Henry Ossawa Tanner: His Boyhood Dream Comes True

Posted in Arts, Biography, Books, Media Archive, Monographs, United States on 2012-03-29 18:58Z by Steven

Henry Ossawa Tanner: His Boyhood Dream Comes True

Bunker Hill Publishing
2011-11-16
32 pages
7.3 x 10.3 x 0.4 inches
ISBN-10: 1593730926
ISBN-13: 978-1593730925

Faith Ringgold

Beautifully written and illustrated by Faith Ringgold, this children’s book accompanies the major exhibition Henry Ossawa Tanner: Modern Spirit.

This is the story of Henry Ossawa Tanner (1859-1937), the first African American painter to achieve fame in both Europe and America. An inspiration for the Harlem Renaissance artists and later generations of American painters, his story is retold by Faith Ringgold, one of today’s leading African American artists, to inspire another

Faith Ringgold’s depiction of Tanner’s struggle to achieve his dream and his success as a painter on the world stage will inspire and challenge young readers to look at the artist’s work and maybe go out and buy a few brushes and dry pigments (like Tanner did as a young boy in Philadelphia just 3 years after the Civil War) and set out to achieve their own dreams.

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Jefferson’s Women

Posted in Articles, Biography, History, Media Archive, Slavery, United States, Virginia on 2012-03-29 01:57Z by Steven

Jefferson’s Women

The Humanist: A Magazine of Critical Inquiry and Social Concern
March/April 2012

Cleo Fellers Kocol

Thomas Jefferson was a private man who kept his personal life to himself, and yet today 18,000 of his letters exist in the public forum. In them, this farmer, architect, inventor, philosopher, politician, attorney, and “man of letters”—learned in all disciplines, a true visionary—expounded upon everything but his love life. This we know of Jefferson: he was a deist, a moralist, and a revolutionary. He wrote the Declaration of Independence and, in a letter to James Madison from Paris, suggested adding a Bill of Rights to the U.S. Constitution. He held positions of prominence within the newly formed United States (secretary of state, vice president, and president). He also wrote the book, Notes on the State of Virginia, and edited the New Testament into a volume he considered more believable, leaving out all the miracles and keeping what he considered the moral teachings of Jesus. He was proudest of founding the University of Virginia. And like all of the Founding Fathers, he’s become an icon, above the hoi polloi. But historians have had to connect the dots to give us a real picture of Jefferson the man—one who has become the model, not only of our intellectual and democratic ideals, but, inadvertently, of the often subtle racism that exists today.

In 1810, he listed his daily schedule in a letter to Thaddeus Kosciusko, the engineer from Poland responsible for the Colonies’ fortifications, “My mornings are devoted to correspondence, from breakfast to dinner I am in my shops, my garden, or on horseback among my farms. From dinner to dark I give to society and recreation with my neighbors and friends, and from candlelight to early bedtime, I read.” He got a bit closer to confiding more personal information to Dr. Vine Utley, of Lyme, Connecticut. In 1819 he wrote: “I have lived temperately, eating little animal food, and that not as an ailment but as a condiment for the vegetables which constitute my principal diet.” But despite this sharing of his personal life, he never wrote of the two women who were closest to him during his life—his wife and his slave mistress.

What manner of a man was the undisclosed Thomas Jefferson? Of course we know he was born just east of the Blue Ridge Mountains, the frontier in those days. His parents were aristocrats; his mother, Jane, was a Randolph, and his father, Peter, was a planter and surveyor whose map of Virginia was universally used in the colonial era. The elder Jefferson had an extensive library that included William Shakespeare and Jonathan Swift among others. Peter Jefferson died when Thomas was fourteen. During his formative years Thomas was tutored by the extremely conservative Reverend James Maury, an Anglican clergyman. Jefferson’s ideas about morality and religion would later jell in a way his tutor would not have applauded…

…Jefferson’s daughter, Patsy, had already been in Paris with him, and he now sent for his daughter Polly, asking that she be accompanied by a woman servant. Instead, one of the Hemings children, fourteen-year-old Sally, was sent. We don’t know when Jefferson and Sally became intimate, but we do know that she was pregnant when they returned to Monticello.

