Yegna Abet (feat. Haile Roots)
Can’t speak a word of Aramaic, but I love the energy of this. Anyone have a rough translation?
(found on Okayafrica)
Omg j got me thinkin bout access to viable romantic partners like you said, w an economists lens. Youre brilliant!
It never ocurred to me before yesterday but thats exactly what freedom and options tends to depend on for woc, but more specifically, black women.
Remember I said access to healthy interpersonal relations of all sorts is up there w salaries, food, water, shelter, etc.
Its a basic need. Not to commodify more than we are, or brush off that we can be fine alone,
But when you think about whos got more access to healthy relationships vs who doesnt, it all correlates to intersections, the more youre crossed, the less access. Just like w other basic needs.This is why I talk about desire and the importance of deconstructing it so much. Because it doesnt get seen as important but this is one of the most MAJOR forms of oppression. You can get through the others more easily with someone to love you and mutually affirming you as someone desirable and worthy of love. Its one of, if not the most, heinous crimes of the system we live in. Its something that poisons you from the inside out on a daily basis despite what levels of self confidence you may possess. It wears down on you daily. Access to Love is a very serious topic that I will talk about until I am blue in the face. Its what causes me to both hate men and want them desperately.
And its an oppression that makes you feel pitiful. because if you talk about desire without talking about how its informed, it suggests that the fault is yours and ppl will feel sorry for you or think its about pity. like ohhh I know it must be hard to be seen as so unattractive. And Ppl may think I am just complaining about love, and oh its the same for everyone. Actually no, its about more than ppl seeing you as unattractive. Its about a system that actively and pointedly marks you as disgusting, abnormal, othered, and undesirable to serve its own ominous ends. It keeps you from being loved and desired. And thats even more of a crime in a society that ties a woman’s desirability and thus access to men, who are the primary holders of resources and wealth, to economic well-being. Which is a major reason that white women’s feminism is not the same as ours. And dont even get me started on queer and trans women who are simply not allowed to get life breathed into them in the form of romantic love. Yes you can survive, but sometimes its like breathing through a straw.
yeah i feel a lot of what you’re saying. i think the key word is love makes you feel worthy. maybe not in the traditional understandings of that word but there’s something about getting affirmations that you are something valuable and something lovable that does indeed affect the self esteem and even when we’re children lays the groundwork for the kind of adults we’ll be. as we age it becomes less familial and we stop looking to our parents and those older than us to confirm that we are seen and appreciated and adored, we turn to our lovers, or potential lovers for those same reminders and reinforcements to our sense of self. when you factor in going through this world as a black woman, where not only the media but the entire system is keen on sending those micro aggression and subtle, toxic, passive aggressive reminders that you are not to be valued or prized or tended after or supported, the need for love (to be deemed worthy) becomes almost desperate. idk man, i’m a firm believer in the healing capabilities of love, even if it doesn’t necessarily come from a romantic source. but there is something decent and pure an affirming about true romantic love. and it ties into something that’s so so important to me and close to my heart which is how the world doesn’t see black women as something precious and to be protected. i always say that’s some life or death shit and people don’t believe me. but part of being loved is having confirmation that your well being is important and the fact that you continue to exist is paramount. the absence of that is the exact opposite, which is a whole ‘nother conversation in and of itself.
And it needs to stop being treated as a petty and shallow subject or just about pulling numbers or dates or getting laid.
“the need for love (to be deemed worthy) becomes almost desperate…but part of being loved is having confirmation that your well being is important and the fact that you continue to exist is paramount. the absence of that is the exact opposite,”
That’s what made me suicidal when I had my last major bout of depression over 10 years ago. It’s also why so many BW (including me my entire dating life) throw themselves into so many shitty and abusive relationships.
Wonder Women by Kevin Bolk
Just a little tribute art inspired by cosplayer Jay Justice and her Nubia costume as well as a young lady who cosplayed with her as Donna Troy in this photo (if any of you guys happen to know who the 2nd gal is, send her my way. I’d love for her to see this.) Jay herself and a few other friends inform me that she’s fellow cosplayer, Adya Moran. Thanks. ^_^ I thought they looked amazing and have been itching to draw them for some time.
