DOCSLIB.ORG

Kombit a Haitian Tradition of Communal Achievement Wednesday, July 4 - Sunday, July 8, 2007 10 Am - 9Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kombit a Haitian Tradition of Communal Achievement Wednesday, July 4 - Sunday, July 8, 2007 10 Am - 9Pm The 2007 Festival Theme Kombit A Haitian tradition of communal achievement Wednesday, July 4 - Sunday, July 8, 2007 10 am - 9pm Commodore Barry Park / Dumbo / Downtown Brooklyn Navy Street between Park Avenue & Flushing Avenue Suggested Donation: $3 International African Arts Festival (718) 638-6700 [email protected] www.iaafestival.org Artist: Mark "Feijao" Milligan THE INTERNATIONAL AFRICAN ARTS FESTIVAL FAMILY 2007 Executive Committee Basir Mchawi, Chairman Mzee Moyo, Chief of Operations Segun Shabaka, Secretary Salima Moyo, Marketplace Director Atiba Coard, Maintenance Director Hakika Boyd, Director Kwame Sha, Director / Stage Manager William Fleet, Director/Fashion Show Coordinator Festival Coordinators Debbie Buie, Security Coordinator Nekhena Evans, Natural Hair Coordinator Ama Fruster, Headquarters Operations Owen Grier, CPA William Jones, Volunteer Coordinator Emar Kierstedt, Field Operations Manager Marcus Kierstedt, Electrical Director Mark "Feijao" Milligan, Graphic Design-Artist 2007 Zamani Moyo, Talent Coordinator Sharonnie Perry, Community Affairs Nenefer Ptah, Graphic Design Aline Quashie, Accountant Julia Shaw, PR & Marketing Consultant Valene Josephs-Byrd-Office Manager "Within Art, clarity and truth are of great importance to me. Vivian Smith, Security Coordinator Henrietta Sonson, Associate Comptroller As is an honest portrayal of the African Diaspora experience . LaMont J. Headley, Food Inspector Our love, passion, family life and genius." - Milligan Festival Office Support Team Ifayomi Smith, Office Staff Born and raised in St. Croix, U.S.V.I. to Mark L. Milligan Sr. Olorire Smith, Office Staff and Carmen J. Martinez. Milligan's passion for the Arts ignited at a Special Thanks to: very early age. While in High School his studies varied from paint- 98.7 KISS FM Radio ing & drawing to graphic design & architecture. At the age of 16, he African American Observer Afrikan Poetry Theatre began an apprenticeship under Paul Youngblood. One of the paint- Akiliaworksongs ings done during this mentorship won the 16 year old the U.S. Assemblyman Hakeem Jefferies Assemblyman Kendal Stewart National Congressional Art Competition. Allowing him the opportu- Assemblyman Roger Green nity to represent the Virgin Islands and have his painting exhibited in Assemblywoman Annette Robinson the House of Congress. Black Star News Brooklyn Arts Council At 17, Milligan moved to New York City to acquire a Bachelor Brooklyn Borough President Marty Markowitz of Science in Fine Art from the School of Visual Arts. During which Calabar Magazine Carib News time he studied under such artists as Don Eddy, Max Ginsburg and Caribbean American Weekly Marvin Mattelson. After graduating, Milligan has participated in var- Caribbean Life CD 101.9 FM Radio ious group shows: Frederiksted Fort Museum (St. Croix, U.S.V.I.), Citibank Avante Yard (New York, NY), BOE Laboratory (Washington, DC) City Councilwoman Tish James and the Corridors Gallery (Brooklyn, NY.) He has also been commis- Congresswoman Yvette Clarke Community Board 2 sioned to paint murals for the Chelsea Adult Day Health Care Center, HOT 97 FM Radio the Central Park SummerStage, Adidas and the Student League of Kojo Ade Material for the Arts Black Colleges. Mensah K. Wali Mark Milligan currently resides in Brooklyn, NY. Dedicating Navy Houses Tenant Association his time to both his fine art pursuits and his design firm, Soul Indigo. New American Chamber of Commerce New York Amsterdam News He can be reached his company, Soul Indigo, http://www.soulindi- New York City Dept. of Culture Affairs go.com, or via email at [email protected] or 888.267.1385 NYC Department of Parks & Recreation NYC Department of Sanitation NYC Police Department NYSCA Obaba Oyo IAAF Volunteers 2007 Our Time Press Streets of New York Mut – Nfr – KaRa – Ade; Aeola Baker; Lou Burns; Nia Chambers; Sudani Thorne Steve Chambers; Steve Cromity; Angela Ellis; Barbara Fleming; The Brooklyn Free Press Tony Akeem – The People of the Sun Middle Passage Collective Lennie Gibson; Rebecca Hall; Dulce Holley; Louis Johnson; WBAI-FM Radio Bill Jones IV; Kahamu; Evelyn Leary; Illya Maia; Jehan Abdul – WWRL-1600AM Radio Matin; Mike Mensa; Ashanti Morgan; Baba Omilana; Marlene To our vendors we love you and thank you for all your years of participating as Ransom; Cidra Sebastian; Bob Simms; Reggie Speight; Mdut – vendor/members of the International African Arts Festival. Sshrankh; Joan Wiggins – Swain; Diane White; Kahlil Winslow; Last but not least we want to thank the millions of attendees who have graced us Debbie Ricardo; Patricia Robinson; Ron Anderson; James Roberts; with their presence and supported the IAAF and our vendors. Lamana Donadelle; Ernesto Baptiste; Chanell T. Manley; Denise International African Arts Festival Johnson; Yolanda Johnson; Mandisa Mchawi; Belquis Newson; Zari P.O. Box 47-1730 