Proud to be participating in this exhibition as part of Black History Month.
Exhibition: February 22 to March 6
Opening: Sunday, February 22, 6 to 10 p.m.
Featuring: Danilo McCallum, Kanyika Yorke, Quentin "Babatunde" Vercetty, Dainsha Nugent, Aaron Jones, Odinamaad, Stephen Surlin, Dheeko Kinte, Curtia Wright, Chris Ak, MuXubo Mohamed, SoTeeOh, Ola Ojo, Javid JAH, Ekow Nimako, Komi Olaf
Panel Discussion: Friday, February 27, 5 to 6:40 p.m.
Orbiting Around Women in Afrofuturism
Moderator: Camille Isaacs
Panelists: Camille Turner (Futuristic artist and author), Asia Clarke (Innovative fashion and jewellery designer), Saidah Baba Talibah (Avant-garde music artist), Nalo Hopkinson (Futuristic author)
#BlackFutureMonth
#BFM3015
http://www2.ocadu.ca/event/7687/black-future-month-3015
https://www.facebook.com/events/1400665453570250/
20 February 2015
Endless Design
Some of my work will be on display as part of the Continuing Studies design exhibition at OCAD University from February 20 to April 10, 2015. Opening Thursday, February 26, 5:30 to 7:30 p.m.
30 May 2014
Brazil’s Anti-World Cup Graffiti and an Anthem by Stromae
While browsing
through my blogroll today, I came across a captivating photoset on okayafrica.com
which highlights some of the socio-political unrest surrounding the upcoming 2014
FIFA World Cup in Brazil. According to the post, Brazilian citizens are
feeling the steep economic impact of the World Cup’s $11 billion price tag and
the government’s preoccupation with bolstering the public image of 12 host cities at the expense of education, transportation and
healthcare infrastructure.
Having visited Brazil recently, I
was witness to the very real challenges that pose long-term concerns for the
country post World Cup and the 2016 Summer Olympic Games. Having also lived in
South Africa for 8 years, host of the 2010 World Cup, I see similarities in
the challenges both countries face on an economic and social level. I am
against poverty tourism,
which is one of the reasons I chose not to venture into the favelas of Rio de
Janeiro as a tourist. Living in Johannesburg, South Africa was a different
matter, as the largely Black-inhabited townships or slums continue to form the
backbone of one of Africa’s strongest economies in a post-Apartheid republic.
Afro-Brazilian residents of favelas experience much the same marginalization as many Black South Africans have for years. The frustration behind this visual expression is a
form of social activism that will be on display for thousands of tourists to see.
In other news,
Afro-Belgian, electro-hip hop artist (and my new obsession), Stromae has
produced an anthem for the Belgian national team, Diables Rouges. His song titled Ta
Fête features much of the same drum ‘n bass/house vibes present in all
of his work and is delivered in this how-to video format made so popular by his
other YouTube tutorials, or “les leçons.” In this demo, Paul Van Haver (aka Stromae) breaks down his beats and mingles with the Belgian
team in a way that only he can. A short version of the song itself
begins at the 5-minute mark, while the full version includes footage of Stromae’s live performance in a stadium.
I am never disappointment by Stromae’s uninhibited use of colour, character and charisma in his videos. His tribute to the late Cape Verdean songstress Cesária Évora titled Ave Cesaria reminds me of the rhythmic chanting and percussion associated with the Brazilian martial arts dance known as capoeira. Aside from being an amazing vocalist and dancer, Stromae is also a genius with word play, often interchanging French and English translations to evoke separate meanings. An example of this word play would be his deeply emotional song titled Quand C’est?, which is in fact a ballad about cancer (French pronunciation). Another song is Papaoutai, for which he created a clothing line titled MOSAERT inspired by the prints in this video. The song is actually asking the question “Papa, où t’es?” or “Dad, where are you?” Other tunes I currently have in heavy rotation include Tous Les Mêmes, Alors On Danse, Bienvenue Chez Moi, Formidable and Te Quiero, to name a few. It’s just a bonus that I get to brush up on my French while listening to Stromae’s thought-provoking lyrics.
21 April 2014
Backra Bluid: Hybrid Identity
Stacey Tyrell exhibits provocative images of her “white” self
at General Hardware Contemporary as part of the 2014 Scotiabank CONTACT
Photography Festival.
Stacey
Tyrell, Ismay, 42yrs, from Backra Bluid series, 2012
|
General
Hardware Contemporary:
In Backra Bluid, Brooklyn-based photographer Stacey Tyrell portrays
herself as a white woman by altering her skin colour and making subtle tweaks
to her features. Backra is archaic Caribbean slang of West African
origin that means “white person.” Bluid is the Scotch word for blood,
as well as for kin. In this series Tyrell draws on her own family
history—archaic and ongoing, Scottish and Caribbean—to explore how identities
complicate and overlap. Critical of the dualism inherent in Eurocentric
constructs of Whiteness and Blackness, Tyrell’s work suggests that most people
in post-colonial societies are not easily categorized. Developed
through fictitious avatars and dramatic sets, her approach privileges performance
and theatricality.
