Wednesday, June 17, 2009
The Annual Ancestral Remembrance of the Middle Passage Sunrise Ceremony at Historic Virginia Key Beach Park
The growing Juneteenth Celebration in Miami is linked to the Annual Sunrise Ancestral Remembrance of the Middle Passage Ceremony, held each year on the Sunday closest to the summer solstice. This year it will be held on the Sunday of the solstice itself, June 21, which is also Fathers Day, beginning at 5:45 a.m. (Those who think that is too early to get up are often reminded of the time not too long ago when our Ancestors had no choice.) The Ceremony takes place at Historic Virginia Key Beach Park (turn left at the second traffic signal on Rickenbacker Causeway, after going through the toll gate [$1.50], just before the Bear Cut Bridge to Key Biscayne).
The Ceremony honors the millions who perished in the Middle Passage (the so-called Atlantic "slave trade") and those who survived to give life to us and future generations. It is traditionally opened by members of the native American community, to invoke the permission and the blessings of the Ancestors of this land. Drummers and musicians are especially welcome, and participants are invited to bring offerings of fruits, grains, nuts, eggs, flowers or other appropriate items, which are placed on a raft of palm fronds and carried out to sea. Brief prayers, performances, artwork, words of wisdom, etc. are also welcomed, as we honor those who endured the horrors of the Middle Passage by "showing ourselves strong."
(We also remember that the Middle Passage was not the first or the only time that Africans crossed the Atlantic to the Americas, but its impact on the making of the world today, and the creation of new African peoples cannot be overlooked or forgotten. And, in the spirit of Juneteenth, we also remember the most important lesson of that observance: "Until all of us are free, none of us is free.")
For more information or directions, please feel free to contact Brother Gene at (305) 904-7620 or Sis. Altine at 786-260-1246. Please spread the word. Asante sana.
The Ceremony honors the millions who perished in the Middle Passage (the so-called Atlantic "slave trade") and those who survived to give life to us and future generations. It is traditionally opened by members of the native American community, to invoke the permission and the blessings of the Ancestors of this land. Drummers and musicians are especially welcome, and participants are invited to bring offerings of fruits, grains, nuts, eggs, flowers or other appropriate items, which are placed on a raft of palm fronds and carried out to sea. Brief prayers, performances, artwork, words of wisdom, etc. are also welcomed, as we honor those who endured the horrors of the Middle Passage by "showing ourselves strong."
(We also remember that the Middle Passage was not the first or the only time that Africans crossed the Atlantic to the Americas, but its impact on the making of the world today, and the creation of new African peoples cannot be overlooked or forgotten. And, in the spirit of Juneteenth, we also remember the most important lesson of that observance: "Until all of us are free, none of us is free.")
For more information or directions, please feel free to contact Brother Gene at (305) 904-7620 or Sis. Altine at 786-260-1246. Please spread the word. Asante sana.
Sunday, June 7, 2009
National and International Remembrance for the Ancestors June 13, 9 AM
Remembrance for the Ancestors June 13, 9 AM PST
It's that time again, our annual ritual pouring libations for our ancestors. We join communities in Charleston, South Carolina, Panama, West Indies, Cape Coast, Ghana, and Brooklyn, New York.
Stop what you are doing Saturday, June 13th at 9 a.m. PST and pour libations for our African ancestors who were taken against their will from Mother Africa. Ask them for strength and endurance. Freedom is a constant struggle. For those who'd like to pour libations in unity. Join us at 8:30 a.m. We will pour precisely at 9 AM. Bring your drums and other percussion instruments to celebrate our ancestors' lives. Bring flowers, breakfast pastry and fruit to share. It is traditional to wear white, but for those who know me...bring yourself, it's what's inside that counts.
Feel the power of that moment as we recall their greatness of spirit and give thanks. Ashay!
Last year we met at the fountain at Lake Merritt in Oakland, across from the Merritt Bakery where the fountain is: E-18th Street at Lakeshore Drive. We can meet there again this year. It is a nice spot, easy to locate and wheelchair accessible.
This is our fourth year participating in the international remembrance of the African ancestors who were bought and sold during the European slave trade. This is also an opportunity to reflect on those subsequent ancestors like Mama Tubman and Baba Denmark Vesey, and ancestors elsewhere in the African Diaspora. It is, a prayer for our survival and an opportunity to greet and support one another in this important work: healing from enslavement: social, political, and economic. It is also an opportunity to reclaim our personal and collective power, plus long overdue justice and equality.