Loren Holland’s paintings lampoon assumptions about African American women. Her subjects are purposefully stylized to call attention to the way their real-life counterparts have been portrayed in the popular media as mysterious, exotic, sexual, even animalistic beings.
more.
Ava DuVernay, writer/director of Middle of Nowhere
Nine years ago, on the set of a major Hollywood production, film marketer Ava DuVernay realized she had a story to tell — her own story from the streets of Los Angeles. The result is her latest movie, Middle of Nowhere, which brought the filmmaker a Sundance Festival award for best drama director. She is the first African-American woman to win the award.
NPR interview with DuVernay here (transcript at link).
African American Folk Healing, by Stephanie Mitchem
Cure a nosebleed by holding a silver quarter on the back of the neck. Treat an earache with sweet oil drops. Wear plant roots to keep from catching colds. Within many African American families, these kinds of practices continue today, woven into the fabric of black culture, often communicated through women. Such folk practices shape the concepts about healing that are diffused throughout African American communities and are expressed in myriad ways, from faith healing to making a mojo.
Stephanie Y. Mitchem presents a fascinating study of African American healing. She sheds light on a variety of folk practices and traces their development from the time of slavery through the Great Migrations. She explores how they have continued into the present and their relationship with alternative medicines. Through conversations with black Americans, she demonstrates how herbs, charms, and rituals continue folk healing performances. Mitchem shows that these practices are not simply about healing; they are linked to expressions of faith, delineating aspects of a holistic epistemology and pointing to disjunctures between African American views of wellness and illness and those of the culture of institutional medicine.
Download link: http://www.sendspace.com/file/w4p6wc
(Source: readabookson)
When love leaps form my mouth
cadenced in that Grenada wisdom
upon which I first made holy war
then I must reassess
all my mother’s words
or every path I cherish
Like everything else I learned from Linda
this message hurtles across still uncalm air
silent tumultuous freed water
descending an imperfect drain.
I learn how to die
from your many examples
cracking the code of your living
heroisms collusions invisibilities
constructing my own
book of your last hours
how we tried to connect
in that bland spotless room
one bright Black woman
to another bred for endurance
for battle
island women make good wives
whatever happens they’ve seen worse…
your last word to me was wonderful
and I am still seeking the rest
of that terrible acrostic
Black woman. Baad woman.
Wear your bigness on your chest like a badge
cause you done earned it.
Strong woman. Amazon.
Wear your scars like jewelry
cause they were bought with blood.
BLACK ASS MANIFESTO [from Hycide Magazine]
Words by Liza Jessie Peterson | Image by Akintola Hanif
THE ASS
The Black Woman’s ass commands great power and has historically been adored, scorned, sold, lusted for and objectified. The Black ass, the original African seat of humanity, is ancient and powerful, mystifying even. With my Black African ass up close, I aim to honor and salute its beauty and antiquity. I also aim to provoke thought, as the Black woman’s ass currently dominates newsstands with a plethora of Black booties, perched and poked out, shined up and paraded on magazine covers, hypnotizing passersby and dominating the window display. Erotica and burlesque is nothing new or shocking. However, it’s through hip- hop videos that scantily clad gyrating booty-clapping “vixens”, commonly referred to as “hoes”, were launched into pop culture. This circus parade of super-sized booties conjures forth reflection upon the historical obsession and exploitation of Sarah Baartman, aka Hottentot Venus, circa 1810. With today’s Urban Hottentots, some of the images are digitally enhanced (bigger is regarded as better), and many women are getting cosmetic surgery to increase the size of their buttocks by injecting silicon. It’s the age of plastic surgery it’s possible to achieve a big plastic butt. Amid entertainment media’s pop culture obsession with celebrating the stripper and prostitute as a celebrity, I am inserting my body as a work of art into the conversation, presenting the totality of a fragmented Goddess, whole and sacred again. I offer an image of Black erotic revolutionary beauty; honey on the blade, if you will. An Ancient Goddess Warrior Homegirl Healer Artist Woman. We’ve seen them before. I am not the first. I am not the last. Just a reflection, a reminder.
THE ART
On my left ass cheek is a lotus and peony flower floating on the primordial waters of the ancient African Kemetic Goddess Nun, whose celestial waters are flowing out from my seat of power, my sacred womb. The celestial waters swirl into a spider web because women are magic weavers of life. On my right ass cheek is a lotus and peony flower riding on the same primordial celestial waters of the first mother, the African Mother, swirling into the galaxy because we are cosmic. The top of my seat is crowned by a beautiful orchid flower with vines and ladybugs that cascade down the sides of my ass framing the entire mystical scene.