Image
of the artist, http://www.staceytyrell.com/about/
|
Stacey Tyrell:
The images in the series are an attempt to interpret and explore these relatives from both past and present that I know are out there. They are also a reflection on my own perceptions and preconceptions of “Whiteness.” There is a dualism that is inherent in the Euro-centric constructs of “Whiteness” and “Blackness” in Western societies. It leaves little room for the reality that the majority of people in post-colonial societies are generally hybrids of its past and current inhabitants. Upon viewing my physical features, I am automatically assigned a racial identity by whoever is looking at me. Skin color often obscures and over-rides the features and markers of other races that may be present in my genetic make-up. By simply changing my skin color and making subtle tweaks to my features, I wish to show that if someone were to take a closer look at my face, they would see that it might not be that much different from their own.
Stacey
Tyrell, Mara, 17yrs, from Backra Bluid series, 2011
|
Backra Bluid
April 26 to May 17
Opening: April 26, 3 to 6 p.m.
General Hardware Contemporary
1520 Queen Street W.
Toronto, ON M6R 1A4
28 March 2014
Black Barbie: A New Look
While rushing to get ready for work this morning, I came across a fascinating segment on CTV Canada AM. Queen Cee customizes dolls to reflect the beauty and diversity of women of colour. Cee explained that she was frustrated by the lack of options available to her daughter in Canada. She decided to start collecting Mattel's 'So In Style' line of Barbie dolls because they came in a variety of skin tones. Cee customizes the dolls' hair to match the various textures girls and women of colour are more familiar with. Having one of Cee's dolls would have certainly helped me learn to braid my hair a lot earlier! I'm also glad to see that a few of the dolls proudly wear locs like me.
Read the full story.
Read the full story.
28 February 2014
On Celebrity: The Lupita Nyong’o Obsession
As a society, we are often fixated on the trends that
Hollywood dictates worthy of our attention. Trending topics include fashion, personal
style, talent and the people who embody these aspirational qualities. One such
person who has come into the limelight recently is actress and director, Lupita
Nyong’o.
Prior to her breakout role as Patsey in Steve McQueen’s 12 Years a Slave, Nyong’o, a Mexican-born
Kenyan artist, attended the Yale School of Drama where she received her Master
of Fine Arts in Acting. The multi-talented actress received critical
acclaim for her performance in the Solomon Northup biopic. She was nominated
for such honours as the Golden Globe Award for Best Supporting Actress, two
Screen Actors Guild Awards and, perhaps most notably, an Academy Award for Best
Supporting Actress. With the Oscars set to air this Sunday night, I will be watching
intently to see who wins in that particular category. Nyongo’o has the
potential of becoming the seventh woman
of African descent to receive an Academy Award. I might point
out that, thanks to shows like Fashion
Police, I will also be watching the Oscars to see what celebrities are wearing on the
red carpet.
It is this last point of interest that has catapulted Nyong’o
into phenom status – a global obsession. From her stunning Ralph Lauren cape at the Golden Globes, to her winning blue Gucci dress at the SAG Awards, Nyong’o continues to top best-dressed lists.
She is the subject of thousands of blog posts and has been featured in numerous
magazines including W Magazine, Vogue, Vanity Fair, InStyle and New York
Magazine. She was also recently cast in the Miu Miu Spring 2014 Campaign.
On top of her raw talent, impeccable style and humble charisma, I am convinced
that it is Nyong’o’s rich, flawless skin that attracts such intense admiration from
her fan base. At times a point of controversy,
it is Nyong’o’s dark skin tone that truly sets her apart within a North
American and Western context in general. Women of colour have for too long been
given a template of beauty that often excludes them or molds them to fit said template
accordingly. Black models with conventionally “Caucasian” features are viewed
as acceptable to an industry that typically favours a certain “look.” We’ve
heard the phrase “like a white girl dipped in chocolate.” Nyongo’o breaks this mold
with her edgy fade and ebony skin. Of course, there have been exceptions in the
fashion industry with supermodels Alek Wek and Ajak Deng paving the way for a broader aesthetic; but the industry remains
largely unchanged.
But is all this talk of fashion and skin tone superficial?
Is the obsession with Nyongo’s (and Wek’s and Deng’s) dark skin a form of
exoticism? For all of the criticism that Vanity Fair received for allegedly
lightening Nyong’o’s skin, have other magazines not overemphasized her dark
tone for added impact (Dazed & Confused)? Have we not, as a Black community, begun moving beyond the
constraints of shadism?