Visit http://maafasfbayarea.com
Listen to Wanda's Picks Radio Friday, June 5, 2009 8-10 AM where I speak to William Jones, one of the founders of the New York Remembrance, Osei Terry Chandler, founder of the Charleston Remembrance and Oshunbumi Hernandez, director of Odunde Inc. The website is: http://www.wandaspicks.asmnetwork.org
20th Anniversary for the New York Remembrance for the Ancestors
Brother William Jones said when asked about the origin of the New York ritual libation for African ancestors who perished during the European Slave Trade, that it was started by faculty at Medgar Evers College in Brooklyn, Tony Akeem, specifically, and inspired by Toni Cade Bambara.
Now in its 20th year with international participation growing each year, the only simultaneous ritual honoring the memory of our African ancestors, is this Saturday, June 13 at 12 noon ET. The NY ritual is the inspiration for Remembrances for the Ancestors in San Francisco, Oakland, Charleston... the second Saturday in June.
These simultaneous celebrations/commemorations are for our African ancestors' who endured and those who didn't survive the horrific Middle Passage. (Listen to the interview taped June 5, 2009 on http://www.wandaspicks.asmnetwork.org)
The participants begin assembling on Coney Island at Bay 18 at 9:30-10 AM. The drums call one into the circle, where people are dancing and singing and chanting. The libations are poured at 12:00 noon exactly and then people take flowers and go into the ocean. Guests are asked to wear white if possible and to bring flowers and fresh fruit to share.
12th Annual Charleston Remembrance for the Ancestors
Honoring our ancestors who perished during the Middle Passage, those souls who became nameless whose lives were forfeited as a result of the European Slave Trade. If we don’t remember them, who will?
“We are linked in both life and death. Those who share common blood relations never break apart” (Nkonsonkonson).
Gather in the parking lot, Saturday, June 13, 2009@ Fort Moultrie, Sullivan’s Island, Charleston, SC, from 9 AM to 1 PM. All are invited: Clergy, Drummers, Elders, and Youth
Schedule:
10:00 AM Fort Moultrie Auditorium
Tour and discussion of the NPS newly installed exhibition: “African Passages”
11:00 AM Proceed to Toni Morrison “Bench by the Road” for the Libation Ceremony
12:00 PM Libation at 12 noon sharp @ the Fort Moultrie Dock in conjunction with national and international African Diaspora communities in Brooklyn, NY; Portobelo, Panama; Cape Coast, Ghana, WA; Oakland, CA, Atlanta and Augusta, GA.
12:15-12:45 PM Proceed to Dock
Bring flowers for offering and fresh fruit to share
34th Annual Odunde Festival Weekend in Philly: June 12-14th 2009
Odunde means Happy New Year! And is a cultural event which honors the ancestors and connects African people with other African people via the medium of art and creative commerce since 1975. Visit http://www.odundeinc.org/Index.htm
Although ODUNDE is best known for its highly visible annual festival, it provides educational, cultural and activist services throughout the year which support its mission. Many of its larger programs are sponsored or presented as collaborations with cultural, educational or business institutions which share ODUNDE's mission.
ODUNDE Weekend Events Schedule: June 12-14
Friday, June 12:
Business Forum for the Republic of Liberia - 9AM - 3PM
Business Forum for the Republic of Liberia at the Federal Reserve Bank, 7th and Arch Streets, Philadelphia, PA, Cost: $50. Pre-Registration is REQUIRED. Register at interdependence.org or/and call 484-908-2955
Saturday, June 13:
Saturday, the African Business Roundtable – 9AM - 1PM
The Business Roundtable Ambassadors include: Guinea and Sierra Leone at the Philadelphia Department of Commerce, 1515 Arch Streets - 18th Floor, Philadelphia, PA FREE!!
River Procession - 12 noon – 1:30 p.m.
The River Procession leaves from ODUNDE Cultural Center - 2308 Grays Ferry Avenue (23rd & South Streets)
The Egungun Procession celebrates the memory of our elevated and honorable African ancestors. We humbly request that everyone wear white clothing. Bembe (a drum and dance celebration) will follow the procession.
Sunday, June 14:
ODUNDE Festival and African Marketplace –10 AM. – 8 PM
South Street and Grays Ferry Stage Performances…Following the river procession, performances begin on ODUNDE's stages and end at dusk. As a cultural celebration designed for families to enjoy together, ODUNDE emphasizes performers and craft artists from throughout the African Diaspora whose work celebrates the diversity of traditional African or African-American art forms including: African dance, hair braiding, stepping, roller dance, drill team formations, hip-hop and tap dance, traditional African instruments, drumming, rhythm and blues, and traditional African American popular dance forms. Each year ODUNDE employs over 40 artists. Many have launched their careers from our stage.