Brooklyn, NY 11247 Newson; Nicole Bennett; Sherwain McCalla; Carol Porter; (718) 638-6700 Roosevelt Crayton; Omarsha Ambakisye; Florence Elie; Raymond (718) 638-3707 fax Metivier; Titilayo Nwenna Moore-Lynch; Naelege Nilaja Moore- [email protected] www.iaafestival.org Lynch; Donna M. Byrd; Shambulia Gadsden-Sam; and Valerie www.myspace/iaafestival.org Josephs 14 CALABAR Magazine IAAFestival Supplement July/Aug 2007 www.calabarmag.com/www.iaafestival.org A Message from the Chairman: Kombit International African Arts A Haitian tradition of Festival-A Historic Overview communal achievement. Peace and Blessings to all: Our 2007 theme is Kombit - a Haitian tradition of communal I would like to thank all of you who have continued to support our Festival over the last 36 years. I would also like to welcome all of the achievement. Historically, our Haitian sisters and brothers newcomers who are experiencing the International African Arts came together to labor, sacrifice and win a revolution. Festival for the first time. Our Festival, a manifestation of love and respect, provides an experience like no other event. While other events seek to imitate what we do, it is almost impossible to recreate Kombit is the essence of organizing. It is collective work and this atmosphere. We are flattered by those who seek to copy us. responsibility as well as a reflection of the same energy that This year we are expanding our efforts to collaborate and work makes our African Marketplace and Cultural Arts Program closely with other organizations. This year we wish to thank CALABAR Magazine for working with us to produce this supple- possible year after year. ment. We would also like to welcome Harlem Heritage Tours with visitors from Uptown and aboard. A special thanks to Souled Out Music Tours and the Central Brooklyn Jazz Consortium for the music programming they will be providing on Sunday, July 8th. We say Ancestors Tribute "Karibu" (Welcome) to CBJC chairman Jitu Weusi whose vision was instrumental in creating this Festival 36 years ago. We look forward to nurturing and developing these and other organizational relation- ships as we continue to move forward. Several comrades have asked that we once again revisit some of the history that is associated with this event. I will attempt to briefly provide some aspects of that history. The International African Arts Festival started 36 years ago as the African Street Carnival. Sponsored by The EAST organization and Uhuru Sasa Shule, the IAAF began as a block party to celebrate the achievements and hard work of the students, parents and teachers of what was then the largest Black Independent School in the United States. This multi-day block party started on the street right outside of 10 Claver Place, the head- quarters of The EAST organization. Throngs of participants from around the city came to sample the art and culture that the event pro- vided. As the word spread, what had started as a "Carnival" outgrew the few blocks surrounding 10 Claver Place and by 1977, it was time to move to Boys and Girls High School. Thousands of supporters looked forward to the days around the July 4th weekend so that they could gather with family and friends. As the event continued to mature, the name was changed to African Street Festival. That name became so embedded in our people’s consciousness that even today, many still refer to our event as the African Street Festival. In 1996 as we celebrated our 25th Anniversary, the name International African Arts Festival was adopted. After renovation of the field at Boy’s and Girls High School forced us onto Fulton Street and a return to our roots on the street, we sought a more permanent home. A conversation with the late Councilman James Davis at Festival in 2003, led us to pursue Commodore Barry Park, in downtown Brooklyn. In 2004 we transi- tioned into our new home nestled between the Brooklyn Navy Yard and the Brooklyn Queens Expressway. Unfortunately, Councilman Above: Barbara Smith-Boyd, source: Kai Crawford Davis never had a chance to celebrate with us. He was assassinated before our move was complete. We would like to say Asante Sana (Thank you very much) to all Blessings to Our Ancestors of those over the years who have contributed to the success of the International African Arts Festival. We must also give praise to our We must pay tribute to all those who have come before us and have ancestors who make all of our victories possible and to the Creator for gone home to join the Ancestors. We love you and appreciate all that setting this continuing story into motion 36 years ago. Look for us you have given us. next year as we have some more surprises in store for you. We will be sponsoring other major events and soon will look at the history of the · Barbara Smith-Boyd · Jennett Gadson EAST and the International African Arts Festival. As the African Proverb says, "If you know the beginning, the end will not trouble · Edwin Phillips · Albertha Byron you." We will look more closely at the beginnings of two institutions · Gerald Lavert · Bill Cherry that have been important to African people throughout the Diaspora.
