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Nigeria's Women's Bobsled Team Qualifies for 2018 Olympics, Country's 1st Ever Winter Olympians

Nigerian Women’s Bobsled Team (photo via nytimes.com)

by Lori Lakin Hutcherson (@lakinhutcherson)
According to ESPN, Nigeria will be represented in the Winter Olympics by the African nation’s women’s bobsled team, which qualified for the 2018 Games in PyeongChang, South Korea. Driver Seun Adigun and breakpersons Ngozi Onwumere and Akuoma Omeoga completed the fifth out of the five required qualifying races and became the first African team ever to qualify in the bobsled category.
The squad, led by Adigun, a former African 100-meter hurdles champion and 2012 summer Olympian, completed the qualifying races in Utah and Canada on Tuesday and Wednesday. “This is a huge milestone for sports in Nigeria,” driver Adigun told ESPN. “Nothing makes me prouder than to know that I can play a small role in creating opportunities for winter sports to take place in Nigeria. Our objective now is to be the best representation of Africa that the Winter Olympics have ever witnessed.”
As blavity.com reported, it comes as a shock to many fans of the team and athletes individually, that they have been able to accomplish such a feat, considering they are in fact representing a warm climate country and the sport, for lack of better words, is designed for anything but that. In a recent interview with ABC News, shared to one of the women’s Instagram account, the ladies discuss how they do in fact host the majority of their training in the warm climate.
https://www.instagram.com/p/BZ1Q2KzFLWN/
To read and learn more about this story, go to: http://www.newsweek.com/women-bobsled-team-first-nigeria-qualify-winter-olympics-713962 or http://www.abc.net.au/news/2017-11-17/nigerias-bobsled-team-off-to-winter-olympics/9163162

African-American Cultural Heritage Action Fund Launched to Increase Diversity in Historic Preservation

Madam C.J. Walker’s “Villa Lewaro,” the home of the country’s first female African-American millionaire. (Courtesy National Trust for Historic Preservation/Madam Walker Family Archive)

by via curbed.com

A new multi-year initiative to help preserve more African-American historical sites, and address funding gaps in the preservation of current sites, was announced today.

The African-American Cultural Heritage Action Fund, a partnership between the National Trust for Historic Preservation, the Ford Foundation, The JPB Foundation, and the Open Society Foundations, will establish a grant fund for protection and restoration. Actress and activist Phylicia Rashad, who previously campaigned to protect the Brainerd Institute in South Carolina, a school established in 1866 for freed slaves, will serve as an advisor and ambassador.

“There is an opportunity and an obligation for us to step forward boldly and ensure the preservation of places which tell the often-overlooked stories of African-Americans and their many contributions to our nation,” said Stephanie Meeks, President and CEO of the National Trust for Historic Preservation, in a statement. “We believe that this fund will be transformative for our country, and we are committed to crafting a narrative that expands our view of history and, ultimately, begins to reconstruct our national identity, while inspiring a new generation of activists to advocate for our diverse historic places.”

[youtube https://www.youtube.com/watch?v=su9I9Ry2ZxQ?rel=0&]

The nascent initiative will seek $25 million in initial funding, and focus on historical sites and buildings that help tell often-overlooked aspects of the country’s history, as well as stories of overcoming intolerance, injustice, and inequality.

“As the scholar Carl Becker once wrote, history is what the present chooses to remember about the past,” said Patrick Gaspard, vice president of the Open Society Foundations. “The events in Charlottesville this past summer are a stark reminder of how one segment of American society chooses to celebrate a brutal past. We have an opportunity, through this tremendous project, to preserve, protect and cherish another history too often neglected—the vital story of African-Americans and their enormous contributions to the idea of America.”