Before a 1998 DNA analysis showed a match between the Jefferson male line and a Hemings descendant, scholars, historians, and the public denied that a romantic relationship between Jefferson and his slave could have happened. As Joseph Ellis notes in American Sphinx: The Character of Thomas Jefferson (1998), Jefferson had become not only an icon but a myth, larger than life. This thinking temporarily blinded people to reality. Today, however, we can look to other events and speculate how his relationship with Sally Hemings may have played a role. His beloved daughter, Patsy, for example, married just two months after returning home from Paris. There is no indication that she and her husband-to-be, Thomas Mann Randolph Jr., had been eager correspondents while she was away, and there is no indication that they had been anything more than friendly cousins before she went to France. Could she have been afraid of losing her number-one spot with her father? Or can we attribute her actions to shock and anger upon learning of her father’s affair with a slave she’d known her entire life?

Such a reaction certainly would have echoed the hypocritical and confusing feelings the majority of Americans held about slavery during those colonial and post-revolutionary years. Abigail Adams, for example, was a devout abolitionist but, after seeing Othello, wrote that she was quite undone seeing a play about a marriage between a black man and a white woman. She felt horror and disgust every time she saw the Moor touch the gentle Desdemona. Abigail was no different than most of her peers. When she referred to Hemings as “the girl” rather than using her name, it was hardly seen as strange.

At Monticello, Sally Hemings was known as “dashing Sally” and was said to have a pleasing disposition. Beautiful and extremely light-skinned, she bore a probable resemblance to her late half-sister, Martha, Jefferson’s beloved wife. Hemings could also read and write and had learned to speak French while in Paris…

…Today, when African-American representatives of the government are spit upon and verbally assaulted, or when more subtle or more blatant acts erupt, the legacy of the past cannot be dismissed, and our most revered historical figures must bear some blame. We could say that Jefferson and the others reflected the social and economic mores of the times, and in a way that’s true. But their thinking had serious limitations and lasting implications. We see this thinking now, not in blatant violence like the lynching of black people or the violent reactions of some whites during the Civil Rights movement of the 1960s, but in less easily discernible ways, like the slow pace we took in eliminating “separate but equal,” in getting rid of poll taxes, or integrating neighborhoods. Today blacks are still paid less than whites in many instances. Discrimination in housing, schooling, and voting still takes place. As a society, we routinely deplore racial violence and say we are not prejudiced, but racism still exists. For instance, U.S. presidential candidates routinely speak at universities, schools, and public venues that discriminate against African Americans. Also, too often religion and bigotry go hand in hand. And when the main objective of a political party is to “make Barack Obama a one-term president,” few people protest, even those who support him. So if we’re being honest, we must contend that otherwise admirable historical figures like Jefferson, Madison, Washington, Monroe, and Abigail Adams contributed to the legacy of racism.

It is now accepted as fact by most historians that Sally Hemings bore six of Jefferson’s children, four of whom survived to adulthood—Beverly, Harriet, Madison, and Eston, all named by Jefferson after his best friends. (Was James Madison amused, annoyed, or was it a habit friends indulged in even as they indulged their libidos?) Jefferson’s belief in racial superiority is evident in his theory about the offspring of mixed-race couples, including his own. He felt that an infusion of white blood could make a person half black, and another infusion would make their offspring one-fourth black. Sally Hemings was one-fourth black. Offspring of a so-called quadroon and a white man would, in Jefferson’s thinking, make them equal to whites. And yet his children by Sally were never treated as completely equal. The contradictions were rife…

Read the entire article here.

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Fashioning and Refashioning Marie Laveau in American Memory and Imagination

Posted in Biography, Literary/Artistic Criticism, Louisiana, Media Archive, United States, Women on 2012-03-18 19:58Z by Steven