Load more

Recommended publications
  • In the Fall of 1969, Zoilo Torres and Paulette Samuels, Two Sophomore
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Black, White and Green: High School Student Civil Rights and Environmental Activism in New York City and on Long Island, 1968-1975 A Dissertation Presented by Neil Philip Buffett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University December 2011 Stony Brook University The Graduate School Neil Philip Buffett We, the dissertation committee for the above candidate for the Doctor of Philosophy Degree, hereby recommend acceptance of this dissertation. Dr. Christopher Sellers – Dissertation Advisor Associate Professor, Department of History Dr. Wilbur Miller – Chairperson of Defense Professor, Department of History Dr. Themis Chronopoulos Assistant Professor, Department of History Dr. Andrew Hurley Professor, Department of History, University of Missouri at Saint Louis This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Black, White and Green: High School Student Civil Rights and Environmental Activism in New York City and on Long Island, 1968-1975 by Neil Philip Buffett Doctor of Philosophy in History Stony Brook University 2011 This dissertation highlights the contributions of high school student activists in both the Civil Rights and Environmental Movements of the late 1960s and early 1970s. Through an in-depth analysis of various New York City and Long Island community case studies, the project sheds light on the importance of place as a theoretical concept in the evolution of student-led social and political activism.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films
    Black Brooklyn Renaissance (BBR) Digital Archive About the Digital Archive CONTENTS This digital archive contains 73 discs, formatted as playable DVDs for use in compatible DVD players and computers, and audio CDs where indicated. The BBR Digital Archive is organized according to performance genres: dance, music, visual art, spoken word, community festival/ritual arts, and community/arts organizations. Within each genre, performance events and artist interviews are separated. COPYRIGHT Black Brooklyn Renaissance: Black Arts + Culture (BBR) Digital Archive is copyright 2011, and is protected by U.S. Copyright Law, along with privacy and publicity rights. Users may access the recordings solely for individual and nonprofit educational and research purposes. Users may NOT make or distribute copies of the recordings or their contents, in whole or in part, for any purpose. If a user wishes to make any further use of the recordings, the user is responsible for obtaining the written permission of Brooklyn Arts Council (BAC) and/or holders of other rights. BAC assumes no responsibility for any error, omission, interruption, deletion, defect, delay in operation or transmission, or communications line failure, involving the BBR Digital Archive. BAC feels a strong ethical responsibility to the people who have consented to have their lives documented for the historical record. BAC asks that researchers approach the materials in BBR Digital Archive with respect for the sensibilities of the people whose lives, performances, and thoughts are documented here. By accessing the contents of BBR Digital Archive, you represent that you have read, understood, and agree to comply with the above terms and conditions of use of the BBR Digital Archive.
    [Show full text]
  • Weeksville Lost Jazz Shrines
    1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project.
    [Show full text]
  • The Black Power Movement
    A Guide to the Microfilm Edition of BLACK STUDIES RESEARCH SOURCES Microfilms from Major Archival and Manuscript Collections General Editors: John H. Bracey, Jr. and Sharon Harley The Black Power Movement Part 1: Amiri Baraka from Black Arts to Black Radicalism Editorial Adviser Komozi Woodard Project Coordinator Randolph H. Boehm Guide compiled by Daniel Lewis A microfilm project of UNIVERSITY PUBLICATIONS OF AMERICA An Imprint of CIS 4520 East-West Highway • Bethesda, MD 20814-3389 Library of Congress Cataloging-in-Publication Data The Black power movement. Part 1, Amiri Baraka from Black arts to Black radicalism [microform] / editorial adviser, Komozi Woodard; project coordinator, Randolph H. Boehm. p. cm.—(Black studies research sources) Accompanied by a printed guide, compiled by Daniel Lewis, entitled: A guide to the microfilm edition of the Black power movement. ISBN 1-55655-834-1 1. Afro-Americans—Civil rights—History—20th century—Sources. 2. Black power—United States—History—Sources. 3. Black nationalism—United States— History—20th century—Sources. 4. Baraka, Imamu Amiri, 1934– —Archives. I. Woodard, Komozi. II. Boehm, Randolph. III. Lewis, Daniel, 1972– . Guide to the microfilm edition of the Black power movement. IV. Title: Amiri Baraka from black arts to Black radicalism. V. Series. E185.615 323.1'196073'09045—dc21 00-068556 CIP Copyright © 2001 by University Publications of America. All rights reserved. ISBN 1-55655-834-1. ii TABLE OF CONTENTS Introduction ............................................................................................................................
