Sunday, June 13, 2021

Comments on Lucille Clifton's "won't you celebrate with me"


Lucille Clifton's "won't you celebrate with me"

Lucille Clifton’s poem invites a standing ovation. The poem is only fourteen lines long and despite the one minute twenty-four second time stamp on the video, the poem itself is only fifty-six seconds long. In that time, Clifton addresses the hurdles she has had to overcome being “both nonwhite and woman,” she asks, “what did I see to be except myself?” 

Clifton confronts the systemic hurdles, including racism and misogyny, that impact the everyday life and existence of a Black Woman, while still managing to carve out space for joy. Know before watching that it is every bit as impactful as the standing ovation it demands as Clifton recites the final lines, finding joy in failure and survival. —Sokeyra Francisco

The content, brevity, and intentional artistic conventions Clifton employs throughout the poem communicates a poignant illustration of her life. On the surface, the question--"won't you celebrate with me?” felt desperate in a way, but in this poem, it was clear that she doesn't want us to simply gaze upon her hardships but desires us to stand alongside her, and recognize the ways that she has withstood the terror that surrounds her; she wants us to simply celebrate with her. —Rasheen Purnell

"Won’t you celebrate with me'' is a poem that invites listeners to celebrate being self made. In it, Lucille Clifton describes the simple act of being as one of resistance. “Won’t you celebrate with me” is a reminder that every stride made in a space turned against you is a cause for celebration. Let this poem also serve as a reminder that rejoicing in yourself will always be more rewarding than the recognition or validation of others." -- Shala McKee

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Comments on Porsha Olayiwola’s "Angry Black Woman"



Porsha Olayiwola’s "Angry Black Woman"

The structure of Porsha Olayiwola’s performance of “Angry Black Woman” highlights black women’s ability to exist while also shouldering the burdens that come with this existence. Yes, a black woman can be sweet, funny, intelligent, and awkward while also being indignant and outraged about educational inequality, food deserts, gentrification, amongst the other very real threats to their own existence. It should not be so difficult to accept the fact that there are other adjectives besides angry that describe black women and that, surprisingly, these adjectives can exist simultaneously. Black women can be sweet, funny, intelligent, and awkward people that are angry, and rightly so, sometimes. --Cheaka Wilson

Porsha O’s performance of “Angry Black Woman” takes the poem to a new level. She starts off gentle and calm, then takes the audience on a roller coaster ride as her voice increases in grit and intensity. The delivery of the poem makes the poem itself more effective for the audience. —Victoria Lefler

Porsha Olayiwola’s poem, “Angry Black Woman,” is a stunning testament to the different pressures affecting Black life. One of her passionate statements about slavery is, “(I’m) mad niggers call each other niggas,” which begets the time tested question, should Black people reclaim ‘nigga’? Given this debate is such a hotly divided debate within the Black community, whose side is more valid than the other’s? —Ryan Collins

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Friday, June 11, 2021

Comments on Kehinde Wiley's Anthony of Padua



Anthony of Padua, 2013 
Posed and proud, Anthony of Padua stands chest wide with a vibrantly red/floral back drop. His octopus chain is my favorite element of this painting, which, fun fact, is resident to the Seattle Art Museum! —Ruth Zekariase

My favorite element of this painting: a subject fashioned in a military jacket patterned with cultural symbols against a lurid backdrop of various patterns and transforms the artistic composition of a timeless piece by adding dynamic elements, such as a piercing gaze and vibrant color palette. —Rasheen Purnell

Dynamic elements rush to the human eye—a seductive and empowering gaze stares right back, an overwhelming joy of color and floral vibrancy that feels just right, and Anthony of Padua stands stall and proud as a Black Panther of his own time. He is a new master, the owner of the confident swagger he flaunts. --Bryan Ramos

He masters a confident swagger as he stands in all his elegance, adorned by his many patches. To me, his panther patch is reminiscent of the Black Panther Party and seeing this delicate representation of a group deemed “violent,” brings me joy. —Shala McKee

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Thursday, June 10, 2021

Comments on Kehinde Wiley's Naomi and Her Daughters


Naomi and Her Daughters
Woeful shyness has no place in Kehinde Wiley’s work. Naomi and Her Daughters depicts a mother and her daughters on guard, on all sides, ready to face whatever or whomever comes their way. –Ryan Collins

Ready to face whatever or whomever comes their way, Naomi and Her Daughters is the quintessential image of strength as they stand together, a unit, staring intensely. They are a force to be reckoned with. —Victoria Lefler

They are a force to be reckoned with, signified by the bright colors and defiant stares, Kehinde Wiley presents Naomi and Her Daughters in stark contrast to its original, offering a depiction of strength, love, and determination through the embrace of its subjects and the bold colors that surround them. —Sokeyra Francisco

Through the embrace of its subjects and the bold colors that surround them accurately captures the intensity of a mother’s love and the desire to protect Black girlhood. The passion of Naomi’s stare illustrates her willingness to protect her daughters from any danger that they will encounter. —Precious Thompson
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Comments on two paintings by Kehinde Wiley



Kehinde Wiley's Napoleon Leading the Army Over the Alps, 2005 
The Timbs, cargo pants, bandana, sweat bands, tats and white tee tell me everything I need to know about how Kehinde Wiley feels about code-switching. –Andrea Brown
Kehinde Wiley's Saint John the Baptist in the Wilderness (2013)
Why is it that Wiley chooses to change not only the race but the gender and age of the subject in Saint John the Baptists in the Wilderness unlike in his other featured pieces? –Cheaka Wilson

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AALCI 2021



Here's our notebook of writings by and about our 11th cohort of the African American Literatures and Cultures Institute (June 7 - 30).  Like last year, we are hosting our meetings remotely. 

Entries charting our progress, activities, and thinking.

Artwork commentary 

Poetry commentary 

Heads of the Colored People commentary 

Additional 

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Thursday, February 11, 2021

AALCI at a Glance

Since June 2010, we've coordinated the African American Literatures and Cultures Institute (AALCI) at the University of Texas at San Antonio. The program was created by Joycelyn Moody. I cover the curriculum.

During the summer, we discuss a variety of Black studies readings, African American visual art, and challenges and opportunities associated with scholarly research. 

The participating summer fellows receive: 
• abundant intellectual nourishment
• extensive feedback on writing 
• selection of free books 
• guidance on creation or development of research projects 
• consultation on Digital Humanities, data storytelling project 
• assistance on graduate application materials.
• a small stipend ($2,000.00)

Here's a glance at the fellows, 2016 - 2018:

poster session 2016

Poster session 2017