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La Llorona : The Weeping Woman

La Llorona: The Weeping Woman

¡Hola a todos! Mi nombre es Señora Jones, vamos a explorar la leyenda urbana de La Llorona. La Llorona, en English: The Weeping Woman, es una figura profundamente en la cultura hispana. 

La Llorona, also known as the Weeping Woman, is a legendary figure with origins deeply entrenched in Mexican folklore. The tale of La Llorona has been passed down through generations, evolving with time and geographical location. While variations exist, the core narrative typically revolves around a woman named Maria.

One prevalent rendition recounts Maria as a beautiful young woman living in a rural Mexican village during the colonial era. Blessed with unparalleled beauty, Maria captures the attention of a wealthy nobleman, despite her humble origins. They marry and have two children, but as time passes, the nobleman's affection wanes, and he becomes enamored with a woman of higher social standing. Consumed by jealousy Maria commits the unthinkable and tragically drowns her children in a fit of madness.

Overwhelmed by grief and remorse upon realizing her actions, she is cursed to roam the earth eternally, weeping and searching for her lost children. 

In recent years, the legend has experienced a resurgence in popular culture, inspiring films, literature, and artistic interpretations that continue to captivate audiences worldwide such as in Disney's coco. 

Two sources that provide valuable insight are "La Llorona: The Wailing Woman" by Rudolfo Anaya and "The Weeping Woman: A Mexican Legend" by Joe Hayes.

Now, let's MAKE A CULTURAL CONNECTION of the Urban Legend of La Llorona with another haunting figure from a different culture: the Boo Hag.

One fascinating aspect is the Boo Hag's connection to the Gullah Geechee culture, in the U.S. 

The Gullah Geechee people, descendants of enslaved Africans, have preserved their unique cultural traditions, including folklore and storytelling.

A Spanish interpretation of the "Boo Hag" would be "La Bruja de la Noche" or "El Espíritu de la Noche", which translate to "The Night Witch" or "The Spirit of the Night" in English, respectively, these translations capture the concept of a malevolent entity.  

Both stories revolve around powerful female figures, albeit with contrasting motivations. While La Llorona embodies themes of love, betrayal, and the consequences of unchecked emotions​, 

the Boo Hag embodies the insatiable greed that drives her to steal the breath of the innocent. Despite these differences, both figures evoke themes of fear and vulnerability, reflecting cultural beliefs and fears within Hispanic and African American communities.

Now, let's introduce two books that provide insightful perspectives on this Cultural Connection. 

PRIETITA and the GHOST WOMAN

A bilingual story by Gloria Anzaldúa, illustrated by Maya Gonzalez. This book follows a young Mexican-American girl named Prietita who becomes lost in her search for an herb to cure her mother and is aided by the legendary ghost woman.

PRECIOUS and the BOO HAG

A story by Patricia C. McKissack, illustrated by Krysten Brooker. This book explores the story of Precious, a young girl who outwits the Boo Hag, a malevolent spirit from known for stealing children's breath.

Few tales are as hauntingly captivating as that of La Llorona. This legendary figure, deeply rooted in Hispanic folklore, has transcended generations, captivating the hearts and fears of many across different cultures. 

As we conclude, I leave you with this thought: both La Llorona and the Boo Hag are ultimate ghost women, representing powerful and haunting figures deeply ingrained in their respective cultures. Can you make a cultural connection to these two women? 

BY ARJONES

SPANISH 203/ UNCG / Spring 24

References:

Anaya, R. (n.d.). La Llorona: The Wailing Woman. Lee & Low Books. Retrieved from https://www.leeandlow.com/books/prietita-and-the-ghost-woman-prietita-y-la-llorona

Hayes, J. (1994). The Weeping Woman: A Mexican Legend. Scholastic Inc.

McKissack, P. C. (2003). Precious and the Boo Hag. Aladdin.

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The KUNAS and their MOLAS

¡Hola! Soy Andria Jones, y esta conexión cultural trata sobre los Kunas y sus molas. Yo interesa profundamente la diversidad cultural y cómo se refleja en el arte tradicional de diferentes comunidades. La mola es una expresión única de la identidad y la creatividad del pueblo Kuna, y me parece fascinante explorar su significado y su importancia dentro de su cultura.

Among the Kuna people in the San Blas Islands of Panama, there is a tradition of making brightly colored panels of cloth called molas. In the Kuna language, mola is the word for shirt or clothing. A mola is made from many layers of fabric. Here is a famous icon; Felix the Cat.

According to Kuna legend, molas were created at the beginning of time by the ancient ancestors, and were hidden away in a Kalu—or underworld fortress—the origin place of all things related to women: “No man could enter this Kalu, not even a shaman.

The mola is the most famous Panamanian handicraft item. Produced by the Kuna women, from the San Blas Islands, it is an intricately patterned cloth panel, used as adornment on their traditional blouse. Molas are hand sewn works of art.

Molas were created in pairs for the front and back panels of a blouse. Craftswomen attach a yoke and arms to the panels to create a complete shirt. The mola panels with their almost mirror-image designs may have cultural significance: the idea of duality is pervasive in Kuna thought.  According to Kuna belief all beings—have an invisible double.

The making of molas is an exclusively female task, and it is a tradition that is passed on through the family and by generation. Women begin to learn to make molas when they are just girls, and continue to produce them throughout their lives.

The art of Mola is not just a display of vibrant colors and intricate designs, but it is also a representation of the Kuna people's culture, beliefs, and history. The symbolism behind each Mola design is a complex and layered concept that can be interpreted in various ways. Each pattern and color used in the Mola design tells a story and reflects the life of the Kuna people.

Each pattern and color used in the Mola design tells a story and reflects the life of the Kuna people. - Red represents passion, love, and bloodshed. - Yellow symbolizes prosperity, energy, and the sun. - Black is associated with death, grief, and mystery.​

As well, animals and shapes have distinct meaning.

In comparison the Adinkra textiles of the Akan people in Ghana bear resemblance to molas in their intricate designs and symbolic meanings. Both art forms serve as visual representations of cultural identity and heritage, preserving traditions passed down through generations.

Today, these works are celebrated as artistic jewels. This art form currently has its own dedicated museum in Panama. Can you connect this cultural art to any other culture? Thank you for joining me on this cultural journey Adios.

REFERENCES 

Exploraciones Third Edition pg. 360 

Mola Textiles and the Kuna Indians | Unframed

The Art of the Mola: When textiles tell the story of the Kunas | VLA

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A Quick Guide to Drama Therapy for the Black Community by : Raquel Jones

Introduction:

Drama therapy, a dynamic and creative intervention, can significantly contribute to the mental wellness of the Black community. By incorporating elements of theatre therapy and psychodrama, individuals can explore emotions, build resilience, and foster a sense of community.

1. Understanding Psychodrama:

Black Lightning

Psychodrama, inspired by real-life situations, provides a safe space to address personal and interpersonal challenges.

Role-playing scenes akin to powerful narratives in "Black Lightning" can help individuals express complex emotions.

