"The Last Free People" (Anytime. Anyplace. I don't care whose Around.) thank you @maya.seas #love #words #nofear #forgiveness # (at New Orleans Pharmacy Museum)
noise dept.
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cherry valley forever
"I'm Dorothy Gale from Kansas"
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Monterey Bay Aquarium
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Jules of Nature

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AnasAbdin
Today's Document
let's talk about Bridgerton tea, my ask is open

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Love Begins

Janaina Medeiros
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Sweet Seals For You, Always

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@themixedcompanyproject
"The Last Free People" (Anytime. Anyplace. I don't care whose Around.) thank you @maya.seas #love #words #nofear #forgiveness # (at New Orleans Pharmacy Museum)
Thank you to everyone who came out to see "Asmarina"(Asmarina - U.S. Premiere Screening). Such a great vibe in the room. It was so nice to see New Orleans friends and fam connecting with people from our local Eritrean community. Celebrating Juneteenth, Eritrean independence and human rights! Keep up with the filmmakers Medhin Paolos & Alan Maglio at Asmarina Project. Thank you all for making such a great film!
In celebration of #Juneteenth and in solidarity with the Eritrean people, I hope you can join me for a special screening of the Asmarina Project 's documentary film, "Asmarina" in New Orleans, Louisiana. I'm hoping to foster a growing conversation around the struggle for human rights in the American Gulf South and across Africa and the Middle East. "Asmarina" explores the cultural contributions of Eritreans to Italian identity and also highlights the stories of recently arrived Eritrean migrants. Eritreans are currently the second largest group seeking asylum in Europe. Many are dying at the hands of smugglers and drowning daily in the Mediterranean Sea. How and where do we as Black Katrina victims/ survivors fit in with their story? Other global human rights struggles? Join me for a film screening and discussion exploring these questions. Special thanks to NEW ORLEANS LOVING FESTIVAL Charitable Film Network Japan Society of New Orleans and Cafe Istanbul NOLA for their support!
Altar by Kristina Kay Robinson in honor of Josephine Bakerâs birthday Material Life 6038 St. Claude Ave. 70117.
U.N. official says over 700 migrants feared dead in Mediterranean shipwrecks AP
MAY 29, 2016
LONDON/POZZALLO, ITALY â Over 700 migrants are feared dead in three Mediterranean Sea shipwrecks south of Italy in the last few days as they tried desperately to reach Europe in unseaworthy smuggling boats, the U.N. refugee agency said Sunday.
Carlotta Sami, spokeswoman for UNHCR, said by phone that an estimated 100 people are missing from a smugglersâ boat that capsized Wednesday. The Italian Navy took horrific pictures of that capsizing even as it rushed to rescue all those thrown into the sea from the boat.
She said about 550 other migrants and refugees are missing from a smuggling boat that capsized Thursday morning after leaving the western Libyan port of Sabratha a day earlier.
Sami said refugees who saw the boat sink told her agency that that boat, which was carrying about 670 people, did not have an engine and was being towed by another packed smuggling boat before it capsized. About 25 people from the capsized boat managed to reach the first boat and survive, 79 others were rescued by international patrol boats and 15 bodies were recovered.
Italian police have corroborated the account of the Thursday sinking in their interviews with survivors, but came up with different numbers.
It was not immediately possible to reconcile the figures.
According to survivors, the second boat was carrying about 500 migrants when it starting taking on water after about eight hours of navigation.
Efforts to empty the water â with a line of migrants passing a few 5-liter bailing cans â were insufficient and the boat was completely under water after about 90 minutes, police said. At that point, the commander of the first smugglerâs boat ordered the tow rope to be cut to the sinking boat.
The migrants on the top deck jumped into the sea, while those below deck, estimated at 300, sank with the ship, police said.
Of those who jumped into the sea, just 90 were rescued.
Survivors identified the commander of the boat with the working engine as a 28-year-old Sudanese man, who has been arrested, police said.