The ODUNDE Festival was an originator of authentic African Marketplace festivals, featuring traditional foods, art, crafts, clothing and jewelry. The most colorful aspect of the festival which continues throughout the day, The African Marketplace draws return customers every year. We are grateful to its vendors, who are major supporters of our organization.
It's that time again, our annual ritual pouring libations for our ancestors. We join communities in Charleston, South Carolina, Panama, West Indies, Cape Coast, Ghana, and Brooklyn, New York.
Stop what you are doing Saturday, June 13th at 9 a.m. PST and pour libations for our African ancestors who were taken against their will from Mother Africa. Ask them for strength and endurance. Freedom is a constant struggle. For those who'd like to pour libations in unity. Join us at 8:30 a.m. We will pour precisely at 9 AM. Bring your drums and other percussion instruments to celebrate our ancestors' lives. Bring flowers, breakfast pastry and fruit to share. It is traditional to wear white, but for those who know me...bring yourself, it's what's inside that counts.
Feel the power of that moment as we recall their greatness of spirit and give thanks. Ashay!
Last year we met at the fountain at Lake Merritt in Oakland, across from the Merritt Bakery where the fountain is: E-18th Street at Lakeshore Drive. We can meet there again this year. It is a nice spot, easy to locate and wheelchair accessible.
This is our fourth year participating in the international remembrance of the African ancestors who were bought and sold during the European slave trade. This is also an opportunity to reflect on those subsequent ancestors like Mama Tubman and Baba Denmark Vesey, and ancestors elsewhere in the African Diaspora. It is, a prayer for our survival and an opportunity to greet and support one another in this important work: healing from enslavement: social, political, and economic. It is also an opportunity to reclaim our personal and collective power, plus long overdue justice and equality.
Visit http://maafasfbayarea.com
Listen to Wanda's Picks Radio Friday, June 5, 2009 8-10 AM where I speak to William Jones, one of the founders of the New York Remembrance, Osei Terry Chandler, founder of the Charleston Remembrance and Oshunbumi Hernandez, director of Odunde Inc. The website is: http://www.wandaspicks.asmnetwork.org
20th Anniversary for the New York Remembrance for the Ancestors
Brother William Jones said when asked about the origin of the New York ritual libation for African ancestors who perished during the European Slave Trade, that it was started by faculty at Medgar Evers College in Brooklyn, Tony Akeem, specifically, and inspired by Toni Cade Bambara.
Now in its 20th year with international participation growing each year, the only simultaneous ritual honoring the memory of our African ancestors, is this Saturday, June 13 at 12 noon ET. The NY ritual is the inspiration for Remembrances for the Ancestors in San Francisco, Oakland, Charleston... the second Saturday in June.
These simultaneous celebrations/commemorations are for our African ancestors' who endured and those who didn't survive the horrific Middle Passage. (Listen to the interview taped June 5, 2009 on http://www.wandaspicks.asmnetwork.org)
The participants begin assembling on Coney Island at Bay 18 at 9:30-10 AM. The drums call one into the circle, where people are dancing and singing and chanting. The libations are poured at 12:00 noon exactly and then people take flowers and go into the ocean. Guests are asked to wear white if possible and to bring flowers and fresh fruit to share.
12th Annual Charleston Remembrance for the Ancestors
Honoring our ancestors who perished during the Middle Passage, those souls who became nameless whose lives were forfeited as a result of the European Slave Trade. If we don’t remember them, who will?
“We are linked in both life and death. Those who share common blood relations never break apart” (Nkonsonkonson).
Gather in the parking lot, Saturday, June 13, 2009@ Fort Moultrie, Sullivan’s Island, Charleston, SC, from 9 AM to 1 PM. All are invited: Clergy, Drummers, Elders, and Youth
Schedule:
10:00 AM Fort Moultrie Auditorium
Tour and discussion of the NPS newly installed exhibition: “African Passages”
11:00 AM Proceed to Toni Morrison “Bench by the Road” for the Libation Ceremony
12:00 PM Libation at 12 noon sharp @ the Fort Moultrie Dock in conjunction with national and international African Diaspora communities in Brooklyn, NY; Portobelo, Panama; Cape Coast, Ghana, WA; Oakland, CA, Atlanta and Augusta, GA.
12:15-12:45 PM Proceed to Dock
Bring flowers for offering and fresh fruit to share
34th Annual Odunde Festival Weekend in Philly: June 12-14th 2009
Odunde means Happy New Year! And is a cultural event which honors the ancestors and connects African people with other African people via the medium of art and creative commerce since 1975. Visit http://www.odundeinc.org/Index.htm
Although ODUNDE is best known for its highly visible annual festival, it provides educational, cultural and activist services throughout the year which support its mission. Many of its larger programs are sponsored or presented as collaborations with cultural, educational or business institutions which share ODUNDE's mission.