2. Embracing Theatre Therapy:

Insecure

Theatre therapy encompasses diverse dramatic techniques, offering a broader exploration.

Scenes from "Insecure" showcase the transformative power of creative expression and engagement within a community.

3. Tailoring Drama Therapy for Adolescents:

Grown-ish

Adolescents can benefit from drama therapy, addressing social anxiety through creative play.

Inspired by the themes in "Grown-ish," improvisational theater becomes a liberating space for self-expression.

4. Community Building for Adults:

Power Book II: Ghost

Drama therapy adapts seamlessly for adults, fostering a sense of community.

Similar to "Power Book II: Ghost," creative group interventions can provide a platform for expression and connection.

5. Addressing Societal Issues:

Atlanta

Drama therapy becomes a catalyst for social change, addressing broader societal issues.

Like the narratives in "Atlanta," theatre of the oppressed techniques empower communities to voice concerns and advocate for justice.

6. Combating Social Isolation in Older Individuals:

The Jeffersons

For socially isolated older individuals, drama therapy offers a transformative outlet.

Scenes from "The Jeffersons" can inspire creative activities that break the shackles of isolation.

7. Mental Wellness and Drama Therapy:

This Is Us

Drama therapy plays a vital role in promoting mental wellness, offering avenues for self-expression and healing.

"This Is Us" depicts the power of drama therapy in addressing complex family dynamics and emotional struggles, showcasing its impact on mental well-being.

Conclusion:

Incorporating drama therapy, with its diverse techniques inspired by popular TV shows, can be a powerful tool for mental wellness in the Black community. By engaging in psychodrama, theatre therapy, and communal activities, individuals can navigate challenges, express emotions, and build meaningful connections.

ARJones

References:

Bourner, T., & Cornwell, L. (2006). Theatre of the oppressed and environmental justice communities: A transformational therapy for the body politic. Journal of Applied Psychology, 13(2), 166-179. https://journals-sagepub-com.libproxy.uncg.edu/doi/epdf/10.1177/1359105307086710

Felsman, P., Seifert, C. M., & Himle, J. A. (2019). The use of improvisational theater training to reduce social anxiety in adolescents. The Arts in Psychotherapy, 63, 111-117. http://dx.doi.org.libproxy.uncg.edu/10.1016/j.aip.2018.12.001

Greaves, C. J., & Farbus, L. (2006). Effects of Creative and Social Activity on the Health and Well-being of Socially Isolated Older People: Outcomes from a Multi-Method Observational Study. Journal of the Royal Society for the Promotion of Health, 126(3), 134–142. https://doi.org/10.1177/1466424006064303

Jones, A (2024) Drama Therapy: Mental Wellness for All, UNCG Spring 2024 Psy 401 - Academic Writing In Psychology

Lurie, H. J. (1973). The Actress as a Mental Health Teacher. Psychiatry in Medicine, 4(2), 183–190. http://dx.doi.org.libproxy.uncg.edu/10.2190/9GL0-4UHD-6CWW-EMG5

Orkibi, H., Keisari, S., Sajnani, N. L., & de Witte, M. (2023, April 27). Effectiveness of Drama-Based Therapies on Mental Health Outcomes: A Systematic Review and Meta-Analysis of Controlled Studies. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://dx.doi.org/10.1037/aca0000582

Perrez, M., & Pacherie, E. (2020). Playback theatre in adult day centers: A creative group intervention for community-dwelling older adults. PLOS ONE, XX(X), e0239812. http://dx.doi.org.libproxy.uncg.edu/10.1371/journal.pone.0239812

Smith, J. R., Johnson, A. B., & Williams, C. D. (2016). Comedic Improv Therapy for the Treatment of Social Anxiety Disorder. Journal of Mental Health Interventions, 20(3), 45-62. https://doi.org/10.1080/15401383.2016.118288

Seventeen. (n.d.). 20 Black TV Shows to Stream Right Now. https://www.seventeen.com/celebrity/movies-tv/g35904243/best-black-tv-show

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Visual Culture & Political Art : Angela Davis as an Afrofuturistic Icon

"Our Queen" by Erin LeAnn Mitchell

Angela Davis, an influential figure in civil rights and feminism, transcends conventional narratives as an Afrofuturistic icon, reshaping cultural perceptions through the dynamic interplay of visual culture and political art. Her iconic image, characterized by the defiant afro hairstyle and raised fist, becomes a symbol of resistance and empowerment within the framework of Afrofuturism. Angela Davis's visual representation, particularly in Erin LeAnn Mitchell's "Our Queen," extends beyond aesthetics, embodying the core vibe of Afrofuturism. It further delves into the intersection of visual culture and political art, highlighting Davis's role in challenging historical norms and envisioning a future where identity and culture are redefined on individual terms.

Afrofuturism, a cultural and artistic movement, combines elements of science fiction, speculative fiction, and fantasy to explore themes such as identity, culture, and liberation. It serves as a vehicle for political imagination, enabling marginalized communities to envision and create alternative realities. Erin LeAnn Mitchell's "Our Queen" exemplifies the evolution of Afrofuturist art, emphasizing empowerment and identity for black women and portraying Angela Davis at different stages as a metamorphosis over time. Afrofuturism celebrates the diversity of black experiences, challenging monolithic portrayals of blackness and embracing a multicultural perspective. Erin Mitchell's art challenges the portrayal of blackness by incorporating vibrant colors that represent spiritual elements and multi-layered comfort. Angela Davis, as a global and multicultural icon, signifies liberation for women of color across various cultures.

Beyond being an Afrofuturist icon, Angela Davis disrupts traditional beauty standards and advocates for the liberation of black women. Her image as a political prisoner turned professor, author, and public intellectual symbolizes liberation for all. The iconic raised fist signifies resistance and solidarity, turning her image into a form of political art that transcends mere representation. Davis's image defies binary oppositions, encouraging the blurring of boundaries and a more inclusive future. The representation of Angela Davis's body in Afrofuturist art challenges historical and societal norms. In "Seeing Differently" by Amelia Jones, the concept of "Bodies on Display" is explored, highlighting how visual culture can redefine societal perceptions of the body. Davis, through Afrofuturist art, represents a woman with agency over her own body, challenging the commodification of black bodies and influencing the visual culture discourse.

Angela Davis's Afrofuturistic representation reconceives difference by challenging stereotypical portrayals of women of color. Angela Davis's visual representation is inseparable from her involvement in various political movements. From her early activism in the Black Panther Party to her fight against systemic racism and mass incarceration, Davis's iconography displays the spirit of resistance and the pursuit of justice. Mitchell's artwork captures the duality of Davis's political journey, from the young, vital activist with the raised fist to the wise and peaceful intellectual, symbolizing the multifaceted nature of her contributions to political movements. In the context of visual culture, the notion of "Seeing Differently" is central to understanding how Afrofuturism provides an alternative perspective. Afrofuturism invites viewers to see beyond conventional norms, envisioning a future where difference is celebrated rather than marginalized.

