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PHOTOGRAPHY: African American Collective Kamoinge Opens "Black Women: Power and Grace" Exhibit in New York

By goodblacknews on May 31, 2018
Church ladies. New York, 2005.(Credit: Jamel Shabazz)

by Antwaun Sargent via nytimes.com

More than half a century after the groundbreaking exhibit “The Negro Woman,” the image announcing the show by the African-American collective Kamoinge still captivates. Taken by Louis Draper, who had a keen sense of light and shadow, the photograph shows an older black woman standing on a busy Harlem street corner. In the crowd, her face is finely in focus. She is tired, gazing off into the distance, as she waits, with serious dignity and grace.

It was an everyday scene that in its own way was extraordinary. Led by the astute chronicler of Harlem life, Roy DeCarava, the show aimed to reclaim the beauty of the African-American woman. Kamoinge’s group exhibition was among the first to carefully and radically picture the black woman’s elegance and pride.

“Nothing like that had been done in the community before,” said Adger Cowans, the president and a co-founder of Kamoinge. “The black woman has been underrepresented. Here we are today and we are still looking at black women negatively. We wanted to show their beauty and power.”

Khadija. New York, 1998. (Credit: John Pinderhughes)

Decades after “The Negro Woman,” that same motivation has inspired Kamoinge’s new exhibit, “Black Women: Power and Grace,” at the National Arts Club in New York from May 28 to June 30. “With this exhibition we are showing our love and appreciation to our mothers, wives and sisters,” said Russell Frederick, a co-organizer of the exhibition and Kamoinge’s vice president. “I think black women, who have mostly been objectified in the media, have actually made a major mark on society that really can’t be quantified but has gone unrecognized.”

“What Do They Call Me, My Name Is Aunt Sara.” Self-portrait.(Credit: Delphine Fawundu)
Women of New York. 2017. (Credit: Delphine Diallo)

The show includes several intimate portraits by Mr. Russell that examine traditional notions of beauty and Anthony Barboza’s images of black models, like a bald and beautiful Pat Evans, that affirm them. Among the show’s earliest works is Mr. Cowan’s “Untitled (Betty Shabazz).” Taken in 1965, the black-and-white picture shows Ms. Shabazz coming out the back of a Harlem church where the funeral service for her husband Malcolm X had been held. In an indelible image of strength and loss, Ms. Shabazz’s face is veiled in black lace as a single tear rolls down her cheek.

“That picture meant something to me because my whole universe stood still,” said Mr. Cowan, 81. “It was very emotional for me, she was as big in my eyes as Malcolm. It was important for people to see this image because this woman carried the weight of the world on her shoulders and you can see it on her face.”

Since 2016, the photo collective, founded in 1963, has made an effort to expand ranks — historically dominated by male photographers — with younger, female artists. The group’s new black female members, including the French-Senegalese portraitist Delphine Diallo, join a small company of women like Ming Smith, the first black woman photographer to have her work collected by the Museum of Modern Art.

Betty Shabazz at the funeral for her husband, Malcom X. Harlem, N.Y., 1965. (Credit: Adger Cowans)

“Black Women: Power and Grace” also features other female newcomers. Lola Flash has two pictures that bring visibility to the black lesbian community; a 2010 Delphine Fawundu self portrait, “What Do They Call Me, My Name Is Aunt Sara,” challenges us to rethink the names we call black women; and Laylah Amatullah Barrayn’s images explore spiritual practice in Senegal.

“I’ve been watching Kamoinge for most of my career and I’ve seen its growth,” Ms. Barrayn said. “I always felt being a part of Kamoinge was so far-fetched because there weren’t many women in the group.”

Kamoinge’s mission-oriented pictures are populated with individual narratives that have long come together to shape the complex diversity of black women.

“The challenge is to see her differently,” Mr. Frederick said. “We really embrace today’s black woman, who she is and even those who came before her like Maya Angelou, Maxine Waters and Dionne Warwick, who are all holding hands in Eli Reed’s picture.

“Black women have broken barriers, been torch bearers and pioneers,” Mr. Frederick continued. “And at the same time, they have always looked out for all of us in the neighborhood, taking us to church, making Sunday dinner and always having our back.”

