Arts vol 1.8 by Arts Today Ezine

Vol. Vol. 1.8 1.2 SEP Spring 27,2014 2014

Your Source for Art Appreciation.

Julia Bullock White Controlled... pg. # 6

r ne tei nS t ia ris

Bernie Hayes

#withnormandy pg. # 8

Lit in Lou William Gass pg. #1 1

UrbSLAM

Natl. Poetry Slam pg.#30

Established 2014 Volume 1.8 St. Louis, MO www.the-arts-today.com/ Layout/Design www.bdesignme.com

IN THIS ISSUE: Featured:

Poet

Eugene R. - “Kwansaba”

pg. 34

Photographer

Creative Thinking Photog.

pg. 46

Cartoonist

John Jennings

pg. 60

In The News - Basmin Nadra.............................pg. 4 Live,Work, Play ................................................pg. 16

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Volume 1.8 September 27, 2014

In The News

Basmin Nadra

“NoJusticeNoPeace” Phillip Johnson boots on the ground in the Heart~land...don’t swallow the illusion confusion of bought & paid for media folks...the Movement is underway....this is not a drill...new future for US starts today pray Healing, Justice & Peace for All HueMan family B Peaceful Basmin, the original QueenB Daughter of All Relations

Watch Now!!

#Ferguson Op Doc Series on the shooting of Michael Brown and it’s aftermath

pg.

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Volume 1.8 September 27, 23, 2014

White controlled news and lies! ‘If the Negro in the ghetto must eternally be fed by the hand that pushes him into the ghetto, he will never become strong enough to get out of the ghetto. This assumption of Negro leadership in the ghetto, then, must not be confined to matters of religion, education, and social uplift; it must deal with such fundamental forces in life as make these things possible. .” -Dr. Carter G. Woodson-‘The Mis-education of the Negro- 1933-Associated Publishers

Does this have a familiar ring to it? Does it remind you in any way of Ferguson Missouri? I have been complaining for years concerning the way information is delivered to the African-American community. Only news that white people censor is allowed to flow via their airways, radio or television stations. And we all know what is printed in the local daily. I was once the only African-American news director for a white owned and operated news operation in the entire metropolitan area.

I am making these points because there is a world of information that certain news agencies are withholding or selecting not to announce or print. To be a viable political or commercial force in America’s future, you must be able to understand and connect with an audience that is heavily made up of African Americans, Hispanics, and Asian Americans and the majority media, in my opinion tend to ignore these groups.

What does that tell you?

How are we to know our history if we don’t write or publish it? Did you know that Tom Mix and Will Rogers, who at the time were unknown cowboys, assisted Bill Pickett, the African-American man If it were not for magazines such as this, and Black publications, and who invented the cowboy sport of bulldogging? And what about liberal fair minded minority and conscious white media, the St. Louis Benjamin Banneker who in 1792 published to first scientific book, and made the first clock that struck the hour. area would be completely dependent on others to keep the African American community informed. You saw what happened when thousands gathered in protest in Ferguson and the press reported ‘a couple of hundred persons’. Another trick and lie played on the Black community, a group that so desperately want to believe in somebody and something. The very same thing happened at the St. Lois County Courthouse. While hundreds demonstrated the majority press outlets deliberately undercounted the protesters.

Joshua Johnson of Baltimore, Maryland was the first Black portrait painter to win recognition in America, according to The Baltimore Directory of 1796. On March 5, 1770, a runaway slave named Crispus Attucks was the first to give his life for the American Revolution, and Nicholas Biddle,

another Black man, was the first to shed blood in the Civil War, on April 18, 1861.

pg.

Media is a powerful tool and it must be used to offer a broad range of reports including news, editorial comments and opinions, business features, political and community activities, announcements of community events, media releases and advertisements.

We must demand better. We must! If we do not get what we want and need, it is, in my opinion, time to consider a selective buying campaign.

The Bernie Hayes Show Talk and interviews about affairs of the day with a St. Louis slant. The Bernie Hayes Show can be seen: Friday’s at 9 A.M. Saturday’s at 10:00 P.M. Sunday’s at 5:30 P.M.

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Volume 1.8 September 27, 2014

Soprano Julia Bullock has worked hard to make her hometown of St. Louis proud. The classical singer and graduate of John Burroughs High School has blazed a musical trail for herself that began taking shape during her time as a participant in Monsanto’s Artists-in-Training Program, and continued developing after she received bachelor and master’s degrees from Eastman School of Music and Bard College, respectively. Currently, Bullock is working on her Artist Diploma at Juilliard, and will make her debut in February with the English National Opera in their production of “The Indian Queen.” Bullock returned to her hometown on September 28 to perform as part of the benefit event #WithNormandy: A Concert For Peace & Unity. She spoke with Opera Theatre of Saint Louis about homing her craft through giving back to the community, building her career, and moving people to tears through her music.

What made you want to go into Classical music? I knew I wanted to perform. I had known that since I was in elementary school. But classical music – that was really at seventeen and right at the time that I applied for AIT, and I think the experience that I had there continued to keep that interest in classical music alive. But it wasn’t opera so much. It was really just song repertoire, and my teachers and coaches at AIT were really smart. It’s a wonderful way to introduce yourself to the repertoire without stressing out the voice. That’s really stuck with me. Opera is a really involved…learning process and there’s so many people involved in getting that up and going, and sometimes that’s not even as satisfying as developing a program and presenting that in a really intimate way with the public.

From 2003 – 2005, you worked as a teenager with Monsanto’s Artists-in-Training Program at Opera Theatre of Saint Louis – what was your experience like? I just was so jazzed to sing a lot and learn as much repertoire as I could, ‘cause I didn’t grow up listening to classical music and my exposure and my interest in classical music happened over the course of a few months. It was this rush of ‘Oh I’m not going to do musical theater anymore, actually I’m going to do classical music.’ And it was such amazing timing to have been admitted in the AIT program because that helped me prepare for all the auditions and to going into Conservatory.

You are currently at Julliard working on your Artist Diploma. What is it, and how will it serve you once you have completed the program? The Artist Diploma is, at this point, a perfect program for me to be in. I have my bachelors already from Eastland School of Music and my Masters from Bard College. At Julliard, I don’t really have any classes. There’s one class that’s like two hours [that occurs] two times a week and we can work on whatever repertoire we want to; and then we have our lessons in coaching. But it’s a free program so I actually have a lot of freedom. I don’t have to pay anything at this point, which is good and I can keep training. I also have a lot of freedom just within the program itself. I can work on whatever repertoire I need to prepare for, gigs that are coming up; I’m released for long engagements. last year I went to Russia for seven weeks; I went to Madrid for about a month and this year I’ll be in London for eight weeks. It’s a really flexible program that’s allowing me to have my foot in the professional world while still having a network and a place to continue training and homing my

Julia B

craft back here in New York.

When it comes to the development of your career, are the choices you make more calculated or more instinctual? I do sort of rely on my gut reactions to things, but at this point with Young Concert Artists I knew that I wanted to apply for that competition because having representation by an agency really is really dedicated to young artists…but also, I knew that I would be getting a lot of recital gigs which were important for me as well. As the offers come in, either I’ll choose to take other projects because of the individuals that are involved, whether it’s the director or the conductor, or if it’s just a piece of music that I’m really wanting to work on. But I try to take my time. I don’t want to rush in to any projects too soon. I know that I’m still kind of ‘in development,’ so whatever I’m choosing to take on, I just want it to be a positive and growing experience for me as well, not just something that’s about building a career. I guess that doesn’t really interest me so much in general (laughs). It’s wonderful that great things are happening, but I’m just trying to continue working with people out in the professional field that are helping me to continue to develop. I think [community] outreach in general – I didn’t realize how much of a creative outlet it would be as well. It just kind of keeps everything flowing. I don’t really do well just constantly thinking about ‘How is my voice? How is my work? How is this going?’ It’s too self-reflective. Any opportunity I have to keep the output into the community, whether that’s in a benefit concert or teaching both those things all feel very natural and very good for me.

Your name is one in a long line of performers who come from Saint Louis, including Josephine Baker. You performed an arrangement of her songs at a Young Concert Artist Series recital you gave in New York City back in March. How was it decided that you would feature her work as part of your performance? I’d know about her for a long time, but I’d been wanting to sing songs that she sung for about six or seven years. When I knew I was starting to develop a program for these recitals with YCA, I thought ‘Okay, this is a really good time for me to get some songs commissioned and arranged.’ There’s a lot of parallels between her life and mine – both coming out of St. Louis, dancing a lot, moving to New York. It was a very conscious choice, but my first voice lessons at college, my second week my teacher said to me

pg.

Bullock #WithNormandy: A Concert For Peace & Unity

‘You’re probably going to be asked to sing a lot of exotic repertoire because of the way that you look,’ and I thought ‘Oh gosh – I’m just going into classical music because I love it a lot,’ and I didn’t think there would be any kind of expectations for me as a performer being a person of color. And then she said ‘Well have you ever heard of Josephine Baker?’ I said ‘Yeah of course.’ And she said ‘Well I think it was a kind of a similar thing.’ That was a really interesting and intense conversation at the time. And from that point on it’s kind of been waiting for a time to find a way in a program to talk about my identity as a black singer. And [the recital] was a…way to go about it.

