2013 a kaleidoscope journey thru african diasporic poetics of space feb 15 740pm

Dean Ramser

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CSULA Spring 2010 510 African Diasporic Poetics of Space Dr. Ramey •

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My goal in creating this PowerPoint was to explore how ‘Time’ and ‘History,’ and ‘Space’ and ‘Place’ could be visually represented. The images represent my personal interior intellectual journey of discovery.

The first batch of images signify an anthropological attitude; the middle batch suggest a more reflective attitude; and the third batch hopefully imply an emotional connection.

All of the images are of books from my library.

Edward W. Soja stated "whenever you read a sentence that empowers history, historicality, or the historical narrative, substitute space, spatiality, or geography and think of the consequences”(Thirdspace, 182-83).

In exploring the dynamic relationships between the texts, my goal is to realize the aesthetic beauty I feel exists within the ideological plane of kaleidoscopic images intersecting as these images pile and tumble around in our consciousness.

I hope to not treat my learning as an exercise in Orientalism, for my belief is that the song sung in the Diasporic Space is ‘beauty,’ as opposed to fetishizing a convention.

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Baba Brinkman I am African http://bababrinkman.bandcamp.com/album/the-rap-guide-to-human-nature

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pre-2001

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• My goal in creating this PowerPoint was to explore how ‘Time’ and ‘History,’ and ‘Space’ and ‘Place’ could be visually represented. The images represent my personal interior intellectual journey of discovery.

• The first batch of images signify an anthropological attitude; the middle batch suggest a more reflective attitude; and the third batch hopefully imply an emotional connection.

• All of the images are of books from my library.

• Edward W. Soja stated "whenever you read a sentence that empowers history, historicality, or the historical narrative, substitute space, spatiality, or geography and think of the consequences”(Thirdspace, 182-83).

• In exploring the dynamic relationships between the texts, my goal is to realize the aesthetic beauty I feel exists within the ideological plane of kaleidoscopic images intersecting as these images pile and tumble around in our consciousness.

• I hope to not treat my learning as an exercise in Orientalism, for my belief is that the song sung in the Diasporic Space is ‘beauty,’ as opposed to fetishizing a convention.

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Derek Rose Slavery Names

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Algérie, Les hors la loi ‫ الخارجون عن القانون‬،‫الجزائر‬ FRENCH HISTORIANS AND ARTISTS NOTED THAT THE ONGOING CAMPAIGN BY THE "NOSTALGIC CIRCLES" OF COLONIZATION AGAINST THE FILM " HORS LA LOI" BY RACHID BOUCHAREB, WHO WILL REPRESENT ALGERIA AT THE NEXT INTERNATIONAL FILM FESTIVAL OF CANNES (2010), IS "PREVENTING FREEDOM OF CREATION AND THE NECESSARY RECOGNITION OF THE COLONIAL PAST OF FRANCE." IN A TEXT ENTITLED " RACHID BOUCHAREB’S ‘HORS LA LOI’ FILM: THE WAR’S MEMORIES ARE BACK, THOSE HISTORIANS, AMONG THEM PASCAL BLANCHARD, GILLES MANCERON, JEAN-PIERRE PEYROULOU, BENJAMIN STORA, MOHAMED HARBI, DIRECTOR YASMINA ADI, CONSIDERED THAT THESE REACTIONS ARE "A SYMPTOM THE COMEBACK OF GOOD COLONIAL CONSCIOUSNESS IN SOME SECTORS OF FRENCH SOCIETY.“ -HTTP://WWW.ELMOUDJAHID.COM/EN/CULTURE/5106.HTML 28

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post-2001

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• My goal in creating this PowerPoint was to explore how ‘Time’ and ‘History,’ and ‘Space’ and ‘Place’ could be visually represented. The images represent my personal interior intellectual journey of discovery.

• The first batch of images signify an anthropological attitude; the middle batch suggest a more reflective attitude; and the third batch hopefully imply an emotional connection.

• All of the images are of books from my library.

• Edward W. Soja stated "whenever you read a sentence that empowers history, historicality, or the historical narrative, substitute space, spatiality, or geography and think of the consequences”(Thirdspace, 182-83).

• In exploring the dynamic relationships between the texts, my goal is to realize the aesthetic beauty I feel exists within the ideological plane of kaleidoscopic images intersecting as these images pile and tumble around in our consciousness.

• I hope to not treat my learning as an exercise in Orientalism, for my belief is that the song sung in the Diasporic Space is ‘beauty,’ as opposed to fetishizing a convention.