Surely, a phenom like Lupita Nyong’o serves as a reminder that beauty comes in
all shades. She serves as a reminder that talent is not confined to a single set
of expectations. Most of all, I look forward to seeing how Lupita Nyong’o continues
to hold our collective attention both on and off screen in the years to come.
4 February 2014
Cheerios Brings Back Biracial Family for Super Bowl Spot
Back in May 2013, Cheerios aired a commercial that featured
a young, mixed girl and her Caucasian mother. In the spot Just Checking, the young
character, who we would later come to know as “Gracie,” questions her mother
about the benefits of Cheerios cereal on heart health.
As her mother dutifully reads off the copy which positions the brand as a heart-healthy breakfast choice, Gracie acquires a knowing expression and runs off with the box of cereal to her African American father who is asleep on the couch. The scene cuts to Gracie’s dad waking up to find a pile of Cheerios scattered across his chest (and heart) in an unexpected and cute ending.
As her mother dutifully reads off the copy which positions the brand as a heart-healthy breakfast choice, Gracie acquires a knowing expression and runs off with the box of cereal to her African American father who is asleep on the couch. The scene cuts to Gracie’s dad waking up to find a pile of Cheerios scattered across his chest (and heart) in an unexpected and cute ending.
Unfortunately, not everyone agreed that the commercial was endearing.
After the spot aired on YouTube, the video received a slew of vitriolic
comments that revealed the sad state of racial affairs in the United States and
in the world in general. Many people took issue with Cheerios casting a mixed race
family in 2013. People directed their hatred towards Gracie’s character, calling
her every name in the book. Youtube
was eventually forced to disable comments on the video, creating a media storm
around the ad. The YouTube comments remain disabled to this day.
In the aftermath of the negative comments, a parody of the video
was created to further push the racial message while addressing another hot
topic – sexual orientation. Eat it Haters went viral and
received an overwhelmingly positive response.
On February 2, 2014 as part of the $4 million-per-spot media buy for the Super Bowl, Cheerios reintroduced us to
Gracie and her family. The ad, simply titled Gracie was pre-released on
January 28 and features Gracie sitting at the breakfast table with her father.
Gracie’s dad uses Cheerios to illustrate the point that she is about to become
a big sister. In the background, Gracie's mother looks up from the counter, revealing
her pregnant midsection. While contemplating the prospect, Gracie confidently adds
another Cheerio to the group of 4 to represent the puppy she hopes will join
their family. As her father confirms that it’s a “deal,” her mother looks on
skeptically.
Bravo to Cheerios for revisiting a concept that had received
such negative feedback and for truly owning their message!
30 January 2014
The State of Blackness: From Production to Presentation
During the 28 days that make up Black History
Month this year, I am looking forward to attending this free conference being
held at the Harbourfront Centre on February 22. The list of participants looks
too good to pass up on.
The
State of Blackness: From Production to Presentation is an interdisciplinary conference taking place at
Harbourfront Centre on February 22, 2014 in association with the OCAD University
Faculty of Art Innovation Fund and in partnership with the Ontario Arts
Council. The conference is generously supported by the Social Sciences and
Humanities Research Council of Canada.
Karen Miranda Augustine, Miranda and Child (RaRa Rah), 2007 Mixed Media, découpage, found metal, tires, sequins, acrylic, oil sticks, spray paint, speaker, blunt and Kanekalon fibre on wood, 2.5 x 3 feet.
Part of the Mercy Me series.
This conference includes closed working sessions prior to the public events designed to provide opportunities for artists, educators, curators, scholars and cultural workers to engage in intensive and critical collaborative discussions about the current state of blackness and the challenges and strategies employed to increase visibility. Emphasis will be placed on developing networks of engagement and knowledge exchange while developing methodologies and practices that inform the future of black Canadian artistic production and teaching.
Conference Participants:
Lillian Allen, Karen Miranda Augustine, Deanna Bowen, Sandra Brewster, Charles Campbell, Mark V. Campbell, Wayde Compton, Julie Crooks, Erika DeFreitas, PamelaEdmonds, DominiqueFontaine, HonorFord-Smith, Richard Fung, Sylvia Hamilton, JérômeHavre, EbonyL. Haynes, JohannaHouseholder, CamilleA. Isaacs, MichelleJacques, AliceMing Wai Jim, BettyJulian, Olivia McGilchrist, Anna Jane McIntyre, Megan Morgan, Charmaine Nelson, Abdi Osman, Michèle Pearson Clarke, SheilaPetty, Aboubakar Sanogo, Adrienne Shadd, Dionne Simpson, Rema Tavares, Camille Turner, GaëtaneVerna, RinaldoWalcott, GenevieveWallen, Syrus Marcus Ware, and NatalieWood.
Andrea Fatona, Conference Lead
Heidi McKenzie, Conference Coordinator
Ellyn Walker, Graduate Research Assistant
For more information about the presenters and a conference schedule, visit thestateofblackness.com.
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