In March, you made your recital debut in Washington DC at The Kennedy Center and gave a performance so beautiful that it moved critic Anne Midgette to tears. How does it feel knowing that your talent strikes so many chords in those who consume it? I’m intensely moved by the music that I listen to, so I don’t have a casual relationship with music. In some way I guess it feels natural to me that that kind of emotion or connection or engagement with the material would be flowing through me. The reactions that people have – they’ve surprised me a lot. I’m not really obsessing about ‘How is the actual sound of my voice?’ Don’t get me wrong, I spent a lot of time preparing, and I spend a lot of time working on my technique, but at the end of the day this is just about communicating something to another human being on just a basic fundamental level and need. And anytime it becomes more complicated than that, that’s when music, especially classical music becomes for me completely worthless. Whatever I present I try to work it well enough into my person and in my body that actually what they’re seeing up there is just a human being offering something, not a projected view of an opera singer or classical material.

by Erin Williams Manager of Public Relations and Publications, Opera Theatre of Saint Louis

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Volume 1.8 September 27, 2014

IN THE NEWS CONT

pg.

BIG BOOK BASH HITS U.CITY LOOP THIS FALL

ST. LOUIS (September, 2014) - The Saint Louis Literary Consortium (SLLC) is inviting area book lovers to come and enjoy LIT IN THE LOU—a book festival celebrating “all things literary” in St. Louis. The event is set for October 10–12, 2014, and will take place in the heart of the University City Loop. With author readings, book signings, writing workshops, vendor displays, family activities, music, and food, LIT IN THELOU promises a fun time for readers and writers of all ages. “Each year, cities big and small across the U.S. host wonderful book festivals, celebrating books and showcasing the literary contributions of their native sons and daughters. With this city’s strong representation on the contemporary literary scene and its rich literary heritage, there’s no reason St. Louis should not have its own festival,” Winnie Sullivan, SLLC member said. Festivities will open with a kickoff party Friday evening at the city hall in University City. In addition to good food, music, and the opportunity to mingle with authors, a prominent St. Louis area writer will be honored with the Tradition of Literary Excellence Award (funded by the U. City Arts & Letters Commission), and the two student winners of the Library of Congress Letters About Literature contest will be recognized. Kickoff party tickets ($25/person) are available at Brown Paper Tickets and through the SLLC website. Outdoor festival activities are slated for Saturday in U. City’s Ackert Park and along Ackert Walkway, with more readings and book signings to be held in Loop shops and restaurants and at the University City Public Library. The event will conclude with additional workshops and panel discussions on Sunday.

William H. Gass

Writer, has been chosen as the recipient of the first annual Tradition of Literary Excellence Award. Friday, October 10th 7:30 pm

To ﬁnd out more about the LIT IN THE LOU Book Festival, including details on how you can be involved, visit http://stllit.blogspot.com, or contact Kristina Blank Makansi at kbmakansi@blankslatepress.com, 314.363.4546. And to support Lit in the Lou with a ﬁnancial donation, check out:www.indiegogo.com/ projects/lit-in-the-lou-a-new-book-festival-for-st-louis

Lit in the Lou Launch Party 5th Floor University City Historic City Hall

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Volume 1.8 September 27, 2014

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Volume 1.8 September 27, 2014

Call for an

INTERNATIONAL DAY OF PRAYER & MEDITATION

FOR DIVINE INTERVENTION ON BEHALF OF BLACK PEOPLE IN PARTICULAR AND HUMANITY IN GENERAL

SUNDAY OCTOBER 12, 2014 1:44PM

We are asking the following:

1.) That at least 144,000 people of consciousness and goodwill stop whatever they are doing and pray/meditate on the above call starting at 1:44pm, for at least 14 minutes. 2.) We encourage all churches, mosques, temples and other spiritual institutions along with progressive organizations to hold public gatherings at their venues of choice to support this call. 3.) After prayer/meditation, we are asking all participants to join or recommit themselves to a progressive organization, church, mosque, temple or other spiritual institution that speaks truth to power and seek to uplift Black people in particular and humanity in general. 4.) For those willing to participate, please submit (1) your name and title (2) name of your organization, church, mosque,temple or other spiritual institution (3) mailing address (4) email address (5) phone number and forward this information to: divineinterventionuapo@hotmail.com 5.) Please keep a count of those participating in our International Day of Prayer/Meditation and email that number to divineinterventionuapo@hotmail.com within two days following our historic call. This count will help measure our success.

This call is being issued by the Universal African Peoples Organization Zaki Baruti, President/General, SaďŹ yah Chauvin, Vice President, Queen Ziah, Treasurer www.uapo.com â&#x20AC;˘ (314) 454-9005 pg.

Ajuma Muhammad Author of 101 Proven and Effective Strategies for Empowering Black Boys

WATCH NOW!

1 0 Strategies

f o r E m p o w e r i n g B l a c k B oy s 1. Black boys should maintain a healthy relationship with God. 2. Black boys should honor and always respect their parents. 3. Black boys should embody greatness in everything they do. 4. Black boys should take pride in their history and culture. 5. Black boys should empower their community through leadership and service. 6. Black boys should be role models in their communities. 7. Black boys should honor, respect and protect the black woman. 8. Black boys should work to establish an economic foundation in their communities. 9. Black boys should travel internationally to better understand their place in the world. 10. Black boys should love themselves!

www.ajuma.org

Volume 1.8 September 27, 2014 www.the-arts-today.com Copyright ÂŠ 2014 by Ajuma Muhammad

LIVE WORK PLAY

Volume 1.8 September 27, 2014

CLICK HERE to Watch

HERE IS ST LOUIS II

Nate K. Johnson ABR,CRS,GRI Broker/Owner Real Estate Solutions nate@livingstl.com www.livingstl.com

I hope that you are doing well. We will be kicking leaves in just a couple of weeks, and I can’t wait to get out and enjoy more of the great fall festivals and events. With the convergence of St. Louis Design Week and St. Louis Fashion Week, along with a bunch of other great events and festivals named after words that don’t exist, October will certainly be a nice time to get out enjoy our great city. Hopefully you’ll join me at some of these events and let’s make it a great month together!

pg.

On the 30th, you’ll find me at this year’s final installment of Twilight Tuesday at the Missouri History Museum. Of course Friday, Oct. 3rd is Food Truck Friday in Tower Grove Park, and you certainly don’t want to miss Kreative Pandemonium, which is a rhythm, song and dance ensemble. Their African Dance & Drum Performance will be taking place at the Kranzberg Arts Center folllowed by Finding Fela, a documentary about the Afrobeat movement. On Saturday, there will be more dancing, food,music and beer at the St. Louis Union Station Oktoberfest celebration! We also have the Best of Missouri Market program at the Missouri Botanical Gardens all weekend. You can take the little ones to the opening of Kindur, which is an extraordinary multimedia show and play about the Icelandic Sheep at COCA. Of course, the 9th annual Grovefest street festival is also on Saturday. Expect a diverse set of live music, live and interactive art, fashion shows, street performers, local food, drinks and wares of the Grove’s and St. Louis’ finest establishments! The Taste of Benton Park is also on Saturday. If you plan it right, you can enjoy all of these festivals and still make it to Copyright © 2014 - All rights reserved.

see Hugh Masekela at the The Sheldon Concert Hall on Saturday night. On Sunday, enjoy a nice stroll through the Shaw Art Fair and see the final performance of Fiddler on The Roof presented by Stages St. Louis at the Robert Reim Theater in Kirkwood. The dog may be jealous if you don’t take him to the Canine Carnival, a family-friendly event, which includes games and contests for dogs, activities for kids, vendor booths, adoptable pets, entertainment, food at Tilles Park in Ladue on Sunday. This will also be a great day to head to the St. Louis Zoo and celebrate the North American River Otter at Ottertoberfest! This event features traditional German beer, brats, live music, kids’ activities and more!

continued pg 36.

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Volume 1.8 September 27, 2014

LIVE WORK PLAY

On Thursday, the 9th, head on over to the Clayton Farmer’s Market from 4:30-7:30 for some fresh produce and live music by Country Rock band, The Cosmic Cowboys. On Friday, the 10th, you can pack a picnic and check out Ferguson’s Citywalk Concert Series with the Blues styling of Kingdom Brothers. Also on the 10th, Dance St. Louis brings together three nationally recognized choreographers, three local professional dance companies and three world premieres at New Dance Horizons III at the Touhill Performing Arts Center at UMSL. Yet another option on Friday is to take the kids on a Historic Hayride and wander through candlelit historic homes, where storytellers await to share spooky stories, and warm up to the bonfire all at Faust Park. It’s on Saturday too! Also on Saturday, you will not want to miss the Soulard Oktoberfest celebration , which is taking place all weekend! On Sunday, The St. Louis Art Museum presents the opening of the international exhibit Atua: Sacred Gods From Polynesia with over 60 of the most iconic Polynesian sculptures from musuems and private collections around the world.

Randall Gallery with a wide range of creative and fun items related to active living. You might also consider 250 Years of St. Louis Music which will take you from the folk music of the French founders to classical music and the city’s major contributions to ragtime, blues, jazz, R&B, rock and beyond at The Sheldon Concert Hall.

