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Charles E. Siler Bio
Charles E. “Chuck” Siler, was the featured exhibitor for
the Southern University Museum of Art’s Founders’ Day
opening on March 8th, 2007. There was also a second
opening on Saturday, March 10th celebrating his recent
departure from state service.
A graduate of Southern University, with a degree in Fine
Arts, Siler studied with Jean Paul Hubbard, Frank
Hayden, and Harold Cureau as an undergraduate and
credits a number of other artists as influences over the
years. While an undergrad at Southern he cartooned for
the school newspaper The Digest and wrote a humor
column and contributed artwork to The Cat
(yearbook). After being given the Digest Staff Award, he
edited the paper during the summer of 1965. His artwork
has appeared in exhibits across the country and is in
international collections.
After graduation,
Siler moved to the Los Angeles area and counted among
his memorable experiences having had the opportunity to
execute a stage design that was used for the American
Theatre of Being production of Vincent Williams ’ “The
Loudest Noise In The World” at the Coronet Theatre in
West Hollywood.
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Following service in the U.S. Army (U.S.
Army correspondent during his tour of duty
in Viet Nam), Siler returned to Southern
University as Sports Information Director
and Assistant Public Contacts Director.
In 1971
he returned to California and worked for
Black Associated Sports Enterprises, Inc.
producers of the Grambling College Football
Show. Siler wrote and directed a special
segment of the film “Grambling Takes It All
Back Home.” He also wrote and produced
cartoons and illustrations for a number of
publications including Soul and
Soul Illustrated magazines, The Soul
and Jazz Record among others. A black
and white sketch used in Billboard
Magazines 1984 Michael Jackson edition
was seen by more than six million readers
worldwide.
After
the closing of BASE, Siler continued working
as a writer–illustrator and consultant in
the film, television and entertainment
industry. Before returning to Louisiana,
Siler partnered with writers Bill Farley and
Ray Richmond to produce a spoof, The
Unofficial Guide to the 1984 Games which
poked fun at the plethora of official guides
produced when the Olympics were held in Los
Angeles. |
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Siler returned to
Louisiana and in 1985 became Division Information
Representative and, later, Program Coordinator for the
Division of Black Culture, then housed in the Department
of Culture, Recreation, and Tourism. His production
experience was called into play as he worked in the
African American community assisting organizational
(museums and cultural centers) and festival development.
He still found time to maintain a studio through the
mid-nineties and pursue his art.
Siler, a native of Baton Rouge, Louisiana returned to
Louisiana in the 1980s and went to work for the Division
of Black Culture in the Department of Culture,
Recreation, and Tourism and was instrumental in
assisting the development of many of the state’s African
American museums and cultural centers.
After a brief
hiatus, he joined the staff of the Louisiana State
Museum in 1989 as programs curator while also
coordinating African American Outreach for that
organization. During the 1990s, Siler was curator for
three major exhibits—The Sojourners at the Museum of the
Americas (New Orleans) and a statewide exhibit of
African American artists at the Masur Museum of Art
(Monroe). He also curated the exhibit, “Capturing The
Flash: African American Artists View The Mardi Gras
Indian” and a traveling exhibit “An Artistic Sojourn
Thru The Afro-Louisiana Experience” viewed by more than
a million people during its travels.
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Siler
also created the still-popular “Music At The
Mint” series that has featured such artists
as Alvin Batiste, Ellis Marsalis, Harold
Battiste, Michael White, Henry Butler, Sam
Henry, Kidd Jordan, Raful Neal, Henry Gray,
Tabby Thomas, Harold Brown and a host of
other entertainers over the year. Siler
created and hosted the first museum “Poetry
Jams.”
He has
produced programs in conjunction with the
National Park Service—“Revolutionary
Repercussions: Impact of the Haitian
Revolution on the Louisiana Purchase”—and
The Old State Capitol Museum—“The Baton
Rouge Bus Boycott”—and a host of
organizations around the state and nation.
For
seventeen years he was a presenter at the
annual Jazz and Heritage Festival in New
Orleans at the African Heritage and Allison
Minor Music Heritage stages. Siler, for four
years, did the initial development work on
the then-proposed State Civil Rights Museum.