Angela Davis's iconography becomes a crucial component in the visual history of Afrofuturism, where identity is not confined by external expectations but defined by one's own terms. In "Seeing Differently," Amelia Jones theorizes the relationship between identity and visual history, emphasizing how visual representations contribute to the construction of identity. Davis's evolution from political prisoner to iconic Afrofuturist figure represents a dynamic shift in visual history, challenging preconceived notions and inspiring new narratives. The feminist slogan "The personal is political" resonates strongly in Angela Davis's image and artworks like "Our Queen." Davis's personal journey, from incarceration to academic prominence, is intrinsically tied to her political activism. The Afrofuturistic representation of Davis as a queen signifies not only personal triumph but also a collective political statement. Mitchell's artwork encapsulates the personal and political dimensions, illustrating how Davis's identity and visual representation contribute to broader societal change.

Davis's Afrofuturistic iconography stands at the intersection of visual culture and political art, challenging historical norms and influencing contemporary discourse. Visual culture, as an essential aspect of Afrofuturism, becomes a tool for political expression and reclamation. Davis's image, whether as a professor, activist, or global icon, embodies the transformative potential of visual culture in shaping societal perceptions and advocating for political change. Angela Davis emerges as a powerful Afrofuturistic icon, navigating the realms of visual culture and political art to challenge historical norms and envision a future where identity and culture are redefined on individual terms. Through her iconic image and Mitchell's Afrofuturist artwork, Davis becomes a symbol of resistance, empowerment, and inclusivity. Afrofuturism, with Davis at its forefront, invites a reevaluation of visual culture's role in political expression, paving the way for a more dynamic and inclusive cultural narrative. The concept of worldview, as discussed by Amelia Jones in "Seeing Differently," adds another layer to the Afrofuturistic exploration. Davis's visual representation, both in her iconic images and Mitchell's artwork, offers a distinct world view that challenges and expands societal perspectives. Afrofuturism, with Davis at its forefront, becomes a lens through which alternative worldviews are explored, emphasizing the importance of diverse narratives and challenging the dominant culture.

References:

Jones, Amelia. Seeing Differently. https://www.amazon.com/Seeing-Differently-History-Theory-Identification/dp/0415543835

"Afrofuturism and Its Possibility of Elsewhere: The Power of Political Imagination." The Conversation, https://theconversation.com/afrofuturism-and-its-possibility-of-elsewhere-the-power-of-political-imagination-166002.

"Wearing My Afro: Always a Political Act." The New Republic, https://newrepublic.com/article/122515/wearing-my-afro-always-political-act

"Afrofuturism: How Black Creatives Point to a Brighter Future." Domestika, https://www.domestika.org/en/blog/6930-afrofuturism-how-black-creatives-point-to-a-brighter-future

"Afrofuturism." UCLA Newsroom, https://newsroom.ucla.edu/magazine/afrofuturism.

"Artist Profile: Erin LeAnn Mitchell." Ruckus Journal, https://ruckusjournal.org/Artist-Profile-Erin-LeAnn-Mitchellh.

"Our Queen" by Erin LeAnn Mitchell, National Museum of African American History and Culture, https://nmaahc.si.edu/object/nmaahc_2010.55.2.

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Who is Sonya Clark?

Sonya Clark is a prominent Afro-Caribbean artist known for her innovative and thought-provoking, contemporary art. Clark was born in 1967 in Kingston, Jamaica, but later moved to the United States, where she pursued her passion for art. She is currently a professor of Art at Amherst College in Amherst, Massachusetts.(SonyaClark.com)

Sonya Clark has achieved recognition for her unique exploration of themes related to identity, race, and history, often using materials like hair, textiles, and everyday objects to create powerful statements. Clark's work has been exhibited in galleries around the world, including the National Museum of Women in the Arts. You can visit her online exhibition “Tatter, Bristle, and Mend” which combines her past works with her more recent art and showcases her “ability to rework concepts and materials over time” (NMWA.com).  

The exhibition at the NMWA features a picture of the artist's hands holding her mothers white hair, titled “Mom’s Wisdom or Cotton Candy” (NMWA.com). Clarks' maternal ancestors were forced from Africa to the Caribbean, as part of the slave trade that fueled the sugar industry. The hair resembles cotton candy - made from sugar, but represents so much more!  

Textiles are a very powerful way of speaking and Sonya Clark's artistic vision combines elements of social commentary, heritage, and identity, making her a significant figure in the contemporary art world and an influential voice in discussions on race and cultural diversity.

Author Amelia Jones of “Seeing Differently” makes it clear that nothing can be of more pressing political importance, where everyday in every newspaper and on blogs, tweets, etc. that “issues of identification still persist in haunting our every discussion about what is going on in contemporary society”. (pg.1)  Sonya Clark and her art touches on the issues of identification and her use of textiles are used as a giant “text” for making those important connections through her skillful artwork. 

REFERENCES 

Amazon.com: Seeing Differently: A History and Theory of Identification and the Visual Arts

Sonya Clark

Sonya Clark: Tatter, Bristle, and Mend | Online Exhibition| NMWA

By: Andria Jones

Representing Women - UNCG -Fall23

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Who is Sonya Clark?

Sonya Clark is a prominent Afro-Caribbean artist known for her innovative and thought-provoking, contemporary art. Clark was born in 1967 in Kingston, Jamaica, but later moved to the United States, where she pursued her passion for art. She is currently a professor of Art at Amherst College in Amherst, Massachusetts.(SonyaClark.com)

Sonya Clark has achieved recognition for her unique exploration of themes related to identity, race, and history, often using materials like hair, textiles, and everyday objects to create powerful statements. Clark's work has been exhibited in galleries around the world, including the National Museum of Women in the Arts. You can visit her online exhibition “Tatter, Bristle, and Mend” which combines her past works with her more recent art and showcases her “ability to rework concepts and materials over time” (NMWA.com).  

The exhibition at the NMWA features a picture of the artist's hands holding her mothers white hair, titled “Mom’s Wisdom or Cotton Candy” (NMWA.com). Clarks' maternal ancestors were forced from Africa to the Caribbean, as part of the slave trade that fueled the sugar industry. The hair resembles cotton candy - made from sugar, but represents so much more!  

Textiles are a very powerful way of speaking and Sonya Clark's artistic vision combines elements of social commentary, heritage, and identity, making her a significant figure in the contemporary art world and an influential voice in discussions on race and cultural diversity.

Author Amelia Jones of “Seeing Differently” makes it clear that nothing can be of more pressing political importance, where everyday in every newspaper and on blogs, tweets, etc. that “issues of identification still persist in haunting our every discussion about what is going on in contemporary society”. (pg.1)  Sonya Clark and her art touches on the issues of identification and her use of textiles are used as a giant “text” for making those important connections through her skillful artwork. 