On Wednesday, the 15th, you can catch the opening night performance of A Midsummer Night’s Dream at The Repretory Theatre . Also on Wednesday, let’s not mention the fact that St. Louis Fashion Week is more like 2 and a 1/2 weeks and head over to their Emerging Designer Competition After Party to celebrate 6 local designers at St. Louis Union Station. We’ll hear live music from one of my favorites, Big Brother Thunder and The Master Blasters, and enjoy some complimentary bites from The Hive Gourmet Popcorn & Zettie’s Confections. On Thursday, perhaps you’ll want to kick it at the Saint Louis Fashion Week Official Wrap Party , even though the fashion week events continue through the weekend. Also on Thursday, you might want to head to Midtown to check out Craftoberfest , where you’ll find handcrafted goods, vintage finds, great food and drinks under the stars and lights of Urban Chestnut Brewing Company. On Friday, you can join me and the folks from Trailnet for dinner, drinks, music, dancing, and a silent auction at their 2nd Annual Ped-A-Polozza: The Art of Living fundraiser at The

It looks like another great month to be in St. Louis! Hopefully you will join me in participating in some of the great opportunities that are offered in our region. Take care, and let me know if there is anything that I can do for you.

pg.

On Friday, the 24th, take someone’s kids to the Not So-Haunted House at the Magic House. On Saturday, you can take them to the Boo at the Zoo Spooky Saturday, a free one day event, not to be confused with Boo at the Zoo Nights which runs nightly from Oct. 17 to the 30th. Once you’ve ditched the kids, you can party the night away at the the Lemp Mansion Halloween Bash. On Sunday, you can make a day trip to the Kimmswick Apple Butter Festival, or you can join me to watch some football, and hopefully the Cardinals in the World Series at Lester’s Sports Bar in the Central West End.

~Nate

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Volume 1.8 September 27, 2014

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Volume 1.8 September 27, 2014

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Volume 1.8 September 27, 2014

t r A of

the

Saving African American Children:

Confronting the Communality of Brutality

by Dr. Tracey McCarthy, Psy.D., DCFC, J.D., M.A. Psychologist, Attorney, Associate Professor Webster University - Legal Studies Department www.drtraceymccarthy.com

“The victimization of children is nowhere forbidden; what is forbidden is to write about it.” - Alice Miller As a cultural group, countless African American adults are proudly, gloatingly, unrepentantly, sadistically, unquestioningly, and pathologically beating the very life out of African American children, while striving to make children and youth buy into the lifelong delusion that such is rooted in punitive deservedness, developmental necessity, godliness, and deep and abiding love and care. This psychological dynamic exists regardless of geographic region and is most prevalent among those adult parents, caregivers, and teachers who, themselves, were abused as children and youth. Delusion and Denial

”There are far too many silent sufferers. Not because they don’t yearn to reach out, but because they’ve tried and found no one who cares.”- Richelle E. Goodrich Professional football player Adrian Peterson, who is now prominent in the headlines, was physically abused as a child by his mother’s own admission, and Adrian, in turn, physically abuses his own African American male baby. In the case of the current instance of child abuse by Adrian Peterson, he reportedly stripped the toddler naked, stuffed the baby’s mouth with tree leaves, took the child to a “whoopin room,” hit the toddler in his face, and beat the child with a belt and a tree branch (switch) until the baby was bruised, cut, and bleeding. Peterson’s mother’s argument, in support of the utter perversity, physical abuse, and sexual damage perpetrated by her son - which resulted in trauma to her tiny grandchild’s legs, back, hand, and genitalia - is that physical abuse by one who loves you is not abuse; it is love! Really?

“I am, without a doubt, not a child abuser” – Adrian Peterson pg.

preparation and prevention efforts of abusive love using hot wheels tracks, belts, switches, extension cords, shoes, wooden and rubber paddles, rattans, yardsticks, and broom handles - are apparently not working very well. Are they? Perversion of Power

Perpetrators of all forms of maltreatment, such as Adrian and his mother, regularly defend such reprehensibility on the grounds that such was done in the best interest of the person being abused. This occurs whether the perpetration is physical, sexual, or emotional. Because there are so many hurt, hurting, and hurtful humans walking the earth, it is easy to get human collectives to buy into the idea that the pathology of abuse is, actually, beneficial. Calling abuse love is one of the first steps in normalizing that which is psychologically pathological. Calling abuse love, as Adrian Peterson’s mother has done is, plainly and simply, lying and it is socially and emotionally confusing for any child. No matter how abusive adults, who are laboring under various forms of denial and sublimation, attempt to redefine the abuse of children as love, the constructs of “love” and “abuse” are patently oxymoronic and are in no ways synonymous or analogous. The construct of abuse involves cruelty, harm, injury, hurt, battering, mistreatment, and violence. By its very definition, it is the antithesis of love, which is defined as tenderness, affection, care, and devotion. When we attempt to force African American children to buy into this emotionally pathological farce, we set them up for future sadistic and masochistic love relations where callousness, aggression, heartlessness, violence, and viciousness become norms for engaging those they, purportedly, love and those who, supposedly, love them. When we abuse African American children, whether boy or girl, and call it love, we set such children up for lifetimes of developmental maladaptation which we dismiss as simple racism, inadequacy of social and political power, and socioeconomic deprivation. We rarely, if ever, stop to look at the African American child’s family as unconsciously or consciously undergirding the societal processes of racism, disempowerment, and deprivation that are structured for their demise. Instead, we convince ourselves that the home and communal abuse of African American males, in particular, is necessary to prepare children for the real world and to prevent their involvement in the justice systems. Judging by higher than average rates of African American male involvement in the justice system, anyone can see that the disciplinary Copyright © 2014 - All rights reserved.

“Child abuse is still sanctioned — indeed, held in high regard — in our society as long as it is defined as child-rearing. It is a tragic fact that parents beat their children in order to escape the emotions from how they were treated by their own parents.”- Alice Miller The only reason the process of legalized abuse of African American children still persists is because only adult perpetrators, such as teachers and parents, are allowed to vote and have a political voice, while the victimized children are, ballot-wise, disenfranchised. This is like rapists being the only ones allowed to vote on laws related to defining rape. We have convinced ourselves that all “discipline” of children is for their benefit, when the fact is that some individuals use physical discipline of children for their own gratifications, whether such pleasures be for release of rage, release of frustration, release of anger, or expressions of deep psychopathology. Some individuals, regardless of outward appearances, professional positions, religious affiliations, and positive rhetoric, have power-starved and sadistic personalities that gain pleasure from inflicting harm on vulnerable others. Regardless of what we have convinced ourselves, and struggle to believe about the physical abuse of African American children, researchers and theorists such as Criville (1990) assert that both physical and sexual abuses of children are rooted in sadism, narcissism, and perversion and the dynamics of the abusive process groom children to become physically and/or sexually abusive parents. As research with South African youth has shown, young people generally view physical discipline by adults as an expression of brutality - not love. www.the-arts-today.com

Volume 1.8 September 27, 2014

Pathological Parenting

“Violators cannot live with the truth: survivors cannot live without it.” “It’s only a matter of which generation is willing to face it and, in so doing, protect future generations from ritual abuse.” - Chrystine Oksana Too many African American children have been abandoned by selfish and short-sighted African American fathers who have embraced delusional beliefs about what constitutes parental love, only to be reared by African American mothers who often feel abandoned by their children’s fathers and their own fathers. The result is often maternal projection of hurt, rage, rejection, anger, and, sometimes, outright hatred and degradation onto innocent African American male infants, toddlers, children, and adolescents - who become symbolic representations of hurtful males in the mothers’ mental schemas. This maternal displacement pathology is often emotionally manifested in name calling, screaming at the child, referring to the child as stupid, unwanted, unworthy, hated, unlovable, disappointing, and inadequate. It is, also, shown in neglect of children, in parentification of children, and in maniacal and rage-filled beating of children into submission and soul-level defeat. As with many mothers, numerous African American fathers are engaged in similar abusive displacement pathology and fail to serve as catalysts for optimal development in African American children. Having internalized unhealthy societal messages about the value of African American males, many fathers pathologically see themselves and, by extension, their children as deserving of the dehumanizing treatment that is due those who are labeled as unworthy, unlovable, hated, disappointing, stupid, and inadequate. Refusing to seek adaptive forms of selfaffirmation and internal empowerment, many fathers use the pathological abuse of African American children as an exercise of male “power” that some feel unable to carry out in the white patriarchal social structure of the United States. A Texas serviceman’s recent beating to death of his baby girl for soiling her diaper, then playing video games, is one such illustration. Brutalizing Black Boys