Fashioning and Refashioning Marie Laveau in American Memory and Imagination

Florida State University
2009
201 pages

Tatia Jacobson Jordan

A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy

Fashioning and Refashioning Marie Laveau in American Memory and Imagination follows the life and literary presence of the legendary figure, Marie Laveau. This female spiritualist lived in antebellum Louisiana from 1801-1881. After her death, her legend has continued to grow as evidenced by her presence in contemporary print and pop culture and the tens of thousands of visitors to her grave in New Orleans every year. Here, I contextualize Laveau in a pre-Civil war America by looking at the African American female in print and visual culture. I trace the beginnings of several tropes in literature that ultimately affect the relevancy of the Laveau figure as she appears and reappears in literature beginning with Zora Neale Hurston’s inclusion of Laveau in Mules and Men. I offer close readings of the appearance of these tropes in Hurston’s Their Eyes Were Watching God, interrogate her connection to Caribbean lore in Tell My Horse, and show the evolution of this figure in several of Hurston’s short stories. I then offer close readings of the refiguring of Laveau in Robert Tallant’s works, Ishmael Reed’s novel The Last Days of Louisiana Red, and Jewell Parker Rhodes’s Marie Laveau trilogy. I intervene with contemporary scholarship by suggesting that novels like Corregidora by Gayl Jones, Mama Day by Gloria Naylor, and The Salt Eaters by Toni Cade Bambara draw not on a general conjure figure, as previously thought, but instead implicitly refashion feminist heroines that resemble Marie Laveau, characters with a circum-Atlantic consciousness that arise from Hurston’s literary legacy.

TABLE OF CONTENTS

  • List of Figures
  • Abstract
  • INTRODUCTION: “Looking for the Join”: Positioning Laveau Lore in American Studies
  • CHAPTER ONE: Historical Context: Nineteenth- and Early Twentieth-Century Print Culture and Literature
  • CHAPTER TWO: “That’s what the old ones said in ancient times and we talk it again”: The Retelling of Laveau in Hurston’s Canon
  • CHAPTER THREE: “Dismissing” Laveau: Male Authorship in the Laveau Canon
  • CHAPTER FOUR: Glimpses of the Ghost: Hurston’s Legacy in Gloria Naylor, Toni Cade Barnbara, and Gayl Jones
  • CHAPTER FIVE: Hearing Voodoo, Writing Voodoo: Cultural Memory in Jewell Parker Rhodes’s Marie Laveau Trilogy
  • CHAPTER SIX: Coda
  • Appendix
  • References
  • Biographical Sketch

LIST OF FIGURES

  • Figure 1: “Marie Laveau,” 1920s; Franck Schneider after George Catlin Courtesy of the Louisiana State Museum
  • Figure 2: The Original Cover of Chesnutt’s The Conjure Woman, 1899
  • Figure 3: “This is a white man’s government,”from Harper’s Weekly, 1868; Library of Congress
  • Figure 4: “‘Well, Missy! Heah we is!'”1913; Library of Congress
  • Figure 5: “Jinnoowine Johnson ticket. ‘Carrying the war into Africa,”‘ 1836; Library of Congress
  • Figure 6: “An Affecting Scene in Kentucky,” 1836; Library of Congress
  • Figure 7: “Children on the Lawn at Brookhill (Nanny Hiding Behind the Children) Courtesy of the Valentine Richmond Historical Center
  • Figure 8: Racist Mammy Postcard 1, 1900; Library of Congress
  • Figure 9: Racist Mammy Postcard 2, 1900; Library of Congress
  • Figure 10: “Mr. T. Rice as the original Jim Crow,” 1832; Sheet Music Cover Illustration
  • Figure 11: Zora Neale Hurston in the Caribbean; Library of Congress
  • Figure 12: Hurston’s Ft. Pierce Chronicle Column circa 1958
  • Figure 13: Cover of Fire!! Literary Magazine, 1926
  • Figure 14: “Voodoo Painting/’ Courtesy of the Robert Tallant Photograph Collection, Louisiana Division, New Orleans Public Library
  • Figure 15: “Marie Laveau,”2007, Courtesy of Artist Holly Sarre

Read the entire dissertation here.

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Paddling Her Own Canoe: The Times and Texts of E. Pauline Johnson (Tekahionwake)

Posted in Biography, Books, Canada, Literary/Artistic Criticism, Media Archive, Monographs, Native Americans/First Nation, Women on 2012-03-16 20:27Z by Steven

Paddling Her Own Canoe: The Times and Texts of E. Pauline Johnson (Tekahionwake)

University of Toronto Press
June 2000
354 pages
Paper ISBN: 9780802080240
Cloth ISBN: 9780802041623

Veronica Strong-Boag, Professor of Women’s History
University of British Columbia

Carole Gerson, Professor of English
Royal Society of Canada at Simon Fraser University

Winner of the Raymond Klibansky Prize, awarded by the Canadian Federation for the Humanities and Social Sciences

Frequently dismissed as a ‘nature poet’ and an ‘Indian Princess’ E. Pauline Johnson (1861-1913) was not only an accomplished thinker and writer but a contentious and passionate personality who ‘talked back’ to Euro-Canadian culture. “Paddling Her Own Canoe” is the only major scholarly study that examines Johnson’s diverse roles as a First Nations champion, New Woman, serious writer and performer, and Canadian nationalist.