Siler’s work and study on Louisiana African
Cultural traditions, particularly the Mardi
Gras Indians and Second Line traditions has
earned him invitations to speak and present
on subjects that have found their way into
his drawing and painting.
A sought after
presenter-lecturer, he has appeared in almost every type
of venue including a fill-in deejay stint on WWOZ Radio
and appearances in such documentaries as “Black In
Louisiana,” “Voodoo In New Orleans,” and Royce Osborne’s
award-winning “All On a Mardi Gras Day.
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Siler has narrated
several award winning radio productions by David Kunian
including “Meet All Your Fine Friends at The Dew Drop
Inn,” “Guitar Slim,” and “James Black: Guardian of The
Groove.” It is his voice that narrates the 1927 flood
video in the new Baton Rouge museum and is among those
in its whispering wall. He recently played the character
“Stick” in a student film produced by Emerald Bayou
Studios that starred legendary Baton Rouge bluesman
Henry Gray.
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He has exhibited at the
Salter Gallery, The Gallery in The
Courtyard, Mumbo Jumbo and the California
African American Museum in Los Angeles, The
West Baton Rouge Museum, The Arna Bontemps
Museum (Alexandria), Ashe Cultural Arts
Center (New Orleans), The New Orleans
African American Museum and the Black
Heritage Gallery in Lake Charles. He has
work in private collections worldwide and
that of Cultural Crossroads in Baton Rouge.
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A Katrina evacuee
Siler spoke on New Orleans history and culture at
Montgomery College (Rockville, MD), Brookhaven College
(Dallas, TX), The American Educational Research
Association (San Francisco) and the Smithsonian
Institution’s National Folk Life festival where he
presented the Hot Eight Brass Band, The Dixie Cups,
Davelle Crawford and Big Chief Monk Boudreaux.
His Southern
exhibit ((2007) “Rhythm n’ hues and Katrina’s Blues” was
a mix of works, one dating back to his senior exhibit at
the university. It ranges from traditional to modern
expressing a variety of emotions and a wry sense of
humor His editorial bent is evident throughout his work
and his post-Katrina work makes its own statement,
underscoring his African-centered views.
Since his retirement he is a resident of Carrollton,
Texas where he resides with his wife, Rhonda Miller and
son Daniel.
Source:
Pairlist
Update
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Rudy,
you may also note that she did answer 'both'
so he couldn't win. I could have inserted
Democrat with the same result even using the
word "liberal" Of course you might laugh to
note that art was, indeed, imitating life.
I'm
also a registered independent, activist and
veteran who supports those you refused to
fight the war. I was a correspondent in
Viet Nam and wrote, cartooned and
photographed what I could while managing to
send home a few hundred "hometown news
releases" to keep folk informed that there
were a lot of brothers who were being
overlooked in the press.
We've
all become family over the years and, yes, I
welcome the diversity of opinion. That
keeps us all honest and unafraid to speak.
I'm not a hundred per cent in agreement with
Barack either but I'm 100% against the
opposition that has none of our interests in
mind only that of those dubbed the 1 per
cent. |
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Fifty years ago,
January 2nd, I got out of jail where I'd spent the
holidays for "illegal picketing". For months after that
I ran the voter registration office for the Baton Rouge
NAACP and burned a lot of shoe leather walking house to
house across most of the southern part of that city
trying to get folk to register and vote. This, while it
was still dangerous. My greatest accomplishment,
psychologically, was when I walked an 84 year old lady
into the building that housed the Registrars office and
she went through a gauntlet of sneering cops and humbled
all of them with a display of dignity that I can't
forget. A chile of former slaves who was determined to
register and vote. To this day, I don't, perhaps in
memory of those who like her and my grandmother who
voted in a time when it could be very costly.
If we want better
we have to become organizers all over again. It might
only take our telling people. We don't have to go to
meetings. But if we meet, and take the time for
rhetorical rationalization, it's necessary to remind
folk that pulling that lever or inserting a slot of
paper into a box just might be able to counter some of
the irrational thought that is so prevalent. I's not
about all of us having to agree. . . it IS about all of
us taking some kind of action and when, necessary,
having the conversations that are designed to accomplish
an end.
