#Conscious Movement

[healingthroughvisions]

Empowering Ways to Release & Shift Energy

[yourmoonie]

You DECIDE

"I don't want to manifest my sp for another 7 months, how can I speed up my manifestation?"

1st: don't be so 3D oriented

2nd: your 3D will conform based on your own beliefs and assumptions

3rd: You are the one who decides you are the one who decides the timing. You are the one who is the CONSCIOUS selector of YOUR reality. Take your power back.

Methods are just tools, it's YOU who manifests, not the method. Methods can just help you to get into state of the wish fulfilled.

State is the one that produces everything. Your` actions, reactions, thoughts and everything.

So don't brat yourself up over your thoughts or circumstances and just go WITHIN.

Relax and be in the knowing that its yours!

[blackstarlineage]

[stellaluna33]

I sincerely hope I don't sound like a jerk saying this, but... Since I don't have Tiktok or Instagram and am starved for Historical Costuming content, I've watched a few YouTube "shorts" of people doing historical costuming, and all of them look so lovely! But... I'm so weirded out by all the "posing" people feel the need to do now? 😅 Like all the... simpering at the camera in certain positions and various angles and poses people seem to assume are alluring... I don't know, I want to say "Please... You don't have to do that... You can just be normal." (Because nobody moves like that in Real Life!) But... Do you feel like you HAVE to do that? Make sure you present your face and body at the most flattering and alluring angles at all times? Because you shouldn't HAVE to have to do that! 😭 It reminds me of the super early film reels I've seen of models or actresses, and the way they move in such a contrived, stylized way- almost like a balletic ACTING OUT what "graceful movements" look like. And of course, styles have changed (we now prioritize being frankly "alluring" over being so-called "graceful"), but the motive seems to be the same. We (especially women) can't just be "human," can we?

[playingplayer2]

You know that audio that's all like "and remember kids, the next time somebody tells you, 'the government wouldn't do that.' oh yes they would."

Apply that to the idea of covid being "over."

Because it isn't. It never ended and it isn't mild. It's not a cold, it's not the flu. It fucks your immune system over permanently and that's just the tip of the fucking iceberg. Get your fucking heads out of the gods damned sand if you haven't already. Wear a fucking mask, don't go out if you're sick, and don't "work through it" that'll just fuck you up more.

[bambiraptorx]

steps up to microphone: robots with mobility aids. thank you for your time

[we-r-loonies]

just lost my best friend. is this how remus felt after the prank?

[dearweirdme]

.

[feelingtheaster99]

Having an inconsistent uterus is wild because you you’ll be just going along living your life and then all of a sudden there is a PAIN in your stomach and you go through your checklist and it’s not a stomach ache pain or a sickness pain…

And then you’re like OHHHH and several days of feeling sore and having quick access to your emotions makes sense

[blackstarlineage]

The Harlem Renaissance and Black Arts Movements: A Garveyite Perspective on Cultural Pride, African Heritage, and Black Artistic Revolution

The Harlem Renaissance (1920s-30s) and the Black Arts Movement (1960s-70s) were two of the most influential cultural movements in Black history. They reshaped Black identity, celebrated African heritage, and used art as a tool for resistance against white supremacy. From a Garveyite perspective, these movements were more than just artistic expressions—they were crucial to the fight for Black self-determination, Pan-African unity, and the rejection of European cultural domination.

Marcus Garvey understood that culture is a weapon in the battle for Black liberation. He saw the Harlem Renaissance as a parallel movement to his call for Black nationalism, and the Black Arts Movement as a continuation of the fight to decolonize Black minds and reclaim African-centered consciousness.

This analysis will explore:

How the Harlem Renaissance aligned with Garvey’s philosophy of cultural pride and self-determination.

The role of Black literature, music, and visual arts in celebrating African heritage.

How the Black Arts Movement expanded on Garvey’s ideas in the 1960s and 70s.

The political and economic limitations of both movements.

How Garveyism remains relevant to Black artistic resistance today.

1. The Harlem Renaissance as a Parallel to Garveyism

The Harlem Renaissance (1918-1937) was a cultural explosion that saw Black writers, musicians, visual artists, and intellectuals reclaim their African heritage and challenge racist portrayals of Black people.

A. The Shared Vision: Garveyism and the Harlem Renaissance

Marcus Garvey and the Universal Negro Improvement Association (UNIA) were at the heart of Harlem’s Black awakening.

Both movements emphasized racial pride, African heritage, and self-reliance in the face of white supremacy.

Garvey and Harlem Renaissance artists rejected white assimilation, advocating instead for Black cultural and political independence.

Example: While Harlem Renaissance poets like Langston Hughes and Claude McKay wrote about the struggles and beauty of Black life, Garvey was delivering speeches on Black nationalism and Africa’s restoration just a few blocks away.

Key Takeaway: The Harlem Renaissance and Garveyism were two sides of the same coin—one using politics, the other using art, both fighting for Black liberation.

2. The Role of Black Literature in Celebrating African Heritage

A. Poetry, Novels, and Essays as Tools of Resistance

Claude McKay’s poetry directly reflected Garvey’s message of resistance. His poem "If We Must Die" (1919) was a rallying cry against white violence and oppression.

Langston Hughes, Zora Neale Hurston, and Alain Locke infused their works with African traditions, folklore, and pride in Black culture.

Example: Alain Locke’s The New Negro (1925) mirrored Garvey’s vision of a self-aware, empowered Black identity, separate from European validation.