In a third shipwreck Friday, Sami says 135 people were rescued, 45 bodies were recovered and an unknown number of people â many more, the migrants say â are missing.
Survivors are being taken to the Italian ports of Taranto and Pozzallo. Sami says the U.N. agency is trying to gather information with sensitivity considering that most of the new arrivals are either shipwreck survivors themselves or traumatized by what they saw.
Italyâs southern islands are the main destinations for countless numbers of smuggling boats launched from the shores of lawless Libya each week packed with people seeking jobs and safety in Europe. Hundreds of migrants drown each year attempting the dangerous Mediterranean Sea crossing.
Warmer waters and calmer weather of late have only increased the migrantsâ attempts to reach Europe.
Last week, over 4,000 migrants were rescued at sea in one day alone by an Italian-led rescue operation.
In related news, The British coast guard said it rescued 19 people from the English Channel after their inflatable boat started to take on water.
The Home Office (interior ministry) said Sunday they were taken to the port of Dover and are being quizzed by British border officials. It is not yet clear if the people were migrants trying to enter Britain from France or other parts of Europe.
They were rescued late Saturday night after an operation that included a search-and-rescue helicopter and lifeboats dispatched from several English ports.
The coast guard received a rescue call shortly before midnight Saturday when the boat was off the coast of Dymchurch, 75 miles (120 km) southeast of London.
They were traveling in a rigid-hulled inflatable boat and it took rescuers several hours to locate it.
RIPÂ
Mixed Company on the Material Life webstore
ASMARINA: Voices & Images of a Postcolonial Heritage A documentary by Alan Maglio & Medhin Paolos
Mixed Company and Charitable Film Network is honored to host a presenation of Alan Maglio and Medhin Paolos' documentary film, "Asmarina." Set within the habesha community of Milan, "Asmarina" interrogates the postcolonial heritage of Italy and Eritrea that has been little scrutinized up to now. Starting from the collective memories of the community, the film gathers together the legacy of personal stories, exploring the different shades of identity, migration and the aspirations of the Eritrean/ Ethiopian people. The film explores the everyday life stories of those who have lived in the city for years, those who were born in Italy and refugees who have just arrived.
Admission is FREE Presented by Charitable Film Network and Mixed Company (www.themixedcompanyproject.tumblr.com) with support from Café Istanbul and the Japan Society of New Orleans.
For more information contact [email protected] or [email protected]. Follow Asmarina on Facebook at www.facebook.com/asmarinaproject, and visit the official film website at http://asmarinaproject.com/en.
#CFNnola #CharitableFilmNetwork #MixedCompany #AsmarinaProject #NewOrleans
**The movie is filmed in Italian and subtitled in English.
You are never going to see four or five women of colour in one publication. So we wanted to do something where we would appear in multiplicity with five stories and one visual story, instead of just one and having to wait a year for another story to be published because a black woman has been already published.
Kristina Kay Robinson of @themixedcompanyprojectÂ
read the full interview here
(via wordsofcolourproductions)
Diwali offerings from Mixed Company coeditor, Jeri Hilt and project contributor, Maya Chakravarti!
We spoke to Kristina Kay Robinson, co-editor of @themixedcompanyprojectÂ
Read the full interview here
FREE THE WORK
 Reflection on a Desire for a Peopleâs Literature
By Kristina Kay Robinson
Today, Black Americans find themselves in the crosshairs. Perpetually, the target of Americaâs militarized police and media machine, yet curiously absent from the pages of most American literature and all but few bylines . Those of us operating in the shadow of this environment cannot afford to be glib or ironic about it. The abysmal statistics cited in a recent PEN America conversation, come as no real surprise and reflect very tellingly, the values of a nation steeped in a history of criminalizing literacy. Black writers are creating inside the paradox that is our existence in America. However, outside of our singular achievements, the landscape is uniformly and starkly white.