Just yanking your
chain.
Kindness, Joy, Love and Happiness
Chuck Siler
Makes Me Wanna Holla
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Chuck Siler's Jazz Angels Deep Water Blues--New
Orleans loss is Dallas' gain! When New Orleans
artist Chuck Siler evacuated to Dallas after
Hurricane Katrina, and he decided not to return,
Dallas gained another master artist. aka CHUCK
SILER: THE DALLAS DEBUT marks Siler's first solo
exhibition in Dallas and includes a variety of media
and themes ranging from New Orleans' lively and
unique jazz scene to its lively and equally unique
political scene. Siler gives us a glimpse into this
treasure of American cities as only a native can,
using his art to comment on its complexities, warts
and beauty marks. His work spans the gamut of media
from fine watercolors and acrylics to
biting political cartoons, most of which find their
way into various publications monthly.
Come out and MEET THE ARTIST on Saturday, September
13 from 5-7 pm have a little jambalaya courtesy of
Dodie's Seafood Cafe and welcome him and
his wonderful art to Dallas! This exhibit is a part
of the DADA Fall GALLERY ARTWALK. Visit
www.dallasartdealers.org for a complete list of
ARTWALK locations.
Opening is
Saturday, September 13 at 5 pm. FREE This
exhibit runs through November 1, 2008. |
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Holiday Cards * * * *
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48 Years ago
I had a flashback yesterday. It
was the 48th anniversary of the largest mass civil
rights march in Baton Rouge History. On December 13th a
group of Southern University students were arrested and
taken to jail for the second time. They had been taken
downtown and given a warning on December 12th. On their
return they were locked up in the line atop the Baton
Rouge courthouse. I was there and arrested on the
thirteenth.
On the 14th (though the News
reports tried to cut the numbers) about 5000 Southern
University students, faculty and Baton Rouge citizens
marched on the courthouse. They assembled peacefully
and prayed and began singing "We Shall Overcome." We
answered them from upstairs and began singing though the
deputies locked down the cells overlooking the streets
and attacked the peaceful demonstration with dogs and
tear gas.
Of course all of that praying and
singing caused a "civil disturbance" and a police riot
ensued. On the male side, more than 300 of us were
housed in a place for 48 where we spent 21 days
incarcerated. Theda Ambrose (Lake Charles), Sylvia
Copper (Baton Rouge), Janetta Gilliam (Houston) Bill
Bradford, Thomas Peete, Joe Louis Smith (Shreveport),
Roger Banks (Banks Electric in Baton Rouge), Weldon
Rougeau (Lake Charles), David Dennis (New Orleans &
Jackson, Mississippi) Jerome Smith, Ronnie Moore (New
Orleans) and others were among those who were among the
leaders and incarcerated.
One of the strongest supporters and
spokesmen on our behalf was Professor Adolph Reed at
Southern.
It was the second time (the first
was in March of 1960) that Southern had demonstrated and
both were the first mass demonstrations led by college
students in this country during the modern civil rights
movement.
Baton Rouge has gotten short shrift
in the history of the civil rights movement particularly
after having been the first to have a bus boycott (1953)
and served as a model for Tallahassee and, later,
Montgomery. I shall always revere Mr. Willis V. Reed
who made his transition in September.
Sometimes the hard earned freedoms
are taken for granted and, too often, overlooked. Next
year marks the 50th anniversary of the first march led
by Marvin Robinson, Eddie Brown, Major Johns, and
others. We have been talking about a 50th commemoration
in 2011.
Just a note, fellas.
Chuck Siler
Charles E. Siler
3822 Hollow Way #512
posted 18 December 2009
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* State
manumission
Rudy,
Will tell you more later but I am
no longer with the Louisiana State Museum. There were
issues over where I could work because I was advised by
my physician that the environment was not good for my
health. I'm limited to visits (preferably when it's
raining) to the city.
The bureaucrats saw things
differently and their training in the other arts made
them far wiser than that poor guy who's only been
practicing medicine for over thirty years.