A Native advocate of part-Mohawk ancestry, Johnson was also an independent, self-supporting, unmarried woman during the period of first-wave feminism. Her versatile writings range from extraordinarily erotic poetry to polemical statements about the rights of First Nations. Based on thorough research into archival and published sources, this volume probes the meaning of Johnson’s energetic career and addresses the complexities of her social, racial, and cultural position. While situating Johnson in the context of turn-of-the-century Canada, the authors also use current feminist and post-colonial perspectives to reframe her contribution. Included is the first full chronology ever compiled of Johnson’s writing.

Pauline Johnson was an extraordinary woman who crossed the racial and gendered lines of her time, and thereby confounded Canadian society. This study reclaims both her writings and her larger significance.

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Symphony in Black and White: Krazy Kat Kontinued

Posted in Articles, Biography, Literary/Artistic Criticism, Media Archive, Passing, United States on 2012-03-06 02:17Z by Steven

Symphony in Black and White: Krazy Kat Kontinued

The Albany Times-Union
Albany, New York
2008-11-20

Alexander Stern

Don’t Touch My Comics: The Times Union Comics Panel takes a critical look at the funny pages.

Some months ago, I wrote an appreciation of George Herriman’s classic strip, Krazy Kat; a strip frequently lauded as one of the greatest achievements in the comics medium. Omitted from that article—whether by design or by accident—was a biographical detail that has become increasingly controversial in recent years. It concerns George Herriman’s racial background. While some might argue that such considerations should be irrelevent in art, it seems particularly pertinent in this specific time and place: It seems only fitting to note—here, in the year 2008—when a man with African heritage has just been elected to the highest office in the land—that Krazy Kat (arguably the greatest American comic strip) was authored by a man with a similar background. It is significant to note, however, that while the world celebrates the election and the history of Barack Obama, the world was never told the history of George Herriman during the artist’s lifetime.

Throughout his life, Herriman’s racial and ethnic background remained shrouded in mystery. His collegues weren’t sure exactly what the olive-complexioned Herriman was. Some of his friends and fellow cartoonists began referring to Herriman as “the Greek.” ”I didn’t know what he was, so I named him the Greek,” recalls cartoonist Tad Dorgan in Jeet Heer’s essay “The Kolors of Krazy Kat,” the introduction to A Wild Warmth of Chromatic Gravy – The Complete Full-Page Krazy and Ignatz: 1935-36 (published by Fantagraphics Books in 2005). Much was also made during Herriman’s life of his devotion to hats. Dorgan again: ”Like Chaplin with his cane, [Herriman] is never without his skimmer. [Cartoonist Harry] Hirshfeld says that he sleeps in it.” Indeed, Herriman was seldom photographed bare-headed. Some of his contemporaries claimed that Herriman “had a growth on the back of his skull. He referred to it as a ‘wen’ and was embarassed to expose it in public.” On the other hand, those candid photos that exist of a hatless Herriman reveal a man with short wavy hair. Herriman himself referred to his hair as “kinky.” Was his refusal to be publicly seen without a hat part of a concious desire for Herriman to “pass” for white?…

Read the entire article here.

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Rumblings of The Earth: Wifredo Lam, His Work and Words

Posted in Arts, Asian Diaspora, Biography, Caribbean/Latin America, Media Archive, Religion, Videos on 2012-03-05 21:32Z by Steven

Rumblings of The Earth: Wifredo Lam, His Work and Words

Filmakers Library (an imprint of Alexander Street Press)
1996
23 minutes

Denise Byrd

Awards

  • San Antonio CINEFEST, 1996
  • Latin American Studies Association, 1995

The Afro-Cuban artist Wifredo Lam played a leading role in bringing the art of the non-white world to the attention of the international community. Of mixed race and cultural heritage, he was born in 1902 in Sangua La Grande, Cuba to a mother who was a descendent of slaves and a father who was a Chinese immigrant. In his youth he was exposed to the rich heritage of African, Santaria and Confucian traditions. These traditions affected him deeply and are reflected in his art which is in the collections of major museums here and abroad.

