I have always been ridiculously proud of being black. My parents filled me with the stories of those who fought for Caribbean independence like Julian Fedon, Queen Nanny and Toussaint L’Ouverture. For the few years my family lived in Canada, my dad owned a black book store and I loved nothing better than to sit in a corner reading a book and listening to grown folk talk about history and politics. I learned about the ongoing struggle in America and the rest of the black diaspora an to reverse centuries of racism and imperialism at a very early age.Spending my formative years in London and Toronto I got read and hear about so many heroes that bucked the restrictions of antebellum and Jim Crow America without the malignant dynamics that serve to minimize and disregard the acts of these heroes in this country.I was deeply impressed by the fighting spirit of black people of all walks of life. By the time I was nine I was recite more facts about black accomplishments than a J. A. Rodgers book!
Since I was surrounded by this knowledge I never got the idea that math and science was for white men. I competed and won borough and city wide science fairs. I went to natural science camp and I am proud alumni of the Bronx High School of Science. It wasn’t until my tenure as a doctoral student I got the message that black excellence was not to be seen or heard. I was asked by several professors indirectly and directly to tone down my rhetoric when it came to issues of race because I was making white students uncomfortable. One vile little weasel of a professor actually told me I had to learn “how to talk to white people!” In my doctoral program the feelings of whites were more important than my education, a lesson that was a far more bitter pill to swallow than when illness stopped me completing my degree.
This is why women like Katherine Johnson (portrayed by Tajari P. Henson in the film Hidden Figures) has my undying admiration. She served this country when she didn’t have the right to vote. She helped this country garner the prestige of winning the space race when she couldn’t buy a home next to her white colleagues. She had to temper her brilliance, yet excel at her work in era where the toxic brew of racism and sexism was the norm. I doubt my pride would have let me reach the heights of technical brilliance that she and her colleagues did. Ms. Johnson performed her duties with quiet dignity and we are now able to bask in the glow of her accomplishments and show the next generation able to how fantastic black female mathematicians and scientists can be.
Johnson was born in 1918 in the little town of White Sulphur Springs, West Virginia, Johnson was a research mathematician, who by her own admission, was simply fascinated by numbers. Fascinated by numbers and smart to boot, for by the time she was 10 years old, she was a high school freshman–a truly amazing feat in an era when school for African-Americans normally stopped at eighth grade for those could indulge in that luxury.Her father, Joshua, was determined that his bright little girl would have a chance to meet her potential. He drove his family 120 miles to Institute, West Virginia, where she could continue her education through high school. Johnson’s academic performance proved her father’s decision was the right one: Katherine skipped though grades to graduate from high school at 14, from college at 18.
Continued at: Katherine Johnson: The Girl Who Loved to Count | NASA
14-Film Series Celebrating Jamaica’s 50th Anniversary Of Nation’s Independence At BAMcinématek | Shadow and Act
If you live in NYC, London or a Yardie at home. Check this out!
Brooklyn, NY/Jul 11, 2012—From Thursday, August 2 through Monday, August 6—the 50th anniversary of Jamaican independence—BAMcinématek presents Do the Reggae, a 14-film series dedicated to the country’s unique and widely influential musical tradition.
I am a elitist film scholar and fangirl with maximum nerdery. I am always on the alert for complex films where black people are portrayed in their full humanity. A fantasy film about a little black girl facing a series of trials after the mysterious disappearance of her father is right up my ally. The problem with loving films like this, Eve’s Bayou, Daughter’s of the Dust and George Washington is that they are not put in wide distribution because film distributors do not believe that whites will go to see films with black actors. An academic study has proved their suppositions to be true, whites people are extremely narcissistic audience. The few predominately black cast films that receive mainstream acclaim feature stereotypical characters that affirm white ideas about black dysfunction. I took me a week to get through Monster’s Ball & I am never going to watch Precious. The black actors who can open a film can only do so with a predominantly white cast. Denzel Washington’s films Antoine Fisher & The Great Debaters made a fraction of his Oscar winning film Training Day.
Beast of the Southern Wild has won honors at Cannes and Sundance. A film with that kind of buzz should be at least get an art house distribution in major cities but it is only opening in New York & Los Angeles. If you are in one of these cities please check it out. If you want find out where the film is playing check out the Fox Searchlight page below.
As a British born JAmerican raised in the Catholic Church and I know that this unusual upbringing makes some parts of Southern black religious culture alien to me, but Madea is not one of them. As a film scholar, I know that white blackface actors began the theatrical tradition of dressing like black women and defaming them as totally without femininity. With his new film Tyler Perry hopes to bring his vile stereotype of black womanhood to white audiences.I hope this is a box office flop of major proportions.
For many, especially black people who see in her a mockery of our own grandmothers, Tyler Perry’s Madea is little more than a mammy—an insult to the matriarchal community figure that Perry claims to celebrate. And unforgivably, when compared to Flip Wilson’s Geraldine or even Martin Lawrence’s Big Momma, his black-men-in-drag-for-comic-effect peers, Perry’s Madea—that crass, violent, ignorant, bizarrely asexual depiction of a black Southern woman that he insists is based on women he has actually known—simply isn’t funny.
……The scatological focus culminates in what is simultaneously the “comic” highlight of the film, its cathartic climax, and its deus ex machina: Minnie, in revenge for being fired, feeds Hilly a chocolate cream-pie made out of Minnie’s own shit. This turns out to be the most important story in the book that Skeeter publishes, and a source of blackmail that removes any potential threat of retaliation from the evil White Queen. Because there were no problems in Jim Crow America that couldn’t be solved with a good fecal prank…..
The answer is a resounding hell no. If there are no whites on the screen it ain’t gonna be seen. Black folks reaaly need to boycott white films for a few months to see if Hollywood can do without our economic support.
Ballerina and choreographer, Janet Collins (March 7, 1917 in New Orleans, Louisiana – May 28, 2003 in Fort Worth, Texas), becomes the first Black dancer to appear with the Metropolitan Opera Company…However, because of her race, she could not tour with them in parts of the deep South.
Janet Collins was one of the few classically trained Black dancers of her generation. In 1951 she won the Donaldson Award for best dancer on Broadway for her work in Cole Porter’s Out of This World. She also performed in Aida, Carmen, and was the first Black ballerina at the Metropolitan Opera. She could not tour in parts of the Deep South due to her race. In later life she taught dance.
Janet Collins was among the pioneers of black ballet dancing and paved the way for others to follow. (Arthur Mitchell, for example, joined the New York City Ballet in the year Collins retired.) In 1932, aged 15, she auditioned with success, for the prestigious Ballet Russe de Monte Carlo, but as she was required to paint her face and skin white in order to be able to perform, she did not join the company.
Janet Collins struggled time and again against racism, which did not spare the world of professional ballet dancing. Not many African-American dancers and performers achieved the successful career she was able to attain. In 1951, Janet Collins became the first African American to be hired full-time by the Metropolitan Opera in New York. Marian Anderson, the first to sing there, did not perform until 1955.
Janet Collins’ dance reputation today resides primarily in her role in breaking the color barrier; the constraints on Black classical dancers were too strong for her to have a vibrant performing career. However, her original choreography, which she performed in solo tours, was clearly of note, although few records survive. In her late forties she retired, turning to religion and finding comfort as an oblate in the Benedictine order. She was also an accomplished painter. Janet Collins died in 2003 at the age of 86, in Fort Worth, Texas. In recognition of her great work and dedication, her renowned cousin Carmen De Lavallade established the Janet Collins Fellowship which would honor aspiring talented ballet dancers.
Courtesy of Harlin C. Kearsley via Wikipedia