The moment we find ourselves alive to witness is critical for Black people both domestically and internationally. Hate speech has again become commonplace in American political discourse and we are contending with police and vigilantes, who murder Black citizens of this country, daily, with impunity. In a 2014 interview with Kamila Shamsie for Guernica Magazine, Indian author Pankaj Mishra asks where the rage is in American fiction. When, he asks, is American literary fiction going to engage with the role and consequences of its countryâs empire? And why donât Americaâs citizens at least care that in the dragnet of imperialism, their own freedoms are being encroached upon?
The answer, in the short term, is this nearly all-white publishing environment is creating the illusory projection of American political hegemony. In the long term, this is the way history is written, or not. It is not the state of nature that renders American literature devoid of such rage and reflection. It is the self-conscious and self- perpetuating practices that make the industry, in 2015, obstinately, 89% white. The continued construction of âauthorsâ as: white, male, and middle- class or better, aids the overarching narrative of America that orders itself on the political silencing of the Black people it has hoarded for centuries. All while placing us alongside carefully curated diversity.
Meanwhile, the stakes are literally life and death for Black people all around the globe. Borders are claiming our lives. The Sea is claiming our lives, smoking guns, the constant pummeling from above from all sides are claiming our lives. And most of all the worldâs silence and complicity is claiming our lives.
Currently, the state of Louisiana incarcerates more people, per capita, than anywhere else in the world. Today, Black Panther party member, Albert Woodfox remains in solitary confinement in Angola State Penitentiary, where he has been every day for more than forty years. Louisiana is one such place in America, where Black people know the wages of dissent. For Black Americans, this age of mass surveillance Mishra points to, as encroaching also on the rights of US citizens, is hardly a twenty-first century development. Rather it is a state of being that has influenced and informed our perspective for centuries. This expansive experience of confinement that has dominated the lives many Black Americans, is ironically, what connects us to many oppressed peoples, who find themselves the prisoners of their respective governments and/or national conditions.
Black Americans are unable to work within the boundaries of nationalist assumptions of audience afforded to our white counterparts. Though many of us are poor, underemployed, overworked, incarcerated, deported, isolated, struggle with childcare, do not speak English, live in neighborhoods where we are afraid, and are generally unable to access the fictional world where we might, but most often do not, exist. We are also brilliant, beautiful, and in constant creative flux. Black American artists continue to subvert nationalist expectations with a literature of aesthetics, orality and language that precedes the American project. We understand well, the circumferential reach of our culture.
And so, in that case, we are writing anyway.
While the industry continues to debate our validity many Black writers and artists are exploring notions of hybridity, doing away with genre, and accessing alternative media and forms of visibility for their work. Never before has there been opportunity, like the one that exists now to create a literature that is resistant to the conventions, constraints, and consequences of state allegiances. The creation of the kind of literature, the kind that can disembody the ideology of the militarist State will require people us to stop waiting on more [ white ]American writers to come in to the know. It will require a disruption of current formulas and a return to the imagination. That force that Amiri Baraka called a âpractical vector from the soulâ and the source from which all problems can be solved.
It will require exchange and cooperation between those working in traditional capacities and those working very diligently outside of them. The day that Black writers in America are published at a rate that matches the amount of quality work being produced is a long way off. Old binaries must be demolished if Black writers are ever to free themselves from the bondage of American letters. From my vantage point in the American Deep South, the time is now for a declarative new thinking around writing and publishing.
A time for reconnecting with the legacy of those, who wrote while in bondage; sure that their audience was not contemporary. Those who created the songs that leapt oceans and preserved the rhythms that continue to move us through our lives. There is more excellence in our community than will ever be accommodated in white spaces. We must engage strategies that might look beyond borders to connect with artists and audiences. A movement toward giving all the words to the people of the world; moving them around in the ways that we know best. The ways we have grown expert. This is a movement toward freeing the work and the imagination, if we and the land are ever to be.