This film follows Lam from student days in Havana through his development as an artist in Europe where he became a close friend of Picasso and other luminaries. Upon returning to Cuba, Lam rediscovered his roots, became a leader in the Négritude movement, and produced his most famous work, “The Jungle.”

This richly illustrated film uses Lam’s paintings and writing along with interviews with authorities on art and Caribbean culture to trace the evolution of a unique and truly multicultural twentieth century artist.

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Fearless Music: Garland Jeffreys ’65

Posted in Articles, Arts, Biography, Media Archive, United States on 2012-03-05 18:03Z by Steven

Fearless Music: Garland Jeffreys ’65

Syracuse University Magazine
Volume 28, Number 3 (Fall/Winter 2011)

David Marc

From his ’70s hit “Wild in the Streets” to his latest album, legendary singer-songwriter Garland Jeffreys has taken on life’s big issues with his own eclectic brand of music

From the pages of The New Yorker to deep inside the blogosphere, legendary singer-songwriter Garland Jeffreys has been winning high praise for his new album, The King of In Between, released last summer on his own Luna Park label. Loved by fans and admired by colleagues for his fearless movements through rock, R&B, reggae, and whatever other styles he may need to articulate his borderless vision, Jeffreys puts his mastery of popular musical forms in the service of personal expression, a talent he shares with Bob Dylan and Bruce Springsteen. Feeling “too black to be white, too white to be black,” he occupies his own space and fills it with a gritty sweetness that is hard for likeminded souls to resist.

Growing up in Sheepshead Bay, Brooklyn, during the 1950s, Jeffreys learned a thing or two about “diversity” long before the term took on its full contemporary meaning. “I’m from a totally mixed-race family—black, white, Puerto Rican, Native American,” he says. “At the time, we were the only people of color in the Catholic church we attended every Sunday. At school, I had my close friends, but I was also often the only ‘colored’ kid in the class, and every time I met a girl I liked, I had to contend with a race issue. My music has always had a great deal to do with these experiences.” Jeffreys felt more at ease in nearby Coney Island, where beach, boardwalk, and carnival karma drew people of every background imaginable. He also enjoyed the privilege of seeing the Dodgers play at Ebbets Field. “I was just 4 years old, but I was there at the game, April 15, 1947, when Jackie Robinson broke the color line in baseball,” he says. “Sports have always been an important part of my life, and even helped bring me to Syracuse. My father wanted me to go to Boston College. But Jim Brown [’57] went to Syracuse, and obviously I had to go to school where he went.”

Shortly after arriving on campus, Jeffreys met Lou Reed ’64, who became a lifelong friend. Although both were moving toward their careers as musicians, Reed was studying poetry and Jeffreys had his sights set on art history. “We hung out at the Orange Bar with Lou’s teacher, the poet Delmore Schwartz, and a bunch of people—I guess you’d call them ‘Beats,’” Jeffreys says. “It was a great place for me to be because race didn’t matter; it was all about hanging out and knowing each other.” Felix Cavaliere ’64, who was about to depart for the top of the pops as lead singer and keyboard man with The Young Rascals, was another friend Jeffreys first bumped into on Marshall Street…

Read the entire article here.

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Building Multiracial Fortunes: Black Identity, Masculinity, and Authenticity Through the Body of T. Thomas Fortune, 1883-1907

Posted in Biography, Dissertations, History, Media Archive, United States on 2012-03-01 04:23Z by Steven

Building Multiracial Fortunes: Black Identity, Masculinity, and Authenticity Through the Body of T. Thomas Fortune, 1883-1907

San Diego State University
Fall 2011
69 pages

Guy Mount

A Thesis Presented to the Faculty of San Diego State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in History

This thesis examines the post-emancipation formation of African American identity, masculinity, and authenticity through the white skinned, multiracial body of T. Thomas Fortune, the premier African American newspaper editor of the Gilded Age and Progressive Era. It argues that multiracial African American men like Fortune were central to the collective construction of an authentic black male identity between 1883 and 1907. Often functioning as foil characters in elaborate racial performances which characterized them as less authentic, less masculine, and more subject to racial disloyalty, Fortune and others who visually presented a racially ambiguous body challenged this narrowly drawn and internally imposed paradigm of orthodox black male authenticity while resisting its implications.

