Start looking at Sexism and Racism. Is this history we are just learning, or history we are not supposed to know. You decide.
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Equality isn't a box
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“I’ve always had an interest in American racial history,” she continues,
“and I think we can see that there are still wounds that haven’t been
properly healed. I know that it’s frightening for people to talk about
but unless you do, they’re never going to be healed. We’re learning that
this isn’t something to be solved; it’s a continuing conversation.
Equality isn’t a box we can just tick and be done with.” - Ruth Negga
“Loving is tapping into something, and it’s not about
politics... People need a couple like Richard and Mildred now; they need
to know that change from a grassroots level is possible, that there is
hope...”
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sexism is the primal, or first, form of oppression in humanity
Sexism is a form of oppression and domination. As author Octavia Butler put it, "Simple peck-order bullying is only the beginning of the kind of hierarchical behavior that can lead to racism, sexism, ethnocentrism, classism, and all the other 'isms' that cause so much suffering in the world."
Blessed is the former slave, for he shall one day be called a master.
Blessed are the unlettered, for they are not burdened with theories of history.
Blessed are the poor, for they make the most of what they are given.
Blessed are the aged, for they can be forever young.
Blessed are the dead, for they are gone. We are on our own now.
—Kerry James Marshall
Bill Traylor (ca. 1853–1949) is regarded today as one of the most
important American artists of the twentieth century. A black man born
into slavery in Alabama, he was an eyewitness to history: the Civil War,
Emancipation, Reconstruction, Jim Crow segregation, the Great
Migration, and the steady rise of African American urban culture in the
South. Traylor would not live to see the civil rights movement, but he
was among those who laid its foundation. Starting around 1939—by then in
his late eighties and living on the streets of Montgomery—Traylor made
the radical steps of taking up pencil and paintbrush and attesting to…
Amidst a surge in white supremacist violence across the country, the time has come to reconsider how American museums are presenting European art. “Globalization,” “interconnectivity,” and “diversity” are more than
museum “buzzwords”; they are the battles white supremacists are
fighting.
Senegal has opened the Museum of Black Civilizations to
the public, spanning 14,000 square meters of floor space. The
innovative institution regards Brazil, the United States, and the
Caribbean as Black civilizations in their own right, and maps the
trans-Atlantic slave trade and its diasporic implications throughout
history. Among its first exhibitions are artworks from Mali, Burkina
Faso, Cuba, and Haiti. The museum is 52 years in the making — Senegal’s
late president Leopold Sedar Senghor first proposed the idea at a
festival of black artists in Dakar in 1966, but the museum’s
construction was halted before a Chinese investment of $34.6 million.
The museum opens in the wake of Senegal’s public request for the
repatriation of its objects looted through colonial imperialism. [Africa.com]
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