THE MEDITATION
The history, the power, and the controversy over the Black booty, along with the symbolic tattoo Art on my Beautiful Black Ass, is a meditation, indeed, on self-defined erotic beauty.
Liza Jessie Peterson is an actress, performance artist and playwright. Her new book, “The Peculiar Patriot”, features notes direct from her national prison tour and a prison pin up calendar to encourage and inspire prisoners. Learn about the calendar and more at www.lizajessiepeterson.com.
This is so fucking dope, I can’t even.
Dahomey’s Women Warriors [Past Imperfect]
It is noon on a humid Saturday in the fall of 1861, and a missionary by the name of Francesco Borghero has been summoned to a parade ground in Abomey, the capital of the small West African state of Dahomey. He is seated on one side of a huge, open square right in the center of the town–Dahomey is renowned as a “Black Sparta,” a fiercely militaristic society bent on conquest, whose soldiers strike fear into their enemies all along what is still known as the Slave Coast. The maneuvers begin in the face of a looming downpour, but King Glele is eager to show off the finest unit in his army to his European guest.
As Father Borghero fans himself, 3,000 heavily armed soldiers march into the square and begin a mock assault on a series of defenses designed to represent an enemy capital. The Dahomean troops are a fearsome sight, barefoot and bristling with clubs and knives. A few, known as Reapers, are armed with gleaming three-foot-long straight razors, each wielded two-handed and capable, the priest is told, of slicing a man clean in two.
The soldiers advance in silence, reconnoitering. Their first obstacle is a wall—huge piles of acacia branches bristling with needle-sharp thorns, forming a barricade that stretches nearly 440 yards. The troops rush it furiously, ignoring the wounds that the two-inch-long thorns inflict. After scrambling to the top, they mime hand-to-hand combat with imaginary defenders, fall back, scale the thorn wall a second time, then storm a group of huts and drag a group of cringing “prisoners” to where Glele stands, assessing their performance. The bravest are presented with belts made from acacia thorns. Proud to show themselves impervious to pain, the warriors strap their trophies around their waists.
The general who led the assault appears and gives a lengthy speech, comparing the valor of Dahomey’s warrior elite to that of European troops and suggesting that such equally brave peoples should never be enemies. Borghero listens, but his mind is wandering. He finds the general captivating: “slender but shapely, proud of bearing, but without affectation.” Not too tall, perhaps, nor excessively muscular. But then, of course, the general is a woman, as are all 3,000 of her troops. Father Borghero has been watching the King of Dahomey’s famed corps of “amazons,” as contemporary writers termed them—the only female soldiers in the world who then routinely served as combat troops.
When, or indeed why, Dahomey recruited its first female soldiers is not certain. Stanley Alpern, author of the only full-length Engish-language study of them, suggests it may have been in the 17th century, not long after the kingdom was founded by Dako, a leader of the Fon tribe, around 1625. One theory traces their origins to teams of female hunters known as gbeto, and certainly Dahomey was noted for its women hunters; a French naval surgeon named Repin reported in the 1850s that a group of 20 gbeto had attacked a herd of 40 elephants, killing three at the cost of several hunters gored and trampled. A Dahomean tradition relates that when King Gezo (1818-58) praised their courage, the gbeto cockily replied that “a nice manhunt would suit them even better,” so he drafted them drafted into his army. But Alpern cautions that there is no proof that such an incident occurred, and he prefers an alternate theory that suggests the women warriors came into existence as a palace guard in the 1720s.
Women had the advantage of being permitted in the palace precincts after dark (Dahomean men were not), and a bodyguard may have been formed, Alpern says, from among the king’s “third class” wives–those considered insufficiently beautiful to share his bed and who had not borne children. Contrary to 19th century gossip that portrayed the female soldiers as sexually voracious, Dahomey’s female soldiers were formally married to the king—and since he never actually had relations with any of them, marriage rendered them celibate.
