half note #001

On the Way to Salif Keita's Island
On the way to Salif Keita’s Island

Sometimes it’s a good feeling to know that you are not alone or at least to know that someone else is thinking what you are thinking.

About 2 years ago i wrote this piece called “Mel Bochner: In the Tower…or in the mix?” . It was a brief meditation on Mel Bochner’s exhibition in The Tower of the National Gallery of Art in DC and what was going on my my head at the time. In the piece, one of the things i talked about was visual poetry, in particular what I suggested was Bochner’s render of a “visual sonnet” based on the structure of the the Thesaurus paintings. I further suggest that these poems are connected to Stein, Boultenhouse , Apollinaire lineage starting with Stein’s “word portraits” to Boultenhouse’s “Poems in the Shape of Things” to Apollinaire’s collection of visual poetry Calliagrammes.

Just a few weeks ago I came across this article entitle “Apollinaire ‘s Visual Poetry” on MoMA‘s Blog INSIDE/OUT. AIf felt good to know that the same type of  language and thinking that I had used to frame the poetic qualities of Bochner’s work was being used to by a curator at MoMa to talk about Apollinaire’s Calliagrammes.  I know it seems like such a small perhaps even insignificant thing, but as a part of my creative process, it is important to create and find community where I can for encouragement, particularly with the experience of living in a new place where you don’t yet  have community to plug into and to be a support.

Anyway, that is my half note for now…more soon…

INSIDE/OUT Blog Archive on Poetry related stuff click here .

 

 

What’s been on my mind

So many thoughts come to me as I move through my day, exploring my little corner of this vast Continent, trying to keep 3 languages (English, French and Bamanakan) straight in my head, trying to stay creative and nimble, etc

But there are some thoughts, observations, ideas that keep coming back, things that won’t leave you alone. Over the past few months I have been thinking about money, currency, cash, moolah y’all…how it functions in the world, its behavior, the behavior of those who handle it, define it, worship it, and  those that are under its foot, caught in its crease. A recent article from SiliconAfrica  has made me think even harder as I attempt to come to grips with my own complicity which has made ask and attempt to answer some tough questions for myself and the way I move in the world.

I have always been interest in Africa (I will post more about that soon my my other blog BOOM FOR REAL BAMAKO), even from a very young thanks to late Uncle Clemson “Russell” Joiner and my parents efforts to make sure I understood that there is more to African American history than enslavement (rebellion and victory) and the Civil Rights Movement.

I have been fortunate enough to have people around me from an early age to explain to that Africa and its influence on all American life is not some remote dead thing of the past, but that it is still with in a lot of ways… not as retentions but as things we have always done. I was reminded of this just a few weeks back when the The Daily Beast posted pictures from Martin A Berger’s newly published Freedom Now!: Forgotten Photographs of the Civil Rights Struggle where this photo taken by Don Cravens in 1955 caught my attention:

royalty1

which in turn immediately made think of the picture I took during my first week here in Bamako in 2013, which I call  Royalty.

royalty2

 

Although I was not surprised to see women carrying things like this in Bamako; I must admit, despite my Low Country/Gullah roots, I was still surprised to see this.  I see women like this everyday walking around Bamako, I marvel at them, how they are always in motion, always at work, always serving.

Because these things have been repeatedly going through my mind since I have been here I have been trying to make sense of them the best way I know how…by attempting to make poems. I am not quite ready to share them yet, but you will see them, if I am blessed you may see 1 or 2 of them in print.

See you soon.

 

 

Brief thoughts on Langston and Africa

 

I thought about Langston Hughes all day today, thinking about what he meant to me, how much I still don’t know about him and his work…I also thought about what it means for me to be here in Bamako, Mali, a poet and trying to make sense of myself here.

I came across this poem doing what I do with a good portion of my days, surfing the net, reading, researching etc and I came across this on ChickenBones:

Africa
Sleepy giant,
You’ve been resting awhile.
Now I see the thunder
And the lightning
In your smile.

Now I see
The storms clouds
In your waking eyes:
The thunder,
The wonder
And the new
Surprise.