ODUNDE Weekend Events Schedule: June 12-14
Friday, June 12:
Business Forum for the Republic of Liberia - 9AM - 3PM
Business Forum for the Republic of Liberia at the Federal Reserve Bank, 7th and Arch Streets, Philadelphia, PA, Cost: $50. Pre-Registration is REQUIRED. Register at interdependence.org or/and call 484-908-2955
Saturday, June 13:
Saturday, the African Business Roundtable – 9AM - 1PM
The Business Roundtable Ambassadors include: Guinea and Sierra Leone at the Philadelphia Department of Commerce, 1515 Arch Streets - 18th Floor, Philadelphia, PA FREE!!
River Procession - 12 noon – 1:30 p.m.
The River Procession leaves from ODUNDE Cultural Center - 2308 Grays Ferry Avenue (23rd & South Streets)
The Egungun Procession celebrates the memory of our elevated and honorable African ancestors. We humbly request that everyone wear white clothing. Bembe (a drum and dance celebration) will follow the procession.
Sunday, June 14:
ODUNDE Festival and African Marketplace –10 AM. – 8 PM
South Street and Grays Ferry Stage Performances…Following the river procession, performances begin on ODUNDE's stages and end at dusk. As a cultural celebration designed for families to enjoy together, ODUNDE emphasizes performers and craft artists from throughout the African Diaspora whose work celebrates the diversity of traditional African or African-American art forms including: African dance, hair braiding, stepping, roller dance, drill team formations, hip-hop and tap dance, traditional African instruments, drumming, rhythm and blues, and traditional African American popular dance forms. Each year ODUNDE employs over 40 artists. Many have launched their careers from our stage.
The ODUNDE Festival was an originator of authentic African Marketplace festivals, featuring traditional foods, art, crafts, clothing and jewelry. The most colorful aspect of the festival which continues throughout the day, The African Marketplace draws return customers every year. We are grateful to its vendors, who are major supporters of our organization.
Wanda's Picks Radio June 17, 2009
This week we will be speaking to the founder of the Day of Mourning. Begun June 19, 2007, with a terminus of 2013, this day, 12 AM to 11:59 PM worldwide, African people are invited to participate in the collective mourning of our African ancestors who survived and perished the European slave trade. The premise is that mourning is a way to tune the instrument, to relieve our collective soul of the burden of said memory so we can move on as a community. Given the magnitude of the event, one community or a handful of priest, no matter how well-intentioned cannot address this alone--it needs to be communal. African people are asked to take a moment and mourn our ancestors as individuals or as family or as community. There is no wrong way to participate. Everyone is asked to just do something whether that is a verbal or silent prayer, a walk along a body of water, a meditation, lighting a candle, reading inspirational words of one of our ancestors archived in a slave narrative, hosting a discussion.
Please share your experiences here. We'd like to know what you did and how you felt afterwards. If there are images or video footage you can provide links.
Please share your experiences here. We'd like to know what you did and how you felt afterwards. If there are images or video footage you can provide links.
Monday, November 3, 2008
Maafa Altar a part of Dia de los Muertos Exhibit at Laney College Gallery
Maafa Altar a part of the Dia de los Muertos exhibit which opens at Laney College's June Steingart Gallery, Monday, Nov. 3
The June Steingart Gallery presents Dia de los Muertos (Day of the Dead) from November 3, 2008 to November 15, 2007. This year's theme is "If The Dead Could Vote" which will explore choices that we make which are political, economic and social. The dead have no interest other than the wellness of all who exist on earth. The Dias de Los Muertos is a celebration and a Meso-American tradition honoring our ancestors and remembering them with our friends, family and community. Part of the celebration to make fun of death and the absurdity of societal norms. This tradition invites all to participate knowing that other traditions are very similar. TaSin Sabir and Neter Aameri have an altar for the ancestors in this show. Please join us for the show and participate in our community altars.
The reception will be held on Monday, November 3, 2008 from 5:00pm to 7:00pm. For Additional information, please call the June Steingart Gallery at 510-464-3586 or artgallery@peralta.edu
Though seen as a Mexican tradition, all cultures remember their dead. In African culture the ancestors or egun are said to never leave one's side. It is we who forget them. In Haiti, on November 2, the community recognizes Gede, the loa or spirit of the crossroads between life and death. Decked in purples and black, he is a trickster, Ezili Danto told me in an interview on Wanda's Picks Radio Friday, October 31, 10-10:40 segment of the show. Visit http://www.wandaspicks.asmnetwork.org
The notion of tricks and treats is an African one. Gede is also the loa of fertility. I thought it interesting that in Haitian traditional compounds, the dead are buried nearby, so that one can greet the ancestor's remains daily--death a part of life.
