#blackartsmovement — Public Fediverse posts

Sonia Sanchez, la niña tartamuda que le dio voz y ritmo al Black Arts Movement
Sonia Sanchez cumplió recientemente 91 años. Fue una de
https://afrofeminas.com/2026/09/13/sonia-sanchez-la-nina-tartamuda-que-le-dio-voz-y-ritmo-al-black-arts-movement/
#CulturaCineYTelevisin #ReferentesNegros #afrodescendientes #Afrofminas #Afrofeminas #afrofeminismo #BlackArtsMovement #dispora #FeminismoNegro #LiteraturaAfroamericana #MujerNegra #PoesaNegra #ReferentesNegras #SoniaSanchez #TempleUniversity

#NowPlaying #ExperimentalHipHop

New #StandingOnTheCorner album dropped today - it hits like #SlyStone raging with #TheResidents at the end of the world. Cameos from #Solange, #DannyBrown, and #DigablePlanets' LadyBug Mecca add texture and relevance, but it's a quiet monologue by 92 year old #BlackArtsMovement member #SoniaSanchez that really roots this one. Recommended to those with wide ears.

https://standingonthecorner.bandcamp.com/album/standing-on-the-corner-ii

Betye Saar, la artista que le puso un rifle a la sumisión
Betye Saar murió el 26 de juli
https://afrofeminas.com/2026/08/07/betye-saar-la-artista-que-le-puso-un-rifle-a-la-sumision/
#CulturaCineYTelevisin #ReferentesNegros #afrodescendientes #Afrofminas #Afrofeminas #afrofeminismo #ArteAfroamericano #ArteYRacismo #AuntJemima #BetyeSaar #BlackArtsMovement #CulturaAfrodescendiente #dispora #ensamblaje #EstadosUnidos #FaithRinggold #FeminismoNegro #MujerNegra #mujerismo #obituario #racismo

Two national photographic exhibitions feature photographs from the Tom and Ethel Bradley Center’s collections. Black Photojournalism opens next weekend at the Carnegie Museum of Art in Pittsburgh, and Photography and the Black Arts Movement 1955-1985 opens later this month at the National Gallery of Art in Washington, D.C. The art collective Madre Monte continued its project with Richard Cross’s photographs of San Basilio de Palenque. #blackphotography #blackartsmovement https://bradleycenterliberated.substack.com/p/black-photojournalism-and-the-black

Aja Monet / 9 april @Kasernebasel

Djembe. Drums. Piano and bass. A sweeping groove beckoned, welcoming us into the world of surrealist blues poet, Aja Monet.

https://youtu.be/_Y-X9CpSiQ0?feature=shared

#ajamonet #grammynominated #poetry #art #advocacy #jazz #blackartsmovement #soundtrackforliberation #spokenword

Black Radical Visual Art ft. The Indigenous Lens

https://tankie.tube/videos/watch/21c8d259-0986-403e-b45c-e1e30697c3be

❄️ #Avent2023

David Hammons, Bliz-aard Ball Sale, 13 février 1983, Cooper Square, East Village, New York

Célèbre performance de D. Hammons, figure du Black Arts Movement, non loin de l’université Cooper Union qui délivre des diplômes d'art.
Il se glisse aux côtés de vendeurs de rue anonymes pour proposer des boules de neige qu’il a façonnées et classées par ordre de taille.

#DavidHammons #neige #performance #art #ArtePovera #NewYork #EastVillage #artiste #BlackArtsMovement #BAM #DawoudBey

John Coltrane's Pursuit of Elegance

By the time of his death in 1967, John Coltrane's status as an icon of the civil rights era, and of the burgeoning Black Arts Movement, was already secure.
Following his death, Coltrane, as the public face of the jazz avant-garde, an embodiment of uncompromising African American artistic self-expression, would become an almost obligatory subject for the younger generation of African American poets: works such as A. B. Spellman's "Did John's Music Kill Him?" (1969). Jayne Cortez's "How Long Has Trane Been Gone" (1969), and Michael S. Harper's volume "Dear John, Dear Coltrane" (1970) are only a few of the earliest, best-known, and most frequently anthologized of these elegiac "Coltrane poems" -as Kimberly Benston has termed them-. More and more, Coltrane's legacy is being recognized by critics of contemporary African American literature, and by the turn of the century that legacy was sufficient to earn him an entry in the "Concise Oxford Companion to African American Literature", affirming the musician's "major impact on literary artists who came of age in the 1960s". But despite his increasingly acknowledged literary significance, Coltrane's own small corpus of poetry and prose has attracted little attention, either in its own right or for what it has to tell us about the nature of his influence on the generation of artists and authors who celebrated his achievements and mourned his loss. Few have tried to situate Coltrane's writing in specifically literary, or even specifically cultural, contexts -or to examine its involvement with historically specific issues beyond his music and its oft-remarked "spirituality." Nor has there been much definite, historicized discussion of the heritage of aesthetic and cultural values to which the Black Arts generation gained access through their
reverence for him.

https://www.jstor.org/stable/24589774

#JohnColtrane #civilrights #BlackArtsMovement #jazzavantgarde #AfricanAmerican #artisticselfexpression #Coltranepoems #literarysignificance #poetry #prose #influence #contemporaryAfricanAmericanliterature #OxfordCompanion #AfricanAmericanLiterature #culturalcontexts #aestheticvalues #BlackArtsgeneration #jazz #music