A rarity among rarities: a photo of a Senegalese tirailleur (sharpshooter) with woman and child in Marseille, France. 1914.
Find out more about World War I in Africa.
C R I M S O N
Jeneil Williams by Julia Noni for Vogue Deutsch
Red palm leaves - unknown
On Saturday 9th August at 3PM, THE FUTURE WEIRD presents REMOTE CONTROL at the Museum of Arts and Design’s MAD Biennale, in association with Spectacle TheaterREMOTE CONTROL is a program of short films concerning witches & bitches – women who see, take, and sell things they cannot grasp. Whether they wield powers to possess, or are somehow controlled, the technologies these films document are deployed without regard for reciprocity or consent.Presenting shorts by Zina Saro Wiwa, Fyzal Boulifa and Shola Amoo, we’re talking possession, surveillance, “brain to brain interface”, and the human use of human beings.THE FUTURE WEIRD is a screening series dedicated to speculative, experimental and weird film by directors from Africa and the Global South.WHERE: Museum of Arts and Design, 2 Columbus CircleWHEN: Saturday 9th August 2014 @3PMTIX: $10/$5 concessions
SIMPLY BECAUSE THIS FLYER IS EVERYTHING UNDER THE SUN!
Well worth the wait!! @justaband’s newold? oldnew? video: Probably for lovers #Kenyafeelthelove
Follow them here justabandwidth
Earlier this year I did a concept shoot for Ghana based clothing label Osei Duro (www.oseiduro.com). It was shot at Labadi Beach in Accra by amazing artist and photographer Kenturah Davis. The concept idea came from Marion Payen, a French visual artist, who wanted the shoot to have a “nomadic feeling with an outer space vibe.”
I had a great time and we had lots of spectators who were fully intrigued with our use of flour and Tang ( yes the drink Tang) at the beach. Without the camera i’m sure they would have easily assumed there was some ancestral ritual going on.
Supersisters Trading Cards #43 Ruby Dee #TBT
"For the dedicated sports fan, a collectible trading card is a glorified and appreciated form of professional athletic recognition. Published in 1979 with a grant from the New York State Education Department, Lois Rich and her sister Barbara Egerman contacted five hundred women of achievement and created cards for the first seventy-two that responded. Inspired by Lois Rich’s (at the time) eight-year-old daughter who was a baseball card collector, she asked her mother why there weren’t any girls on the cards. Supersisters trading cards developed into a playful, informative, and accessible way to spread feminism to younger audiences. Emulating collectible sports cards, the Supersisters were a sold out set with over ten thousand sold. This is a fantastic collection honoring women in a variety of fields while mirroring a timeless form of sports memorabilia." http://www.juxtapoz.com/current/supersisters-trading-cards
Trailer for Spoek Mathambo’s upcoming ‘Future Sound of Mzansi’ documentary.
From Kwaito house and township funk, to Shangaan electro and
sghubu sapitori, South Africa has fast become home to a burgeoning and ever-growing culture of various inter-related strands of homegrown electronic music.
South African jack of many creative trades Spoek Mathambo is now using film to document the musical and cultural history, as well as the present state, of all these various genres of music in the country.
"We traveled around South Africa to explore our rich electronic music scene. For years there’s been a strong movement of producers, instrumentalists, vocalists and most importantly, party goers, giving themselves to new ideas of African electronic music…Our mission was simple, to meet up with some of our heroes, colleagues, competition, and co-conspirators…an ever potent gang of electronic music pioneers sculpting The Future Sound of Mzansi.”
Josephine Baker was born 108 years ago today in St. Louis, Missouri. She was photographed here by the wonderful Eve Arnold at the “Josephine Baker Day” celebration in New York in 1950. Photo: Magnum Photos.
A man dressed in a sharp grey suit glides into view of the patrons at London’s Tate Modern Gallery. They turn and stare as he, accompanied by a woman dressed in pink Americana, walks towards the gallery’s Picasso Wing. He will sit there for an hour, balancing on his shoulders a head which entirely covers his own. The head is big and round, its blackness punctuated only by a pair of crimson lips.
This is Larry Achiampong, a British-Ghanaian artist who uses a range of media to reinterpret the visual and aural archives that he has inherited. In the past, Achiampong has delved into the sounds of his upbringing by Ghanaian parents to create mixtapes Meh Mogya (My Blood) and its follow up More Mogya. Some of his most arresting visual works are digitally manipulated family photographs. In these, he overlays the faces of loved ones with the black head and red lipped motif that he calls “cloudface.” His Tate performance piece brought cloudface to life for the purposes of the group show Project Visible.
In photo-form, Achiampong’s “Cloudface” is jarring. The intimacy of the family portrait, an index of black survival in a hostile 1980s Britain, is interrupted by the derogatory iconography of blackness that we associate with blackface performance, golliwog dolls and the pickaninny caricature. But this interruption serves an important purpose: to remind a forgetful British public about Empire, colonialism and its more domestic forms of racism, too. In Achiampong’s words “just because Golliwogs and Blackface are not paraded in the way they were in the past, it doesn’t mean the world has thrown that type of mentality to the dust. I think in the UK we are quite guilty of sweeping moments like these under the carpet in the hope that no one will unearth them.”
This is a crucial moment to unearth them. In recent months the UK Border Agency has unleashed officers on train stations to stop and question people about their immigration status based on race and accent. Dawn raids continue unabated and theofficial discourse around immigration throbs with xenophobia, despite the very real human costs of European border policy. With his performance, Achiampong aimed to think ”the experience of being categorized and treated like an alien based on the colour of my skin and my origins.” Placing this overdetermined body in full view, Achiampong also calls our attention to the ongoing and relentless processes by which some people are marked as expendable, disposable and ungrievable “others”.