Source: https://www.curbed.com/2017/11/15/16656528/historic-preservation-african-american-cultural-heritage-fund

Civil Rights Icon Roger Wilkins Honored with Building at George Mason University

Roger Wilkins (photo via thenation.com)

via jbhe.com
George Mason University in Fairfax, Virginia, recently named its North Plaza in honor of Roger Wilkins, a former long-time faculty member who died this past March. Angel Cabrera, president of George Mason University, said at the dedication ceremony, “when Roger came to George Mason, few knew much about this fledgling university in the suburbs of Washington D.C. Roger was one of those intellectual pioneers who helped put this university on the map.”
A native of Kansas City, Missouri, Wilkins moved to Harlem at the age of 9 and later settled in Grand Rapids, Michigan. He earned a bachelor’s degree and a law degree at the University of Michigan.
Wilkins joined the Kennedy administration in 1962 as a special assistant to the director of the Agency for International Development. In 1965, he was appointed an assistant attorney general by President Johnson.
When the Democrats lost power after the 1968 election, Wilkins left government to work for the Ford Foundation. Beginning in 1972, Wilkins began a new career as a journalist, first for the Washington Post and then The New York Times. He was the author of Jefferson’s Pillow: The Founding Fathers and the Dilemma of Black Patriotism (Beacon Press, 2001).
In 1988, Wilkins joined the faculty at George Mason University in Fairfax, Virginia, as the Clarence J. Robinson Professor in History and American Culture. He remained on the faculty for nearly 20 years until his retirement in 2007.

"Black Tudors: The Untold Story" by Historian Miranda Kaufmann Debunks Idea That Slavery Was Start of Africans' Presence in England 

Portrait of a Moor by Jan Mostaert, early 16th century (image via theguardian.com)

by Bidisha via theguardian.com
Within moments of meeting historian Miranda Kaufmann, I learn not to make flippant assumptions about race and history. Here we are in Moorgate, I say. Is it called that because it was a great hub of black Tudor life? “You have to be careful with anything like that,” she winces, “because, for all you know, this was a moor. It’s the same with family names and emblems: if your name was Mr Moore, you’d have the choice between a moorhen or a blackamoor. It wouldn’t necessarily say something about your race.”
Her answer – meticulous, free of bombast, dovetailing memorable details with wider issues – is typical of her first book Black Tudors: The Untold Story, which debunks the idea that slavery was the beginning of Africans’ presence in England, and exploitation and discrimination their only experience. The book takes the form of 10 vivid and wide-ranging true-life stories, sprinkled with dramatic vignettes and nice, chewy details that bring each character to life.
Africans were already known to have likely been living in Roman Britain as soldiers, slaves or even free men and women. But Kaufmann shows that, by Tudor times, they were present at the royal courts of Henry VII, Henry VIII, Elizabeth I and James I, and in the households of Sir Walter Raleigh and William Cecil. The book also shows that black Tudors lived and worked at many levels of society, often far from the sophistication and patronage of court life, from a west African man called Dederi Jaquoah, who spent two years living with an English merchant, to Diego, a sailor who was enslaved by the Spanish in Panama, came to Plymouth and died in Moluccas, having circumnavigated half the globe with Sir Francis Drake.
Kaufmann’s interest in black British history came about almost by accident: she intended to study Tudor sailors’ perceptions of Asia and America for her thesis at Oxford University, but found documents demonstrating the presence of Africans within Britain. “I’d never heard anything about it, despite having studied Tudor history at every level. When I went to the National Archive for the first time, I asked an archivist where to start looking and they were like: ‘Oh well, you won’t find anything about that here.’”
Kaufmann kept digging, contacted local record offices and ultimately built up to her book. So why has the existence of black Tudors been unknown, untold and untaught? “History isn’t a solid set of facts,” she replies. “It’s very much about what questions you ask of the past. If you ask different questions, you get different answers. People weren’t asking questions about diversity. Now they are.”

NBA Legend Kareem Abdul-Jabbar and News Anchor Robin Roberts Receive 2017 Ellis Island Family Heritage Awards