For more: https://www.nytimes.com/2018/05/29/lens/celebrating-the-grace-of-black-women.html?partner=rss&emc=rss

HISTORY: Musician Dom Flemons Reclaims Songs of Black Cowboys on New Smithsonian Folkways Album

By goodblacknews on May 30, 2018
Dom Flemons, the Grammy-winning co-founder of the Carolina Chocolate Drops. (Smithsonian Folkways Recordings)

by Roger Catlin vis smithsonianmag.com

Whitewashed from cowboy movies and lore, the African-American contribution to the shaping of the American West was more significant than previously considered, down to tunes black cowboys and laborers sang, which were as familiar as “Home on the Range.”
In researching songs that would become his album Dom Flemons presents Black Cowboys for Smithsonian Folkways Recordings, the artist learned that musicologist John Lomax recorded the most familiar version of “Home on the Range” from a black cook in San Antonio.
“He transcribes the fellow’s particular way of singing the song and it became the well-known western anthem that we know today,” says Flemons. It was the same with a familiar cattle driving song about a horse, “Goodbye Old Paint.”
The fiddler who Lomax recorded singing that song was white, Flemons says. “But another musician talked about how he learned the song from an ex-slave who worked for his father on the ranch.” It has since been credited to the black cowboy and former slave Charley Willis.
Hearing about the roots of two songs so closely associated with the American West, Flemons says, “started leading me in a musical direction that showed that African-American cowboys were an essential part of the general cowboy song theme.”
From books like Philip Durham’s seminal 1965 The Negro Cowboys, a copy of which he found in his native Arizona, Flemons learned one in four cowboys who helped settle the West were African-Americans, as were some of its biggest personalities, from Nat Love, better known as Deadwood Dick, to Bass Reeves, the first black deputy U.S. marshal west of the Mississippi, who many believe was the model for The Lone Ranger.
Flemons wrote an original song about the leading black movie cowboy, Bill Pickett. And he found strong connections to other parts of the African-American experience such as the cowboys who became Pullman Porters and in turn became strong figures in the Civil Rights Movement. “I knew I had to tell a story that was a story of the past, but also point people to a direction to show that there are modern black cowboys that are still out there,” Flemons says.

Louisiana Man Corey Williams Free After Being Wrongfully Sentenced to Death at 16 Over 20 Years Ago

By goodblacknews on May 30, 2018
Corey Dewayne Williams, right, after his release Tuesday morning from the Louisiana State Penitentiary in Angola, with lawyers Amir Ali, far left, and Blythe Taplin. (photo via Amir Ali)

via eji.org
More than 20 years after he was wrongfully convicted and sentenced to death, Corey Williams walked free from Louisiana’s Angola Prison last week.
Corey Williams was an intellectually disabled child just three weeks past his 16th birthday when he was arrested for the murder and robbery of a pizza delivery man in Shreveport in 1998. Impaired by severe lead poisoning, Corey was known in his community as a “chump” who would take the blame for things he had not done.
Police knew about Corey’s disability, but they interrogated him all night until he accepted blame for the murder and then told them, “I’m tired. I’m ready to go home and lay down.”
Booking photos of Williams, taken by the Shreveport Police Department. (Shreveport Police Department)
Caddo Parish District Attorney Hugo Holland aggressively sought the death penalty for Corey Williams. Along with his successor, Dale Cox, Mr. Holland is responsible for 75 percent of all death sentences imposed in Louisiana between 2010 and 2015.
No physical evidence linked Corey Williams to the crime. Instead, the evidence pointed to three men who were seen robbing the victim after he was shot. The victim’s money and pizzas were found in a dumpster near their house; one man’s fingerprints were found on the murder weapon; and the victim’s blood was found on another man’s clothing. Those three pinned the crime on Corey Williams.
The prosecution suppressed evidence that supported Corey’s innocence, including evidence that the police believed the other suspects conspired to set him up and admissions from multiple witnesses that they had falsely accused Mr. Williams after being threatened by men at the scene.
Mr. Williams was convicted and sentenced to death.
In 2002, the Supreme Court barred the death penalty for people with intellectual disability, in part because a person with intellectual disability is at heightened risk of “unwittingly confess[ing] to a crime that he did not commit.” As a result, Corey Williams was removed from death row. But Louisiana courts upheld his conviction after refusing to consider his age and intellectual disability in evaluating whether his confession was reliable.
In March 2018, attorneys for Mr. Williams filed a petition asking the Supreme Court to reverse Mr. Williams’s conviction because of prosecutorial misconduct, which included faking “summaries” of witness statements to incriminate Mr. Williams. A group of 44 former prosecutors and Justice Department officials, including former U.S. Attorney General Michael Mukasey, signed a brief in support of the petition. Caddo Parish District Attorney James Stewart responded by agreeing to immediately release Mr. Williams in exchange for a guilty plea to lesser offenses.
“Imagine your child leaving to hang out with friends, and then losing him or her for twenty years,” Mr. Williams’s attorney Amir Ali said in a statement. “No one can give Corey back the time that he wrongfully spent behind bars, away from his family and friends. Today, we ensure this tragedy ends here—Corey can finally go home.”
Sources: https://eji.org/news/corey-williams-released-from-louisiana-prison and The Washington Post