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• Who Are We looking For?

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Who are we looking for, who are we looking for?

It's Equiano we're looking for.

Has he gone to the stream?

Let him come back.

Has he gone to the farm?

Let him return.

It's Equiano we're looking for.

- Kwa chant about the disappearance of an African boy, Equiano

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DEFINITIONS

• Space • Time • History • Identity • Place 34

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"You are not an African because you are born in Africa. You are an African because Africa is born in you." --Marimba Ani

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"This propaganda of dis-associating Western Negroes from Africa is not a new one. For many years white propagandists have been printing tons of literature to impress scattered Ethiopia, especially that portion within their civilization, with the idea that Africa is a despised place, inhabited by savages, and cannibals, where no civilized human being should go, especially black civilized human beings. This propaganda is promulgated for the cause that is being realized today. That cause is COLONIAL EXPANSION for the white nations of the world." —Marcus Garvey (Philosophy & Opinions of Marcus Garvey, edited by Amy Jacques-Garvey

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VĂŠronique Tadjo

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VĂŠronique Tadjo

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Lagos, Nigeria

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Trinidad, August 2007

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POEM BY MUTABARUKA – Reggae Artist/Dub Poet dis poem shall speak of the wretched sea that washed ships to these shores of mothers cryin for their young swallowed up by the sea dis poem shall say nothin new dis poem shall speak of time time unlimited time undefined dis poem shall call names names like lumumba kenyatta nkrumah hannibal akenaton malcolm garvey haile selassie dis poem is vexed about apartheid rascism fascism the klu klux klan riots in brixton atlanta jim jones dis poem is revoltin against 1st world 2nd world 3rd world division man made decision dis poem is like all the rest dis poem will not be amongst great literary works will not be recited by poetry enthusiasts will not be quoted by politicians nor men of religion dis poem s knives bombs guns blood fire blazin for freedom yes dis poem is a drum ashanti mau mau ibo yoruba nyahbingi warriors

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uhuru uhuru uhuru namibia uhuru soweto uhuru afrika dis poem will not change things dis poem need to be changed dis poem is a rebirth of a peopl arizin awaking understandin dis poem speak is speakin have spoken dis poem shall continue even when poets have stopped writin dis poem shall survive u me it shall linger in history in your mind in time forever dis poem is time only time will tell dis poem is still not written dis poem has no poet dis poem is just a part of the story his-story her-story our-story the story still untold dis poem is now ringin talkin irritatin

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makin u want to stop it but dis poem will not stop dis poem is long cannot be short dis poem cannot be tamed cannot be blamed the story is still not told about dis poem dis poem is old new dis poem was copied from the bible your prayer book playboy magazine the n.y. times readers digest the c.i.a. files the k.g.b. files dis poem is no secret dis poem shall be called boring stupid senseless dis poem is watchin u tryin to make sense from dis poem dis poem is messin up your brains makin u want to stop listenin to dis poem but u shall not stop listenin to dis poem u need to know what will be said next in dis poem dis poem shall disappoint u because dis poem is to be continued in your mind in your mind in your mind your mind

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Saul Williams Why Africa Matters

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Long Road

by Bessie Smith

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It's a long road, but I'm gonna find the end It's a long road, but I'm gonna find the end And when I get back, I'm gonna shake hands with a friend On the side of the road, I sat underneath a tree On the side of the road, I sat underneath a tree Nobody knows the thought that came over me

Weepin' and cryin', tears fallin' on the groun' Weepin' and cryin', tears fallin' on the groun' When I got to the end I was so worried down Picked up my bag, baby, and I tried it again Picked up my bag, baby, and I tried it again I got to make it, I've got to find the end You can't trust nobody, you might as well be alone You can't trust nobody, you might as well be alone Found my long lost friend and I might as well stayed home

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Yinka Shonibare: The anarchist artist Yinka Shonibare MBE: Where Art meets Post-Colonial African Artifice “I am very interested in using the idea of something which is visually very beautiful because I think that I want my audience to engage with my work even though I am actually tackling quite serious issues…” Yinka Shonibare

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sounds • kenya nchi yetu • http://www.youtube.com/watch?v=Qu9PIAzG kCI&feature=PlayList&p=66DC1475DB49EE81 &playnext_from=PL&playnext=1&index=21

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Dean Ramser

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…au début

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Bellflower High School Haiti Youth Photo Exhibit February 19, 2010

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