Your every step towards
The new stride
In your thighs.

– Langston Hughes

This poem resonates with me as look at out into what is now early morning Feb 2nd and think about the future of Africa. Although things are dire in many countries, there are many countries where the people are thriving, that energy is palpable. I feel it when talking with people about their country and I see it in all of the building that is going on. I also saw and felt that creative spark in talking to the young people at the American International School of Bamako, who I had the opportunity to spend the day with a few days ago.

langston-youth

This Hughes poem despite its age does what so many good poems do, it speaks to its reader where that reader is found. It takes a poet of extreme vision to simultaneously be timely in one’s own day and transcendent 47 years after your death…

langston-smoke

Thank you Langston Hughes, you give us all who claim to poets something to strive for.

A Thought on Humility…

I just got finished reading another great piece from Joe Ross’ blog. The is called A Politics of Humility and it reminded me of something I wrote a long time ago about how elusive humility can be, but also how rewarding it can be or it can even disappear, but Joe goes further from a personal meditation to a thought how to build a much more peaceful planet.

Check out this passage:

“We might find a far richer peace if we sought more humility. But humility is pretty out of fashion these days. Have you ever heard a parent dream that their child grows up to be humble? Yet isn’t it possible that with more humility — seeing that our true place is with others, among others, not over them, running them– we would unleash a mighty calm upon the world.”

Read the whole post here

Just thinking

Because I don’t watch much TV here in Bamako (it is full of people speaking French way to quickly for my ears), I spend a lot of time (may too much) on the internet. Yesterday I came across 2 articles that made me think a bit, but even more than that it was hard for me not to see them as connected in some way:

This article about Camden and this article about the wealth concentration in the Northeast Corridor of the mainland US (based on Census Data)

I think the contrast between Camden’s poverty and the wealth of some of it’s surrounding counties makes this contrast  even greater and heightens our awareness of it, not to mention that poverty and dysfunction of People of Color always seems to be a narrative .

But I was also thinking even harder about was this… If all of that wealth is concentrated in the Northeast of the US, what kind influence does that buy the people that live in those areas and who have amassed that kind of wealth? What effect does that have on the narratives and stories that we hear or have access to? As much as we are told this corridor is the bastion of intellectual, liberal, progressive living and thinking some stories still don’t get told like the one, Richard Rothstein published in the Huffington Post today check out this passage:

“Throughout our nation, this fear of confronting the past makes it more difficult to address and remedy the ongoing existence of urban ghettos, the persistence of the black-white achievement gap, and the continued under-representation of African Americans in higher education and better-paying jobs.

One of the worst examples of our historical blindness is the widespread belief that our continued residential racial segregation, North and South, is “de facto,” not the result of explicit government policy but instead the consequence of private prejudice, economic inequality, and personal choice to self-segregate.

But in truth, our major metropolitan areas were segregated by government action. The federal government purposefully placed public housing in high-poverty, racially isolated neighborhoods (PDF) to concentrate the black population, and with explicit racial intent, created a whites-only mortgage guarantee program to shift the white population from urban neighborhoods to exclusively white suburbs (PDF). The Internal Revenue Service granted tax-exemptions for charitable activity to organizations established for the purpose of enforcing neighborhood racial homogeneity. State-licensed realtors in virtually every state, and with the open support of state regulators, supported this federal policy by refusing to permit African Americans to buy or rent homes in predominantly white neighborhoods. Federal and state regulators sanctioned the refusal of the banking, thrift, and insurance industries to make loans to homeowners in other-race communities. Prosecutors and police sanctioned, often encouraged, thousands of acts of violence against African Americans who attempted to move to neighborhoods that had not been designated for their race.

By the time the federal government reversed its policy of subsidizing segregation in 1962, and by the time the Fair Housing Act banned private discrimination in 1968, the residential patterns of major metropolitan areas were set. White suburbs that had been affordable to the black working class in the 1940s, 50s and 60s were now no longer so, both because of the increase in housing prices (and whites’ home equity) during that period, and because other federal policies had depressed black incomes while supporting those of whites. It was not until 1964, for example, that the National Labor Relations Board for the first time refused to certify a union’s exclusive bargaining status because it openly refused to represent black workers as it did whites.”