She’s Back! Serena Williams Wins Her 1st Grand Slam Match Since Having a Baby, at the 2018 French Open

By goodblacknews on May 29, 2018
PARIS, FRANCE – MAY 29: Serena Williams of USA celebrates her first round victory during Day Three of the 2018 French Open at Roland Garros on May 29, 2018 in Paris, France. (Photo by Jean Catuffe/Getty Images)

by Britni Danielle via essence.com

Although Serena Williams might just be the greatest tennis player of all time, she still has something to prove.
After giving birth to her first daughter, Alexis Olympia Ohanian Jr., last September, Williams’ climb back to the top has been tough. The tennis champ won her first match back on the court in March at Indian Wells but was sent home by her sister, Venus. Later that month, Williams suffered a first-round defeat at the Miami Open, however, she’s been putting in work to reclaim her crown.

On Monday, Williams kicked off the French Open with a win, defeating the Czech Republic’s Kristyna Pliskova in straight sets.
After the match, Williams praised her opponent. “She played really really well,” Williams said before turning her attention to her comeback. “It’s been two years since I played on clay. It’s been a really long time but I trained really hard on the clay.”
Williams is no stranger to the French Open and has won the Grand Slam tournament three times: in 2002, 2013, and 2015. Still, she said she’s not taking anything for granted. “I feel good. I’m just happy to have won a match here,” Williams said. “I’m just taking it a day at a time.”
Williams, who donned a fabulous all-black catsuit for her return to the Grand Slam stage, said the form-fitting choice was a shout out to “all the moms out there that had a tough pregnancy and had to come back and try to be fierce.”
Source: https://www.essence.com/celebrity/serena-williams-wins-first-grand-slam-since-baby

Black-Owned Coffee Shops to Try Instead of Starbucks Today

Black-Owned Coffee Shops to Try Instead of Starbucks Today

By goodblacknews on May 29, 2018

Starbucks locations across the U.S. are closed today for the “unconscious bias” training mandated throughout the company in the wake of the wrongful arrests of two black men in a Philadelphia Starbucks this April. So to find (and perhaps fall in love with) a black-owned cafe in your town, click on either link below:
http://blackstarjournal.org/2018/05/03/500-black-coffee-houses-and-cafes/

 Black-Owned Coffee Shops to Try While Starbucks Is Closed | Teen Vogue

Ms Geek Africa Competition Rewards Women's Brains Instead of their Beauty

Ms Geek Africa Competition Rewards Women's Brains Instead of their Beauty

By goodblacknews on May 28, 2018

Niger’s Salissou Hassane Latifa was crowned the 2018 Miss Geek Africa for her innovative new app that promises to help accident victims. (Courtesy of YouTube)

via theguardian.com
After years of women in evening gowns vying for the title of national beauty queen, glamour is giving way to geekery in Rwanda. A group of female tech entrepreneurs decided it was time to ditch Miss Rwanda for a different kind of competition, one that judged women on brilliance rather than beauty. It was time for Ms Geek.
The first Ms Geek Rwanda was crowned in 2014, and the competition has since expanded to include other African countries under the unifying banner of Ms Geek Africa. The event, open to girls and women aged 13 to 25, encourages contestants to use technology to solve everyday problems in their communities. The finalists receive business training and the winner is awarded financial backing to help realise her idea.
This year’s Ms Geek Africa is Salissou Hassane Latifa, 21, from Niger. Her winning design is the Saro app, which helps communication between people caring for accident victims and the emergency services, and allows medical staff to advise on basic first aid before they arrive at the scene.

“Ms Geek has already changed the perception of what girls can do,” says Esther Kunda of the Next Einstein Forum, a founding member of competition organiser Girls in ICT Rwanda.

