coeursfideles:

Mogari no Mori / The Mourning Forest (Naomi Kawase, 2007)

cherenedijital:

A tribute to my late aunt. The image is screen printed over hand paintings. I can’t seem to find the original image I used to make the screen, but included is a picture from the same photo shoot her hospital did; she’s in her nurses uniform in 1960s, Iran. The Farsi reads “Noushin”, her name.

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.

With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.

It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.

Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.

This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

pyotra:

et—cetera:

esfahan, iranrp_

pyotra:

et—cetera:

esfahan, iran
rp_

filmartproject:

Three Times (2005) dir. Hou Hsiao-Hsien

crofesima:

Favourite animators: Toshiyuki Inoue (井上俊之)

Learn/watch more:

fuckyeahbrutalism:

Alley Theatre, Houston, Texas, 1966-68
(Ulrich Franzen)

fuckyeahbrutalism:

Alley Theatre, Houston, Texas, 1966-68

(Ulrich Franzen)

yearningforunity:

a—fri—ca:

The Ishango Bone, the world’s oldest mathematical object found in Africa
Most histories of mathematics devote only a few pages to Ancient Egypt and to northern Africa during the ‘Middle Ages´. Generally they ignore the history of mathematics in Africa south of the Sahara and give the impression that this history either did not exist or, at least, is not knowable, traceable, or, stronger still, that there was no mathematics at all south of the Sahara. In history, to Europeans, even the Africanity of Egyptian mathematics is often denied or suffers eurocentric views of conceptions of both ‘history’ and of ‘mathematics’ form the basis of such views.
The Ishango Bone was discovered in 1960 by Jean Heinzelin Braucourt, a Belgian national who was exploring the eastern fringes of the Democratic republic of Congo, then Belgian Congo. The bone was found among the ruins of a human settlement that was located near Lake Edward, an ancient settlement that had been buried by a volcanic eruption. It is a dark brown length of bone, the fibula of a baboon, with a sharp piece of quartz affixed to one end, perhaps for engraving.  
 Evidently the Ishango bone was designed as a tool for making incisions, but its bone handle was itself incised. The arrangement of the notches engraved on the handle, and the numbers in each group, are clearly not casual. Analysis of their numerological properties has led several investigators to conclude that the artefact is not a simple tally stick, but a kind of calculator based on special number systems. 
The artifact was first estimated to have originated between 9,000 BC and 6,500 BC. However, the dating of the site where it was discovered was re-evaluated, and it is now believed to be more than 20,000 years old.
The Ishango bone is on permanent display in l’Institut Royal Belge des Sciences Naturelles, Brussels, Belgium.
( Ishango Bone - UNESCO Astronomy and World Heritage - an old Mathematical Object)

yearningforunity:

a—fri—ca:

The Ishango Bone, the world’s oldest mathematical object found in Africa

Most histories of mathematics devote only a few pages to Ancient Egypt and to northern Africa during the ‘Middle Ages´. Generally they ignore the history of mathematics in Africa south of the Sahara and give the impression that this history either did not exist or, at least, is not knowable, traceable, or, stronger still, that there was no mathematics at all south of the Sahara. In history, to Europeans, even the Africanity of Egyptian mathematics is often denied or suffers eurocentric views of conceptions of both ‘history’ and of ‘mathematics’ form the basis of such views.

The Ishango Bone was discovered in 1960 by Jean Heinzelin Braucourt, a Belgian national who was exploring the eastern fringes of the Democratic republic of Congo, then Belgian Congo. The bone was found among the ruins of a human settlement that was located near Lake Edward, an ancient settlement that had been buried by a volcanic eruption. It is a dark brown length of bone, the fibula of a baboon, with a sharp piece of quartz affixed to one end, perhaps for engraving.  

 Evidently the Ishango bone was designed as a tool for making incisions, but its bone handle was itself incised. The arrangement of the notches engraved on the handle, and the numbers in each group, are clearly not casual. Analysis of their numerological properties has led several investigators to conclude that the artefact is not a simple tally stick, but a kind of calculator based on special number systems. 

The artifact was first estimated to have originated between 9,000 BC and 6,500 BC. However, the dating of the site where it was discovered was re-evaluated, and it is now believed to be more than 20,000 years old.

The Ishango bone is on permanent display in l’Institut Royal Belge des Sciences Naturelles, Brussels, Belgium.

Ishango Bone - UNESCO Astronomy and World Heritage - an old Mathematical Object)

bikinipowerbottom:

tommytv:

thugmissus:

queen

ultimate ice bucket challenge aesthetic. 

For those of you who cant understand: “Hi I’m Donatella Fversace. Excepted the ice bucke shallenge and uh I nominate Perdon Bolfnsdkgl, Fa Rell, en Priss. Em no jus here to fruin my meku please nonate to AF’sL. No fect AHHHVHSDFDSHF”

nevermindreal:

M. Veniery, inscribed:Choubouk Sudan, early twentieth century Gelatin or collodion printedout print mounted on card

nevermindreal:

M. Veniery, inscribed:
Choubouk
Sudan, early twentieth century
Gelatin or collodion printedout print mounted on card

nevermindreal:

A.C. Gomes & Son, inscribed:Views in Zanzibar – Natives Hairdressing, Tanzania Late nineteenth century

nevermindreal:

A.C. Gomes & Son, inscribed:
Views in Zanzibar – Natives Hairdressing, Tanzania
Late nineteenth century

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