Kareem Abdul-Jabbar and Robin Roberts receive Ellis Island Heritage Awards for 2017 (photo via thepostgame.com)

by Lori Lakin Hutcherson (@lakinhutcherson)
On Tuesday, the Statue of Liberty-Ellis Island Foundation, Inc. honored basketball legend, author and activist Kareem Abdul-Jabbar and ABC’s Good Morning America co-anchor Robin Roberts, among others at its 2017 Ellis Island Family Heritage Awards, held in the Great Hall at the Ellis Island National Museum of Immigration. Anchor and Managing Editor of ABC World News Tonight, David Muir, served as master of ceremonies.
Now in its 14th year, the Ellis Island Family Heritage Awards celebrates the extraordinary lives and heritage of selected citizens, or their descendants, who have made major contributions to the American experience. From sports heroes, entertainers and authors to former Secretaries of State and Nobel Prize winners, more than 50 esteemed citizens have been recognized by the Foundation.
Kareem Abdul-Jabbar is the grandson of immigrants from Trinidad. Robin Roberts has roots in Virginia where her ancestors were slaves. When speaking at the event, according to thepostgame.com, Abdul-Jabbar said none of his success in the United States would have been possible if not for the leap of faith made by Abdul-Jabbar’s paternal grandparents, Cyrus and Venus Alcindor, 100 years ago, when they immigrated from Trinidad to the United States. “I’ve always understood myself to be a second-generation immigrant,” Abdul-Jabbar says. “It fits in with so many other stories like it.”

As reported by nj.com, Roberts captured the theme of the event best, when she said: “My mother had this wonderful way of saying: just look all around us … we all may have traveled here in different ways, but there are far more similarities than differences, so why not embrace and celebrate all of those many things that we have in common instead of those few differences.”

This year, the Family Heritage Awards also recognized the 125th anniversary of Ellis Island, which opened in 1892 as the nation’s preeminent immigration station.

Barack Obama's Name to Replace Jefferson Davis' on Mississippi Elementary School

Former President Barack Obama speaks in New York on Sept. 20. (Jamie McCarthy / Getty Images for Bill & Melinda Gates Foundation)

by Dan Corey via nbcnews.com
A public elementary school in Mississippi named after the president of the Confederacy will be renamed to honor the first black president of the United States.
Davis Magnet International Baccalaureate Elementary in Jackson, which is named for Jefferson Davis, will be renamed Barack Obama Magnet International Baccalaureate Elementary beginning next school year, the school’s PTA president, Janelle Jefferson, said at a Jackson Public Schools Board of Trustees meeting Tuesday night. The prospect of changing the name of what Jefferson called the best elementary school in Mississippi was raised by a student, she told NBC News. “They know who [Davis] was and what he stood for,” she said. “This has a great impact on them, because [Obama] is who they chose out of anybody else they could. This is the person that the whole school supported. He was their Number One choice.”
The PTA asked the Davis Magnet community to submit suggestions for the new name, Jefferson said. Parents, students and school staff were given two weeks to submit recommendations, and they voted using paper ballots on Oct. 5. Students from every class researched and gave presentations about their candidates at an assembly before the vote, Jefferson said. The decision to name the school after Obama was made on Oct. 6. School buildings must be named “for persons of good character and prominence who have made outstanding contributions to the school system,” according to the school board’s facility-naming policy. “A facility named to honor a person shall not be renamed except for compelling reasons.”
“Every generation has a right to choose how it represents itself,” Jake McGraw, public policy coordinator the University of Mississippi’s William Winter Institute for Racial Reconciliation, told NBC News. “Having a school where there was input from parents, teachers and students — along with the school board — it seems like a model for how these decisions should be approached across the country.” About 98 percent of current Davis students are black, Jefferson said. The students chose Obama because they were alive during his administration and felt that he shared their principles, Jefferson said. McGraw said: “It shows that we don’t need to shy away from exploring these controversial topics. It’s important not just in the symbolism of an elementary school, but here we’re having a real genuine examination of our history in an elementary school — within the broader school system in Jackson — which is exactly where it needs to happen.”
To read more, go to: Obama’s Name to Replace Jefferson Davis’ on Mississippi School – NBC News

Artists Kehinde Wiley and Amy Sherald to Paint Portraits of Barack and Michelle Obama for Smithsonian

