Tag: Focus on Black

Life Insurance: Nannie Helen Burroughs

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Nannie Helen Burroughs

Reproduction of Knowledge Trust, part of Dead Feminists series of broadsides. Chandler O’Leary and Jessica Spring.

Education and justice are democracy’s only life insurance — Nannie Helen Burroughs

Although we are eight days into the month of November, I came to my senses and decided not to post every day for NaBloPoMo 2022. It took me a few days, but I realized that I don’t want to post for the sake of posting, especially when I need to spend my “real writing energy” on the unfinished essays that are due by the end of the year [self-imposed deadline]. Beginning with this post, I will return to my regular blogging schedule of two to three posts per week. I am looking forward to participating next year and I already have a manageable idea for the month.

Tonight I am sharing a postcard that was waiting for me when I returned from my brief roadtrip. It is appropriate for this election night as the results are rolling in. 

The postcard was sent by my Wildflowers friend, Kathi G. One of her artist friends creates inspirational art for women through the Dead Feminists Series, of which this card is part. 

The card features Nannie Helen Burroughs, an educator, religious leader, social activist, orator, businesswoman, feminist, and more.

The tiny print at the bottom of the card reads: 

Nannie Helen Burroughs (c. 1879 – 1961) was born in Orange, Virginia and moved with her mother to Washington, DC after her father’s death. As a student at M Street High School, she met activists Mary Church Terrell and Anna J. Cooper. After graduating with honors, she moved to Kentucky to work for the Foreign Mission Board of the National Baptist Convention (NBC). At NBC’s annual meeting in 1900, Burroughs’ speech “How the Sisters Are Hindered from Helping” gained national attention and inspired her to co-found the NBC auxiliary Woman’s Convention (WC), the largest Black women’s organization in the United States. Here Black women could exercise their labor and organizing power independent of male membership and white women suffragists. Burroughs served the WC for over 40 years, first as corresponding secretary, then as president.

In 1907, funded by donations from women and children, Burroughs opened the National Training School for Women and Girls in Washington, DC, adopting the motto “We specialize in the wholly impossible.” To develop “the fiber of a sturdy moral, industrious, and intellectual woman,” students learned vocational skills to become self-sufficient wage earners. Burroughs’ Africon-American history class was a graduation requirement. She served as school president until her death. The former Trades Hall, now a National Historic Landmark, today houses the Progressive National Baptist Convention.

Illustrated by Chandler O’Leary and printed by Jessica Spring, in gratitude to the Black women who have insured our democracy’s future beneficiaries. 190 copies were printed by hand at Springtide Press in Tacoma. March 2022

You can find out more about the Dead Feminists broadsides by clicking the link: Dead Feminists.

For a little more about Nannie Helen Burroughs click here: Nannie Helen Burroughs; click here for a few details on her relationship with the the Martin Luther King, Jr. family: Burroughs and the Kings; and click here for a list of her speeches with links: Burroughs’ Speeches.

Until next time…

Postcards That Make a Statement | Malcolm X…a way unto ourselves

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Malcolm X

We have to keep in mind at all times that we are not fighting for integration, nor are we fighting for separation. We are fighting for recognition…for the right to live as free humans in society. –Hotel Teresa, New York City, April 6, 1964

Malcolm was a path, a way into ourselves.  –Maya Angelou

Who Sent It? This Malcolm X (El-Hajj Malik El-Shabazz) postcard, like the Anne Frank postcard posted last week, also came from Dove S. That reminds me. I owe her some happy mail!

Blooms, Love, and Revolution

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“You Love Me a Thousand Summers Ago,” Frank Moth

In honor of World Poetry Day (yesterday), the first day of spring (two days ago), and Black Women’s Appreciation Day (March 1), I am sharing a surrealistic floral postcard and three short poems. I intended to write a post for each special day, but…life.

Here you are,
Black and Woman
and in love with yourself.
You are terrifying.
They are terrified
(as they should be).   —Upile Chisala

***

I want to think that God smiles
when a black woman
is brave enough to love herself. —Upile Chisala

***

“i love myself.”
the
quietest.
simplest.
most
powerful.
revolution.
ever.

—ism, nayyirah waheed

About the Image: My literary twin, Gina B, sent the postcard for International Women’s Day. She included an Audre Lorde quote and a postage stamp that features a female German poet. I have decided each part of her woman-affirming gift deserves its own post. The art here is the work of digital collage artist, Frank Moth. I don’t know his reasons for creating this piece–or any of his “Bloom” pieces–but when I first saw this image I knew I had to pair it with these fierce Black woman-affirming poems! See Moth’s Instagram page for more of his “Bloom” artwork. See the links for more work by the poets.

“No Justice, No Peace”

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Martin Luther King, Jr. photographed by Marion S. Trikosko, 1964. [Public Domain]

If peace means a willingness to be exploited economically, dominated politically, humiliated and segregated, I don’t want peace. If peace means being complacently adjusted to a deadening status quo, I don’t want peace. If peace means keeping my mouth shut in the midst of injustice and evil, I don’t want it. Peace is not simply the absence of conflict, but the existence of justice for all people. —Martin Luther King, Jr., Three Major Evils

The Masters | Faith Ringgold’s Sunflower Quilting Bee at Arles and “Our Dedication to Change in the World”

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Faith Ringgold. The Sunflower Quilting Bee at Arles. Acrylic on canvas with pieced fabric border. 1991.

