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Killing the Black Body: Race, Reproduction, and the Meaning of Liberty by Dorothy Roberts

This is a no-holds-barred response to the liberal and conservative retreat from an assertive, activist, and socially transformative civil rights agenda of recent years–using a black feminist lens and the issue of  the impact of recent legislation, social policy, and welfare “reform” on black women’s–especially poor black women’s–control over their bodies’ autonomy and their freedom to bear and raise children with respect and dignity in a society whose white mainstream is determined to demonize, even criminalize their lives.   It gives its readers a cogent legal and historical argument for a radically new , and socially transformative, definition of  "liberty" and “equality” for the American polity from a black feminist perspective. The author is able to combine the most innovative and radical thinking on several fronts–racial theory, feminist, and legal–to produce a work that is at once history and political treatise.  By using the history of how American law–beginning with slavery–has treated the issue of the state’s right  to interfere with the black woman’s body, the author explosively and effectively makes the case for the legal redress to the racist implications of current policy with regards to 1) access to and coercive dispensing of birth control to poor black women 2) the criminalization of parenting by poor black women who have used drugs 3) the stigmatization and devaluation of poor black mothers under the new welfare provisions, and 4) the differential access to and disproportionate spending of social resources on the new reproductive technologies used by wealthy white couples to insure genetically related offspring.   The legal redress of the racism inherent in current  American law and policy in these matters, the author argues in her last chapter, demands and should lead us to adopt a new standard and definition of the liberal theory of “liberty” and “equality” based on the need for, and the positive role of government in fostering, social as well as individual justice.  [book link]

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Must read, for the Black and Female and lovers of Black Women. 

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Hope this gets to Your TL.

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Real Life ‘Hidden Figures’ || These Women are Real Life STEM Geniuses

Black Girl Long Hair writes:

With the movie Hidden Figures set for release on December 25, 2016, IBM and Vanity Fair have partnered up to profile eight diverse trailblazers in science, technology, engineering, and mathematics (S.T.E.M.). Four of these individuals are black women who have broken barriers in the field and become role models for those of us who have followed their footsteps.

“When I went into space, people asked me about ‘its importance for black girls?’ My answer: ‘It’s certainly a meaningful example for young black girls. And it is also an important example for older white males who are the main gatekeepers to science and engineering. My being an astronaut removes any excuses for them to disregard the potential of girls of color.” – Dr. Mae Jemison for Vanity Fair

Keep Reading.

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Ephasini Lamabhudango: Reclaiming Dreams Deferred.

Too often, the history of Africa is often sectioned according to the colonial presence of European entities. When writing about Africa, to add to Kenyan writer Binyavanga Wanaina’s persistently relevant prose, one mustn’t forget to use the terms ‘pre-colonial’, ‘colonial(ism)’ and ‘post-colonial’ when describing the state of the continent and its myriad of peoples before, during, and after colonialism. This seemingly inescapable partitioning of African history means that we are constantly forced to address, confront and contend with the effects of colonialism that are not only restricting and confining, but the very nature of oppression ensures that the oppressed are stripped of their humanity regardless of how much they imitate or adopt the culture of their oppressors. 

Under colonialism, few things belonged to us, not even our bodies. Under the prism of white supremacy, black bodies are simultaneously hypervisible and invisible. Perceptions based in prejudice often render us agentless in the ways society interacts with black bodies. For centuries, despite nudity in its various forms being a prominent and accepted part of daily life and culture for many Africans, enslavement, colonial rule, influences from Islam and Christianity, and patriarchal systems violently upheld systems and social standards that constrained the agency and autonomy of black people through clothing and nudity. Civilizing missions sought to enlighten so-called savages, ironically employing savage methods to do so.

