September 28, 2014


afro-dominicano:

whitepeoplestealingculture:

Got the honkies playing Black people, got the Black people playing the servants and assassins.
#BOYCOTTEXODUSMOVIE 

needed a recent example of historical erasure and white supremacy? here ya go.

afro-dominicano:

whitepeoplestealingculture:

Got the honkies playing Black people, got the Black people playing the servants and assassins.

#BOYCOTTEXODUSMOVIE 

needed a recent example of historical erasure and white supremacy? here ya go.

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Black art is not a free for all.
Black art is not a free for all.
Black art is not free for all.
It is free for none of y’all non-Black people. It is created for Black people to get their lives, to recover their wits, to see themselves and their stories reflected, and to be healed and uplifted. Black people need this. When we come home from surviving in the world where we are made to be small and hopeless, we need our Black magic. We need it to heal us from the daily soul wounds we are exposed to—from the humiliating assumptions and character assassinations to the public executions. Black art gives us back our dignity, re-affirms our right to exist, raises a voice and words to our anger, hurt, and frustration. Black art is our only potable water, our healing balm.

Nadijah Robinson, “Black Art is Not A Free For All (via dangercupcakemurdericing)

(Source: y2kalypse)

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The system used the main nonviolent themes of Martin Luther King’s life to present a strategy designed to protect its own interests – imagine the most violent nation on earth, the heir of Indian and African genocide, the only nation ever to drop an atomic bomb on a civilian population, the world’s biggest arms dealer, the country that napalmed over 10 million people in Vietnam (to “save” it from communism), the world’s biggest jailer, waving the corpse of King, calling for nonviolence!

Mumia Abu-Jamal (via specialnights)

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jbloco305:

See what a group of engineers did  to encourage people to use the stairs in Stockholm.

(Source: hellyeahchandlerbing)

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blackcontemporaryart:

Allora & CalzadillaReturning A Sound, 2004Color video with sound. TRT 05:42

blackcontemporaryart:

Allora & Calzadilla
Returning A Sound, 2004
Color video with sound.
TRT 05:42

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tsedaye:

"Coco Fusco: When we created this piece, our original intent was not to convince people that the fiction of our being Amerindians was a reality. We understood it to be a satirical commentary both on the Quincentenary celebrations and on the history of this practice of exhibiting human beings from Africa, Asia, and Latin America in Europe and the United States in zoos, theaters, and museums. When we got to Spain, more than half the people thought we really were Amerindians. Then there were others who came to watch those who were taking us seriously. There were people who were not sure whether to believe that we were real. Other people were absolutely convinced that they understood Guillermo’s language, which is virtually impossible because it’s a nonsense language. One man in London stood there and translated Guillermo’s story for another visitor. We had a lot of sexualized reactions to us. Men in Spain put coins in the donation box to get me to dance because, as they said, they wanted to see my tits. There was a woman in Irvine who asked for a rubber glove in order to touch Guillermo and started to fondle him in a sexual manner. There were several instances where people crossed the boundaries of expected sexual behavior. I think that was provoked by us being presented as objects, by their sense of having power over us …”

The Year of the White Bear and Two Undiscovered Amerindians visit the West |Performance | 1992-1994

http://bombsite.com/issues/42/articles/1599

http://www.cocofusco.com

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September 20, 2014


bad-dominicana:

hotel-shamp00:

Angelitos Negros, Eartha Kitt, 1970

Mo

(Source: foxwin)

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