REFERENCES 

Amazon.com: Seeing Differently: A History and Theory of Identification and the Visual Arts

Sonya Clark

Sonya Clark: Tatter, Bristle, and Mend | Online Exhibition| NMWA

By: Andria Jones

Representing Women - UNCG -Fall23

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PORTRAIT OF A BLACK WOMAN : The Realist View of Art

PORTRAIT OF A BLACK WOMAN

“Portrait d’une femme noir,” Marie-Guillemine Benoist, 1800

An unknown black woman sits for artist Marie-Guillemine Benoist. (The painting’s name means “Portrait of a Black Woman,” or “Portrait of a Negress.”) The black woman wears a white headwrap and small gold earrings complimenting her beautiful onyx skin. She appears semi naked, bearing her breast.  Her eyes are looking into your soul. Poised for the painter, she appears to have a strong presence and yet a soft innocence in her effort to deliver art. This portrait was painted in 1800, a time when the art world was male dominated. There are few works by women painters at the Louvre Museum. The Louvre, or the Louvre Museum, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa.  Marie-Gillemine Benoist, the young artist, proved herself worthy of recognition in this work, with realism and detail. The plain background enhances the strong contrasting detail, and smooth brushstrokes.  Her style of portraiture is painted in the neoclassical style after her teacher, Jacques-Louis David. Some characteristics of neoclassical art are symmetry. unemotional telling of events. simplicity of line, form, and color. The proponents of realism in this portrait of a black woman are crisp, sharp, and very much as if looking at a photo, that could be categorized as photorealism. The human eye appeal is remarkable, especially looking into the human eye of the model. The model she chose is an unknown black woman, a former slave, at a time when the abolition of slavery was a major issue, the young artist was also taking a stand, and from the look in her eyes, the young model as well.  Everything about this artwork is epic.  Beyoncé featuring the artwork in her video “APES**T”, making it even more epic!  A woman artist, and black model- the subject of this painting- is very rare during the mid-20th century and western culture. Even more so, the message that this piece delivers is multi-dimensional. Everything about this painting is a movement of protest. Realist theories of art direct our attention back to how the picture was made and how and why we take it to be “real”.  In realism as a philosophy we look at Plato and Aristotle who remind us that of any work of art, we can and should ask if it is “true”.

IS IT TRUE? NO. Plato believed that all art is imitative of nature and that art could be so alluring or enjoyable that it could be potentially dangerous and must come under scrutiny.  To Plato, imitations are not necessarily the real thing and can appeal to emotions, while communicating a lie. To Plato, these emotions could affect our moral compass. Beauty for Plato is represented in fine moral character vs fine eye appeal.  Plato places a focus on the psychological aspects of art. His beauty of reason is that art is for the service of higher good in the physical world and the invisible world. Plato, however, was particularly worried about the pleasures of Realistic art. 

IS IT TRUE?  IT CAN BE. Aristotle on the other hand does not believe in that heaven. His reality is the natural world. Like Plato, Aristotle agrees that art is imitation, but that we find all we need that is already given to us in nature. We simply find universal or archetypal representation in art. Termed mimetic art, Aristotle simply believes that it can represent any of three things: actually reality, beliefs about reality, or perceptions about what reality should be. Mimetic art serves to beautify, improve, and generalize qualities of nature. These successful representations should engage our attention and emotions as if they were the real thing. For Aristotle the art should invite the viewer to think about it because of the way the artist presented it for perceptual experience. Aristotle embodied beauty as something functional and appealing. For Aristotle there is no one (Platonic) form of beauty. For him beauty is form and the form of beauty is integration of all parts. Beauty can not be achieved in independent values, all elements make the whole. The proportion and form can not be discovered without cognitive discernment and dependence of each element to the whole. Every element unifies to create the art. Realistic representation, however, for Aristotle was always from the artist’s point of view. 

REALISM. Like Aristotle believed, most people do find pleasure in realistic art. This art is to be admired, but like Plato, the pleasure principle could have caused an uproar at the time, and even now as the black woman is not often seen solely as a piece of art. She is often objectified and placed on a pedestal for display, but she gets little to no credit. Her name is forgotten, her talents are taken and she is taboo. A fetish of sorts for those that want to sleep with her, those that want her time and labor while they reap the benefits. Realism directs one’s attention to the subject matter of the artwork: the unknown black woman. Realism encourages you to look at realistic representations as transparent windows into the world, with no personal or cultural interventions. Plato thought that those realistic representations could be misunderstood and lead viewers astray in search of pleasures. Aristotle gathered other criteria when judging art, more importantly, its contribution to true knowledge. True knowledge. Like Aristotle, I think this art is true because of its contribution to true knowledge. The knowledge that this woman was a former slave and she is unknown. The reality of her presence makes you search for her truth. The realism of the portrait by Marie-Guillemine Benoist is direct, your focus and your eyes meet the unknown black woman. The portrait takes on a cognitive and aesthetic importance.  

Andria Jones-  Philosophy of the Arts

References

Beyoncé and Jay-Z’s “Apeshit” Video Shows Black Bodies in Control - Racked

Beyoncé and Jay-Z’s Louvre Highlights

Why Is That Art?: Aesthetics and Criticism of Contemporary Art by Terry Barrett | Goodreads

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Who is Sonya Clark?

Sonya Clark is a prominent Afro-Caribbean artist known for her innovative and thought-provoking, contemporary art. Clark was born in 1967 in Kingston, Jamaica, but later moved to the United States, where she pursued her passion for art. She is currently a professor of Art at Amherst College in Amherst, Massachusetts.(SonyaClark.com)

Sonya Clark has achieved recognition for her unique exploration of themes related to identity, race, and history, often using materials like hair, textiles, and everyday objects to create powerful statements. Clark's work has been exhibited in galleries around the world, including the National Museum of Women in the Arts. You can visit her online exhibition “Tatter, Bristle, and Mend” which combines her past works with her more recent art and showcases her “ability to rework concepts and materials over time” (NMWA.com).  

The exhibition at the NMWA features a picture of the artist's hands holding her mothers white hair, titled “Mom’s Wisdom or Cotton Candy” (NMWA.com). Clarks' maternal ancestors were forced from Africa to the Caribbean, as part of the slave trade that fueled the sugar industry. The hair resembles cotton candy - made from sugar, but represents so much more!  

Textiles are a very powerful way of speaking and Sonya Clark's artistic vision combines elements of social commentary, heritage, and identity, making her a significant figure in the contemporary art world and an influential voice in discussions on race and cultural diversity.

Author Amelia Jones of “Seeing Differently” makes it clear that nothing can be of more pressing political importance, where everyday in every newspaper and on blogs, tweets, etc. that “issues of identification still persist in haunting our every discussion about what is going on in contemporary society”. (pg.1)  Sonya Clark and her art touches on the issues of identification and her use of textiles are used as a giant “text” for making those important connections through her skillful artwork. 