FET GEDE Senk: Festival of the Ancestors, featuring Portsha Jefferson, Blache Brown & Petit Le Croix, Lee Iyayo Hetelson & friends, and host, Regina Califa Calloway, was Sunday, November 2, at the Malonga Casquelourd Center for the Arts, 1428 14th St., Oakland, CA, 12 noon to 6 p.m. $15-$20 sliding scale. Fet Gede Senk is a national holiday in Haiti. Gede is the Haitian celebration of All Souls Day.
It is a time of both jubilant celebration and a time to fondly remember those who have passed on. For this occasion, please wear Purple, Black and White, the traditional colors for Gede. There will be live Haitian Drumming provided by a special surprise guest flying in from Haiti. For more information: raratoulimen@yahoogroups.com www.myspace.com/raratoulimen
The June Steingart Gallery presents Dia de los Muertos (Day of the Dead) from November 3, 2008 to November 15, 2007. This year's theme is "If The Dead Could Vote" which will explore choices that we make which are political, economic and social. The dead have no interest other than the wellness of all who exist on earth. The Dias de Los Muertos is a celebration and a Meso-American tradition honoring our ancestors and remembering them with our friends, family and community. Part of the celebration to make fun of death and the absurdity of societal norms. This tradition invites all to participate knowing that other traditions are very similar. TaSin Sabir and Neter Aameri have an altar for the ancestors in this show. Please join us for the show and participate in our community altars.
The reception will be held on Monday, November 3, 2008 from 5:00pm to 7:00pm. For Additional information, please call the June Steingart Gallery at 510-464-3586 or artgallery@peralta.edu
Though seen as a Mexican tradition, all cultures remember their dead. In African culture the ancestors or egun are said to never leave one's side. It is we who forget them. In Haiti, on November 2, the community recognizes Gede, the loa or spirit of the crossroads between life and death. Decked in purples and black, he is a trickster, Ezili Danto told me in an interview on Wanda's Picks Radio Friday, October 31, 10-10:40 segment of the show. Visit http://www.wandaspicks.asmnetwork.org
The notion of tricks and treats is an African one. Gede is also the loa of fertility. I thought it interesting that in Haitian traditional compounds, the dead are buried nearby, so that one can greet the ancestor's remains daily--death a part of life.
FET GEDE Senk: Festival of the Ancestors, featuring Portsha Jefferson, Blache Brown & Petit Le Croix, Lee Iyayo Hetelson & friends, and host, Regina Califa Calloway, was Sunday, November 2, at the Malonga Casquelourd Center for the Arts, 1428 14th St., Oakland, CA, 12 noon to 6 p.m. $15-$20 sliding scale. Fet Gede Senk is a national holiday in Haiti. Gede is the Haitian celebration of All Souls Day.
It is a time of both jubilant celebration and a time to fondly remember those who have passed on. For this occasion, please wear Purple, Black and White, the traditional colors for Gede. There will be live Haitian Drumming provided by a special surprise guest flying in from Haiti. For more information: raratoulimen@yahoogroups.com www.myspace.com/raratoulimen
Saturday, October 18, 2008
Breath of Our Ancestor's Artist Reception
At the Breath of the Ancestors Exhibit Reception, Wednesday, October 15, at the Prescott Joseph Center we honored the legacy of the San Francisco Bay Area’s premiere artists: Berkeley resident, Joy Holland and Oaklander by way of St. Louis, Casper Banjo, with featured artist: Keith Hopkins, another Oaklander.
The exhibit, titled: “Breath of Our Ancestors” is an opportunity to meet a woman whom one guest tonight said sounded like Fanny Lou Hamer, Harriett Tubman and Ida B. Wells rolled into one. It is also an opportunity to celebrate the work of internationally acclaimed artist, Casper Banjo who was taken from us too soon, last year, when he was shot not far from his home in October as he took his evening walk.
Stories of Joy’s banner on the side of her home with the words: “No Son-of-a-Bush,” walks through the neighborhood where talk of her fearlessness spread. No one bothered Joy. Ava said she hadn’t shed a tear since her mom passed months ago…perhaps she said, because her mother’s spirit lives. Her brother Tajmal echoed these sentiments later on.
TheArthur Wright spoke of his good friend Casper Banjo, an internationally well-known artist, whose passing was such a surprise. Shot by a police man, the exact circumstances are still unknown as the police refuse to release their report to family. Casper’s material was brick—an unusual medium…but one the St. Louis native knew well. Mary Rudge, poet laureate for the City of Alameda, spoke of Casper fondly, his love of all art—literary, visual and performance and how he didn’t let his gender or race keep him from participating on art shows or gatherings.