Barack Obama and Michelle Obama (photo via artnews.com)

by  via artnews.com
The National Portrait Gallery in Washington, D.C. has commissioned Kehinde Wiley and Amy Sherald to paint Barack and Michelle Obama’s portraits, respectively, the Wall Street Journal reports. Both portraits will be unveiled next year when they are added to the museum’s collection.
Wiley is known for Old Masters–style portraits of contemporary black sitters. He has occasionally discussed the positive impact Barack Obama’s presidency had on artists creating images of non-white sitters. “The reality of Barack Obama being the president of the United States—quite possibly the most powerful nation in the world—means that the image of power is completely new for an entire generation of not only black American kids, but every population group in this nation,” he told BBC News in 2012.
The Baltimore-based Amy Sherald, who paints minimalist pictures of black Americans is less well-known than Wiley. She has had two shows with Monique Meloche Gallery, and next year will have a solo exhibition at the Contemporary Art Museum St. Louis.
Source: Kehinde Wiley and Amy Sherald to Paint Portraits of Barack and Michelle Obama | ARTnews

National Museum of Women in the Arts in D.C. to Host "Magnetic Fields" Exhibition on October 13; 1st in U.S. of Abstract Art by Intergenerational Black Women Artists

Mildred Thompson, Magnetic Fields, 1991; Oil on canvas, triptych, 70 1/2 x 150 in.; Courtesy of the Mildred Thompson Estate, Atlanta, Georgia

by Lori Lakin Hutcherson (@lakinhutcherson)

A landmark exhibition of abstract paintings, sculptures and works on paper by 21 black women artists will be on view at the National Museum of Women in the Arts (NMWA) from Oct. 13, 2017–Jan. 21, 2018. Magnetic Fields: Expanding American Abstraction, 1960s to Today places the visual vocabularies of these artists in context with one another and within the larger history of abstraction. This exhibition celebrates those under-recognized artists who have been marginalized, and argues for their continuing contribution to the history and iconography of abstraction in the United States. Magnetic Fields is the first exhibition dedicated exclusively to the formal and historical dialogue of abstraction by black women artists.

Chakaia Booker, El Gato, 2001; Rubber tire and wood, 48 x 42 x 42 in.; Collection of the Kemper Museum of Contemporary Art, Bebe and Crosby Kemper Collection,; (Photo by E. G. Schempf)

From the brilliant colors and energetic brushwork of Alma Woodsey Thomas’s paintings to shredded tire sculptures by Chakaia Booker, works featured in this exhibition testify to the enduring ability of abstraction to convey both personal iconography and universal themes. The exhibition underscores the diversity of abstract art, which lies in its material construction and conceptual underpinnings, as well as in its practitioners.
Magnetic Fields features a range of works, including early and later career examples, several exhibited for the first time, and the long-awaited reappearance of iconic works such as Mavis Pusey’s large-scale painting Dejyqea (1970), featured in the Whitney Museum of American Art’s landmark 1971 exhibition Contemporary Black Artists in America.
“By highlighting each artist’s individual approach to materials, composition, color and content, Magnetic Fields creates a context for a lively and visual conversation among these artists,” said NMWA Director Susan Fisher Sterling. “The project also vigorously expands the art-historical narrative on post-war American abstract art. This exhibition shifts our attention to key practitioners who have not received their due, fostering a deeper appreciation of their accomplishments and asserting a new parity of value for their work.”
Magnetic Fields also pays tribute to the lived experience of each of the featured artists who have come individually to pursue abstraction, disrupting the presumption that only figurative works can convey personal experience. Collectively, work by the select group of prolific creators, born between 1891 and 1981, represents a range of approaches rooted in Abstract Expressionism, Color Field painting and Minimalism, with emphasis on process, materiality, innovation and experimentation. The artists in the exhibition are:

  • Alma Woodsey Thomas, Orion, 1973; Acrylic on canvas, 59 3/4 x 54 in.; Courtesy of the National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay (Photo by Lee Stalsworth)

    Candida Alvarez (b. 1955)
  • Chakaia Booker (b. 1953)
  • Betty Blayton (b. 1937, d. 2016)
  • Lilian Thomas Burwell (b. 1927)
  • Nanette Carter (b. 1954)
  • Barbara Chase-Riboud (b. 1939)
  • Deborah Dancy (b. 1949)
  • Abigail DeVille (b. 1981)
  • Maren Hassinger (b. 1947)
  • Jennie C. Jones (b. 1968)
  • Evangeline “EJ” Montgomery (b. 1930)
  • Mary Lovelace O’Neal (b. 1942)
  • Howardena Pindell (b. 1943)
  • Mavis Pusey (b. 1928)
  • Shinique Smith (b. 1971)
  • Gilda Snowden (b. 1954, d. 2014)
  • Sylvia Snowden (b. 1942)
  • Kianja Strobert (b. 1980)
  • Alma Woodsey Thomas (b. 1891, d. 1978)
  • Mildred Thompson (b. 1936, d. 2003)
  • Brenna Youngblood (b. 1979)