At least one bit of evidence hints that Alpern is right to date the formation of the female corps to the early 18th century: a French slaver named Jean-Pierre Thibault, who called at the Dahomean port of Ouidah in 1725, described seeing groups of third-rank wives armed with long poles and acting as police. And when, four years later, Dahomey’s women warriors made their first appearance in written history, they were helping to recapture the same port after it fell to a surprise attack by the Yoruba–a much more numerous tribe from the east who would henceforth be the Dahomeans’ chief enemies.
Dahomey’s female troops were not the only martial women of their time. There were at least a few contemporary examples of successful warrior queens, the best-known of whom was probably Nzinga of Matamba, one of the most important figures in 17th-century Angola—a ruler who fought the Portuguese, quaffed the blood of sacrificial victims, and kept a harem of 60 male concubines, whom she dressed in women’s clothes. Nor were female guards unknown; in the mid-19th century, King Mongkut of Siam (the same monarch memorably portrayed in quite a different light by Yul Brynner in The King and I) employed a bodyguard of 400 women. But Mongkut’s guards performed a ceremonial function, and the king could never bear to send them off to war. What made Dahomey’s women warriors unique was that they fought, and frequently died, for king and country. Even the most conservative estimates suggest that, in the course of just four major campaigns in the latter half of the 19th century, they lost at least 6,000 dead, and perhaps as many as 15,000. In their very last battles, against French troops equipped with vastly superior weaponry, about 1,500 women took the field, and only about 50 remained fit for active duty by the end.
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King Gezo, who expanded the female corps from around 600 women to as many as 6,000. Picture: Wikicommons.
None of this, of course, explains why this female corps arose only in Dahomey. Historian Robin Law, of the University of Stirling, who has made a study of the subject, dismisses the idea that the Fon viewed men and women as equals in any meaningful sense; women fully trained as warriors, he points out, were thought to “become” men, usually at the moment they disemboweled their first enemy. Perhaps the most persuasive possibility is that the Fon were so badly outnumbered by the enemies who encircled them that Dahomey’s kings were forced to conscript women. The Yoruba alone were about ten times as numerous as the Fon.
Backing for this hypothesis can be found in the writings of Commodore Arthur Eardley Wilmot, a British naval officer who called at Dahomey in 1862 and observed that women heavily outnumbered men in its towns—a phenomenon that he attributed to a combination of military losses and the effects of the slave trade. Around the same time Western visitors to Abomey noticed a sharp jump in the number of female soldiers. Records suggest that there were about 600 women in the Dahomean army from the 1760s until the 1840s—at which point King Gezo expanded the corps to as many as 6,000.
No Dahomean records survive to explain Gezo’s expansion, but it was probably connected to a defeat he suffered at the hands of the Yoruba in 1844. Oral traditions suggest that, angered by Dahomean raids on their villages, an army from a tribal grouping known as the Egba mounted a surprise attack that that came close to capturing Gezo and did seize much of his royal regalia, including the king’s valuable umbrella and his sacred stool. “It has been said that only two amazon ‘companies’ existed before Gezo and that he created six new ones,” Alpern notes. “If so, it probably happened at this time.”
Women warriors parade outside the gates of a Dahomean town, with the severed heads of their defeated foes adorning the walls.
Recruiting women into the Dahomean army was not especially difficult, despite the requirement to climb thorn hedges and risk life and limb in battle. Most West African women lived lives of forced drudgery. Gezo’s female troops lived in his compound and were kept well supplied with tobacco, alcohol and slaves–as many as 50 to each warrior, according to the noted traveler Sir Richard Burton, who visited Dahomey in the 1860s. And “when amazons walked out of the palace,” notes Alpern, “they were preceded by a slave girl carrying a bell. The sound told every male to get out of their path, retire a certain distance, and look the other way.” To even touch these women meant death.
“Insensitivity training”: female recruits look on as Dahomean troops hurl bound prisoners of war to a mob below.
While Gezo plotted his revenge against the Egba, his new female recruits were put through extensive training. The scaling of vicious thorn hedges was intended to foster the stoical acceptance of pain, and the women also wrestled one another and undertook survival training, being sent into the forest for up to nine days with minimal rations.