Avotcja spoke of her relationship with Casper who was “a trickster,” portrayed as Anansi in African tales, Brer Rabbit in African folk tales here in America—Elegba in the Yoruba tradition.
“He was such a personality…outrageous and fun.” Avotcja said about her friend, who went to college and high school with her. (Casper’s family relocated to Oakland where he graduated from Oakland Tech.) She and Casper taught at Laney college, and were participants in an artist center not far from Prescott Joseph Center—7th and Peralta. Avotcja said Oakland needed places more places like this now: free, assessable art spaces where artists could get together and hang their work.
Mary Rudge said she thought often of how she’d like to have an exhibit where bricks were the medium…a brick wall. She said bricks were a material used by cultures throughout the world…. Casper told me of a suit he made from fabric stenciled with brick patterns he created. The medium was certainly durable—bricks, reminiscent of the earth and its inhabitants…human beings the new comers, clay a lot older.
TheArthur spoke of his friend. He said Casper was everywhere there was art. Even once he had heart surgery, and suffered from depression, the humor and playfulness associated with Casper was well-known. TheArthur recalled. TheArthur explained how Casper was a friend and a mentor because he comes late to painting, his first love or medium writing. (TheArthur is well-known for his painting with bleach of images of Queen Califia.)
It was great hearing the stories about the artists –Ava shared her mother’s poetry and Avoctja played a DVD she’d made from a performance in 1991 at La Peña Cultural Center where Joy and the ensemble Black Poets with Attitudes: Joy Holland, Avotcja, Abimbola Adama, Beverly Jarrett and Wanda Sabir, performed. “We were better than good!” Avotcja said later on—she’d previewed entire show and pulled our the two segments of Joy’s.
Seeing Joy reciting her poems: “The Key” and “Port Chicago” and her love poem, brought back so many wonderful memories. I recalled Joy’s periodic phone calls and cards and articles in the mail. She’d clip articles I wrote and send them to me for my records. She’s also called me to encourage me to continue writing or to ask how she could help with many of the poetry events I put on. Casper did the same thing. I’m so sorry I never took him up on his many invitations to write a story about his many exhibitions. I didn’t realize until later how great an artist he was. I just knew he was everywhere and his spirit was gentle and kind and encouraging. I think one of my best visits was once when I was on the 57 bus and he and I shared a ride from MacArthur BART to Eastmont and we had a chance to talk. Riding public transportation is a great way to slow down. For once I wasn’t in control and had to give that aspect of the journey over to someone else and thus I was able to enjoy visiting with a wonderful man, a man I respected.
Casper’s body of work spans historic and more recent events and topics, such as a recent piece, Katrina, painted September 2005. Using graphite, printmaking and embossing, he also drew or painted work celebrating his family, like his nephews and mother, Lucy.
Joy was also multitalented. Ava mentioned how her mother began writing during the time she was caretaker of her parents, whom she refused to put in a convalescent home, until after quitting her job to take care of them, the task grew to much for her to handle. Her paintings were something her children Ava and Taj and their deceased sibling grew up watching their mother do. When I met Joy, I guess 20 or so years ago, she was a poet, painter, and clothes designer. Did I mention activist and teacher?
She and I taught poetry workshops at Longfellow Elementary school, just up the street from her home. The children wrote poetry, made books and then performed for the school. She loved children, evident in her relationship with her grandchildren and the youth in the neighborhood.
Joy’s advocacy and work to revitalize the more well-known of California’s black towns, Allensworth, which celebrated its 100 anniversary last weekend, October 11-12, 2008, was known. She was one of the reasons why I wanted to make the pilgrimage last week. It was my way of saying thank you. Even though the town was dusty, its large fields barren, except for the replicas of old buildings like the old library, Col. Allensworth’s house, the school, barbershop, town store and pharmacy, plus homes of prominent citizens, many of them friends of the Colonel and other prominent citizens—it’s history is undeniable. And I hadn’t known Allensworth was in the desert and the land was sold to Allensworth and the other founders because they were expected to fail.
The Buffalo Soldiers were present Saturday when we attended the celebration. Mary Rudge recalled her stop at the town another Founder’s Day years ago—it was a special stop on her trip from Southern California back north. The Amtrak conductor told his passengers the detour was for passengers headed to the felicitations. The fact that the train was rerouted was one of many factors that killed a town, as I said; no one ever expected to thrive. When Col. Allensworth bought the land with other founders, it wasn’t expected that the descendents of enslaved Africans would make an oasis in the desert, but they did, despite hostile responses from Tulare county leadership and some residents.