“As curators, we are honored to present this incredible, intergenerational group of artists,” stated co-curators Erin Dziedzic and Melissa Messina. “This exhibition is intended to be a platform to further their visibility, as well as to generate more inclusive conversations about the history of American abstraction that consider the accomplishments and contributions of women artists of color going forward.”

John Legend and Jesse Williams Team for "With Drawn Arms" Documentary Film on 1968 Olympic Protest

Tommie Smith and John Carlos protest at the 1968 Summer Olympics (photo via vibe.com)

by Latifah Muhammad via vibe.com
John Legend and Jesse Williams are working on a documentary that will look at the 1968 Black Power salute seen around the world. More than four decades before Colin Kaepernick took a knee in silent protest of police brutality and racial injustice, Olympians Tommie Smith and John Carlos made a statement with raised fists during the Summer Olympic games in Mexico City.
The documentary, With Drawn Arms, is executive produced by Williams and Legend, along with the Grammy and Oscar winning singer’s partners from his Get Lifted Film Co., Deadline reports. Smith is the focus of the documentary. The former sprinter and NFL wide received took home the gold medal at the 1968 games after completing the 200-meter dash, while Carlos earned the bronze medal. Both men were suspended for raising their fists during the medal ceremony, stripped of their credentials, and given 48 hours to leave Olympic Village.
With Drawn Arms is currently in production in Los Angeles and is co-directed by Glenn Kaino and Afshin Shahidi, who is the father of Black-ish actress Yara Shahidi, and worked as one of Prince’s personal photographers. “Tommie Smith is more than an iconic poster or risky act of defiance that inspires people the world over,” Williams said in a statement noting that Smith is a “living man, whose incredible journey is worthy of examination.” He added, “I couldn’t be more excited to join forces with this team of filmmakers, to share his reality and challenge our notions of heroism in the process.”
To read more, go to: John Legend, Jesse Williams Team For Film On Olympic Protest

Civil Rights Activist Autherine Lucy Foster Honored with Historical Marker at University of Alabama

Autherine Lucy Foster (photo via universityofalabama.tumblr.com)

via jbhe.com
On June 11, 1963, Vivian Malone and James Hood, under the protection of federal marshals and the federalized Alabama National Guard, broke the racial barrier and enrolled as undergraduate students at the University of Alabama. That day, Alabama Governor George Wallace made a ceremonial stand in the schoolhouse door protesting the federal court order that called for the admittance of the Black students. But Malone and Hood were not the first Black students at the university.
Autherine Lucy Foster Historical Marker

In 1952, after graduating with an English degree from Miles College, Autherine Lucy Foster applied to the graduate program in education at the University of Alabama but was rejected because of her race. After a three-year legal battle, she was admitted to the university by court order. In 1956 Foster enrolled in a graduate program in education at the university. Angry protests by White students ensued. Foster was suspended three days later “for her own safety” and she was later expelled.
In 1988, the University officially annulled her expulsion. The next year she re-enrolled at the University of Alabama with her daughter, Grazia. Foster earned a master’s degree in elementary education in 1991 and participated in the graduation ceremony in May 1992 with her daughter, a corporate finance major. In 1998, the University of Alabama named an endowed fellowship in Foster’s honor and unveiled a portrait of her in the Student Union Building. She was recognized again in 2010 when the university dedicated the Autherine Lucy Clock Tower.
Recently, the Autherine Lucy Foster Historical Marker was unveiled on the Tuscaloosa campus near where the mob gathered to protest her presence at the university. A video of the dedication ceremony for the historical marker can be seen below.

Source: A Historical Marker at the University of Alabama Honors Autherine Lucy Foster : The Journal of Blacks in Higher Education