REFERENCES 

Amazon.com: Seeing Differently: A History and Theory of Identification and the Visual Arts

Sonya Clark

Sonya Clark: Tatter, Bristle, and Mend | Online Exhibition| NMWA

By: Andria Jones

Representing Women - UNCG -Fall23

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The Binary Artwork of Delita Martin

Amelia Jones's book, "Seeing Differently: A history and theory of identification and the visual arts," explores two prominent binary art theories discussed in Chapter 2: Individualism (pg.22) and the concept of Self vs. Otherness (pg.4). The art of Delita Martin represents the art theories of Individualism and the concept of Self vs.Otherness in a binary proposition. Martin creates spiritual artwork that mixes and layers various methods of artistic expression into a “holding” space that converges the visible with the invisible. A spiritual and physical manifestation she calls a “veilscape”. The artwork consist of patterns and symbols that converge and show a “connection between the waking world and the spirit world” (NMWA.com)  

Individualism emphasizes the artist as an individual creator with personal vision forming a binary relationship between the self and the artwork. Delita Martin's "Quilted Angel 2015" artwork represents the binary relationship between her own individual creative expression and her spiritual identity as a black woman. Race itself is a binary of projected and internalized identifications (pg. 44) 

The concept of Self vs.Otherness, explores the binary interplay between the self and self-identity and the perception of others. Delita Martin's "Quilted Angel 2015" also has the binary nature of Self vs. Otherness. The artwork depicts the binary relationship between the artist's self-identity as a woman and her spiritual identity as a spirit woman conveyed through the use of circles (feminine) and blue (spirituality).

Both Individualism and Self vs.Otherness highlight identity as a binary nature of art. Individualism focuses on the binary uniqueness of the artist's identity and their creative expression. In contrast, Self vs. Otherness is more about the binary relationship between the artist's self-identity and perceptions of others. Delita Martin intertwines the binary relationships of gender, race, life and death in her artwork that conveys the complex dialectical nature of relations between self and others that are often “downplayed or ignored” (pg. 37).  

REFERENCES

by: Andria Jones

Representing Women -UNCG - Fall 23

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The Gazing Artwork of Renee Cox

In chapter 3 Amelia Jones of “Seeing Differently : A history and theory of identification and the visual arts", explores fetishism in relation to the “gaze” of visual culture. The relationship between "identification” and “identity” is witnessed in the early 1990’s - early 2000’s by African-American artist Renee Cox with her series of images “exposing the interrelation between sexual and racial fetishim” (Jones, 95). 

Photographer and mixed media artist Renee Cox creates visual representations of strong black women. She simply is not interested in portraying black people as victims. Cox creates art that she coins as “another universe”. A universe of peace and self consciousness.(ReneeCox.org)  She uses black people and herself as the center of her photography. These avatars—historic characters, fierce mothers, cosmopolitan socialites, and Afro-centric superheroes—are imbued with sexual agency and resolute confidence.(Aperture.org) 

Her 1995 artwork  “Venus Hottentot” is a self portrait that “directly exposes a specific historical case of racial fetishism.”(Jones, 96)  Cox is creating a revolution with her own propaganda. Cox’s prolific photography is dominated by iconography. Her style is glaring as you are captivated by the gaze. She is looking back at the viewer looking at her. In “Venus Hottentot”, Cox uses props to exaggerate her sexual and racial “difference” while confronting the viewer with a direct stare into the camera. (Jones,96) Her presence is historical and controversial as a deliberate “in-your-face gesture”. (Jones,95) The deliberate correlation of her artwork in comparison to the brutal objectification of Sarah Baartman of the 1800s, “when people in London were able to pay two shillings apiece to gaze upon Baartman’s body in wonder. For extra pay, one could even poke her with a stick or finger.” (Eleksie.com) Cox’s deliberate “adoption of fetishism is strategic”. (Jones,98) Cox critiques roles for and the images of black women in history and contemporary visual culture with her photographic media by “projecting and freezing sexual and racial anxieties” of the fetishized glaze. (Jones,98)

REFERENCES

Amazon.com: Seeing Differently: A History and Theory of Identification and the Visual Arts

Renée Cox: A Taste of Power

Still in The Eve of Women; Sarah Baartman influence on women and fashion - Eleksie Noir

by : Andria Jones

Representing Women - UNCG -Fall 23

[lovefya]

THE CREATIVE URGE : Mental Health & Creativity

CREATIVES JOHN COLTRANE & ALEXANDER BOYCE

JOHN COLTRANE. John Coltrane is a famous jazz musician noted to be a genius. His works are transcendental and mind blowing to those that dare to explore and are considered to be critics of fine art. John passed away at the early age of 40 due to cancer, but his known alcoholism and heroin addiction affected not only his health, but his personal spiritual beliefs, endeavors and relationships. Some or perhaps most people feel that the psychotropic drug use was what enhanced his creative expression, but he definitely displayed mental health issues including impulsive neurotic behaviors and practicing nonstop. His character type is coined to be an obsessive creative.

Coltrane did quit heroin cold turkey, and later said he had heard the voice of God during his brutal withdrawal. “I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life,” Coltrane said in the liner notes of A Love Supreme. He went on to create even his album Giant Steps and more of America's finest art form.

Coltrane expressed his virtue of creativity in a letter that “Innovators always seek to revitalize, extend and reconstruct the status quo in their given fields… Quite often they are the rejects, outcasts, sub-citizens, etc. of the very societies to which they bring so much sustenance. Often they are people who endure great personal tragedy in their lives. Whatever the case, whether accepted or rejected, rich or poor, they are forever guided by that great and eternal constant — the creative urge.” Coltrane has gained followers after his death and is declared a saint. The Saint John Coltrane Global Spiritual Community holds A Love Supreme Meditation each month.

ALEXANDER BOYCE. Another current visual artist, by the name Alexander Boyce of Harlem, just woke up one day and decided to paint. A musician, and former leader of a band, Boyce now creates art and fashion accessories for people who love art and want to make a statement. His IG profile reveals a Puff N Paint art therapy event. Boyce answered my DM and told me that weed is in fact legal in NY and that in those art therapy sessions they smoke weed, and paint self portraits, and then examine how they see themselves based on the work. The psychotropic drug enhances the activity and artistic creative experience. It is most common to see Sip N Paint but due to legal allowances other drugs can and will receive welcome with creative/artistic experiences that prove to be therapeutic.

Boyce’s purpose is to unfold the feelings of self hate and inferiority imagery has inflicted on black people. His mission is feel good art that makes people happy, on everything and everywhere. Boyce found interest in art as a high school student and now gives his influence to Basquiat, Picasso, and Big Daddy Kane. Not sure what mental health change occurred but Boyce, literally woke up with the urge to paint, so he picked up his son’s little paint set and started painting. Notable changes occurred in his mind. His vision experienced a transformation as well, he went from seeing lines and shapes to seeing light and shade. Before that day, Boyce spent a lot of time composing jingles and music for reality t.v. Now his mind had a hunger for painting, and he spent most of his time doing so. He became fascinated with faces, and would stare at people in passing, realizing the beauty in each difference. This wild awakening was unlike anything Boyce had ever experienced and it led him to become more aware of others and himself. For Boyce painting is like music, it is about feelings.

