cross cultural contamination and/or assimilation (?)
Tsedaye Makonnen
Panoply Performance Laboratory
2014

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cross cultural contamination and/or assimilation (?)
Tsedaye Makonnen
Panoply Performance Laboratory
2014
Yellow Fever by Ng’endo Mukii
YELLOW FEVER mixes different media to bring to attention notions of race, self-image and self-worth. Trying to fit the mould imposed by western standards of beauty, African women attempt to erase their individuality by bleaching their skin and braiding artificial hair into their own. Animation and documentary blend with a battle-like choreography that envisions the struggle with one’s own reflection. Images of the great Savannah, projected on the dancers’ bodies are a reminder of the heritage interwoven in these women’s very skin, exposing the pursuit of a globalized standard of beauty as a negation of personal identity. (Diana Mereoiu, BIEFF 2013)
The Tailors of Port-au-Prince - Leah Gordon
Akosua Adoma Owusu by Bee Walker
Akosua Adoma Owusu is an award-winning filmmaker with Ghanaian parentage. She received an MFA from CalArts in 2008. One of ArtForum‘s Top Ten Artists and one of The Huffington Post‘s 30 Contemporary Artists under 40, Owusu has exhibited worldwide, including at the Museum of Modern Art, The Studio Museum in Harlem, Rotterdam, Centre Pompidou and the BFI London Film Festival. She is a 2013 MacDowell Colony Fellow and 2015 Guggenheim Fellow. Her company Obibini Pictures produced award-winning films including Afronauts, and Kwaku Ananse, which received the 2013 African Movie Academy Award for Best Short Film and was nominated for the 2013 Golden Bear prize at the Berlinale. The French Cesar Film Academy Golden Nights Panorama program included Kwaku Ananse in Best Short Films of the year. Focus Features Africa First, Art Matters and The Sarah Jacobson Film grant supported Kwaku Ananse in 2012. She was a featured artist at the Robert Flaherty Film Seminar in 2010 and received the Africa First award sponsored by Focus Features in 2011. Owusu’s film Split Ends, I Feel Wonderful received the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival in 2013. Her most recent exhibitions include Prospect.3: Notes for Now in New Orleans, America Is Hard to See at the Whitney Museum of American Art in New York, and The Art of Hair in Africa at the Fowler Museum in Los Angeles. Various universities and museums hold Owusu’s work for their research and permanent collections, including the Whitney Museum of Art, the Fowler Museum, Yale University Film Study Center and Indiana University Bloomington, home of the Black Film Center/Archive.
Bee Walker is a Kenyan born photographer residing in New York City. Her work explores cultural dynamics within her immediate and surrounding communities. She also works as a creative producer for VSCO, a leading art & technology company.
My Struggles as a Black American in the Dominican Republic
When I lived in the Dominican Republic, there was a point when the jeers from the streets, shouts of “Arréglate ese pelo!” (Fix that hair!) and mocking gestures about my prominent pajón (afro) became too much to deal with. In a country of complex racial dynamics, where straightened hair is a social currency and billboards depict curly-haired women with the headline “Your hair deserves better,” natural or curly hair, colloquially referred to as pelo malo (bad hair—also a term used in the black American community), is sometimes viewed as a marker of Haitian identity.
http://americasquarterly.org/content/my-struggles-black-american-dominican-republic
Josee C. Roza
Masquerade Nuptuale and Portrait of Siriaco
Portugal (1788)
The website that came along with this submission is in French, and although I don’t really know French, I did the best I could with the names, birthplaces, and descriptions of the people who are in these portraits:
Martinho de Mello e Castro, black native of Bahia, sent by the governor and captain-general of Pernambuco, José César Menezes, who arrived in 1787. He is 14 years old.
Dona Roza Corazon de Jesus, aged 18, from Horguetta (?) She was sent to the court by José Gonçalves da Conaro, then Governor of Angola and arrived in this city on September 7, 1781. She is famous for her face that combines vivacity, wisdom and grace that adds to her attractiveness.
Don Pedro, black native of Luanda, capital of the kingdom of Angola. He was sent to the court by the governor who was Baron Mossamedes. He is between 30 and 40 years old, recognizable in this portrait because of his unusual face.
Marcelino de Tapuia, from Mariuá sent by Martinho Souza e Albuquerque, the then governor of Pará; he is 26 years old.
Donna Anna Rio de Sena. She was sent to Portugal by Antonio de Mello y Castro, governor and captain general of Mozambique. She arrived in June 1787; she is 17 years old.
Dom José, native Maruide, aged 30: happened in Rio de Janeiro and from there to the court where it arrived December 24, 1786, sent by the viceroy of the states of Brazil, who was Luiz de Vasconcellos e Souza.
Siriaco, from Cotingiba where he rose to Bahia and from there sent to the Portuguese Court by Dom José Rodrigo de Menezes e Noronha who was then the Governor and Captain General [Bahia]. He is 12 and came to this court July 1786; exceptional and famous accidents of complexion can be seen in his portrait.
Sebastian, a native of Rio Sena where he was sent to Portugal by the then Governor and Captain General Mozambique Antonio de Melo e Castro, arrived in July 1787 and he is 31 years old.
The second portrait is of Siriaco on his own, minimally clothed to show his complexion. I’d encourage any readers who speak French or Portuguese to check out the site and hopefully do a better translation than I’m capable of. The names, ages, and birthplaces should at least be correct.
18th c portrait of Siriaco, African boy with vitiligo. Also portraits of people of colour who were dwarfs at the Portuguese court in the late 18th c., including Dona Roza, favourite of the Portuguese queen.
alienor.org/publications/mascarade-nuptiale/negre-pie.php
Lineisy Montero & Leila Nda - Balenciaga Resort 2016
African Inspired Show BTS Shoot w/ Eva Marcille
Kumasi Opels (1963) - Martin van Duijn
The growing appeal of popular uprisings in Africa
Demonstrations in Burundi are the latest in a string of protests which prove African citizens will not allow their leaders to operate with impunity.
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Achille Mbembe: The value of Africa’s aesthetics
“The quiet force of African aesthetic practices is to be found in the way they see every moment or instant of human existence as both entirely fortuitous and at the same time utterly singular. In the best tradition of African art, music, literature, every moment of human existence is made up of points of intensity that are never stable. There is nothing in On the Postcolony that could resemble a linear history. Africa will never be a given”
Disaster in Ghana as flood overtakes Accra + 78 killed at fuel station (graphic photos) http://ift.tt/1SXLNz8 via officialwackie.tumblr.com
The exhibition of Ota Benga in a zoo in 1906 is a stark example of the recent history of racial attitudes.
The exhibition of Ota Benga in a zoo in 1906 is a stark example of the recent history of racial attitudes.
Tarun Tahiliani spring/summer 2015 collection
THE GAZE ON AGBOGBLOSHIE: THE MISREPRESENTATION OF WEST AFRICA AS DYSTOPIA
Not many of us think about digital waste but in the heart of Agbogloshie a suburb of Accra, Ghana we are faced with the consequences of electronic waste. The “Digital Dumping Ground” Agbogbloshe is the largest e-waste dump in the world.
Photographer Heather Apyepong presents her latest photography project, ” The Gaze of Agbogbloshie”. Unlike most photo esays this project goes beyond exposing us to the presence of Agboloshie, it goes a step furthe-http://africandigitalart.com/2015/02/gaze-agbogbloshie-misrepresentation-west-africa-dystopia/