Today, the case of ‘true’ emancipation from colonial subjugation remains a debate with no real end – even and especially when dealing with conflicts of community and self, relating to who we were, before, during, and after colonialism. Pan African narratives and culture have sought to address, pun intended, these dilemmas by encouraging Africans to adopt and take pride in their traditional clothing as a form of reclaiming a sense of self that was stripped away by history. However, like everything else affected by colonial rule, the mentality of factions of Pan Africanists does not extend to the ‘radical’ notion of nudity being a form of presentation as natural as wearing garments for some. Thus, this begs us to ask several questions; How free is free? What does liberation look like to each individual? And in the context of bodies and ownership, history and the world as we know it now, living in a culture of where FEMEN’s nude protests stand in stark contrast to the women who have, for centuries, used nudity as a form of resistance, nudity can be as much liberating as it is suppressing. Navigating nudity in the present day is often a delicate balance and as black women, intersectionality is the guiding force that grounds or resistance in fiercely claiming you for you, as you are. Whether in downtown Johannesburg or on the streets of Nairobi. Your body belongs to everyone but you. For black women, ownership of our bodies, whether clothed or unclothed, is a constant battle where the “historic binary of the naked and clothed” – where nudity reflects ills not in line with moral uprightness – often reveals itself in violent manifestations not unlike ones seen in the past.

In Ephasini Lamabhudango, “a film about the celebration and reimagining of a Ndebele woman in modern day Johannesburg who dares to be her true self”, actress Tsholofelo Maseko casually walks the streets of the city, beautifully dressed in her Ndebele traditional dress, hoping in the front seat of a taxi at one point, sitting down to observe her surroundings at another. “Ephasini Lamabhudango means your dreams,” Tsholofelo tells me. “English is such a literal language and is not always the greatest to translate into but to translate it loosely it means ‘your dream world’”.

Speaking to the self-described ‘dreamer from Middelburg, Mpumalanga’, we discussed her interpretation of personal liberation and the significance of reclaiming her sense of self as depicted in the film. As with the Ndebele women, past and present, and women all over the continent who have and still wear their traditional clothing, whatever it may be, nudity is not a central focus for Tsholofelo. A collaboration between many talents, the video was captured by Zimbabwean-South African filmmaker, photographer and Pan African traveler Ndumiso Sibanda whom I chatted to as well.

Like Sibanda, Maseko is no stranger to the camera. Since beginning her acting career in 2012, she’s appeared in television shows Intersexions 2, Soul City, Task Force, and most recently The Road. But unlike the roles we’ve seen her portray on screen, this role is not any bit fictional.

How the idea come about for the video, and what inspired you to create it?  

The experience of an African in Africa. The desire to express myself in my language without saying a single word. It was inspired by my desire to experience ultimate freedom in my life time. I had grown tired of constantly apologizing for my blackness, my femininity and my Ndebele-ness because apparently Ndebele women aren’t that beautiful and you can’t be traditional/rural in the city. You can’t be yourself in the city. 

From start to finish, this story is almost entirely your own, save for the lyrics provided by singer Thandi Ntuli. What would you say is, or how would you describe what you label as, your “true self”?

Fearless. My true self is not afraid, ashamed or ever feels like hiding. I am confident, unapologetic and offensive about who I am. I own my body and my image. 

How was the experience of walking around Johannesburg filming the video for you?

It was absolutely life changing. In those few hours I experienced ultimate freedom. When I left home I thought I wasn’t going to make it back because a half-naked woman at a taxi rank doesn’t live to tell the tale. But as I was walking I realized that everybody understands what’s going on here because this is who they are as well, so automatically they respect it. The only shock factor here is that I’m doing it in the middle of Johannesburg and remember people that look like that don’t belong in the streets of Johannesburg. Women that “expose” themselves like that don’t make it to the other side of the bridge because she asked for it. How dare she embrace her femininity and own her body like that? When I made it to the other side of that bridge the fear, self-doubt, shame, and self-blame, it all disappeared and I felt so proud and understood my power so much more. I am a woman, I am black, I am Ndebele and I choose to exist in the world exactly like that, I’m not leaving anything at home. 

There so much power in hearing you describe your experience. It’s hard not to be inspired. Interestingly, much of what hear in the video comes from singer Thandi Ntuli. How did Thandi’s involvement come about?

My amazing director Ndumiso Sibanda is the one that made it happen. I’m yet to meet the talented Thandi Ntuli. I’m so grateful for her contribution, the song speaks to me so much and gives the film so much life. 

You’ve spoken in depth about your experience on the day the video was taken. But reflecting on a wider scale, what does this video mean to you? 

This for me is a reminder to myself, my brothers and my sisters that no matter where you come from, no matter who you are your dreams are valid and nothing is impossible. 