“It was Klan country,” Avoctja said, “yet these black people made a way out of no way and built their town. They weren’t trying to prove anything to white people, they did this for themselves. This same fearlessness is characteristic of Joy Holland and Eddie Abrams who almost singlehandedly stopped Tulare County from issuing permits to dairy farmers who were going to bring cows into the county just across the road from Allensworth.
It is Joy Holland and Eddie Abrams’ commitment to keeping this town and its revival paramount that forms the basis of its going from a barren field to as stated previous, a slowly growing installation which has the potential of complete revitalization. Presently, the town of Allensworth is still uninhabitable; there still isn’t any running water, electricity. One can camp at Allensworth State Park, but why anyone would want to is questionable—
As we drove through the town last Saturday, it looked like the Lower Ninth Ward in New Orleans, the only thing, there was no hurricane, but the unnatural elements, racism and structural violence struck this black town, the same way –neglect and policies of exclusion keep the Lower Ninth and Allensworth from accessing government resources which would enable both to rebuild. Just as in Allensworth, for miles and miles all on sees in the Lower Ninth are empty fields…boarded up homes, weeds, peopled sparsely by people in trailers. If you didn’t know you were in California, you’d think you were in Mississippi or Louisiana.
Our other artist, Keith Hopkins attempted to call me, but I didn’t hear the phone ring, and so those at the reception were unable to hear from him. Keith Hopkins work can be viewed at http://healourpeople.com/index.html. I also had an interview with Keith some time ago on my radio show: visit http://wandaspicks.com/ (click the links and check October 3. It was a Friday.)
The show is up through the end of the month, October 31, at 920 Peralta Street in Oakland, 9-5 p.m. daily. The community organization is closed on weekends again now that the play, Ebony and Johnny has concluded. Admission is free. For information about Prescott Joseph call (510) 208-5651.
The exhibit, titled: “Breath of Our Ancestors” is an opportunity to meet a woman whom one guest tonight said sounded like Fanny Lou Hamer, Harriett Tubman and Ida B. Wells rolled into one. It is also an opportunity to celebrate the work of internationally acclaimed artist, Casper Banjo who was taken from us too soon, last year, when he was shot not far from his home in October as he took his evening walk.
Stories of Joy’s banner on the side of her home with the words: “No Son-of-a-Bush,” walks through the neighborhood where talk of her fearlessness spread. No one bothered Joy. Ava said she hadn’t shed a tear since her mom passed months ago…perhaps she said, because her mother’s spirit lives. Her brother Tajmal echoed these sentiments later on.
TheArthur Wright spoke of his good friend Casper Banjo, an internationally well-known artist, whose passing was such a surprise. Shot by a police man, the exact circumstances are still unknown as the police refuse to release their report to family. Casper’s material was brick—an unusual medium…but one the St. Louis native knew well. Mary Rudge, poet laureate for the City of Alameda, spoke of Casper fondly, his love of all art—literary, visual and performance and how he didn’t let his gender or race keep him from participating on art shows or gatherings.
Avotcja spoke of her relationship with Casper who was “a trickster,” portrayed as Anansi in African tales, Brer Rabbit in African folk tales here in America—Elegba in the Yoruba tradition.
“He was such a personality…outrageous and fun.” Avotcja said about her friend, who went to college and high school with her. (Casper’s family relocated to Oakland where he graduated from Oakland Tech.) She and Casper taught at Laney college, and were participants in an artist center not far from Prescott Joseph Center—7th and Peralta. Avotcja said Oakland needed places more places like this now: free, assessable art spaces where artists could get together and hang their work.
Mary Rudge said she thought often of how she’d like to have an exhibit where bricks were the medium…a brick wall. She said bricks were a material used by cultures throughout the world…. Casper told me of a suit he made from fabric stenciled with brick patterns he created. The medium was certainly durable—bricks, reminiscent of the earth and its inhabitants…human beings the new comers, clay a lot older.
TheArthur spoke of his friend. He said Casper was everywhere there was art. Even once he had heart surgery, and suffered from depression, the humor and playfulness associated with Casper was well-known. TheArthur recalled. TheArthur explained how Casper was a friend and a mentor because he comes late to painting, his first love or medium writing. (TheArthur is well-known for his painting with bleach of images of Queen Califia.)
It was great hearing the stories about the artists –Ava shared her mother’s poetry and Avoctja played a DVD she’d made from a performance in 1991 at La Peña Cultural Center where Joy and the ensemble Black Poets with Attitudes: Joy Holland, Avotcja, Abimbola Adama, Beverly Jarrett and Wanda Sabir, performed. “We were better than good!” Avotcja said later on—she’d previewed entire show and pulled our the two segments of Joy’s.