Somewhere there is a nexus that provides an answer for Camden, for Detroit, and for the many other places that we are lead to believe are the way they are solely on corruption, crime, and dysfunction and moral failings of colored people.

I know there is much more complexity to this topic than this short articles, but I don’t think that it is as complex as we would like to make it either. I think that these articles are more closely related  than I think most Americans would like to admit. It brings to mind a line from Sekou Sundiata’s poem Magic Bullet he says, “Somewhere in America tonight, Americans are loving the Past as long as it ain’t History.”

Respect the Architect – Kanye ‘s Anthimeria

Kanye West © Noam Dvir, Instagram User dvirnm
Kanye West © Noam Dvir, Instagram User dvirnm

Copyrighted image by dvirnm

So I guess I should start by saying I am not a Kanye fan and after reading about some of the blacklash…ahem backlash from members of the architecture establishment in Lian Chikako Chang’s article about Kanye’s recent visit to Harvard Graduate School of Design (I walk past here all the time while on Residency at Lesley doing my MFA)… I am still not a fan, but as poet/curator/hiphophead I really dug Kanye’s mini-lecture at Harvard School of Design.

The -lash  is mostly centered around Kanye’s use of the “architected”. I understand this on many levels as poet and as someone trying to deal with language I understand that he used a rhetorical device called Conversion or Verbification or Anthimeria  or sometimes known as “verbing the noun”. This is common practice in the African American creative realm and is found all over in African American literature, drama and so on and so forth, so it comes as no surprise that an artist whose currency is language would say something like this. I always love to hear Sonia Sanchez say “poeting” when she talks about what she does; graphic designer Alan Flecther also used the term in the title of book Picturing and Poeting.

What I really love about this specific term is that it another way to describe a process that takes something from an idea caught in the flesh and blood, that is in our brains and makes a “thing” out in the world. It speaks to a very deliberate and intentional process by which to bring something abstract into the physical world…I cannot argue with Kanye on that.
I think the more ways we can find to articulate that sentiment and work ethic the better, be it architecting, poeting, whatevering, etc.

The other thing that I think the -lash makes clear is that in a profession that is 91.3% “white”, the fear of having someone who does not look the part, but who has such a huge platform, co-opting their language appears to be a threatening proposition…

Anyway, go read Lian Chikako Chang’s article For Architects Only? How Kanye Exposed Architecture’s Bias, also check out Phaidon’s blog from over a year ago (July 2012) about Hip Hop Architecture, and other articles about Hip Hop Architecture here , here  , here  and the work of Earl S Bell for good measure. Also check out other examples of verbing the noun – “architecting” in the Caribbean with the “V is for Veranda” Project.

When you are done with all that go check out Guru and Bahamadia on Respect the Architect, (that phrase comes from a Biz Markie sample from Nobody Beats the Biz)…architecting for real!

UPDATE: Also shout out to Doug Patt author of How to Architect

random art musings #000

AmericangothicAmerican Gothic, ( 1930) painting by Grant Wood Gordon_Parks_-_American_GothicAmerican Gothic, (1942) photograph by Gordon Parks CapricornCapricorn, model 1948, cast 1975 (sculpture) by Max Ernst

So M and I were at the National Gallery of Art (NGA) a few years ago and although I had been to the NGA many times before, we decided to take their “Introduction” tour. While on that tour one of the pieces that they highlighted on the tour and that really caught my attention was Max Ernst’s Capricorn.

It hit me on a few levels, mostly because I am always looking for  the presence of “African design intelligence” or an African aesthetic in art, literature, etc and this piece in particular felt like it had an organic feel to it, in the same way that some many of the African works that I have been exposed to, especially in the sculpture world….I am not sure if it was the fashioning of animals in human “positions” (i.e sitting and standing) or just a kind of symmetry and balance that  I feel in looking at all of these works.