Key Takeaway: Harlem Renaissance writers used literature as a weapon in the fight for Black dignity and cultural sovereignty.

3. The Role of Black Music in the Harlem Renaissance

Music became one of the most powerful expressions of Black cultural nationalism.

A. Jazz and Blues as African Diasporic Resistance

Jazz, rooted in African rhythms and improvisation, became the soundtrack of Black freedom.

Artists like Duke Ellington, Bessie Smith, and Louis Armstrong used their music to uplift Black pride and challenge white stereotypes.

Example: Jazz was banned in Nazi Germany and heavily policed in the U.S. because it represented Black resistance and cultural independence.

B. The Garveyite Influence on Black Music

Garvey’s movement had its own cultural expression through UNIA parades, Negro World newspaper poetry, and Garveyite songs.

The “African Redemption” theme in Garveyism resonated with musicians who sought to reconnect with African spirituality.

Key Takeaway: Jazz, like Garveyism, was an act of rebellion—Black music thriving despite white attempts to suppress it.

4. The Black Arts Movement: The Next Evolution of Garveyite Cultural Revolution

By the 1960s, the Civil Rights Movement and the Black Power Movement had ignited a new wave of Black artistic expression: The Black Arts Movement (BAM) (1965-1975).

A. How the Black Arts Movement Expanded Garvey’s Vision

BAM was directly influenced by Garveyism’s call for self-determination and anti-colonial resistance.

Unlike the Harlem Renaissance, BAM artists saw their work as political weapons against white supremacy, not just creative expression.

BAM sought to create an independent Black aesthetic that was unapologetically African-centered.

Example: BAM leader Amiri Baraka (formerly LeRoi Jones) called for “art that fights,” echoing Garvey’s idea that culture must serve the liberation struggle.

Key Takeaway: The Black Arts Movement was Garveyism in artistic form—Black artists reclaiming their image, rejecting white institutions, and building their own cultural power.

5. Political and Economic Limitations of Both Movements

A. The Harlem Renaissance’s Dependence on White Patronage

Many Harlem Renaissance artists depended on white funding and publishing houses, limiting their political radicalism.

W.E.B. Du Bois and others criticized Black artists for performing Blackness in ways that pleased white audiences.

Example: Some Black intellectuals feared that white-funded projects controlled the narrative, diluting the radical potential of Harlem’s artistic explosion.

Key Takeaway: Garveyism warned that true Black independence can not exist if white institutions control Black culture.

B. The Black Arts Movement’s Isolation from Economic Power

BAM was revolutionary in content but lacked the economic base to sustain itself.

Black artists were shut out of white-controlled publishing, film, and music industries, limiting their reach.

Unlike Garvey’s UNIA, which built businesses, BAM lacked a clear economic strategy.

Example: The FBI’s COINTELPRO program actively suppressed Black radical artistic movements, fearing their revolutionary potential.

Key Takeaway: Without economic and institutional power, Black artistic movements remain vulnerable to suppression.

6. The Garveyite Solution: How to Strengthen Black Artistic Resistance Today

To truly realize Garvey’s vision of cultural sovereignty, Black artists today must:

Control their own distribution networks – Independent Black media, publishing, and film industries must be prioritized.

Use art as a tool of economic liberation – Artists should invest in Black businesses and reinvest profits into Black communities.

Reject corporate exploitation of Black culture – Black creativity should serve Black liberation, not corporate profit.

Reclaim African identity in all artistic forms – True decolonization means producing art free from Western influence.

Strengthen international Pan-African artistic networks – Collaboration between African and diaspora artists is key to building a global Black cultural economy.

Final Takeaway: Garveyism teaches us that Black art must not only inspire—it must empower, fund, and sustain Black freedom.

Conclusion: Black Art as a Weapon for Liberation

The Harlem Renaissance and Black Arts Movement were not just cultural explosions—they were revolutionary movements that fought to define Black identity on Black terms. However, both suffered from economic dependence on white-controlled industries.

Marcus Garvey’s philosophy offers the solution to this ongoing struggle:

Black artists must control their own platforms.

Black culture must serve political and economic liberation.

Pan-African artistic collaboration must be strengthened.

As we move forward, the next Black artistic renaissance must be fully independent, unapologetically African, and dedicated to global Black power.

As Garvey taught us:

"We must canonize our own saints, create our own heroes, and elevate our own culture."

The revolution must be financed, owned, and controlled by us.

[fleshweavers]

no bc the headspace of bdsm is so fucking real. like i have done things in scenes that i straight up didnt think i could or would do without thinking. if i let myself get fully in pupspace it just comes naturally to me not to talk other than whines or growls. the body language comes naturally too. Its kind of wild how plastic the human mind is

[playingplayer2]

X/Twitter link

[emopride]

I feel like a lot of traumatic memories are resurfacing for me as I’m approaching the 10 year anniversary of events that happened in my life

[goyurim]

gihaco (guy i have a crush on) was ridiculously awkward setting up the meeting yesterday. it was the most adorable thing on earth. the camera wouldn't stop zooming in on him no matter what he did. and i don't blame the camera tbh i get it. i would do the same

[electroniccollectiondonut]

@icyghosts

can i have a cigarette?

[happycraftee]

Download and print beautiful coloring pages for kids & adults! Perfect for fun, learning, and relaxation. A great gift idea for any occasion!