Another character, one of the pickaninny chorus members. Here are some pictures, for thought:
Monday, June 21, 2010
Liberation of Aunt Jemima
Ironically enough, months after I had named my Div II " The (Sexual) Liberation of Mammy, Pt 1", I found out about artist Betye Saar. Saar was an artist whose work helped influence the Black Arts Movement in the 1970s. In 1972, she created a piece that she entitled, "The Liberation of Aunt Jemima". Her goals were similar to mine, and I have gained an immense amount of inspiration from her "liberation" pieces.
Note how she puts a gun in mammy's hand, along with the broom. There is also a black fist in the framed picture. The broom and gun in Mammy's hand are an homage to the famous picture of Huey Newton, one of the leaders of the Black Panthers Party:
Saar has done many other powerful pieces that play on black memorabilia and black liberation. This piece is entitled Sambo:
There is also a gun in the top part of the banjo case. But there are also little hanging men. It seems to be simultaneously talking about the lynching of black men and the dancing minstrel, who seems almost like a puppet here. The watermelon slice, of course, is representative of black stereotypes.
Note how she puts a gun in mammy's hand, along with the broom. There is also a black fist in the framed picture. The broom and gun in Mammy's hand are an homage to the famous picture of Huey Newton, one of the leaders of the Black Panthers Party:
Saar has done many other powerful pieces that play on black memorabilia and black liberation. This piece is entitled Sambo:
There is also a gun in the top part of the banjo case. But there are also little hanging men. It seems to be simultaneously talking about the lynching of black men and the dancing minstrel, who seems almost like a puppet here. The watermelon slice, of course, is representative of black stereotypes.
Sunday, June 6, 2010
kara walker
..deserves a much longer post. we will get back to her. but this image has stuck with me throughout my time at hampshire. i often reference this image when creating my own work.
I often question whether or not positive black image is possible. And Kara makes a point. The way that "positive black image" stands today, it is a contradiction in terms. And we didn't create the images that exist for us today. I want to remember to ask myself "what is positive black image" and more importantly, "is that my goal?" I'm not quite sure if my goal is to make something positive. I know that I want to "destroy the negative", if that's even possible. I guess I am hoping to instill a sense of urgency in the crowd, so that they can feel the need to create the positive image together.. hmm. Definitely feeling that sense of urgency. Don't wanna lose that.
I often question whether or not positive black image is possible. And Kara makes a point. The way that "positive black image" stands today, it is a contradiction in terms. And we didn't create the images that exist for us today. I want to remember to ask myself "what is positive black image" and more importantly, "is that my goal?" I'm not quite sure if my goal is to make something positive. I know that I want to "destroy the negative", if that's even possible. I guess I am hoping to instill a sense of urgency in the crowd, so that they can feel the need to create the positive image together.. hmm. Definitely feeling that sense of urgency. Don't wanna lose that.
Wednesday, June 2, 2010
Staging Idea
This blog post is really directed towards Najee.
So, we've been talking about a barn for the stage. But... I've been thinking. What about a TV set instead? Here's my reasoning behind it:
- This is a minstrel show, yes. But it is not just a minstrel show for comedy's sake. Instead it is a minstrel show that is making a commentary on the creation of the black image through white american media (and therefore the white american gaze- think of the people sitting in front of the tv screen, not just the people behind the scenes). That being said, it might be better to choose a set that will ultimately help us make commentary, rather than mimic the minstrel show.
- It can represent how as Black americans, we feel literally feel "boxed in" to these roles.
- Going back to the point about the audience... I feel that by putting people in front of a TV screen, I will be doing a few things. 1)putting the necessary amount of distance between the audience and the actors, in order for them to feel "comfortable" enough to buy into the world of the play while STILL engaging 2)giving them the choice to either be consumers or not to 3) setting up the fact that we eventually have to BREAK the tv, destroy media as it stands today
- This can help us tie in the cool visuals we were talking about. For example, the shadow puppet part I was talking about? We can have a scrim that comes down in between the set and the TV box for this. It can also help with the Zip Coon's "reveal". We can also have commercials!
- It will look really fucking cool. I'm thinking, when people enter the mainstage, there be a wall of TVs with old minstrel shows, the Censored Eleven, and other racist media clips on these tvs. Or on the side of the stage..?
Okay, yes! I am excited about this TV idea! I think this is the lead-in to the writing process that I wanted. More updates soon.
So, we've been talking about a barn for the stage. But... I've been thinking. What about a TV set instead? Here's my reasoning behind it:
- This is a minstrel show, yes. But it is not just a minstrel show for comedy's sake. Instead it is a minstrel show that is making a commentary on the creation of the black image through white american media (and therefore the white american gaze- think of the people sitting in front of the tv screen, not just the people behind the scenes). That being said, it might be better to choose a set that will ultimately help us make commentary, rather than mimic the minstrel show.
- It can represent how as Black americans, we feel literally feel "boxed in" to these roles.
- Going back to the point about the audience... I feel that by putting people in front of a TV screen, I will be doing a few things. 1)putting the necessary amount of distance between the audience and the actors, in order for them to feel "comfortable" enough to buy into the world of the play while STILL engaging 2)giving them the choice to either be consumers or not to 3) setting up the fact that we eventually have to BREAK the tv, destroy media as it stands today
- This can help us tie in the cool visuals we were talking about. For example, the shadow puppet part I was talking about? We can have a scrim that comes down in between the set and the TV box for this. It can also help with the Zip Coon's "reveal". We can also have commercials!
- It will look really fucking cool. I'm thinking, when people enter the mainstage, there be a wall of TVs with old minstrel shows, the Censored Eleven, and other racist media clips on these tvs. Or on the side of the stage..?
Okay, yes! I am excited about this TV idea! I think this is the lead-in to the writing process that I wanted. More updates soon.
if you've got an hour or so to spare...
...then this is a good video to watch. It's a UC Berkeley lecture on the history of blackface that I stumbled upon one day. It gives some basic history. Enjoy:
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