The National Sunflower Quilters of America are having quilting bees in sunflower fields all over the world to spread the cause of freedom. Aunt Melissa has written and informed me of this to say: “Go with them to the sunflower fields in Arles. And please take care of them in the foreign country, Willa Marie. These women are our freedom,” she wrote.

For our last sunflower masterpiece we bask in the awesome “presence” of Faith Ringgold’s  The Sunflower Quilting Bee at Arles. A print of the masterpiece sits in my home office [still] waiting to be framed. I have been trying to get to this post since I purchased it, but put it off many times because I am inclined to approach her work academically. For sanity’s sake, I need to keep my academic work and my blog separate.

Faith Ringgold (b. 1930) is an African American painter, mixed media sculptor, performance artist, writer, teacher and lecturer. Her work often carries strong socio-political messages about the African American experience. 

The Sunflower Quilting Bee at Arles is the fourth piece in Ringgold’s French Collection, a collection of 12 story quilts, that “uses a combination of painted images, narrative text, and decorative borders to explore the often absent role of African-American women in the art-world, particularly in Paris during the 1920s.” (Ellen C. Caldwell).

The story quilt features “The Sunflower Quilters Society of America” and its March 22, 1922 effort, a quilt bedecked with gorgeous sunflowers. Eight influential African American women hold the edge of the quilt, surrounded by a field of sunflowers in Arles. A “tormented” Vincent van Gogh stands just behind them offering his still life, Fifteen Sunflowers in a Vase, to the queens of change: Madam C.J. Walker, Sojourner Truth, Ida B. Wells, Fannie Lou Hamer, Harriet Tubman, Rosa Parks, Mary McLeod Bethune, and Ella Baker [In a 1996 print, Ringgold added her fictional character in the lower left beside Madam C.J. Walker].

Around the edges of the quilt is the story–in 12 parts–of the Sunflower Quilters, as told by Ringgold’s fictional character, Willa Marie Simone. Van Gogh is a troublesome presence to some, like Harriet Tubman, who demands, “Make him leave. He reminds me of the slavers.” But Van Gogh is firmly planted: “Like one of the sunflowers, he appeared to be growing out of the ground.” And when the sun went down and it was time for the women to leave, “the tormented little man just settled inside himself and took on the look of the sunflowers in the field as if he was one of them” [Part 7].

I got to get back to the railroad, Harriet said. “Ain’t all of us free yet, no matter how many them laws they pass. Sojourner fighting for women’s rights. Fannie for voter registration. Ella and Rosa working on civil rights. Ida looking out for mens getting lynch. Mary Bethune getting younguns education, and Madam making money fixing hair and giving us jobs. Lord we’re sure busy.” [Part 11]

Through The Sunflower Quilting Bee at Arles Ringgold pays homage to and celebrates African American women and their contributions to education, freedom, and justice. She also honors the fine artistry of African American quilt making. Through the piece she acknowledges van Gogh’s contribution to the art world, but she calls on us to also recognize the equal contribution of African American women artists.

Want more information? Be sure to click the links in this posts and check out these additional links:

Until next time…Shine on!

 

Fractals | Artistry, Magic, and Song

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Frax-1

About five years ago, my friend, international poet and scholar, Dr. Jerry W. Ward, Jr., published a collection of poetry entitled Fractal Song. I have yet to speak with Ward about the title of the collection. I assumed it was connected to his interest (and degree) in mathematics. If you’ve been paying attention, you know my relationship with mathematics is an only-when-necessary one. For that reason, I gave the title and cover (which features a fractal) only cursory acknowledgment until I started playing around with my own fractal art.

The poems, which deal primarily with Black experience, possess cadences akin to traditional Black music forms–jazz and blues and maybe, even hip hop. At times, the words mimic the woeful whine of a saxophone, just grazing the deep ache of our longing. At other times, the poems hit the wry tone and rhythm of blues. Reality is matter-of-fact. We note it and we find ways to go on, laughing to keep from crying. Then, there is in some of the poems the flippant, unapologetic, unvarnished truth-telling, which makes hip hop so appealing.

Frax-4

The word fractal has its roots in the Latin fract-, “broken” from the verb “frangere,” which means to break. When I look closely at the fractals created from my photographs, I notice there is a slight break or opening that begins or disrupts (?) the pattern, so I’ve been thinking about the etymology of the word and how it impacts my reading of Ward’s poems.

There is much in Fractal Songs that opens and “breaks.” Traditional and experimental lines break. Time breaks as the poet traverses various historical and literary moments. And, certainly, there is his handling of much that is dark and broken in the African American (particularly) male experience.