    [Show full text]
  • Stomp 39 He Joint Was Packed, the Dance Floor Twas Jumping, and the Music Was HOT
    Volume 36 • Issue 4 April 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The musician of the year award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Rutgers University Institute of Jazz Jersey jazz studies college students.
    [Show full text]
  • Black News Table of Contents
    Black News Table of Contents Boxes 7 through 11 of the Civil Rights in Brooklyn Collection Call Number: BC 0023 Brooklyn Public Library – Brooklyn Collection Box 7: Location MR 1.5 Vol. 1 No. 1, October 1969 Willie Thompson “Black News “of Bedford Stuyvesant The Uhuru Academy Explanation Of the So-called Generation Enemies of the Black Communities Gap Radical Approach toward low-income housing Vol. 1 No. 4, November 15, 1969 The Black study circle Christmas Nigger “The Beast” ( a poem) Harlem’s demand for self-determination Make it, Buy it, or Take it Black Study Circle Black soul plays Understanding Enemies of the Black community All out race war in U.S. Marines…1970 The Black Ass Kickin' Brigade The Healer Forced out of their Home Modern Cities and Nigger incompetence “One Bloody Night” What’s on? No School! protest Bobby Seale From Sister to Sister Are policemen really pigs or worse? Vol. 1 No. 2, October 1969 Liberty House Ocean Hill Brownsville –Revisited-1969- Keep the grapevine buzzin Less Campbell Lindsay owes his body and soul Seminar for Black women Enemies of the Black Communities Black people spend $35 billion annually “The Death Dance” (a poem) Post Revolution thought ( a poem) Community control of the land “I Love America” (a poem) Vol. 1 No. 5 December 1, 1969 Another Black patriot doomed by the pig Rapping on Racists America is so beautiful in the Autumn The arrogance of Model Cities Ho Chi Minh – The man and his plan The soap-opera syndrome “The Needle”(a poem) His Master’s voice A Black father’s one man crusade against Vol.
    [Show full text]
  • Download the Entire Issue (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
    [Show full text]
  • Music and Industry News in Brief
    JazzWeek with airplay data powered by jazzweek.com • July 31, 2006 Volume 2, Number 35 • $7.95 Artist Q&A: STEVEN BERNSTEIN page 9 On The Charts: #1 Jazz Album – Regina Carter #1 Smooth Album – Mindi Abair #1 College Jazz – Costello/Toussaint #1 Smooth Single – Peter White #1 World Music – Sean Paul JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger MUSIC EDITOR Tad Hendrickson ven though IAJE is about five months away, planning is be- CONTRIBUTING WRITER/ ing finalized for this year’s radio track. JazzWeek is pleased PHOTOGRAPHER Eto coordinate those three sessions again this year. We’ll have Tom Mallison information for you here shortly. PHOTOGRAPHY One panel session, proposed by WSHA’s Bob Rogers, picks up Barry Solof on the theme of many of our discussions at the JazzWeek Sum- Contributing Editors mit in June. The topic will be the crisis in jazz radio, and why that Keith Zimmerman might be an opportunity. Kent Zimmerman Despite an artform that is absolutely amazing in its creativity Founding Publisher: Tony Gasparre and productivity – and the new releases I’ve listened to this week ADVERTISING: Devon Murphy certainly confirms that in my mind – we’re losing radio outlets one Call (866) 453-6401 ext. 3 or at a time and have for several years. If Chicago – Chicago for cry- email: [email protected] ing out loud! – can’t support a jazz station, and if other stations SUBSCRIPTIONS: in big jazz markets are hemorrhaging listeners, then there must Free to qualified applicants be something we’re doing wrong. Maybe we haven’t done enough Premium subscription: $149.00 per year, research; maybe we’ve done too much.