“Don’t punish me with brutality.” - Marvin Gaye Young African American males have higher than average rates of police contact, arrest, poverty, inadequate nutrition, incarceration, academic challenge, out of home placement, father absence, infant mortality, and social, emotional, and behavioral challenges. There is a plethora of research about

the whys and wherefores of these deleterious developmental issues and outcomes for African American males. The general discussions center on racism, economic disadvantage, marginalization, substandard schooling, racial profiling, and the like. What is little-mentioned in discussions of the developmental challenges of African American male children, however, is the fact that they, also, suffer from higher than average rates of corporal punishment, spankings, beatings, whippings, “whoopins,” and other forms of child abuse. In fact, African American children suffer the highest rates of child abuse out of all racial and ethnic groups, regardless of socioeconomic status, with African American toddlers and infants (from birth to three years of age), bearing the brunt of the majority of instances of abuse. Male infants and toddlers are physically disciplined at highest rates and are, consequently, more vulnerable to higher rates of intentional and accidental harm and death. Predacious Parental Grooming of Black Boys While it is important to rectify external oppressions and abuses of power and privilege in relation to threats against African American male children, (such as what has occurred to Trayvon Martin, Michael Brown, and Jordan Davis), familial internalized oppression and collusion in effectuating the systemic tyranny against African American youth must be equally halted. The targeting of African American male youth is part of an adult pattern that falls in line with any other abuses of power and people. Those, including parents and dysfunctional teachers, who seek to engage in any form of human cruelty generally seek to do so without risk of repercussion. The easiest route to avoidance of serious consequence is to seek out as prey those most lacking in social, economic, or political capital and power. Those who are already victimized or marginalized, therefore, make for the best and most effective targets. A high number of African American male children and youth are under quiet assault in every sphere of their human existence. In contrast to other social groups, African American children, both boys and girls, endure disproportionate threat of harm from physical, emotional, and sexual maltreatment and neglect throughout their entire ecosystem of the family home, the neighborhood, and the school. As a social group, such children are, in effect, safe nowhere in which they exist. It is for this and other reasons that African American male children and youth, more than any other social group, appear to be pervasively acceptable targets for societal scorn, disdain, maltreatment, and killing. Those who have as their aim human cruelty, therefore, identify African American male children and youth, and their adult counterparts, as ideal recipients for hunter-like game and dehumanization. Determined to Dominate and Debase Two weeks ago, this author received a phone call from an African American education colleague, who felt it incumbent to reiterate his intentions to spank any children he might father in the future. He argued vehemently that African American children needed to be instilled with a healthy sense of fear in order to develop properly. To drive his point home, he made it clear that the efficacy of physical “discipline” in behavioral control and fear instillation was proven by whippings and floggings of African Americans during slavery. What he was, essentially, arguing was that African American children, pg.

as with slaves, need to be subjected to a form of whipping to perpetuate Social Dominance, fear, blind obedience to authority, and mental, physical, and spiritual capitulation and breaking. While this colleague regularly boasts about the benefits of his own childhood beatings, he has yet to present an iota of experimental or correlational evidence to support his emotion-focused belief that physical punishment is unequivocally necessary for successful African American childrearing or that physical discipline is unrelated to poor developmental outcomes. In fact, when confronted with the overwhelming data that shows a relationship between corporal punishment, spanking, lower academic achievement, sadism, masochism, adult depression, adult anxiety, anger, and violence perpetration, this colleague persists in the illogical and ego-centered assertion that since spanking worked for him such is universally necessary and beneficial in the appropriate subjugation, fear installation, and raising of African American children and youth. History of Humiliation

“When I deny the seriousness of my abuse I agree with my abuser and those who wouldn’t acknowledge it.”- Patty Hite While there are, no doubt, exceptions, as a human collective, African American children are fed a steady diet of devaluing, abandonment, neglect, discarding, marginalization, and general dehumanization at the hands of the very communal adults, who, like the police, are tasked with safeguarding and shielding such children from risk and harm. Much of this internalized harm is rooted in African child rearing practices and the Afro-European slave trade process, which was started on the African continent and perversely perfected in the Americas. When abusive processes are systematized, as in the Afro-European slave trade, such dynamics are strategically internalized and lay the foundation for a cycle of internalized oppression which, eventually, does not require an oppressive agent to be present for continued proliferation. African American male children have borne the heightened brunt of this internalization of oppression process and such is shown in their behavior and treatment. Countless African diaspora children, including those in the Caribbean, suffer decidedly similar and hidden pathological childhoods. The pathos-driven slave trade hinged on Africans being willing to accede that Africans were less humanly valued than Europeans and, thus, deserving of less than human treatment. African American males were cast as simultaneously threatening, useless, monstrous, disposable, animalistic, and fierce. This European projection served as the cornerstone for African people unconsciously embracing and acting upon such pathological assertions in very conflicting and self-harming ways. Hence, beating “fierceness” Copyright © 2014 - All rights reserved.

out of African American male children, and emasculating them, has been seen by many fathers and mothers as an act of loving preservation, without them questioning the preservation of “what.” Vicarious Vitiation In contrast to African American child treatment, while there are exceptions, European American children receive the message that they are valued, that they are to be protected, that they are to be coddled, and that they are in possession of inherent dignity. By instilling such trans-generational messages to European American children, and by engaging in publicly affirming displays, European American parents are teaching the children how they are to be treated and communicating to the world how such children are to be engaged. By both action and inaction, African American adults, also, teach African American children and the world how African American children are to be treated and the human value to which we believe our children should be assigned. Through internalizing the vulgarities of African ancestral rejection and dehumanization, the slave trade, and Jim Crow, African American adults reflect back to the world that our children are fair prey. Simply put, African American children are neither honored nor indulged in the manner in which their European American counterparts are parentally and communally venerated. Conscious Communal Correction As a communal group, we cannot have it both ways. We cannot maltreat our children on one hand and demand that others love and care for our children more than we, ourselves, care for our children. What we expect others to do in relation to our children, we must, first and foremost, demonstrate. The manner in which we expect teachers, law enforcement, courts, and any other social entities to treat African American children, we must, ourselves, display consistently and without ceasing. If our children are to survive and thrive, we must do all that is required to bring such to pass. This means that we can no longer stand idly and collusively by while African American children, both boys and girls, are abused and slaughtered in body, mind, and spirit in their own homes, by adult family members and friends. We can no longer allow African American children and youth to suffer chronic maltreatment under the facile guise of “discipline” and only cry “foul” when unrepentant and immoral police do the very unrighteous “disciplinary” things that we, in our own families, not only cover up but condone. The cockamamie excuses advanced for the killings of African American male children and youth such as Trayvon, Michael, and Jordan are, in glaring essence, the same outlandish and highly improbable excuses given by all adult perpetrators of child maltreatment….somehow, the children deserved it. Really? If African American children and youth are to engage the world, and themselves, in a valued manner, that value must be deeply rooted in them. We cannot plant within African American children seeds of perpetual hurt and demand those same African American children blossom, against all odds, and bear salubrious fruit. We cannot continue to pour into impoverished and hurting African American children adulterated love, diminished resources, and depleted nurturance while expecting from such children middle and upper class European American child outcomes. What we plant in the children, both boys and girls, we Volume 1.8 September 27, 2014 www.the-arts-today.com

shall, accordingly, reap. When African American children are treated as disposable within their own homes, schools, and neighborhoods, there should be no astonishment when they behave in ways that reflect that sense of expendability. We should, likewise, fail to be stunned when others in society, such as renegade law enforcement, subject African American male children to highly systematized vitiation. The Truth About Authentic Self-Love African American children, both boys and girls, either flower or wither in the very manner in which they have been conditioned to blossom or wane. We cannot wait for society, as a whole, including the schools and law enforcement, to value our children as the catalyst for our own valuation. We must, first, respect and hold them dear ourselves. We must teach them, in very consistent and concrete ways, their inherent and unassailable God-conferred human worth. When we internally cherish our own essences, that treasuring spirit will translate to the esteem we assign to our children, both boys and girls, When we truly purge the oppression that we have long-internalized, we will send a message to the world - without protest, without legal battle, without campaigning, and without rioting - that we understand our innate human worth and that we will accept no less human dignity from any social entity than that which we have unequivocally and un-mistakenly self-bestowed. Like all children, African American children deserve the utmost respect, protection, and abiding love. Such solicitous care must start at home. Before we can meaningfully transmit esteem and gentle devotion to African American children, however, we have to deeply and authentically internalize it for ourselves. This is not an instantaneous transformation, as the healing of any multidimensional and centuries-old wounding requires very meditative and focused planning for enduring resilience and restoration. Integral to such transformation is learning to treat with extreme tender loving care, deep regard, and unwavering protection the bodies, the psyches, and the spirits of the African American female infants, children, and women, who will become the mothers and first teachers of African American progeny. True revolutions need not be televised.

pg.

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Volume 1.8 September 27, 2014

UrbSLAM UrbSLAM competed and finished in the top ten in the twenty-fifth annual National Poetry Slam held in Oakland, California in August, against a field of seventy-two teams from throughout the United States and Canada. Additionally, former UrbSLAM champion JayLuvve won the individual slam championship at the Southern Fried Regional Poetry Slam tournament of thirty-two teams and over one hundred poets. The 2014 UrbSLAM team was comprised of Chris Ware, Poeticslang, Freeman Word, and JayLuvve. UrbSLAM’s biggest challenge on day one of the tournament was insuring that past was not prologue. Over the summer tour and in previous tours, UrbSLAM teams have come in third or fourth place in opening bouts. “Pulling a three” or placing third immediately knocks entrants out of contention due to the number of teams represented at the National Slam. As one of seventy-two teams vying for the championship, including two-time champ Slam New Orleans, UrbSLAM would have to apply all they’ve learned over the summer tour to change the pattern.