Salissou Hassane Latifa, the latest Ms Geek Africa winner, has devised an app that promises to help accident victims. (Photograph Courtesy Kigali Today)

The contest was set up as part of a nationwide effort to transform Rwanda from a small agricultural economy into an engine of technological innovation, with women and girls at the forefront of the revolution.
The government has set a target of achieving gender parity in the information communications technology sector by 2020, an ambitious goal in a worldwide industry notorious for its lack of diversity. But through educational campaigns, scholarships and mentorship programmes, Rwanda is determined to become a global leader for women in ICT. “It’s a good place to be a woman in tech right now,” Kunda says of Rwanda.
Before the genocide of 1994, it was uncommon for women in Rwanda to own land, receive a formal education or hold jobs outside of the home. After the atrocity, the country’s surviving population was 60-70% female, according to contemporary accounts.
President Paul Kagame, who has led Rwanda with an iron fist since 2000, realised that advancing women was the only way forward and has championed their rights ever since.
Rwanda now leads the world in female representation in parliament, due in part to a quota system that reserves seats for women. Gender rights are enshrined in the national constitution and laws were changed to give women the right to inherit land and obtain credit.
As a child, Rosine Mwiseneza, who was orphaned during the genocide, recalls watching the women around her stepping into leadership roles in government and civil society. They became police officers, accountants, butchers, shop owners. Girls went to school and competed alongside boys for internships and scholarships.
Mwiseneza was studying business management at Kepler University in Kigali when she entered the Ms Geek contest in 2016. Her idea was for an automated irrigation system that would help farmers cultivate their fields year-round as opposed to just during the rainy season.
Mwiseneza says she was astounded when she won the competition. In that moment, she remembered her parents and all the hardships she had endured. “It was very difficult to believe,” she says. “I started thinking of everything that had passed before that day and I began to cry.”
To read more: https://www.theguardian.com/global-development/2018/may/28/brilliance-overtakes-beauty-ms-geek-africa-spotlights-tech-genius-salissou-hassane-latifa

Undocumented Immigrant Mamoudou Gassama, 22, Saves Child Dangling From Balcony in France, Becomes National Hero (VIDEO)

By goodblacknews on May 28, 2018

by Lori Lakin Hutcherson (@lakinhutcherson)

The video footage is astounding: in a matter of seconds, young hero Mamoudou Gassama, scales four stories of a Paris apartment building to rescue a child dangling from a balcony.

Hero Mamoudou Gassama (photo via nypost.com)

According to washingtonpost.com, Gassama, a 22 year-old undocumented immigrant from Mali, is being feted as a French national hero despite having been in France for less than six months. Paris Mayor Anne Hidalgo announced that the city would support his effort to stay in France, and President Emmanuel Macron welcomed him to the Élysée Palace on Monday. According to Newsweek, Macron granted Gassama full French citizenship, and Gassama has also been offered a job as a firefighter in the French capital.

At a moment when life is becoming increasingly difficult for immigrants in France, Gassama — christened “Le Spider-Man” on French social media — has become an overnight celebrity after his Saturday night heroics.

“He explained to me that he arrived from Mali several months ago, dreaming of building his life here,” Hidalgo said via Twitter. “I told him that his heroic gesture is an example for all citizens.”

Gassama recounted the chain of events on Saturday night to France’s Le Parisien newspaper. Around 8 p.m., he was with his girlfriend in Paris’s 18th arrondissement, or district. As he was walking down Marx-Dormoy street, he saw a crowd gathered below a building, with people screaming and pointing up. Then he saw the boy, who authorities later said was 4.

“I climbed up to save him, voilà,” Gassama told Le Parisien. “I did it because it was a kid. I love children very much. I didn’t think about the floors,” he said, referring to the building he scaled. “I didn’t think about the risk.”

For many, the question was how the 4-year-old boy had managed to climb over the balcony’s railing in the first place. The child’s mother was not in Paris at the time, and his father, who had apparently left the boy home alone, was questioned by authorities, a judicial source told Agence France-Presse.