(all images by Ndumiso Sibanda)

As a visual storyteller who describes his incredible experiences as a mixture of blessings, faith and talent, Ndumiso Sibanda was born in Zimbabwe. “It’s where I water my strength”, he adds when mentioning his place of birth. Though he grew up in Cape Town and has been living in Johannesburg for the last decade, he estimates that he’s travelled 85% of the African continent by car. “I’m an artist at heart, all of what I do is driven by expression. I’ve had some amazing experiences in my young life and I guess one medium of expression won’t cut it. I tell stories across various mediums.”

There’s a lot packed in to what we seen in this short film and if there’s anything filmmakers know it’s that packing a strong message into a short film can be incredibly challenging. What was the experience like conceptualizing, filming and photographing Tsholofelo for the video?

Working with Tsholofelo Maseko and Dumisani Mvumvu was an amazing experience. It was creativity meets purpose, driven by intent. 

After a few pre-production meetings, we decided on a plan to walk and catch a public mini bus (taxi) from one side of Johannesburg to another and eventually take a walk over the Mandela Bridge. With no real script outside of intent and purpose, we took in the authentic responses that Tsholofelo’s bravery encouraged. 

Filming this was unsettling in the beginning. The environment was not controlled. Everyday there are incidents that leave women sexually violated because they left the house as they wished. In order to get the reality of the situation and get genuine responses the environment had to challenge our very presence as it naturally would. What defied expectation was how respectful people were, how unexpected their humility was, how they were driven to make Tsholofelo comfortable. 

You’ve traveled to various parts of the continent, photographing many sights along the way so the idea of filming something deeply rooted in the African conscience and identity seems incredibly fitting. As a filmmaker and photographer, what are some of the things you strive to achieve through your work?

I wish I could answer this question with a few more years in my head. I don’t understand my blessings right now and that’s what I’m journeying towards. I do know that I’m incredibly talented and by virtue of my curiosity and faith I often come out with pieces of work that celebrate humanity, and often more specifically black people. The aspirations of Africans is my goal with all my might. I’m not at all interested in work that does not feed the upliftment of the continent. I like to attract the type of work I put out and one day as I begin to expand my travels I look forward to bringing my thoughts about the continent to the world.

As a consumer of art, meaning is something I often like to contextualize my interpretation of works in line with the intentions of the artist. What does this video mean to you? 

This video to me means that we do not have to conform to the type of thinking that keeps us under our own thumbs. The strength we exude is put down by so many filters that by the time we leave our own houses we have condemned ourselves to mediocrity or the type of dis-comfort that’s okay with being “just nje” or  “just okay”. Live with intent, love with purpose and live with love.

This film means it’s okay to be unapologetically black. In the words of my best friend Ntyatyambo Ntloko “let’s be so black, Ndumiso”. 

I was informed that you were responsible for the film’s soundtrack. How did Thandi’s involvement come about?

Thandi and I have been chatting about a project we would like to work together on. In the midst of these talks, Ephasini Lamabhudango came up. There were a few songs we played with but at that time only one of them worked and it was by an artist named Alice Smith from the Nina Simone tribute album titled “I Put a Spell on You”. As much as I fell in love with this song it became clear to me that we needed a song no one had heard before. I called Thandi Ntuli and she answered. Her ability to create is such an inspiration. She sent through a sample track and I fell in love with it thinking it was the final one. She then invited me to studio and I fell in love with her process and I guess the rest is on film. 

What do you hope viewers will take away from the video, an underlying message, if any?

I hope viewers will embrace themselves and regain their respect for women, and regain the strength of their African-ness. I think we are at a battle with our blackness and we shouldn’t be. 

Are there plans to further the project in any way?

There are definitely plans for more but I won’t say too much. I believe the more people you tell the more you take away.

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4 DIY Remedies To Treat An Irritated Scalp

Curls Understood writes:

Dealing with an irritated scalp is not only annoying, it’s kind of embarrassing too. In most cases an itchy scalp is caused by dandruff, seborrhoeic dermatitis, or psoriasis. Sure you can purchase OTC shampoos and other treatments, but those tend to be full of chemicals that are harmful and not good for sensitive scalps. The other option is to try home remedies which aren’t nearly as damaging to your scalp.

Here are 4 remedies that really relieve an itchy scalp.