Ward’s poems will not leave one feeling warm and fuzzy, as some expect when they encounter poetry. The poems in the collection are gritty and rugged. However, like fractals, there is artistry, beauty, and magic–even in the brokenness.

fractal song coverYour Voice
Jerry W. Ward, Jr.

It’s a magic thing
Sun and rain and poetry
Flooding in my memory,
But all I can remember
Is how you got over
A deep river
With amazing grace
And cursed your blues
With natural rhythms.

“In This Here Place…”

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Emilio Cruz. Figurative Composition #7, 1965, oil on canvas. Smithsonian American Art Museum. Gift of Mr. and Mrs. David K. Anderson, Martha Jackson Memorial Collection, 1980.137.21

We are nearing the end of discussion of Toni Morrison’s Beloved in one of my classes. My favorite part of the novel (and perhaps the reason I love it so much) is the sermon Baby Suggs, holy delivers in the Clearing. Instead of an actual Bible verse, love is her text. To those newly loosed [one way or another] from the chains and nightmare of slavery it is a reminder of their humanity and a call to release the atrocities of the past and imagine a new reality. After exorcising their demons through dance, laughter, and tears, Baby Suggs delivers a love letter to their beautiful souls. For me, this is the most powerful part of the book:

In this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don’t love your eyes; they’d just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face ’cause they don’t love that either. You got to love it, you! And no, they ain’t in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. What you put into it to nourish your body they will snatch away and give you leavins instead. No, they don’t love your mouth. You got to love it. This is flesh I’m talking about here. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I’m telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. And all your inside parts that they’d just as soon slop for hogs, you got to love them. The dark, dark liver–love it, love it and the beat and beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air. More than your life-holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize.  –Toni Morrison, Beloved

I cannot locate a quality clip of Beah Richard’s phenomenal [understatement] performance of the second part [above] of Baby Sugg’s sermon, but here’s the first part.

About the Image: The artwork featured above is the work of Emilio Cruz, an African American artist of Cuban descent. You can see more of his work by clicking the link. It is one of the postcards in Paintings by African-Americans from the collection of the Smithsonian American Art Museum.

Unbought and Unbossed | Black Women Who Ran

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You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas. —Shirley Chisholm (1924-2005).

Today is President’s Day, but I’m not thinking about the dead white men who are featured on U.S. currency; I’m thinking about the Black women who ran for President of the United States.

I drafted a lengthier [not published] post on this topic four [plus] years ago when Hillary Clinton was the Democratic presidential candidate. At the time, I was annoyed because in some media circles there was almost an erasure of the women who paved the way for Clinton. She did achieve some firsts–first to win a major party nomination by winning a majority of the delegates in the Democratic Party primaries and the first to win the popular vote–but obviously Clinton was not the first woman to run for president.

Among the many women who preceded Clinton’s first bid for the presidency in 2008 were more than a few African American women: Charlene Mitchell (1968); Margaret Wright (1976); Isabel Masters (1984, 1992, 1996, 2000, 2004); Lenora Fulani (1988); Monica Moorhead (1996, 2000, 2016); Joy Chavis Rocker (2000); Carolyn Moseley Braun (2004); Cynthia McKinney (2008).

Peta Lindsay (2012) and Kamala Harris (2019) followed.

Besides our current Vice President, perhaps, the most celebrated Black woman who ran for President of the United States is the “unbought and unbossed” Shirley Chisholm. Chisholm, who began her career as a teacher, became the first African American woman to be elected  to Congress. She served seven terms for her New York district. Four years into her service as Congresswoman, Chisholm became the first woman and African American to seek the nomination for President of the United States from one of the two major political parties (1972). You can read all about Chisholm’s bid for the presidency in the April 2016 Smithsonian Magazine article.

These women ran on various party tickets–the Communist Party, the People’s Party, the Green Party, Party for Socialism and Liberation, the Looking Back Party, the Workers World Party, the Independent Party, and of course, Republican and Democratic parties. Despite their diverse approaches, the platforms of these women were similar; they focused on education, social justice, and economic and racial equality.

About the Image: Like the image in last Monday’s microblog, this image is the work of artist Erin K. Robinson. It is part of a beautiful collection of postcards, Brave. Black. First. Celebrating 50 African American Women Who Changed the World, published by Clarkson/Potter Publisher, an imprint of Penguin Random House in collaboration with the Smithsonian’s National Museum of African American History and Culture.  Does the yellow and red remind you of anything? 😉

“A Valentine”

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A Valentine (1906)
Priscilla Jane Thompson

Out of the depths of a heart of love,
     Out of the birth-place of sighs,
Freighted with hope and freighted with fear,
     My all in a valentine, hies.
     Oh, frail little missive
            Of delicate texture,
     Speed thee, on thy journey,
            And give her a lecture! 

Fathom her heart, that seems to me, cold,
     Trouble her bosom, as mine,
Let it be mutual, this that I crave,
     Her ‘yes’ for a valentine.
     Oh, frail little missive,
            In coy Cupid’s keeping,
     Oh! speed back a message,
            To set my pulse leaping.

Happy Valentine’s Day!

Focus on Black: Click the link and learn a bit about Priscilla Jane Thompson.