CREATIVITY & EMOTION. There are many mental health benefits to being creative or participating in creative activities. Participation can include just enjoying fine art events. After experiencing trauma, artistic and creative activities can help us to relieve stress, release anger, lessen shame and deal with depression. According to the Collins dictionary a creative is defined as a person who has the ability to invent and develop original ideas, especially in the arts. Urge is defined as a strong wish or desire to do or have something. Emotions play a pivotal point in the development or advancement of our day to day activities. Those emotions, negative or positive impact the creative urge to explore. The main personality type associated with creativity is openness to experience.

Emotional traits of our personality have creative impact. Having an extroverted personality will enhance these experiences but all personality types will benefit from creativity in the arts. Emotional traits can also impact the type of domains creatives choose to partake. The domains of music and visual arts are linked to people high in neuroticism. Musicians, especially jazz performers tend to have a lot of ambiguity, which makes a lot of sense because jazz is based on a lot of improvisation. (Prof Rodriguez) Their traits, along with visual artists; are less likely to be emotionally stable (Fiest, 1998).

Arts therapy is finding a creative outlet for our trauma in a safe space for emotional expression. The long-standing view in psychology is that positive emotions are conducive to creativity because they broaden the mind.(Harvard Business Review 2015) Emotions can be traits or states of being. The creative process is fueled by our emotions.(Prof Rodriguez) Creative process flows of motivation, domain, idea generation, roadblocks, and product.

The creative urge can inspire creatives to find solutions in frustrating situations. Having the creative urge to do something and create something novel provides motivational intensity to produce art. Motivational intensity is playing an instrument like John Coltrane, or painting like Alexander Boyce. Both artists used their emotions to express. The art they provide is therapeutic for the artist and those that experience it. Coltrane about his music said "the emotional reaction is all that matters." They are two creatives that light the fire of their own creative urges.

CREATIVITY & MENTAL ILLNESS. Creativity is beneficial but has been linked to mental illness. Through time Plato and Aristotle described the creative genius as mad. Freud thought creativity was driven by repressed desires. In our time, humanists deem creativity as a pinnacle of healthy human psychology. During the romantic era, people believed that “madness” could free the imagination from constraints of conformity. As a result it was actually pretty popular for intellectuals and creatives to show signs of mental illness. (Prof Rodriguez)

Studies suggest that there is some elevated risk for mood disorders and highly creative people. One serious mental mood disorder is Schizophrenia, in which people interpret reality abnormally. People high in this trait do not progress well as creatives, but studies show that perhaps inheriting part, but not all of this genotype may be beneficial to creativity. This personality type called Schizotypy, are often described as odd or eccentric and usually have few, if any, close relationships. Negative effects of this type have a diminished ability to produce, but positive schizotypy adds something unique or weird to their behavior that make them stand out as creative. People high in schizotypy tend to score higher on creative tests, vs people clinically diagnosed with schizophrenia that score low. (Prof Rodriguez)

New evidence points out that only normal range differences in mood and perception may have some benefit to creativity, but not full blown mental illness. It is always best to keep a healthy body and mind for the creative urge. Coltrane is called a genius and his name is more recognizable not only to the arts community but the psychology community as well. Coltrane practiced nonstop but his openness to experience led him to be an icon. His creative urge was so strong it feels like you're baptized with the holy ghost when you get hit with his sound. The artist Alexander Boyce just woke up one day and something changed in his mind, he became obsessed with painting all of a sudden. He literally woke up with an urge. The creative urge.

CREATIVITY & SUBSTANCE USE. Substance use has an effect on mental capacity and creativity. Research has found that some use can actually enhance our creativity and openness to experience. Over 80% of the population uses some type of psychotropic drug. Caffeine being the most widely consumed psychotropic drug in the world with 85% of adults consuming at least one caffeinated drink daily. (Zebelina & Sylvia 2020 ) Other common drugs used by creatives and the general population include alcohol, marijuana, and hallucinogens. The substances can decenter the artist while offering new and unique perspectives that facilitate creativity but their ill effects must be balanced in the exchange.(Prof Rodriguez)

There is a greater prevalence of alcoholism among creatives. Full blown alcoholism will not result in creativity, but usage can be related to trauma and self expression. Experimental studies have found that low doses of alcohol enhance idea generation and insight. Positive beliefs about alcohol and creativity make it normal to find alcohol within the creative community. Musicians are mostly performing at events that serve alcohol, and it is more popular to attend a Sip N Paint event where you drink alcohol, listen to music and paint. Marijuana use is related to openness to experience, the main personality exhibited by creatives, but negative effects can occur on long term users.

The process of creating music, art, or literature, could be so cognitively demanding that artists may seek to dissociate from reality as a way to release stress, not as a tool for their art.(Neurology Live) The psychotropic substances shift their typical frame of mind towards a creative product. Alcohol, and drugs are used by creatives like musicians and painters to alter their state of consciousness. Ways to counter using drugs and decenter from the cultural norm include meditating, or exercise as a way to alter the state of consciousness and develop the creative process.

Holistically, alcoholism and drugs can be detrimental to your health, and it is always best to avoid anything that can lead to addiction and inhibit the creative process. Overall healthy individuals have the highest capacity for creativity.(Prof Rodriguez) Musician John Coltrane quit his addiction to heroin, and found his creative process to be liberating through meditations, prayers, and awakenings. Artist Alexander Boyce uses a psychotropic drug to enhance his creative experience. Both creatives have found substance not in the usage of drugs but through their own creative urge.

CREATIVITY & HEALING. Both Coltrane and Boyce experienced an awakening and call to the creative urge. The use of psychotropic drugs is common among creatives and can have some mild benefits on the creative process. The many benefits of creative/artistic expression such as playing an instrument like Coltrane or painting like Boyce, help relieve mental health issues. Using art as a therapy can help creatives cope with trauma and serve as creative outlets for others to do the same. As quoted by John Coltrane," I want to be the force for good”, both creatives John and Boyce are using their creative force for good. Both artists relate being rejects, outcasts, sub-citizens, and their artforms serve as advocacy for change. Drug use adds to the stereotypes that artists, creatives or most users face, yet we don’t see much research about the everyday and common use of caffeine which may help with achieving convergent thinking tasks like solving problems. (Zebelina & Slylvia 2002) It's very common to toast or partake in “spirits” or wine at social fine art events. The Puff N Paint event seems like a bold move but the marijuana is used to enhance the arts therapeutic experience. The effects of psychotropic drugs on creativity are still being explored, but as laws change so may stereotypes and the common use for enhancement in the creative process. The virtue and the value of creativity has allowed both artists to improvise and act in innovative & novel ways. Creativity provides healing. People who engage in cultural or fine arts activities have a lower risk of developing chronic pain, dementia and depression.

Creativity provides a better mental and physical outcome no matter the ability. Genuine findings point to the short and long term benefits of creativity.  The creative intensity of Coltrane and Boyce could be a troubled psyche but their push towards creative expression was an urge to heal.  Using art to thrive beyond survival is healing as, Coltrane says, “they are forever guided by that great and eternal constant — the creative urge”.