Seeing Joy reciting her poems: “The Key” and “Port Chicago” and her love poem, brought back so many wonderful memories. I recalled Joy’s periodic phone calls and cards and articles in the mail. She’d clip articles I wrote and send them to me for my records. She’s also called me to encourage me to continue writing or to ask how she could help with many of the poetry events I put on. Casper did the same thing. I’m so sorry I never took him up on his many invitations to write a story about his many exhibitions. I didn’t realize until later how great an artist he was. I just knew he was everywhere and his spirit was gentle and kind and encouraging. I think one of my best visits was once when I was on the 57 bus and he and I shared a ride from MacArthur BART to Eastmont and we had a chance to talk. Riding public transportation is a great way to slow down. For once I wasn’t in control and had to give that aspect of the journey over to someone else and thus I was able to enjoy visiting with a wonderful man, a man I respected.
Casper’s body of work spans historic and more recent events and topics, such as a recent piece, Katrina, painted September 2005. Using graphite, printmaking and embossing, he also drew or painted work celebrating his family, like his nephews and mother, Lucy.
Joy was also multitalented. Ava mentioned how her mother began writing during the time she was caretaker of her parents, whom she refused to put in a convalescent home, until after quitting her job to take care of them, the task grew to much for her to handle. Her paintings were something her children Ava and Taj and their deceased sibling grew up watching their mother do. When I met Joy, I guess 20 or so years ago, she was a poet, painter, and clothes designer. Did I mention activist and teacher?
She and I taught poetry workshops at Longfellow Elementary school, just up the street from her home. The children wrote poetry, made books and then performed for the school. She loved children, evident in her relationship with her grandchildren and the youth in the neighborhood.
Joy’s advocacy and work to revitalize the more well-known of California’s black towns, Allensworth, which celebrated its 100 anniversary last weekend, October 11-12, 2008, was known. She was one of the reasons why I wanted to make the pilgrimage last week. It was my way of saying thank you. Even though the town was dusty, its large fields barren, except for the replicas of old buildings like the old library, Col. Allensworth’s house, the school, barbershop, town store and pharmacy, plus homes of prominent citizens, many of them friends of the Colonel and other prominent citizens—it’s history is undeniable. And I hadn’t known Allensworth was in the desert and the land was sold to Allensworth and the other founders because they were expected to fail.
The Buffalo Soldiers were present Saturday when we attended the celebration. Mary Rudge recalled her stop at the town another Founder’s Day years ago—it was a special stop on her trip from Southern California back north. The Amtrak conductor told his passengers the detour was for passengers headed to the felicitations. The fact that the train was rerouted was one of many factors that killed a town, as I said; no one ever expected to thrive. When Col. Allensworth bought the land with other founders, it wasn’t expected that the descendents of enslaved Africans would make an oasis in the desert, but they did, despite hostile responses from Tulare county leadership and some residents.
“It was Klan country,” Avoctja said, “yet these black people made a way out of no way and built their town. They weren’t trying to prove anything to white people, they did this for themselves. This same fearlessness is characteristic of Joy Holland and Eddie Abrams who almost singlehandedly stopped Tulare County from issuing permits to dairy farmers who were going to bring cows into the county just across the road from Allensworth.
It is Joy Holland and Eddie Abrams’ commitment to keeping this town and its revival paramount that forms the basis of its going from a barren field to as stated previous, a slowly growing installation which has the potential of complete revitalization. Presently, the town of Allensworth is still uninhabitable; there still isn’t any running water, electricity. One can camp at Allensworth State Park, but why anyone would want to is questionable—
As we drove through the town last Saturday, it looked like the Lower Ninth Ward in New Orleans, the only thing, there was no hurricane, but the unnatural elements, racism and structural violence struck this black town, the same way –neglect and policies of exclusion keep the Lower Ninth and Allensworth from accessing government resources which would enable both to rebuild. Just as in Allensworth, for miles and miles all on sees in the Lower Ninth are empty fields…boarded up homes, weeds, peopled sparsely by people in trailers. If you didn’t know you were in California, you’d think you were in Mississippi or Louisiana.
Our other artist, Keith Hopkins attempted to call me, but I didn’t hear the phone ring, and so those at the reception were unable to hear from him. Keith Hopkins work can be viewed at http://healourpeople.com/index.html. I also had an interview with Keith some time ago on my radio show: visit http://wandaspicks.com/ (click the links and check October 3. It was a Friday.)
The show is up through the end of the month, October 31, at 920 Peralta Street in Oakland, 9-5 p.m. daily. The community organization is closed on weekends again now that the play, Ebony and Johnny has concluded. Admission is free. For information about Prescott Joseph call (510) 208-5651.
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