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Meet the Nigerian responsible for Beyonce’s body artwork in Lemonade. Laolu Senbanjo.

It’s been almost three days since Lemonade dropped and we are still beautifully overwhelmed as this album has been Bey’s most emotional and artistic piece with elements of poetry being spewed, vocal range, features from the likes of James Blake and The Weeknd as well as it’s genre breaking songs such as Daddy’s Lessons and Don’t Hurt Yourself, Beyonce proves to us once again as to why she deserves to be amongst the heavyweight legends.

Going into the making of the conceptualized video which premiered on HBO we have the 34 year old Laoulu Senbanjo, a Nigerian born artist based in Brooklyn who had left Lagos as a Humans Rights Attorney to become a struggling artist. Senbanjo’s artistic appeal is inspired by Yoruba culture which he describes as “the Sacred Art of the Ori”

When asked about how he felt about working on Lemonade with OkayAfrica he stated: 

It was so emotional. It was powerful, mind-blowing. Being someone of her power, status, speaking up for women, speaking up for Black Lives Matter, empowerment. To be part of that… she has an amazing vision.

Now the fruits of his labour have finally come to fruition he is living proof of the concept that one should die for their art.

Black is Beautiful! 

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You Might Also Like: Pray You Catch Me - Beyonce (Official Audio)

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(via https://www.youtube.com/watch?v=9IeLlYATx3k)

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The African Activist Archive has an amazing collection of posters, photos & documents.

http://africanactivist.msu.edu/index.php

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To a 20something year old failure

This blog started of as a means of me challenging myself, me exploring all that I a m curious about. Part of that challenge is for me to always be honest and real with myself. Think about it. if you can not be real and honest with yourself, who will you be honest and real with? 

The past few weeks, I have had this urge of needing to talk to someone, someone who gets me, someone who wont judge me, and yet will “diagnose” me, and let me have it straight, someone who will tell me, what is wrong with me . I now realise I had the urge because its been a while since I have kept it 100 with me. This is primarily because of my latest obsession and panic about the notion of a 20something year old success. I look at my age and wonder into a spiral of, what have I accomplished, and subsequently parading my failures. 

Truth of the matter is, I am not the only one obsessed with this “goal”. The media and general population glorify and really sound all their horns for these types of successes. “The 20 year old who is a billionaire and trades stock”. “The now 35 year old who speaks with gusto of their accomplishments they achieved in their 20s” “The 14 year old who received x amount for her charity” We have all seen these, shared these and all the while spiralling deeper into our despair. I mean, the pressure is on people.  

I remember how i thought my brother to be bitter and lacking in ambition when he tried to talk to me regarding my rather big goals, which were all set to be accomplished by 32. goals such as Own an airline, Own a hotel, and a recording studio, amongst other things. What is a common truth is that most people in their 20s haven’t figured out who they are, what their “passion” is, and what exactly they want to be remembered for. for most of us, we have just been following the set template of life till we finished university and are now faced with an actual life that is comprised of our own decisions. For most of us, we will make wrong choices and get lost. It will take a lot of trial and error to finally get to a space where we feel we are on the right path, let alone satisfied. 

Chasing the ideals of the 20something year old success will no doubt be fruitful for some. But for some, it will lead down a path of dissatisfaction, discouragement, envy, and what i consider to be the worst - frantically running everybody else's race but your own. 

What I am saying is, Its okay to not have it all figured out, its okay to be a 60something year old success, to be following your curiosity. But its not okay to run everyones race but your own. Guard yourself against envy, Lies and false projections that you yourself end up believing (which really just gets you down when reality hits) So to my fellow 20something year old non success, Keep working on you, your curiosity and your journey. J.Cole said it best in his song Love yours “ Don’t be sleeping on your level cause its beauty in the struggle nigga. Goes for all y’all, its beauty in the struggle nigga”  so love yours, and stay true to you. 

Mlungu. 

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Faux Locs

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a review of my favourite lip gloss - the Clinique Colour Pop lip lacquer

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I was quite confused about this nifty pep start eye cream by Clinique. You on the other hand...don’t have to be.  

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A review of the Clinique Even Better Foundation.

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#OnTrial Clinique Even Better Foundation. Claim to fame: Works on your skin, making it look #EvenBetter without makeup.