Party reality



Power to the people on the b day of my superhero Dr. Huey P. Newton, co-founder of the Black Panther Party in Oakland, California. Oakland, City of Resistance to US domestic colonialism, no matter your numbers, we call upon you to be inspired to stand on the shoulders of the BPP and be fearless in the face of US domestic colonialism and globalism. Huey said I was his teacher, and maybe I did teach the BPP some theatrical techniques as per costumes and art as propaganda. And as he noted, many BPP comrades came through my black theatre, e.g., Bobby Seale, Emory Douglas, Eldridge Cleaver and Samuel Napier. But for me, Huey taught fearlessness, the most important lesson in revolution. Once the fear of death, jail, prison, exile is expelled from the heart of the revolutionary, the show beings and ends in death or freedom. I'd rather be dead than a slave to any man. Long live Dr. Huey P. Newton and all the BPP comrades, especially the often forgotten rank and file! Power to the People. --Marvin X/El Muhajir, co-founder of the Black Arts Movement
and Oaktown's Black Arts Movement Cultural and Business District.
2/17/18