In a busy bar in downtown Oakland, Chicago’s Mental Graffiti, New York City’s NYC-Urbana, and Santa Cruz’s Legendary Collective gathered around tables to finalize their game plans and set up their mini war rooms with Excel Spreadsheets or formatted notepads. St. Louis’s UrbSLAM walked in casually but with a veiled nervousness about their game plan and likelihood of success. As the bout took shape, the St. Louis team busied their minds with searching for a seat or table at which to be positioned. “I need to see UrbSLAM and Legendary Collective at front” the bout emcee summoned through the microphone. UrbSLAM’s coach and slammaster, MK Stallings, walked up to draw for the bout order. Teams generally do not want to go first in the opening round, signified by the letter “A” with “D” or last, because the lowest scores usually happen in the first of the four rounds. The top score any poet or group can receive for a performance is 30 points. “UrbSLAM, what letter did you pull?” the bout manager asked. “A” Stallings answered, before looking at his team putting a finger up mouthing “first” to the members. The plan for the night involved leading with recent Southern Fried poetry slam champion JayLuvve and his satirical group poem that captures the crux of W.E.B. Du Boise’s concept of double consciousness – an awareness of one’s racial identity that strains his or her national identity – based on the Star Spangled Banner. While the poem was warmly received, scoring 26.1 out of 30 points, two other teams jumped ahead and placed UrbSLAM in third after the first round. pg.

finishes top ten in first trip to National Poetry Slam

performing a highly engaging social commentary poem entitled “Grafitti the Doors” that featured JayLuvve and Freeman Word. This time, WU-Slam scored poorly landing them in fourth for the round while Providence took first place. After two rounds, UrbSLAM was in a close contest with Providence and WU-Slam as each team were separated by a few tenths of a point.

Next, UrbSLAM used another group poem that personified brick homes in St. Louis city that have fallen in disrepair. While creative and clever, the judges gave them a score of 26.4 and seemed in the mood for personal poems that explored pain and conflict. By the second of four rounds, UrbSLAM was in fourth place with the other three teams in the lead by only fractions of a point. UrbSLAM then altered its strategy and performed two personal poems of their own beginning with another group poem that captured each member’s experience with suicidal thoughts, reflecting particularly dark moments of their lives. From that painful space came a winning round as UrbSLAM beat other team scores with a 27.2 and began to ascend from last place. For the final round, UrbSLAM called on Poeticslang to deliver a deeply moving poem about child molestation and giving voice to that experience in the hopes that others may be encouraged to overcome such painful memories. Slang pushed her team to first place for the round after receiving a score of 28.4 and second place for the bout, allowing UrbSLAM a chance to make semifinals. To make good on this effort, UrbSLAM would have to “pull a one” in their next competition. The second bout of the competition featured WU-Slam of Washington University, the only other St. Louis team at Nationals as well as two teams that pulled “twos” in their respective bouts from Las Vegas and Providence, Rhode Island. Poeticslang was the first to perform in this bout, getting UrbSLAM off to a strong start that tied Providence for second place with WU-Slam placing first with a provocative group poem entitled “Beloved” that addressed black boys and violence. UrbSLAM came in second again for the second round after Copyright © 2014 - All rights reserved.

UrbSLAM won the third round with a poem by Chris Ware, current UrbSLAM champion, scoring 28.7 that recounted his brief stint of homelessness and his encounter with a beggar that explored the relative nature of poverty through a personal lens. WU-Slam came in second with another wellreceived group poem scoring 28.5 and Providence came in third, closely trailing with a 28.1. To win, UrbSLAM turned to JayLuvve with a poem that scored well at Southern Fried over the last two summers. Providence went first scoring 28.5, giving them the lead. Next, WU-Slam performed a group featuring WU-Slam grand slam champion Sam

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Volume 1.8 September 27, 2014

UrbSLAM... cont.

Lifelong

A Commitment to Commu

through Personal Growth, Educ

PAY EQ

Realities, Cha Oppor

Lai about racial exoticism and the 1904 St. Louis World’s Fair, earning them the highest score of the night with a 28.7. JayLuvve cemented UrbSLAM’s first place finish with “Letter to Self,” a poem that addressed self-esteem and masculinity, earning just enough to finish two-tenths of a point ahead of WUSlam.

Overall, women in the U.S. are p for every dollar paid to their mal Despite legislation, progress mo For Latinas and African America the gap is even larger.

UrbSLAM would go on to compete in Semifinals, coming in second to the eventual National Poetry Slam runner-up NYCUrbana.

Place: J.C. Penney Conference Time: 8:00 AM—12:30 PM Date: Friday, October 31

Early Registration before 10/1 Registration after 10/19: $25 Student Registration $5

Washington D.C.’s Beltway Slam won the 2014 National Poetry Slam championship. The team’s trip to Nationals in Oakland and other stops on the UrbSLAM tour were funded through a private contributor. UrbSLAM is believed to have finished the National tournament sixth overall in the rankings.

A hearty breakfast will be served

Panelists: • Lydia Padillia, owner/operatio • Ann Plunkett, principal, WorkP • Anne E. Winkler, PhD, profess & Public Policy Administration

The Pay Equity Symposium, hosted by Li will commence with a keynote address b Sedey Harper, P.C. The keynote will be f discussion moderated by Dr. Sally Ebest Studies. The symposium will end with th and report-outs.

UrbARTS

email: info@urbarts.org web: www.urbarts.org

Get a jump on Halloween: Attend in dress reflective of the topic (optional). Pri

Lifelong Learning @ UMSL promotes the civic engagement. While it serves older includes intergenerational learning, build creating stronger social networks, and m communities across all age groups. All a attend this symposium. For more information, contact Malaika Horne, PhD, Director, UMSL Executive Leadership Consortium (314) 516-4749 | hornem@umsl.edu

pg.

Learning @

unity Enrichment

cation & Recreation

UMSL

QUITY

allenges, rtunities

Pay Equity Symposium Addresses Persistent Problem Closing the pay gap continues to be a vexing problem, particularly for women. Disparities persist, despite legislation such as the Equal Pay Act of 1963. So, why has it been so slow? On October 31, Lifelong Learning @ UMSL will put on a symposium to address the issue that has recently taken center stage.

paid 78 cents le counterparts. oves at a snail’s pace. an women,

e Center

Overall, women in the U.S. are paid 78 cents for every dollar paid to their male counterparts. Despite legislation, progress moves at a snail’s pace. For Latinas and African American women the gap is even larger.

The Pay Equity Symposium will commence with a keynote address by Atty. Donna L. Harper, Sedey Harper, P.C. Harper recently represented a high profile pay equity case. The keynote will be followed by a panel discussion moderated by Sally Ebest, PhD, director, UMSL Gender Studies. Panelists are:

19: $15

Lydia Padilla, owner/operation, TRC Staffing; Ann Plunkett, principal, WorkPlace Partners, Inc. and Anne E. Winkler, PhD, professor, UMSL Economics & Public Policy Administration. The symposium

will end with three workshops and report-outs.

on, TRC Staffing Place Partners, Inc sor, UMSL Economics n

Get a jump on Halloween: Attend in period or current dress reflective of the topic (optional). Prizes for

ifelong Learning @ UMSL, by Atty. Donna L. Harper, followed by a panel t, director, UMSL Gender hree breakout sessions

adults (over 50), it includes intergenerational learning, building social capital, creating stronger social

the best costumes. Lifelong Learning @ UMSL promotes the love of learning and civic engagement. While it serves older

networks, mobilizing and strengthening communities across all age groups. All ages are encouraged to attend this symposium. For more information contact: Malaika Horne, PhD, director, Lifelong Learning @ UMSL, 314-5164749 or hornem@umsl.edu. Fee: $15 before October 19; $25 after and $5 for students. Includes

period or current rizes for best costumes.

e love of learning and r adults (over 50), it ding social capital, mobilizing and strengthening ages are encouraged to

hearty breakfast.

To register, go to: http://pcscatalog.umsl.edu/modules/shop/index.html?action=section&OfferingID=343&SectionID=1072 Exhibitor Table: $45 (includes two registrations at no cost — for promo code, call Malaika Horne, 314-516-4749) http://pcscatalog.umsl.edu/modules/shop/index.html?action=section&OfferingID=343&SectionID=1074

Sponsored by Zonta Club of St. Louis & UMSL Gender Studies In cooperation with AAUW

Sponsored by Zonta Club of St. Louis & UMSL Gender Studies, in cooperation with AAUW.

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Volume 1.8 September 27, 2014

Featured

Poetry

Submission

Kwansaba For Floyd LeFlore� (1939-2014)�

Using whisper or cascade, he'd trumpet BAG's� grooves at Art Hill, LaClede Town or� Duff's. Before winds vacated his lungs, Floyd� calmed rivers, brought North Saint Luck &� East Saint Love ntu astral zones. His� circle of sounds, shining at Euclid's sun,� be-friend'd blues muses & jazz deities.� by Eugene B. Redmond� poet laureate of East Saint Louis, Illinois:� eredmon@siue.edu�

Photo courtesy of EBR Collection: Lovejoy Library - SIUE (www.siue.edu)�

pg.