By: Andria Jones - Psych 365 - Professor Rodriguez   UNCG SPRING 23 -  Psychology of Art, Creativity, & Genius

References 

Chasing John Coltrane’s God Dream From A Love Supreme To “UltraLight Beam” - Okayplayer

Coltrane Church

Creative urge definition and meaning | Collins English Dictionary

Drugs and Creativity: Fact or Fiction?

Meet Alexander Boyce - CanvasRebel Magazine

The Emotions That Make Us More Creative

The Mental Health Benefits of Creativity

[lovefya]

BLACK MADONNA : Coming of Age Ritual

Song of Solomon 1:5

I am BLACK, but COMELY, o daughters of Jerusalem. Like the curtains of Solomon.

THE BLACK MADONNA

The MANTLE of the BLACK MADONNA is TURQUOISE. THIS is THE COLOR OF THE HIGH PRIESTESS. The RED ROSE color of her dress signifies FAITH and DIVINE LOVE. THE GOLD BORDER OF HER MANTLE REPRESENTS NOBILITY AND SANCTITY.

The Crowning Ceremony

Celebrates the Black Madonna as she represents the original mother & the divine feminine in every woman by declaring this rite of passage THRU the 3 phases of life: Maiden, Mother, and Crone. (Crown).  

Chocolate Rose Crown Cake

Roses are the SYMBOLIC flower of the BLACK MADONNA –  a “crown cake” is typically baked  On her feast day in honor of  “the dark-skinned lady of the mountain”.

THE PILGRIMAGE

“OUR LADY OF GUADALUPE”

BLACK MADONNA 

Guadalupe, MEXICO

REFERENCES

Chocolate Rose Crown Cake

Crown 

Our Lady of Guadalupe 

Designing Weddings & Other Ceremonies Theatre 110 UNCG

Andria Jones

[lovefya]

HALF SAREE : Ceremony of India

HALF SAREE

Half Saree functions are mainly performed by South Indian Hindu families. This coming of age ceremony is performed after the girls 1st menstruation when family members and friends come together to give their blessings to the young girl(s). The Saree is a traditional clothing worn by married women.  The half saree is for coming of age.  The rituals can occur at once or over a few days.

Haldi is the first part of the coming of age celebration. known as the  TUMERIC BATHING CEREMONY that occurs after the 1st menstruation following a ritual seclusion.

The turmeric bathing ceremony often occurs outdoors as the girl sits and gets painted with the mixture by family members only. They then rinse her head with a special flower water mixture.

Outdoor Space for bathing ceremony with area for family to participate.

The final part of the coming of age celebration is  the  PUBLIC FUNCTION where all family and friends are invited and the maternal uncles gift her richly.  She wears Half Saree for the 1st time.  Elaborate Pujas are performed.

 Indoor space for public function with  area for elaborate pujas and guest to seat, eat and dance.

HALF SAREE CEREMONY OF INDIA

WEDDING & CEREMONY DESIGN by ANDRIA JONES

Coming of Age - line & texture collage

THEATER 110 - UNCG

REFERENCES

https://bestiankelly.com/puberty-ceremony-sadangu/

https://www.thaliamoshtagh.com/single-post/2018/12/04/ananyas-half-saree-function

[lovefya]

WAKANDA FOREVER : African Destination Wedding

The Wakanda Forever Destination Wedding occurs in Zambia Africa at the Victoria Falls outdoor landscape and scenery area. The wedding ceremony includes a mix of traditional African rituals from the jumping of the broom, to libations for the ancestors and the traditional wedding money (prosperity) dance with African drumming. 

In much of Africa, drums are considered to symbolize and protect royalty. There are many kinds of African drums, including the djembe.

Attire will include themed looks and colors from the Wakanda Forever movie. The color palette is Royal Purple and Glistening Gold with Warrior Red, Protective Blue, Earthly Brown and Compassion Green, Beautiful Black and Natural White.

The African attire includes the Zulu inspired hat of the black panther mother called Isicolo and a distinctive style of blanket, known as Basotho blankets, worn traditionally by tribal people from Lesotho. 

Isicolio Hats: Can be traced to Zulu culture, where women have traditionally weaved hats from grass and cotton to wear on special ceremonies such as weddings. 

Basotho Blankets : The distinctive style of blanket, worn traditionally by tribal people from Lesotho. This blanket, commonly worn wrapped around a high-status person like a cloak.

Aso Ebi : The word “Aso” means cloth and “Ebi” means family, so it literally means “family cloth”. It a way for friends to show closeness to the family during ceremonial events by matching.

This ceremony is a private event for only a select family members and friends that occurs during the daytime right before the sun sets on a beautiful Sunday Evening.

Jumping of the Broom : Some believe that it originated in West Africa. The broom is waved over the couple's head to ward off evil and than placed on the ground and the couple jumps over it for new beginnings. 

Libations : They pour holy water or alcohol on the grounding each of the four cardinal directions. They then recite prayers to the ancestral spirits, and calls out the names of those that have recently passed away.  This African tradition is aimed to appease the ancestors and bless the bride and groom.

The 4 Elements : The Yoruba have a wedding tradition called the tasting of the four elements. During that ceremony, the bride and groom get a literal taste of flavors that represent the distinct stages in a marriage. A lemon slice is for sour to represent the disappointments the couple will face. A sip of vinegar is for the bitterness they must overcome in fights and trying times. Cayenne is a hot element to show a way of bringing spice and passion to the relationship. Finally, a sweet spoonful of honey to show the joy in marriage.

The destination wedding guest will lodge and conclude the events indoors at the Victoria Falls Safari Lodge restaurant.  The beautiful waterfall scenery has a resemblance from the Wakanda Forever movie. 

The cake is simple yet flows with the theme and the menu will be mostly vegetarian with fish and delicious but simple sides of rice, vegetables and dessert. Fruit baskets will be presented to the bride and groom along with other gifts found in their wedding suite. 

Andria Jones : African Destination Wedding Design

Designing Weddings & Other Ceremonies - Theater 110 -UNCG

REFERENCES

[lovefya]

INDIGOTIC : Baby Blue

CEREMONY DESIGN : BIRTH & NEW BEGINNINGS

This event is a baby shower that takes place in North America, the U.S. The location is Charleston, SC. The event will occur during the day time around 3pm, in June. The venue is a historic beach home. The porch and outside areas for seating and activities will be used as well as the inside kitchen decorated and set-up as a serving area. The main color for this ceremony is indigo. There are shades of indigo with orange and natural colors. The theme is sankofa : meaning to go back and learn from the past in order to move forward. The activities will feature cotton onesies for guests to tie-dye with indigo blue dye and some adinkra stamps for a mudcloth. 

The mother is having a boy. Blue is a common color used for male gendered babies. This event will feature various shades of blue. Not just any blue Indigo blue. Not just any location but specifically in Charleston SC, where the Geeche Gullah people reside. Descendants of slaves, the Geeche Gullah of SC have a passion and deep root understanding for the color Indigo. 