In short, I retired and am, now,
living in Carrollton, Texas. I'm getting ready for an
exhibit at my alma mater (Southern University) in March
and will be having a special opening to celebrate my
manumission. You would appreciate this better than many
- the promontory by the bend in the river at Southern
was known as Free Nigger Point - a name given it because
those who made it across the river during the early days
of the plantation at Scott's Bluff were free.
I'm working on a painting called
"Free Nigger Point" that I'm donating to the collection
because a great many of us were inspired to keep our
minds unchained. For me, it's an appropriate place to
transit careers. I'm working on an illustration project
that I'll keep you posted on.
The next few months, however, are
going to be spent getting ready for the Southern exhibit
and getting used to not having to go to the office and
put up with b.s. Life outside of the plexiglass box
isn't too bad.
Kindness, joy, love, and happiness.
Celebrate whatever! Chuck Siler
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How
Kalamu and I Met
It was at Fort
Bliss in 1968, I was there for about a month and used to
like to spend time jamming with other musicians in the
service club. I walked into this room one evening and
there were some guys on stage playing and a white kid
was at the microphone ruining some tune.
I stopped to listen
and the drummer, fed up with the singer, did a classic
cymbal crash and ordered him off the stage. Then he
called out to me, "Say bruh...can you sing?" I said yes
and joined them on the stage. It was fun. The drummer
was Specialist 5 Val Ferdinand. He found out I was from
Baton Rouge and he was from just down the road. Both of
us were out there in the desert and we became friends.
Before I left, we had a chance to see Hugh Masekela at U
of Texas El Paso and the friendship lasted.
After I returned, I
had the opportunity to help Preston Edwards when he
began the development of the Black Collegian (on my
kitchen counter in Baton Rouge). We stayed in touch
when I returned to live and work in California. Val
Ferdinand, renamed "Pen of Peace" - Kalamu ya Salaam was
now editor.
The last smile came
on my 60th birthday when he presented me with "The Best
of Lou Rawls." I'm a baritone and used to love Lou,
knew all of his stuff...etc. etc. etc. I still call
Kalamu "my drummer"; he's always on the beat. Thought
you might like that story. Beats Goldilocks and them
Bears. Chuck
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Chuck Siler on Black Men and the Presentation of Culture
The South Dallas
Cultural Center in partnership with the Dallas Heritage
Village will present a multimedia lecture by former New
Orleans resident, Chuck Siler. Mr. Siler recently
retired as the Programs Coordinator and African American
Outreach Coordinator for the Louisiana State Museum.
This lecture will look at the myriad of ways Black men
have created new art forms and their role in presenting
and preserving cultural traditions to the African
community. Groups like the famous Mardi Gras Indians
and the second line musicians will be
showcased along with many others in this spirited
lecture.
Chuck Siler moved to Dallas with his family after
Katrina and has decided to make it his home. He brings
a wealth of knowledge to the city and plans to immerse
himself in the arts and cultural community while here.
His past achievements include writing for numerous
publications, designing for the American Theater of
Being, and assisting in the establishment of African
American museums throughout Louisiana, narrating radio
programs for PBS and appearing in the documentaries "All
on a Mardi Gras Day" and "Voodoo in New Orleans." In
addition, Chuck Siler has a distinguished visual arts
career most recently showing his work in a one man
exhibition at the Southern University Museum. His next
exhibit is scheduled for the Southern University Museum
of Art in Shreveport, Louisiana. This lecture is FREE
and open to the public.
The South Dallas Cultural Center is a program of the
City of Dallas Office of Cultural Affairs. All programs
are subject to change without notice. Visit
www.allasculture.org for a full listing of
South Dallas Cultural Center programs.
Vicki Meek (17 May 2008)
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Registering to Vote in Baton
Rouge
Folk,
I'm passing this on
to you, my special people. Renette at the Louisiana
Weekly wanted something for the paper and this is an
overnight (bleary eyed this a.m.) production. Since a
great many of you on this list are outside of New
Orleans, I wanted you in on it.