The aspect of Dahomean military custom that attracted most attention from European visitors, however, was “insensitivity training”—exposing unblooded troops to death. At one annual ceremony, new recruits of both sexes were required to mount a platform 16 feet high, pick up baskets containing bound and gagged prisoners of war, and hurl them over the parapet to a baying mob below. There are also accounts of female soldiers being ordered to carry out executions. Jean Bayol, a French naval officer who visited Abomey in December 1889, watched as a teenage recruit, a girl named Nanisca “who had not yet killed anyone,” was tested. Brought before a young prisoner who sat bound in a basket, she:
walked jauntily up to [him], swung her sword three times with both hands, then calmly cut the last flesh that attached the head to the trunk… She then squeezed the blood off her weapon and swallowed it.
It was this fierceness that most unnerved Western observers, and indeed Dahomey’s African enemies. Not everyone agreed on the quality of the Dahomeans’ military preparedness—European observers were disdainful of the way in which the women handled their ancient flintlock muskets, most firing from the hip rather than aiming from the shoulder, but even the French agreed that they “excelled at hand-to-hand combat” and “handled [knives] admirably.”
For the most part, too, the enlarged female corps enjoyed considerable success in Gezo’s endless wars, specializing in pre-dawn attacks on unsuspecting enemy villages. It was only when they were thrown against the Egba capital, Abeokuta, that they tasted defeat. Two furious assaults on the town, in 1851 and 1864, failed dismally, partially because of Dahomean overconfidence, but mostly because Abeokuta was a formidable target—a huge town ringed with mud-brick walls and harboring a population of 50,000.
Béhanzin, the last king of an independent Dahomey.
By the late 1870s Dahomey had begun to temper its military ambitions. Most foreign observers suggest that the women’s corps was reduced to 1,500 soldiers at about this time, but attacks on the Yoruba continued. And the corps still existed 20 years later, when the kingdom at last found itself caught up in the “scramble for Africa,” which saw various European powers competing to absorb slices of the continent into their empires. Dahomey fell within the French sphere of influence, and there was already a small French colony at Porto-Novo when, in about 1889, female troops were involved in an incident that resulted in a full-scale war. According to local oral histories, the spark came when the Dahomeans attacked a village under French suzerainty whose chief tried to avert panic by assuring the inhabitants that the tricolor would protect them. “So you like this flag?” the Dahomean general asked when the settlement had been overrun. “Eh bien, it will serve you.” At the general’s signal, one of the women warriors beheaded the chief with one blow of her cutlass and carried his head back to her new king, Béhanzin, wrapped in the French standard.
The First Franco-Dahomean War, which ensued in 1890, resulted in two major battles, one of which took place in heavy rain at dawn outside Cotonou, on the Bight of Benin. Béhanzin’s army, which included female units, assaulted a French stockade but was driven back in hand-to-hand fighting. No quarter was given on either side, and Jean Bayol saw his chief gunner decapitated by a fighter he recognized as Nanisca, the young woman he had met three months earlier in Abomey as she executed a prisoner. Only the sheer firepower of their modern rifles won the day for the French, and in the battle’s aftermath Bayol found Nanisca lying dead. “The cleaver, with its curved blade, engraved with fetish symbols, was attached to her left wrist by a small cord,” he wrote, “and her right hand was clenched around the barrel of her carbine covered with cowries.”
In the uneasy peace that followed, Béhanzin did his best to equip his army with more modern weapons, but the Dahomeans were still no match for the large French force that was assembled to complete the conquest two years later. That seven-week war was fought even more fiercely than the first. There were 23 separate battles, and once again female troops were in the vanguard of Béhanzin’s forces. The women were the last to surrender, and even then—at least according to a rumor common in the French army of occupation—the survivors took their revenge on the French by covertly substituting themselves for Dahomean women who were taken into the enemy stockade. Each allowed herself to be seduced by French officer, waited for him to fall asleep, and then cut his throat with his own bayonet.
Their last enemies were full of praise for their courage. A French Foreign Legionnaire named Bern lauded them as “warrioresses… [who] fight with extreme valor, always ahead of the other troops. They are outstandingly brave … well trained for combat and very disciplined.” A French Marine, Henri Morienval, thought them “remarkable for their courage and their ferocity… [they] flung themselves on our bayonets with prodigious bravery.”
