#black phoenix

[newbuddylove]

Curves and turns ...

[tomafome]

Black Phoenix: Third World Perspective on Contemporary Art and Culture [edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom], Issue 2, Summer 1978, 60 pages

Contributors include art critics, scholars, artists, poets, and writers (pp. 12-31): Rasheed Araeen (Pakistan), Mahmood Jamal (Pakistan), Ariel Dorfman (Chile), Chris Wanjala (Kenya), N. Kilele (Tanzania), Kenneth Coutts-Smith (United Kingdom) [This paper was offered to the Congress of AICA held in Lisbon, September 1976. We are reprinting the paper here as the author’s contribution to the debate initiated by ‘BLACK MANIFESTO’ published in our last issue, with due acknowledgement to ARTERY in which the paper was first published in winter 1976-77. The two illustrations are our own choice.]

§

BLACK PHOENIX: NUMBER TWO: SUMMER 1978: EXTRACTS. To say that “this country might be swamped by people of a different culture” at a time when the whole world is being viciously dominated by the West, is to perpetuate imperialist lies; lies which must be exposed and denounced. BLACK PHOENIX

The new form of children’s literature will have to emerge in the struggle for a new society, they will become necessary in that combat. Only the destruction of the capitalist system, the gradual defeat of economic and mental neo-colonialism, can guarantee that one day, finally, Babar may risk killing the old lady and, by the loss of his innocence, hit upon the first step on the road to complete liberation. ARIEL DORFMAN

It is not possible to separate either, historically, the development of bourgeois consciousness from the development of colonialism, or, socially, the bourgeois value-system from racist and imperialist assumptions of superiority… the Fine Arts have, historically, fallen victim to a myth concerning the absolute and metaphysical nature of its activity, as a result of which its actions and its products have been used to justify not merely a criminal structure of social relations but also the world-wide edifice of imperialism upon which this structure still depends. KENNETH COUTTS-SMITH

While one can speak of an advanced mode of production or a higher level of productive forces, one cannot pass such qualitative judgement on aesthetics. It would be incorrect to say that African aesthetics are more advanced than European or vice versa. There cannot be one ‘correct’ aesthetics, nationally as well as internationally. N. KILELE

Neo-colonialism is now being ‘brought’ home to the metropolis of the capitalist world, for there exists a people within the Western world that must be neo-colonised and marginalised. That means an intermediary class must be created, a counterpart of native bourgeoisie in the Third World, an ethnic bourgeoisie in the West — exotic and subservient. RASHEED ARAEEN

↘︎ https://bba80.co.uk/black_phoenix_no_2_1978/

[hooked-on-elvis]

I'm crazy about Elvis wearing the Phoenix suits (Black, Silver and Red). ♥ ♥ ♥ 1975-1976 ♥ ♥ ♥

[velvet-scans]

Shojo Beat Black Phoenix Alchemy [Perfume] Ad ☆ April 2009

[maximilianmetal]

My multiple personalities showing up to help me in a argument.

[smashpages]

Out this week: Black Phoenix (Floating World Comics, $14.95):

Rich Tommaso’s comic magazine comes to print after starting life on his Patreon and a successful Crowdfundr campaign. The magazine is “like a journey through comics history itself,” with each volume focusing on a creator or house style from the Golden Age of Comics. Tommaso has done a lot of really interesting things in comics, including Spy Seal and Clover Honey, just to name a couple, so I can’t imagine you could go wrong by checking this out. 

See what else is arriving this week at a comic shop near you.

[luv-wildd]

funne

[lvdbbooks]

2022年7月24日

【新入荷・新本】

Black Phoenix: Third World Perspective on Contemporary Art and Culture, 2022, Primary Information

108 pages. 8.3 x 11.8 inches. Paperback. Edition of 2500.

Editors: Rasheed Araeen and Mahmood Jamal Managing Editor: Rachel Valinsky Managing Designer: Dan Bourke

価格：3,520円（税込）

/////

1978年から1979年にかけて、Rasheed AraeenとMahmood Jamalによってイギリスで編集・発行された雑誌「Black Phoenix」全3号を1冊にまとめて復刻。「Black Phoenix」は、ビジュアルアート、文学、アクティビズム、そしてそれ以外の分野においても、トランスナショナルな連帯と文化生産に関する重要かつラディカルな文書として今日でも参照されています。

1960年代の解放運動、西洋の帝国主義と（新）植民地主義を解体するためにアフリカ、アジア、ラテンアメリカの国々の間で社会的・政治的な連携と連帯を求めた歴史的なアジア・アフリカ会議（バンドン会議）と三大陸人民連帯会議から10年以上を経て、「Black Phoenix」は第三世界全体で解放の芸術と文化運動の形成を呼びかける声を発しました。「Black Phoenix」は、1970年代後半以降のイギリスにおける反人種主義、反帝国主義の意識の高まりの中心に、ディアスポラや植民地の歴史を位置づけ、その後の10年間に人種、階級、ポストコロニアル理論に関する繊細で複雑な言説を生み出すことになります。「Black Phoenix」は、第三世界と西洋を横断し、人種の二項対立を超えた黒人の地平を提示しました。

This publication is a compilation of all three issues of the journal Black Phoenix published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, Black Phoenix remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.

More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.

Contributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).

Rasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals Black Phoenix, Third Text, and Third Text Asia, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens/Kassel, among others.

Mahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including Sugar Coated Pill (2007), and translated the Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi (2009) and Faiz: Fifty Poems (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including Islamic Conversations; was a lead writer on Britain’s first Asian soap, Family Pride (1991–92), and wrote and produced Turning World (1996) for Channel4 television. He died in London in December 2020.