DO have a good weekend, especially you community
organizer types. (Smile):
When I was 19 (back
in 1962) I ran the voter registration office for the
NAACP in Baton Rouge. I walked South Baton Rouge, mid
city and areas known to Baton Rouge as the Lake and The
Park.
I remember one lady
whose name I remember as "Mrs. Williams" who was 84 at
the time and had never voted. They found reasons to
"fail" her twice with the added threat that, one more
failure would mean that she couldn't come back for
something like six months to a year. She wouldn't quit
and had me come back to her house and drill her on that
test over and over again until there was no way they
could stop her. I might also note that they would make
subtle changes on the "test" (actually a registration
form for whites, a test for Blacks). I went with her
and walked into the downstairs area thru a gauntlet of
deputy sheriffs who stepped back and stood against the
wall as she walked through. I remember her, head held
high, grim (Mary McLeod Bethune-like) expression on her
face.
Every uniformed face in that hallway was mean and wanted
to be intimidating like at any moment they might attack
her... She epitomized cool and eldership and they
stepped aside.
As I said, I was nineteen years old and not afraid to
die. I was dressed in a tie and jacket and, a la' Mike
Connor's on that television show Mannix, I had a .25
caliber in the small of my back. Fortunately, I didn't
have to pull and use it because, had it come to that
there would have been a memorable headline. I might
note that I was no longer enamored of nonviolence and
was getting closer to Malcolm X in terms of my defensive
philosophy. Plus, as a descendant of the "Shooting
Silers" I was responding in the manner of my father and
uncles who believed in self-defense.
She went into that
office, filled out that form and whatever spirit was
with her that day, pervaded the atmosphere and one of
the best moments in my life was when she stepped out of
that door and smiled.
She came to mind because, on my
last visit to Baton Rouge, I drove through where she had
lived and most of the houses were gone. She lived on
24th or 25th Street near Capitol High School.
Though I've gotten old and can't
remember if her real name was Williams, I do remember
that face. I remember Reverend Jelks being happy and my
other mentor Reverend Walker smiling when I told them
how she parted the Redneck Sea at the courthouse that
day. The NAACP Secretary, Pearl George, and I
celebrated at the office with a soda pop toast.
A lot has happened in 46+ years. Chuck
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Holiday Cards
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Ear Candy:
Visual Art on the Subject of Music
April 21 – May 9, 2009
Mokah Gallery * 2803 Taylor St. / Dallas, TX
75226 * 214/651-0633
Artists Receptions: Saturday,
April 25th, 4-7 pm / Thursday, May 7, 7-9pm
Chuck Siler
is participating in the “Ear Candy: Visual Art on the Subject
of Music Exhibit,” a fundraiser to help
support musicians. All of the artwork is
music themed. He has entered the Silas Hogan
painting, a small watercolor (left). Hogan
has always been one of his favorite
subjects. The painting is in part a tribute
to Baton Rouge which is, in Chuck’s
estimation, the blues capitol of the region. |
Some of your Dallas
area folk saw the piece on last nights' opening. I've
turned a few of the young artists on to ChickenBones.
The "kids" love it. (I discovered that I'm twice as old
as damn near every participant in the show...feels
strange but the youngsters that I talked to understand
that it's only the body that wearing out.....) Thanks
for your help. I'm working on some color things that
will fit ChickenBones. Also, I'm working on
illustrations for
Arthur
Phisters' books in progress. The book of poetry is
named after his poem My Name Is New Orleans . . .he's
still kicking. Stay well. Chuck
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Here 'tis.
One 90 year old
elder, my mother, exercised her right to
vote. She remembers how hard it used to
be and wasn't going to let an election
go by without having her say. Let's
have one for the serious Nonagenearians!!
Good for Ced Richmond and folk in
Louisiana who need a voice that will be
concerned about the needs of everyone in
the part of the state that he
represents. He KNOWS that he'll hear
from the constituency about doing his
job.
My brother, Gary the movie buff, gets
the credit for saying, (on November 3),
"The President must feel like the
Sheriff of Rock Ridge", and Cleavon
Little's face came to mind. I also
thought of what Richard Pryor would have
said . . . "These m#@%$^&*%$s have gone
crazy..."