In looking at the Wood and Parks pieces and considering the titles it is clear that the two works are in “conversation” with one another, even if that conversation is oppositional or confrontational, it is there.

The Ernst piece, Capricorn immediately caught my attention because it appeared that it, too, was a part of this visual conversation; its balance the composition, what was depicted all suggest  at the very least a thread of a connection.  The other thing that made me think that they was the timing. Both Parks’ piece and Ernst’s piece were completed very close in time, Parks piece in in 1942 the year of Grant Wood’s death and Ernst a few years after in 1948. I cannot help but think particularly around the time of Wood’s death that engaged artist like Parks and Ernst would not have something say about it in their work.

When I come to a piece of art I am always thinking about its DNA, not just process, materials and aesthetics , but the real lineage of the piece…who, what, where, why or when spawn it…what other ideas or works of art is it connected to, not just movements and manifestos

Happy Birthday JB, August 2nd

Not this JB…

james-brown

This JB…

 

I don’t remember when I became interested in Baldwin, but I do remember seeing The Amen Corner
as a kid with my parents, and pulling Blues for Mister Charlie and The Fire Next Time
off my parents bookshelf and trying to make sense of the world that Baldwin was talking about. It would not be until I was a teenager that I would start to grasp how deep Baldwin is/was/be.

Much later than that I would come across Baldwin’s essay On Being White and Other Lies. This essay in a lot of ways made me rethink what it means for a group of people to decide and believe  that they are “White” and for that group of people to decide who else was or could become “White” . Conversely, that same group of people convinced of their “Whiteness” (pure, fair, just and deserving of honor) could also determine who would be their binary opposite, the “Blacks”. This essay for me also caused me to question “Blackness” as a function of being this binary opposite and the moral assignments that come along with it.

As student of Mathematics and Information Systems, I also started to think about the inability of a simple binary system in language to capture the complexity of humanity. For me, I find it hard to talk fully about  such complex in such simple terms. In intellectual, creative and progressive circle many of us push the envelope for more inclusive, complexity and nuanced, you see this so much in gender and sexuality discussions, you see it socioeconomic class discussions, yet when it comes to race  and culture we seem to be stuck with the binary.

Both “Whiteness” and “Blackness” are fiction despite the cultural, social, political and economic capital they wield and how real they feel. That is not to say that I am not connected to the substance of the experience in America we call “Blackness”, I am just not convinced that that label effectively or accurately captures that experience. Baldwin help to make that clear for me.

I am going to end with this anecdote, because I think it articulates what Baldwin was saying more clearly than I ever could. A few years ago, I was sitting on one of Dr.Greg Carr‘s lectures at Howard University and he said to a roomful of “Black” people, “In American society someone has to be Black, that don’t mean it has to be you.”  Hearing that made me re-visit Baldwin’s essay and gave me another way to look at the language we use and that is used against us…

 

Still Blue?

I am almost ashamed to say that I did not remember that Amiri Baraka’s Blues People: Negro Music in White America was published 50 years ago in 1963.

Here and Here. Baraka lays down the hard fact of the heavy learning mojo that the late Sterling A. Brown put on him (and Toni Morrison, A.B. Spellman, Lucille Clifton, Thomas Sowell and many others).  These are writers and thinkers that inform who I am today so I through them (and his work as well)  I have come to a greater appreciation for Sterling A. Brown.

This appreciation becomes even more significant  as I think about the my recent family reunion down in the heart of  Gullah/Geechee land (Coastal South Carolina), I am remind that I am part of the Blues People Continuum or as Dr. Tony Bolden put it the “blues network.”( his book is called Afro-Blue: Improvisations in African American Poetry and Culture 

bluesnet

I like the fact that Dr. Bolden’s  makes space in the “blues network” for all forms of  “African American vernacular culture” beyond just music, because this is the foundation for some of the new projects that I have coming up. This kind of grounding will be the perfect marriage of my current obsessions.

Thank you Amiri Baraka (LeRoi Jones) for the work…to be continued