Floyd LeFlore 1939-2014 a St. Louis trumpeter and composer, and nephew of the local musician Clarence “Bucky” Jarman. In the mid-1960s, LeFlore returned to the city after serving in the military; he then played in the Oliver Lake Art Quartet before helping to found the Black Artists’ Group in 1968. During the early 1970s, LeFlore appeared on several albums with the Human Arts Ensemble, and he spent several years performing in Paris along with the BAG touring ensemble, garnering warm reviews from European critics.

An 80th Birthday Kwansaba ForĐ Sonia Sanchez (September 9, 2014)Đ Her razor-sweet voltage &Đ weĐ bond with & songify. Whether bondage, blindin'Đ bling or death machine, Sonia’ll ululateĐ &Đ AsĐ war-litter’d/peace-hungry Earth wails, SistuhĐ brews revival magic/mirth. We follow--likeĐ !--looping para-poetics of her birth!Đ by Eugene B. Redmond 2014� (poet laureate of ast St. Louis, Illinois:eredmon@siue.edu� Photo courtesy EBR Collection: Lovejoy Library SIUE- www.siue.edu�

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Volume 1.8 September 27, 2014

Maya Sonia Ruby Cycle: New York Kwansaba Collages of Homage 2014� by Eugene B. Redmond, Poet Laureate of East St. Louis, Illinois & founding editor of "Drumvoices Revue"� In September New York embodied "Festivals & Funerals," one of late Poet Jayne Cortez' titles, by celebrating� Maya Angelou (1928-2014), Ruby Dee Davis (1922-2014) & Sonia Sanchez' 80th birthday. Harlem hosted the� Angelou--Dee Davis celebrations while Sanchez' party took place in Brooklyn.�S� ponsors/supporters: There were� several but threading all three celebrations was Medgar Evers College's Center for Black Literature in Brooklyn.�

W/rapped in Maya's Homegoing Quilt (9/12)� “Every woman,” stitch’d ntu Maya’s memwars, boards� this Harlem collage of homage: Toni, Nikki,� Hillary, Valerie, Tsidii Le Loka "rise" like� “rainbow/s in clouds.” A quilted journal, viz� Stamps, Route 66's 2000-mile shadow, "family,"� tenures & tomes, cosmos-as-stage--all� bear witness: Maya could “never unlove” us.�

Strolling Ntu Sonia’s Strobe for Her 80th Birthday (9/19)� “Put the light on me, baby, put the light on me.”� --Bessie Smith, as quoted by Poet Sterling Brown to a writers� group in his Washington, D.C. home, 1977�

Bearing good grief(s), first/last poets Jessica,� Ursula, Haki, Abiodun & a daddy-dau’ter� duo hail this "living ancestor." Ferguson’s shadow� trails Sonia’s strobe as she strums tongues� of her hipsofical posse like a kora.� A finger on Brooklyn's trigger of love,� she good-foots ntu ankh’s far-evers.�

Ruby, "Dear"--Pioneer (9/20)� "� She gave Black women heroic celebrations of themselves.”�

--Sonia Sanchez�

In Harlem, Sonia's Xhosa-sonic clicks trumpet� Wynton's jazzzzsophical soulo-homage to Ruby, our� "dear" pioneer. “Now marching on a different� picket line,” she's swan-sung by Sweet� Honey in the Rock's "Ella's Song." King� Woodie & Baba Belafonte pass "leg-a-seas" of� keys, giving Alicia rites to songify Ruby.� Photos courtesy of Eugene B. Redmond Collection: Southern Illinois University Edwardsville� http://www.siue.edu/lovejoylibrary/about/digital_collections.shtml�

pg.

Eugene B. Redmond... cont.

from Planet Ferguson Series #2

Kwansaba for Long Distance Runners* Voice-lifted & wakeful rhymers, we salvage battle-borne selves, savaged between an endless racial fault line & a gun-lit alley twistin’ toward us like a tornado. Whether next door or wars away, we fold night(ly)-mares ntu soular systems. Reclaim selves, again, from “Hands Up” to “Son Down.” by Eugene B. Redmond (poet laureate of East St. Louis, Illinois)

*Invented in an EBR Writers Workshop (1995, East St. Louis), the kwansaba is a poetic form containing multiples of 7: 7 lines of 7 words each with no word possessing more than 7 letters. Exceptions to the 7-letter rule: proper nouns, quotations, foreign words, neologisms. Hundreds of kwansabas appear in past issues of “Drumvoices Revue.” Practitioners of the form include poets Charlie R. Braxton, Remi Raji, Loue Chinn, Byron Lee, Patricia Merritt, Dahveed Nelson, Shirley LeFlore, A. Van Jordan, K. Curtis Lyle, L. Teresa Church, Jerry Ward, Marie Celestin-Young, Lenard D. Moore, Jaye P. Willis, Michael Castro, Mary Weems, Sherman L. Fowler, Darlene Roy, Tony Medina, Jeffrey Skoblow, Mali Newman, Roscoe Crenshaw and Lena Weathers.

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Volume 1.8 September 27, 2014

In Celebration of National Hispanic Heritage Month, the St. Louis Public Library Diversity Committee presents

“A

Night of Dance and the Rhythms of Colombia and the Caribbean with Grupo Atlantico!”

Grupo Atlantico’s mission is to promote the folklore and rich heritage of the Caribbean coast of Colombia as well as other Caribbean rhythms. Led by Carmen Dence, Grupo Atlantico is part of the Missouri Performing Traditions, the Missouri Touring Program and the Arts Council Education Program all under the guidance of the Missouri Arts Council, the Missouri Folk Arts Program, Missouri Dance Organization, and is a member of the Mid America Arts Alliance.

Tuesday, October 7 7 p.m.

Central Library Auditorium 1301 Olive Street

Call for information @ 314.880.8759 pg.

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Volume 1.8 September 27, 2014

Gundia Lock Clay St. Louis, MO

{

Statement: Our core values are so upside down these days. It shouldnâ&#x20AC;&#x2122;t be dangerous to be a young black man in America. All families should support each other, our communities should be strong. We have to have to express our anger but it must be done in a peaceful way. We need to pray. We need to demand justice.

As a grandmother of seven grand sons, ages 7-18, I fear for their future. I watch my oldest grandson leave the house for work every day and hope to God he doesnâ&#x20AC;&#x2122;t get stopped by some street gang, or worse, the police.

pg.

}

Dennis Redmoon Darkeem Bronx, NY

{

Statement: My name is Dennis Redmoon Darkeem. . . . As a mixed-blood Native American and African American artist living in the south Bronx, I have found a voice in my community. . . . Through art, I have explored and educated people on the issues faced by people of color and people living in low income communities. I believe that everyone has a story to share and from these stories we have a connection. I feel these stories are building blocks to help our communities and change our environment. About the Art: “Painting on Skin” is a mixed media two-dimensional work using paint samples named after people, cultures and location, example “ Cuban brown”, “Navajo pottery Tan” and “ “Chinese white cotton “ This work was inspired by Trayvon Martin murder watching. The Media creates separation against people, and seeing how people choose to label their skin, PAINting on skin gives voice to how the media and capitalism exploit race and identity here in America which leads to over population of men of color in American jails.

}

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Volume 1.8 September 27, 2014

John Calvert St. Louis, MO

{

Statement: I find it a good opportunity to be involved in such a manner as this. This situation is very serious and demands very close attention.

“Under Arrest”

16’’h x 23’’w

pg.

}

Alan Johnson Ferguson, MO

{

Statement: My name is Alan Johnson. Among many things, I am an artist, a husband, a teacher, a black man. Like every one, I was shocked and saddened by the death of Michael Brown. Even more so by many events that followed. I live in Ferguson and couldn’t believe that this was taking place here. The real problem is it shouldn’t take place anywhere! I am glad to hear about this exhibit. It is another opportunity to voice our frustrations and our hopes for a better future.

“Untitled”

}

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Volume 1.8 September 27, 2014

Art of Healing

WATCH NOW!

pg.

UNVEIL Survey Fact Sheet Despite the devastating impact lupus has on more than 1.5 million Americans each year, awareness about the disease remains very low.

Weâ&#x20AC;&#x2122;re on a mission to unveil the lives interrupted by lupus In partnership with Eli Lilly and Company, we are proud to presents results of a new survey, UNVEIL: UNDERSTANDING THE IMPACT OF LUPUS, focusing on the lupus journey and the challenges faced not only by those living with lupus, but also for lupus caregivers.

The lupus journey often begins with a long, complicated path to diagnosis > On average, it takes nearly six years for people with lupus to be diagnosed from the time they first notice their lupus symptoms. > A majority of people with lupus surveyed (63 percent) report being incorrectly diagnosed. Of those reporting incorrect diagnosis, more than half of them (55 percent) report seeing four or more different healthcare providers for their lupus symptoms before being accurately diagnosed.

The severe impact of lupus proves a challenge to treat > On average, people with lupus surveyed take nearly eight prescription medications to manage all their medical conditions including lupus. > Of the 23 percent of people with lupus who experience severe lupus flares, all or most of the time over the last three months, 40 percent were admitted to the hospital at least once during the past 12 months, with an average stay of 10.5 days.

Lupus interrupts every facet of life Work-life

Family-life/Daily Living

> For the majority of people with lupus surveyed (89 percent), lupus impacts their work life.

> More than 75 percent of caregivers surveyed help a loved one with lupus with daily activities, such as cooking, shopping, household chores and providing financial help.