I listened as John Q. ranted but edited
out the expletives..
Someone actually said "It's over!" on November 3rd.
The other person said No sh*****t, you don't really
believe that? |
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" I edited. Most of the politically savvy
know that it's really just getting started. The
Republican machine starts its attacks seriously in
January and the Dems have to get over their "wussiness"
and off the pot if they plan to make a stand in 2012.
By the way, if we were in a real post racial society,
would the conservatives, instead of railing about the
"black" president, acknowledge that the man is biracial
and was raised by his white grandparents. Black folk
don't seem to mind his "whiteness" as long as he does
something for everyone but the tea people seem to have
laced their Earl Gray with some Aunty Blacque. Thank
goodness for alternate parties and independent critical
thinkers.—Chuck
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Poem: Fireman's
Ball
It Aint
My Fault by Mos Def & Lenny Kravitz
Mos Def, Lenny Kravitz,
the Preservation Hall Band, Trombone Shorty, and Tim Robbins teamed up
recently to record It Ain't My Fault to benefit Gulf Aid, a nonprofit
created in response to the oil spill off the Louisiana Coast. Check out the
video above and if you're interested in donating to the cause, please visit
http://GulfAid.org
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Guarding the Flame of Life
New Orleans Jazz Funeral for tuba player Kerwin
James /
They danced atop his casket Jaran 'Julio' Green
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Not Gone
With the Wind Voices of Slavery—Henry Louis
Gates, Jr.—9 February 2003—Unchained Memories,
an HBO documentary that makes its debut tomorrow
night, provides a powerful answer to that question.
It gives us, through the faces and voices of
African-American actors, an introduction to a vast
undertaking that took place in the 1930's: the
collection and preservation of the testimonies of
thousands of aged former slaves in an archive known
as the Slave Narrative Collection of the Federal
Writers' Project. This archive unlocked the brutal
secrets of slavery by using the voices of average
slaves as the key, exposing the everyday life of the
slave community. Rosa Starke, a slave from South
Carolina, for example, told of how class divisions
among the slaves were quite pronounced:
''Dere was just
two classes to de white folks, buckra slave owners
and poor white folks dat didn't own no slaves. Dere
was more classes 'mongst de slaves. De fust class
was de house servants. Dese was de butler, de maids,
de nurses, chambermaids, and de cooks. De nex' class
was de carriage drivers and de gardeners, de
carpenters, de barber and de stable men. Then come
de nex' class, de wheelwright, wagoners, blacksmiths
and slave foremen. De nex' class I members was de
cow men and de niggers dat have care of de dogs. All
dese have good houses and never have to work hard or
git a beatin'. Then come de cradlers of de wheat, de
threshers and de millers of de corn and de wheat,
and de feeders of de cotton gin. De lowest class was
de common field niggers.''—NYTimes
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Blacks in Hispanic Literature: Critical Essays
Edited by
Miriam DeCosta-Willis
Blacks in Hispanic Literature is a
collection of fourteen essays by scholars and
creative writers from Africa and the Americas.
Called one of two significant critical works on
Afro-Hispanic literature to appear in the late
1970s, it includes the pioneering studies of
Carter G. Woodson and
Valaurez B. Spratlin, published in the 1930s, as
well as the essays of scholars whose interpretations
were shaped by the Black aesthetic. The early
essays, primarily of the Black-as-subject in Spanish
medieval and Golden Age literature, provide an
historical context for understanding 20th-century
creative works by African-descended, Hispanophone
writers, such as Cuban
Nicolás Guillén and Ecuadorean poet, novelist,
and scholar
Adalberto Ortiz, whose essay analyzes the
significance of Negritude in Latin America. This
collaborative text set the tone for later
conferences in which writers and scholars worked
together to promote, disseminate, and critique the
literature of Spanish-speaking people of African
descent. . . .
Cited by a
literary critic in 2004 as "the seminal study in the
field of Afro-Hispanic Literature . . . on which
most scholars in the field 'cut their teeth'."
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
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posted 17
September 2008
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