ART: New Exhibit in Chicago Gives Charles White’s Work and Activism the Attention They Deserve

By goodblacknews on May 27, 2018

“Love Letter III” by Charles White (via smithsonianmag.com)

by Amy Crawford via smithsonianmag.com
Born in Chicago in 1918, the artist Charles White always received inspiration from the struggles and triumphs of black people—major historical figures like Frederick Douglass as well as ordinary people like his own mother, who worked as a maid her whole life.
“Our Land” 1951 by Charles White

It was White’s mother who bought him his first box of paints, when he was 7 years old. He would go on to earn a scholarship to the Art Institute of Chicago, where a major retrospective of his work opens this month.
Among the pieces on display is the 1977 lithograph Love Letter III, which pairs a Madonna-like figure with a motif White often used to represent feminine life-giving and creativity: a conch shell.
A book on his work, Charles White: A Retrospective by Sarah Kelly Oehler and Esther Adler, will be available on June 19, 2018.
Read more: https://www.smithsonianmag.com/arts-culture/new-exhibit-gives-charles-whites-art-activism-attention-they-deserve-180969007/#63kFiDTHT4RgRBZj.99

After Protests by Black Student Task Force, University of Oregon Plans to Open Black Cultural Center by 2019

By goodblacknews on May 27, 2018

University of Oregon Black Culture Center Artist Rendering (photo via around.uoregon.edu)

via jbhe.com
The University of Oregon has announced plans for its new Black Cultural Center. The center is a direct response to a demand made by the Black Student Task Force following a 2016 demonstration, according to the university. Programming for the center will be funded through an allocation from the Presidential Fund for Excellence.
The $2.2 million center has been designed to accommodate an array of activities, including studying, student meetings, academic support and even small classes. The center also will showcase cultural pieces and artwork that celebrate Black heritage.
Kevin Marbury, the vice president for student life at the University of Oregon, stated that “Black students on campus have a strong desire for a place that helps them feel connected and supported by the university. We are excited to see it coming to fruition. The Black Cultural Center will be open to any and all students. This is a place to share and celebrate Black culture.”
The university is scheduled to break ground for the 3,200-square-foot facility this fall with a completion date anticipated for the fall of 2019.
Source: https://www.jbhe.com/2018/05/university-of-oregon-unveils-plans-for-its-black-cultural-center/

Planting Justice: Urban Farming Nonprofit in Oakland Helps Ex-Cons Re-enter Society

By goodblacknews on May 27, 2018
Anthony Forrest spent 25 years in prison before joining Planting Justice. “Working in the garden calms me down,” he said. (Credit: Jason Henry for The New York Times)

by Patricia Leigh Brown via nytimes.com

OAKLAND, Calif. — Even by the standards of the Bay Area, where sourcing local, organic chicken feed is seen as something of a political act, the spectacle of 30,000 fruit and nut trees being tended by formerly incarcerated orchardists is novel.

The green thumbs are there because of Planting Justice, a nine-year-old nonprofit that combines urban farming with environmental education and jobs for ex-offenders. From its headquarters in a pair of salvaged shipping containers on a dead-end street in East Oakland, Calif., Planting Justice has forged a trail in which revenue-generating businesses help subsidize the group’s core mission: hiring former inmates, many from nearby San Quentin State Prison, and giving them a “family sustaining” wage, along with health benefits and a month of paid leave annually. About half the total staff of 30 have served time in prison.

Two years ago, the group’s founders — Gavin Raders, 35, and Haleh Zandi, 34 — established an orchard on a weedy, vacant lot in this area of stubborn poverty, where the pruning is serenaded not by birds but droning trucks from the adjacent freeway. Planting Justice’s Rolling River Nursery now sells and ships some 1,100 varieties of potted trees and plants — among them, 65 different kinds of pomegranates, 60 varieties of figs, and loads of harder-to-find species such as jujubes (Chinese dates), Japanese ume plums and rue, an aromatic herb used in Ethiopian coffee. Signs warn visitors that they have entered a pesticide- and soda-free zone.

Though still young, the organic orchard generates roughly $250,000 of Planting Justice’s yearly $2 million operating budget. Another $250,000 comes from an edible landscaping business, in which roving horticulturalists hired by well-off clients install beehives, fruit trees, chicken coops, massive barrels for harvesting rain water and “laundry to landscaping” systems that funnel used washing machine water into the garden. The money helps subsidize pro bono edible landscapes in low-income neighborhoods.

In addition, there are the 2,000 or so “subscribers” who make monthly pledges to Planting Justice, which brings in another $450,000 annually, and grants from a variety of nonprofit organizations, among them the Kresge FreshLo program, the Thomas J. Long Foundation and Kaiser Permanente’s community benefit programs.

Planting Justice cultivates metaphors along with the food. “We’re composting and weeding the things in our lives we don’t need and fertilizing the parts of ourselves we do need,” Mr. Raders explained, sitting on a eucalyptus stump.

The guiding principle: kale, not jail.