> More than half (55 percent) of people with lupus surveyed whose work is affected are working part-time, intermittently or are unemployed because of lupus. > Almost three-quarters (74 percent) of caregivers report that caring for someone with lupus has an impact on their work productivity. > A large proportion (41 percent) of caregivers surveyed are only able to work part-time or intermittently, or are unemployed, with nearly half (45 percent) of those indicating caregiving responsibilities being the reason. In addition, 60 percent note they spend 16 or more hours per week helping loved ones with lupus.

> Eighty-four percent of people with lupus surveyed indicate they feel they are a burden to their family and friends due to their inability to perform daily activities. In addition, 94 percent indicate that lupus interferes with their ability to enjoy life. > Nearly 3 in 4 people with lupus surveyed (76 percent) said fatigue limits their ability to participate in social activities. For caregivers, nearly half surveyed (49 percent) replied that caregiving responsibilities impact their ability to socialize with friends.

Mental Health > The majority of people with lupus surveyed feel anxious (90 percent) and depressed (85 percent) due to their lupus. > More than 94 percent of caregivers surveyed experience increased anxiety and stress in relation to their caregiving, worrying that their loved one with lupus will become sicker.

The public needs to better understand the challenges people with lupus and caregivers face on a daily basis. The more we know, the better we can support those living with lupus and the sooner we can conquer this mysterious and devastating disease. Help us UNVEIL lifeâ&#x20AC;&#x2122;s interruptions by lupus! Learn more at www.lupus.org/UNVEIL.

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Volume 1.8 September 27, 2014

Featured

Photography

Submission

Summ

fas

Stylist: Shan Keith Stylist Instagram: shankeith1 Model: Rico Model Instagram: itsriccosuave Photographer: Creative Thinking Photography (Demetrius Neal) pg.

mer

shion

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Creative Thinking Photography “Creatively Capturing,Thinkable Moments” Creativethinkingphotography.com Phone: 314-499-0941 Email: Creative.Thinking.Pm@gmail.com IG: Creative_Thinking_Photography FB: Creative Thinking Photography Volume 1.8 September 27, 2014 www.the-arts-today.com

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OPPORTUNITIES

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Featured

Poetry

we better pull this wire now by Cheeraz Gormon it’s an ugly psychology that leaves dour looks on Black faces and places salt in the wounds of the psyche the ancient stench throws like an expensive candle and settles amongst our souls we live with it it meets many of us before we can get a rhythm in our strides i’ve always been suspicious of the notion of looking suspicious because for some folks, that changes all the time from where I stand it’s always Black or Brown whose lifeless bodies are lying on the ground or housed in 6x9s Man Woman Child guns get drawn with fear-filled questions being screamed or threatening interrogation or cowardly provocation or in complete silence (I have no idea if, Theodore Wafer said anything before taking, Renisha McBride's life.) yet, all of these actions have one thing in common: a mission to kill to claim a life thought unworthy we continuously get our pride stripped camera phones capture the instances for the world to critique just how responsible we were for our demise assigned guilt because we got ghetto sounding names school records, and social media histories get pulled placed before the court of public opinion to justify our hunting down in this place the psychological pressure is keeping pace with the heat that rises and I hear this snapping sound I hear this snapping sound

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Submission

and I hear this snapping sound I saw sparks fly from that young mans mouth as he screamed “WHY” I saw his mother attempt to beat the pain out of her chest Her heartbeat, a thunderous war cry Her tears, spiked crystals I saw his father attempt to straighten his back but the pain hit him there there, in that spot folding him in half and I bet God is getting an earful tonight history cycled around with enough warning those who cared listen, we felt the crescendo coming and attempted to brace ourselves with logic with reason with heart mind body soul ain’t this the trippiest shit in town Black and Brown bodies lifeless on the ground for a relic reason and I’m waiting on easier and brighter easier and brighter easier and brighter better shine a light while we got time because our children are watching and they got bags under their eyes better shine a light because they doin’ all of it in board daylight and trying to hide better shine a light ‘cause I hear a ticking sound ‘cause I hear a ticking sound I hear a ticking sound we better pull this wire now Copyright © 2014 by Cheeraz Gormon

LISTEN NOW

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S.L .A .M. St. Louis Art Museum

ART COLLECTIONS

EXHIBITS

EVENTS

Admission to the Museum is free every day. Hours: Tuesday–Sunday, 10:00 am–5:00 pm | Friday, 10:00 am–9:00 pm | Closed Monday

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A CONCERT OF NEGRO SPIRITUALS Sunday, October 5, 2014, Four o’clock p.m. Featuring Griot/Master of Ceremonies: Rev. Joseph Brown, SJ (historian, storyteller, spoken word artist, poet) Gospel Symphonic Choir under the direction of Dello Thedford Cardinal Ritter College Prep Choraleers under the direction of Judith Jackson Combined Spiritual Concert Choir Gregg ‘ The Happy Guitarist’ Haynes with dance minister Georgia Haynes Also Performing: The Voices of Praise under the direction of Malcolm Speed The Voices of St. Alphonsus under the direction of Danny DuMaine Dance Ministry - Liturgical Leaders in Motion St. Alphonsus Liguori ‘Rock’ Catholic Church, 1118 North Grand Boulevard St. Louis, Missouri 63106  Very Rev. Richard M. Potts, CSsR, VF, Pastor For more information call (314) 533-0304

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Volume 1.8 September 27, 2014

Featured

Artist

Submission

John Jennings

By John Jennings Associate Professor Visual Studies SUNY Buffalo tumblr: http://jijennin70.tumblr.com/

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: E C N A D O T IN

LL FATHIS SEASON’S MUST-SEE DANCE New Dance Horizons III: Dance St. Louis presents two big shows this fall that are a must see for anyone who loves dance and movement on stage.

lovesdance

movement

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Volume 1.8 September 27, 2014

New Dance Horizons III: Three world premieres in one production On Friday and Saturday, October 10-11, Dance St. Louis presents New Dance Horizons III at the Touhill Performing Arts Center. This unique, one-of-a-kind production, produced by Dance St. Louis, brings together three nationally renowned choreographers from across the country, pairing each one with a local professional dance company to create three distinct world premieres. It’s three world premieres in one production! Since the creation of New Dance Horizons in 2012, the idea to bring some of the country’s most talked about choreographers to St. Louis to work directly with local dance companies has resonated strongly with local audiences and dance enthusiasts. This year’s participating professional dance companies are MADCO, Saint Louis Ballet and The Big Muddy Dance Company. The new participating choreographers are Israeli-born choreographer and founder of Philadelphia’s Koresh Dance Company, Roni Koresh; former Houston Ballet dancer and Hubbard Street choreographer, Brian Enos; and Juilliard graduate and current dancer with the Lar Lubovitch Dance Company, Katarzyna Skarpetowska. Tickets are $30 and available at the Dance St. Louis box office, by calling 314534-6622, or by visiting dancestlouis.org. New Dance Horizons III is also a part of the annual American Arts Experience – St. Louis festival.

October 10-11 Friday and Saturday,

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November 7-8 Friday and Saturday,

A Harlem Renaissance: Dance Theatre of Harlem returns to St. Louis after 10 years

The country’s first African-American ballet company returns to St. Louis in all its splendor, glory and magnificence as Dance St. Louis presents Dance Theatre of Harlem on Friday and Saturday, November 7-8 at the Touhill Performing Arts Center. It’s been a decade since Dance Theatre of Harlem performed in St. Louis, and the company itself took an eight-year hiatus in 2004. Now, the newly relaunched company with a 45-year history performs an eclectic, demanding repertoire at the highest level, ranging from new and classical to neoclassical and contemporary. Enjoy a new ballet by one of America’s most diverse and sought after choreographers, Darrell Grand Moultrie, as well as a performance of Ulysses Dove’s Dancing on the Front Porch of Heaven (Odes to Love and Loss) to much more. The scheduled St. Louis program is diverse and beautiful. Since its relaunch Dance Theatre of Harlem has received outstanding accolades, critical acclaim and extensive media attention. Under the artistic direction of the remarkable and esteemed Virginia Johnson, former Dance Theatre of Harlem principal dancer and founding member, the company continues to take the world by storm. Upon its founding in 1969, Dance Theatre of Harlem was considered “one of ballet’s most exciting undertakings” (The New York Times, 1971), and it has been said that the company definitively debunked historical stereotypes and opinions that African Americans could not dance ballet. Now, decades later, St. Louis audiences have the chance to witness the resurgence of the globally acclaimed dance institution. Tickets are $40-65 and available at the Dance St. Louis box office, by calling 314-534-6622, or by visiting dancestlouis.org.