Most sources suggest that the last of Dahomey’s women warriors died in the 1940s, but Stanley Alpern disputes this. Pointing out that “a woman who had fought the French in her teens would have been no older than 69 in 1943,” he suggests, more pleasingly, that it is likely one or more survived long enough to see her country regain its independence in 1960. As late as 1978, a Beninese historian encountered an extremely old woman in the village of Kinta who convincingly claimed to have fought against the French in 1892. Her name was Nawi, and she died, aged well over 100, in November 1979. Probably she was the last.
What were they like, these scattered survivors of a storied regiment? Some proud but impoverished, it seems; others married; a few tough and argumentative, well capable, Alpern says, of “beating up men who dared to affront them.” And at least one of them still traumatized by her service, a reminder that some military experiences are universal. A Dahomean who grew up in Cotonou in the 1930s recalled that he regularly tormented an elderly woman he and his friends saw shuffling along the road, bent double by tiredness and age. He confided to the French writer Hélène Almeida-Topor that
one day, one of us throws a stone that hits another stone. The noise resounds, a spark flies. We suddenly see the old woman straighten up. Her face is transfigured. She begins to march proudly… Reaching a wall, she lies down on her belly and crawls on her elbows to get round it. She thinks she is holding a rifle because abruptly she shoulders and fires, then reloads her imaginary arm and fires again, imitating the sound of a salvo. Then she leaps, pounces on an imaginary enemy, rolls on the ground in furious hand-t0-hand combat, flattens the foe. With one hand she seems to pin him to the ground, and with the other stabs him repeatedly. Her cries betray her effort. She makes the gesture of cutting to the quick and stands up brandishing her trophy….
She intones a song of victory and dances:
The blood flows,
You are dead.
The blood flows,
We have won.
The blood flows, it flows, it flows.
The blood flows,
The enemy is no more.
But suddenly she stops, dazed. Her body bends, hunches, How old she seems, older than before! She walks away with a hesitant step.
She is a former warrior, an adult explains…. The battles ended years ago, but she continues the war in her head.
(via phillipsdepury)
Memories of my grandmothers, of my childhood, and their Sunday church services…
The churches my mother, sister, and I attended were never as magical (or as long) as the ones of my grandmothers.
My maternal grandmother’s church continues to struggle in gaining attendance from the next generations. Church service - this Southern Black Baptist church service - is of the past. Attending feels like the final connections to the South that I can’t truthfully claim as my own. But a part of me would like to claim it and continue to do so. When you grow up as an African-American (not just Black, but specifically African-American) in the North, there is a muddied sense of historical culture. My grandparents moved to Chicago for better opportunities and along the way, they had to reestablish their connection to a culture of the past and a culture of the South.
The last service I attended, a woman wore a sequined yellow hat and I realized these connections were not as tenuous as I first believed. Stylistically speaking, I am far more connected to those traditions of grandeur, thoughtfulness, and respect.
More great hats (and backstory on the history of hats as expression in Black American churches) here. My fave from the article:

Glad to read more about the background behind the practice. Amazing.
(Source: phillipsauction)
Casual racism/sanism/sexism is believing that black women cannot have legitimate mental disorders such as depression, anxiety, or PTSD, so we should be able to tolerate harassment, threats to our life, and other triggering and dangerous situations more easily without complaints.
And if we do complain, set up boundaries for ourselves, demand better treatment, or practice any form of self-care we desperately need to learn to practice, we are called “crazy,” “irrational,” “heartless,” “bitches,” “bitter,” “uncooperative,” etc.
Such casual racism/sanism/sexism is also practiced by therapists and psychologists themselves, that is if black women even have the resources to even attempt to get help and support.
For example, tourist agencies targeting European male tourists who come to Brazil in search of “ethnic” prostitution and sexual commerce would promote Brazil as a tropical paradise using flyers and catalogs featuring brown-skinned, sometimes semi-nude baianas*. Exploitation of the black body is also apparent every year, slightly before and during the month of February, when black women that are usually largely invisible from Brazil’s major television channels throughout the year suddenly become abundant on television programs, appearing semi-nude, gyrating their hips, legs and derrieres at lightning speeds in Carnaval parades and beauty contests. In general, these women are labeled mulatas. The Brazilian mulata: black woman or something entirely different? (via cosmicyoruba)
(Source: thefemaletyrant)
Looks like a pump, feels like a wingtip.
