Emerging from chattel slavery in Florida and surviving a particularly violent strand of Reconstruction in Marianna County, Fortune relocated to New York City where he harnessed the power of the press to fight white racism and eventually enter the debates over a rapidly crystallizing image of black masculinity. In doing so he attempted to inscribe an alternative political meaning to interracial sexuality, the bodies of white skinned African Americans, and indeed, the very notion of authentic black manhood itself. All of these projects were informed by Fortune’s deeply rooted anxiety regarding his own white skinned body and what it signified within the black community.

Ultimately this formulation and the ongoing struggle over the meaning of blackness, was acted out by Fortune and others at the expense of black women. This process of defining black authenticity and black manhood effectively established a firm patriarchal order within elite African American discourse as it attempted to assert black manhood by controlling the sexualized bodies of black women while silencing their voices in the public sphere. In this way, white skinned African American male bodies can serve as a useful example of the complex problematic of what it means to be a gendered black subject in early Jim Crow America. What emerges, in the end, are complicated, dynamically engaged subjects trying to grasp at an authentic, stable identity that was always shifting, transforming, and at times, vanishing from sight.

The four chapters found here cover topics such as the emerging black nationalist movement, segregated insane asylums, the interracial marriage of Frederick Douglass to Helen Pitts in 1884, and the internal debates over the use of the terms ‘Negro,’ ‘colored,’ or ‘Afro-American’ to self-identify African Americans. Methodologically this thesis draws inspiration from Lacanian psychoanalysis, the linguistic work of Jacques Derrida, and the conception of the body, sexuality, and decentralized power networks as envisioned by Michel Foucault.

Read the entire thesis here.

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Audre Lorde – The Berlin Years 1984 to 1992

Posted in Biography, Europe, Gay & Lesbian, Identity Development/Psychology, Media Archive, Videos, Women on 2012-02-28 22:16Z by Steven

Audre Lorde – The Berlin Years 1984 to 1992

Third World Newsreel
2012
84 minutes
Germany
English/German with English Subtitles

Dagmar Schultz

2012 marks the 20th anniversary of Audre Lorde’s passing, the acclaimed Black lesbian feminist poet and activist. Throughout the 70s and 80s, Lorde’s incisive writings and speeches defined and inspired the women of color, feminist and LGBT social justice movements in the United States.

Audre Lorde – The Berlin Years 1984 to 1992  explores a little-known chapter of the writer’s prolific life, a period in which she helped ignite the Afro-German Movement and made lasting contributions to the German political and cultural scene before and after the fall of the Berlin Wall and the German reunification.

Lorde mentored and encouraged Black German women to write and publish as a way of asserting their identities, rights and culture in a society that isolated and silenced them, while challenging white German women to acknowledge their white  privilege. As Lorde wrote in her book Our Dead Behind Us: Poems, “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.”

Audre Lorde – The Berlin Years 1984 to 1992 contains previously unreleased audiovisual material from director Dagmar Schultz’s personal archive, showing Lorde on and off stage. With testimony from Lorde’s colleagues, students and friends, this film documents Lorde’s lasting legacy in Germany.

See the Audre Lorde – The Berlin Years 1984 to 1992 Study Guide here.

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Hope in My Heart: The May Ayim Story

Posted in Biography, Europe, Identity Development/Psychology, Videos, Women on 2012-02-28 20:57Z by Steven

Hope in My Heart: The May Ayim Story

Third World Newsreel
1997
28 minutes
Germany
German with English Subtitles

Maria Binder

A moving documentary about the life and untimely death of Ghanaian-German poet, academic and political personality May Ayim. Ayim was one of the founders of the Black German Movement, and her research on the history of Afro-Germans, but also her political poetry, made her known in Germany and other countries.

Ayim wrote in the tradition of oral poetry and felt a strong connection to other black poets of the diaspora. Poetry gave her an opportunity to confront the white German society with its own prejudices.

Interviews and poems reveal the search for identity, how and why the term Afro-German was introduced. An insightful look at how a young black woman experiences the German reunification.

In the foreword to Ayim’s Blues in Schwarz Weiß (Blues in Black and White), Maryse Conde wrote “… With the unmistakable sound of her voice her poems spoke to me of her, told of others that are like her and yet so unlike her in Germany, in Africa, in America. These poems held passion and irony … In May’s voice I found the echo of other voices from the diaspora.”

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