    [Show full text]
  • Complements to Kazi Leaders: Female Activists in Kawaida- Influenced Cultural-Nationalist Organizations, 1965-1987
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History 5-10-2017 Complements to Kazi Leaders: Female Activists in Kawaida- Influenced Cultural-Nationalist Organizations, 1965-1987 Kenja McCray Atlanta Metropolitan College Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation McCray, Kenja, "Complements to Kazi Leaders: Female Activists in Kawaida-Influenced Cultural- Nationalist Organizations, 1965-1987." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/57 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. COMPLEMENTS TO KAZI LEADERS: FEMALE ACTIVISTS IN KAWAIDA-INFLUENCED CULTURAL-NATIONALIST ORGANIZATIONS, 1965-1987 KENJA MCCRAY Under the Direction of John McMillian, PhD ABSTRACT This dissertation explores the memories and motivations of women who helped mold Pan-African cultural nationalism through challenging, refining, and reshaping organizations influenced by Kawaida, the black liberation philosophy that gave rise to Kwanzaa. This study focuses on female advocates in the Us Organization, Committee for a Unified Newark and the Congress of African People, the East, and Ahidiana. Emphasizing the years 1965 through the mid-to-late 1980s, the work delves into the women’s developing sense of racial and gender consciousness against the backdrop of the Black Power Movement. The study contextualizes recollections of women within the groups’ growth and development, ultimately tracing the organizations’ weakening, demise, and influence on subsequent generations. It examines female advocates within the larger milieu of the Civil Rights Movement’s retrenchment and the rise of Black Power.
    [Show full text]
  • The Political Awakening of Blacks and Latinos in New York City: Competition Or Cooperation?
    The Political Awakening of Blacks and Latinos in New York City: Competition or Cooperation? William W. Sales, Jr., and Rod Bush LACK AND LATINO COOPERATION IS CENTRAL TO THE ELABORATION OF A SOCIAL bloc capable of forging a democratic and egalitarian future for the people B of New York City, and, what is more important, for the larger social formation of which New York City and the United States are a part. Black and Latino competition, on the other hand, reinforces the status quo in which the largest segment of both populations is consigned to the margins of the social economy. At the same time, a subaltern class, a bureaucratic bourgeoisie, has congealed within both populations to represent the interests of the larger system among these populations and to translate their grievances into system-appropriate scenarios. We will argue that for the Black and Latino populations in New York City, the logic of competition is driven by the narrow class needs of the middle class as a class "for itself," while the logic of cooperation is more consistent with, and indeed central to, the needs of the Black and Latino working classes and those committed to working in their interests. We will review the4exe.lppnientj3f.Black.andl.atino..electoral-power in New York City since World War II, assess its potential and limitations for meeting the needs of Blacks and Latinos, and document the development of sociaLactivism as an^lternatiye.to.electoral strategies.of.empow.erment. Electoral organizing in the United States is particularly vulnerable to being highjacked by entrepreneurial politicians who forego political principle and instead seek the best opportunity for personal advancement.
    [Show full text]
  • Taxation Without Sanitation Is Tyranny”: Civil Rights Struggles Over Garbage Collection in Brooklyn, New York During the Fall of 1962 by Brian Purnell
    “Taxation without Sanitation is Tyranny”: Civil Rights struggles over garbage collection in Brooklyn, New York during the fall of 1962 by Brian Purnell During the early 1960s, many residents of Bedford-Stuyvesant saw the neighborhood's filthy streets as a sign of their community's low status in New York City. The trash that accumulated on sidewalks and in streets crowded public space with its bulk and its stench. Children had to play around hulky abandoned cars. Pedestrians on their way home from work dodged rats and vermin that darted from the asphalt to alleyways where bags of uncollected household garbage sat festering, sometimes for days at a time. Over the years, residents periodically complained to elected officials and appointees to the city's Sanitation Department, but the problem only worsened. Bedford-Stuyvesant inhabitants even organized periodic neighborhood clean-ups through local block associations. (2) Their efforts brought temporary relief to certain areas, but failed to remedy completely the overall problem. At its root, the abundance of garbage was linked to the scarcity of resources in this overcrowded residential area. Bedford-Stuyvesant required increased garbage collection and the city was failing to provide it. That this was a neighborhood with one of the fasting growing Black populations in the entire city added a racial insult to an already odoriferous injury. As historians Harold Connolly, Clarence Taylor, Craig Wilder and others have meticulously shown, Bedford-Stuyvesant was a community shaped by two different histories: the hope and optimism of its working class families, of which Blacks were at one point one group among many; and the racial ideologies and policies that slowly made the community an overcrowded, economically stagnant and racially segregated black neighborhood.
    [Show full text]