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MADCO, Saint Louis Ballet and The Big Muddy Dance Company

at The Touhill

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Dance Theatre of Harlem

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Volume 1.8 September 27, 2014

ALLIANCE OF BLACK ART GALLERIES St. Louis, Missouri

Hands Up, Don’t Shoot: Artists Respond Exhibition October 17 - December 20, 2014 18 Venues in St. Louis City and St. Louis County, including Ferguson, Missouri Paintings ∙ Drawings ∙ Photography ∙ Collage ∙ Fiber Art ∙ Film ∙ Sculpture ∙ Glass Fusion The Alliance of Black Art Galleries has organized an historic art exhibition with artists from across the country responding to Hands Up, Don’t Shoot. The story of the Movement, spurred by the August 9, 2014 killing of Michael Brown and subsequent events in Ferguson, MO and across the country, will be told by the visual art works in this Exhibition. Plan to visit each of the 18 venues to be announced, see some amazing and thought-provoking visual art, and appreciate the therapeutic properties of art. Details on all participating artists, venues and Opening Receptions scheduled for October 17 & 18 will be announced October 4th. All Exhibition venues are free and open to the public. The Exhibition is family-friendly. Mark your calendars! Art work will be for sale through Alliance Member Galleries.* Katrin Butler Powell (Kuumba) Silent Prayer, 27” x 21”

10th Street Gallery*

Saint Louis University Galleries

14th Street Artist Community Gallery*

Scott Joplin House State Historic Site

Central Library Carnegie Room Exodus Gallery*

St. Louis Community College - Florissant Valley - gallery ADMIN

Ferguson Municipal Public Library

University of Missouri - St. Louis - Gallery FAB

The Griot Museum of Black History

Vaughn Cultural Center

L. D. Ingrum Gallery & Studio*

Regional Arts Commission

Portfolio Gallery & Educational Center*

Four additional venues will be selected

Opportunities! The Alliance of Black Art Galleries is inviting volunteers to assist with receiving art, installation, and gallery talks & tours for the Exhibition. Volunteer Docents & Assistants will receive reference materials and must attend a one-hour training session. ~ ~ ~ Non-visual art forms (e.g., dance, poetry, spoken word, theater, music, etc.) will be presented at each Opening Reception program. Would you like to participate? For more information, please contact Freida L. Wheaton allianceofblackartgalleriesstl@gmail.com The Alliance of Black Art Galleries was founded August 20, 2013 in St. Louis, Missouri. The Alliance received a St. Louis Magazine 2014 A-List Award in recognition of its collaboration in the arts community. pg.

Volunteer Art Performers Hands Up, Don’t Shoot: Artists Respond

of Black Art Galleries (St. Louis, MO) Visual Art Initiative on the Michael Brown Killing !The AllianceAlliance of Black Art Galleries thanks you for your interest in participating in one or more Opening Reception

programs for the visual art exhibition Hands Up, Don’t Shoot: Artists Respond. The Alliance recognizes that other art forms have also responded to the killing of Michael Brown and the numerous issues raised through their art.

!Please review this information and confirm that you are able to volunteer as outlined below. Your role in making the We want to partner with you.

Exhibition a good experience from the start for the audiences is very important. If you have any questions, please contact: Freida L. Wheaton at 314.494.4660

Eligibility for Volunteer Art Performers

• • • • •

If under age 18, parent or organized Group Leader must consent Individual performer or Group Has experience performing publicly Has reliable transportation either directly or provided by others Has mobile/cell phone and email address

Expectations of Art Performers •

• • • •

Provide opportunity for the Alliance to see you perform/audition privately or publicly on or before Wednesday, October 8th. You must contact us to schedule an audition at least 2 days prior. We can provide space, if necessary. Arrive at Opening Reception venue at least 15 minutes prior to the event. Call at least 2-hours prior to the event if you have an emergency which prevents you from attending. Perform at one or two of the Exhibition Opening Receptions being held on October 17th (starting at 1:30 pm.) and October 18th in different parts of St. Louis City and County Give a maximum 5-minute performance as part of the Reception Program, which is timed for no more than 15 minutes total. The performance will be within the first 30 - 45 minutes of the reception.

The Alliance of Black Art Galleries

• • •

Will provide space, if necessary, to audition your art performance. Will provide an Alliance Member as contact person for any follow-up questions or issues that might arise Will provide a complete schedule of the Exhibition Venues and Opening Reception times and locations.

Please confirm your interest in participating as a Volunteer Art Performer to: Freida L. Wheaton at allianceofblackartgalleriesstl@gmail.com

!NAME:

Email address: Please indicate: _____Individual or ____ Group

Mobile/cell phone number:

Individual Performer Name _______________________Group Name: _____________________________________

Type of Art Performer:

___ Poetry ___ Spoken Word ____ Singer _____ Music ___ Dance ___ Theater ___ Other (specify): _________________________

When can you be available to perform? Fri. Oct. 17th: 1:30 - 3 pm // 3:30 - 5 pm // 4 - 6 pm // 5 - 7 pm // 6 - 8 pm // 6 - 9 pm Sat. Oct. 18th: 2 - 4 pm // 3 - 5 pm // 4 - 6 pm // 5 - 7 pm // 6 - 8 pm

Thank you!

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Volume 1.8 September 27, 2014

Volunteer Docents & Assistants Hands Up, Don’t Shoot: Artists Respond

Alliance of Black Art Galleries (St. Louis, MO) Visual Art Initiative on the Michael Brown Killing

The Alliance of Black Art Galleries thanks you for your interest in working on the exhibition Hands Up, Don’t Shoot: Artists Respond as a Volunteer Docent & Assistant. Please review this information and confirm that you will volunteer & assist as outlined below. Your role in making the Exhibition a good experience for the audience is very important. If you have any questions, please contact: Freida L. Wheaton at 314.494.4660 Eligibility for Volunteers  Age 19 and older  Artist, art student, or currently work in the visual arts  Ability to communicate to public audience  Has reliable transportation either directly or provided by others  Has mobile/cell phone and email address Expectations of Volunteers  Attend a one-hour training session on Sunday, October 5th at 4:00 pm or Monday, October 6th at 6:00 pm  Assist with verification of delivery of art to up to three Exhibition Venues on October 9th and 10th  Assist with installation of art on October 13th , 14th , and/or 15th  Attend at least three Exhibition Opening Receptions being held on October 17th and 18th  Serve as a host of Exhibition Opening Receptions, representing the Alliance: assist in set-up of Exhibition materials, greet guests, provide program guides/catalogs to all guests, and answer questions about the Exhibition.  Give a three-minute gallery talk at Opening Receptions attended as part of the Reception Program, which is timed for no more than 15 minutes The Alliance of Black Art Galleries  Will provide an information packet to each Volunteer prior to the training session. The information packet will contain: o Background information on the eight Alliance galleries o Overview Information on the Exhibition Hands Up, Don’t Shoot: Artists Respond: why organized; who are the participants; who has assisted in the Exhibition o A bullet point overview of the three-minute gallery talk o Q & A’s to assist in answering questions  Will provide a one-hour training session  Will provide an Alliance Member as contact person for any follow-up questions or issues that might arise  Will provide a schedule of the Exhibition Venues and Opening Reception times and locations. Please confirm your interest in participating as a Volunteer Docent & Assistant. Provide the requested information by Wednesday, October 1st and return to: allianceofblackartgalleriesstl@gmail.com Name:

Preferred Training Day: ____ Sun 10/5 at 4pm or ____ Mon 10/06 at 6pm

Are you age 19 or older? ____ Yes ____ No Current art status: ____ artist ____ art student ____ work in visual art Mobile/cell phone number: Email address: Do you have reliable transportation? ____ Yes ____ No Thank you!

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Do you know a teacher who promotes the love of learning? Someone who is exciting, engaging and effective in the classroom? Maybe you are a student or parent or even a peer who knows a teacher who always go the extra mile to make learning meaningful, interesting and enjoyable. If so, nominate that teacher for a chance to win $1,000 through MindSpark Partner’s Exceptional Educator contest. MindSpark is an online parent/teacher exchange of educational resources that assist in preparing students for the workplace. When a teacher is nominated they will receive an invitation to submit their exceptional and original teaching resources to MindSpark Partner. The winning teacher will win $1,000. And, the person who nominated them will win $100! Help us recognize Exceptional Educators. It is simple to nominate!

Just visit our site at http://contest.mindsparkpartners.com/contest

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Volume 1.8 September 27, 2014

WOW

St. Louis

Wonders of Wildlife

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WOW St. Louis is designed to teach participants how to enjoy a wide range of outdoor recreational activities while practicing personal safety and outdoor responsibility. Classes are open to anyone age six and up. The second portion is the overnight campout. WOW participants will have the opportunity to spend the night in Forest Park Saturday night. The cost to attend the outdoors skills classes Saturday is only $10 per person, making it an affordable day of family fun. The Saturday Night Campout is an additional $5 per person. Registration includes equipment for all activities and lunch on Saturday, and a hotdog cookout for Saturday night campers, along with breakfast snacks on Sunday. Financial assistance to cover to the cost of the event is also available.

For more information or to request a registration packet, log onto the WOW website at wondersofwildlife. org/Page/Conservation-Education-Wow-School-stl.aspx. You can also request registration information and forms by calling the Missouri Department of Natural Resources at (314) 340-5794 or toll free at

1-800-334-6946 (voice) or 1-800-379-2419 (Telecommunications Device for the Deaf).

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4x Winner of the National Poetry Awards. Representing spoken word artists and indie artists in a very positive light. Whatâ&#x20AC;&#x2122;s Your Vizion?

Subscribe to SpokenVizions and SVY Magazine Because every has a voice!

Log on to www.spokenvizions.com. When you subscribe to one magazine, you get the other one absolutely free.

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A big Thank You to our CONTRIBUTERS