SETTING

In the deep south, it is common to find this type of blue on porches and exterior decor of the homes. The blue is called haint blue.  Haint (haunt) blue. It is believed that the blue repels “haints'' or evil spirits, The bluish-green or light blue, sometimes even called Carolina blue, was often painted on the ceilings of porches to resemble the water. There is a strong belief that evil spirits can not cross water. The color indigo is mysterious and spiritual in meaning. It is the color of justice, creativity, and wisdom. Charleston SC, was a major slave port. Indigo and cotton, after rice were the major crops and work for Charleston slaves. The Indigo dye was such a demand that slaves with particular experience known as Indigo slaves, were often sought after when coming from West Africa. These slaves cultivated indigo from growth to transport.It was normal for some slaves to have blue hands from handling the dye.

This dye was also used to paint the porches, after being mixed to lighten it into haint blue. Another common thing to see In the deep south are haint blue bottles. These bottles are deeper in color but often seen on tree limbs (bottle trees) or hanging from the trees. It is believed that the spirits(haints) will get trapped in the bottles at night and die with the sunlight.

PROPS

Another option for the cotton material is to use stamps on pieces of cloth with a special dye made from mud. Adinkra is a form of symbolic language used by Africans and slaves that all have meaning. The baby shower guests have the option of choosing one they find meaningful to stamp on a piece of cotton cloth for the baby boy. The sankofa symbol is the theme.

The stamped pieces of cloth will be sewn into a special item called a mud cloth. The mud cloth is for the mother to wrap herself in after giving birth. It is believed that wearing it after childbirth will help relieve the new mother of stress and pain. The mud cloth representing earth and nature, the symbols being something with special meaning, is traditionally given by the mother to the daughter. This tradition also originated from West Africa and the secret symbols used by the slaves of Charleston SC, can be found to this day, on buildings and historic sites.

CEREMONY

The host will describe the history and meaning of each activity before guests say a prayer and eat. Guests will socialize and do the activities while enjoying the food and music. The food will include a wonderful rice and fish dish and some sweets with a blue (indigo) velvet cake. The ceremony for the baby shower will start with an introduction of the mother and a burning of sweetgrass.

The Sweetgrass was also something the slaves cultivated and made into baskets. Baskets will be used for serving food and decor. Sweet grass was an important aspect of everyday life for the Gullah Geechee, used to carry fresh foods, rice and even water. The sweetgrass is burned as a way to attract positive energies. It is used as a smudge to cleanse ceremonial areas, or cleanse a new home. It can also be worn as a protective amulet. Current sweetgrass basket makers create earrings and other forms of jewelry. The mother will wear a pair of gifted sweetgrass earrings to the baby shower. Sweetgrass basket makers still sell at the markets in Charleston, SC to this day.

REFERENCES

https://www.myrtlebeachtransplants.com/the-history-of-sweetgrass-baskets-and-the-gullah-people/

https://www.myrtlebeachtransplants.com/the-history-of-sweetgrass-baskets-and-the-gullah-people/

Andria Jones

Designing Weddings & Other Ceremonies

Birth & New Beginnings : Color Collage

Theatre 110  UNCG / Fall 2022

INDIGOTIC. of, relating to, or being of the color of indigo.

[lovefya]

ANGELA DAVIS : Protest Art

By: Beltrán

The Revolutionary Orientation Department supplied Beltran with several photographs to use as sources for his poster. This print is his most famous work, from an image of Angela at a press conference in New York City on September 9, 1969 by photographer F. Joseph Crawford. Beltrán created Crawford’s photograph into an abstract work of art. The colors he used were deliberate with the red color combined with blue to evoke the U.S. flag while making it Angela’s flag.

Angela Davis is known for being wanted by the FBI with gun charges in connection to a crime she was later found not guilty of. She fled the US and gained a lot of support from Cuba and Germany as a communist. She is seen speaking which is a form of address in this protest art. 

Black Femicide : Stop The Violence: by Andria Jones 

For this protest art I took the inspiration of Beltran of Angela Davis, an activist, scholar and writer who advocates for the oppressed. She represents women, culture & politics.

This art is an original photo with a gloomy red filter for effect. The female symbol is placed translucently in front with only her eyes in the center, resembling a gun target. Her mouth is not in view because her words don't matter. Her afro is round big as she represents the black woman of America. The blue is also masculine energy targeting feminine energy. This is a protest of the rise of black femicide in America. The purpose is to wonder more about the black woman and what  black femicide actually is. 

Black femicide affects Black women and girls of all ages. The term is coined by Rosa Page, the founder of Black Femicide U.S., which is a movement to bring awareness to the extreme increase in the murders of black women and girls from within their own communities.

Almost 45% of black women have reported to experiencing physical and sexual violence. Pregnant Black women are 11 times more likely to experience femicide. 

Seeing, painting, and speaking are modes of address used to initiate a response by an artist. Both of these art pieces respond to political tension and issues as black women.

The digital art initiates a response towards stereotypes and bias against black women. Hyper independence and cultural norms keep black women stranded from seeking mental health when in need.  Black women should arm themselves for protection and survival. 

REFERENCES

Black Femicide: A Silent Public Health Crisis - ADVANCING KIDS

Trailing Angela Davis, from FBI Flyers to ‘Radical Chic’ Art | Collectors Weekly

Andria Jones

Philosophy of Art

[lovefya]

Afrofuturism : Postmodernisms in Art

Cover Artist : Samuel Spratt - SHURI (2018) #1 -Oct 17

Created by artist Leonardo Romero this art piece is designed by cover artist Samuel Spratt.  SHURI is a marvel character representing Afrofuturism, a type of postmodern artform. AFROFUTURISM is an artistic and philosophical movement that focuses on African and African American art that involves tech, fiction and imaginative futures. The modernist view is patriarchal and racist, dominated by white heterosexual men. Postmodernism relates to cultural identity. Afrofuturism is a postmodern articulation of race that addresses blackness in this post-racial, political, and cultural moment. There are some postmodernisms that link Afrofuturism.

Hybridizing. Postmodern art is a mixing media and a layering of codes or constructs that create identities while working collaboratively. The Afrofuturistic character creation for this cover involves the artist and the designer with digital layering. The character has a hybrid identity in Afrofuturism as she represents now and the future. Representation is important so that the character can reflect the diverse society. Afrofuturism provides the outlet for reimaging black characters. 

Creating Metaphors. Popular culture is a source of inspiration to create meaning as postmodern art. The afrofuturistic art represents womanism that demands value, dignity, and equality of black women without white cultural norms. Postmodern art is anti-authoritarian by nature. She is a highly intuitive, tech savvy, princess warrior in touch with her own femininity.

Using Narratives.  Postmodernism has helped set the stage for artists to tell the tale of black women. African art, philosophy, and culture is connected to the narrative of the character as she is linked to a people, place, and idea throughout time and the universe. The aesthetic of the art portrays the sci-fi, futuristic setting of afrofuturism. 

Andria Jones

Philosophy of Art

REFERENCES

Shuri (2018) #1 | Comic Issues | Marvel

The Black Panther as Afrofuturist Womanist Vision - The Front Porch