Thursday, March 03, 2011

What to Do When God Hates You: A Lordeian Intervention into the Westboro Case
















Yesterday the US Supreme Court voted 8-1 in favor of a definition of free speech that includes hate speech on what the court considers "moral and political" issues in the case of Westboro Baptist Church, a small organization that uses the funerals of military and public figures as a platform to express their belief that certain deaths are evidence of God's punishment of the United States for its so-called tolerance of homosexuality.

Most people were not surprised yesterday at the results of the case. Most scholars of free speech statutes know that this is nothing new. This is certainly not the first case of its kind with a similar result. Anyone who is schocked might have a misunderstanding of the function of the state. The state is not convened to prevent hate. The state is not a medium through which we are trained or encouraged to love each other. The state, particularly the form of the state that we are surviving here in the United States in late capitalism, is in fact invested in moderating love as a more dangerous social factor for hate. Hate, an individual and systemized behavior based on a profound belief in the separation of people across multiple lines of difference, can actually be quite useful in a capitalist society in which it must somehow make sense for people to abandon each other into exploitation, to enjoy rights and access at the expense of other people. Love on the other hand, that force, that possibility that would require us to look at each other eye to eye, to refuse any exploitation or violence against any being, that powerful force that could make us indivisible is dangerous to the status quo. And love cannot be legislated.


As a student of the Lorde (Audre Lorde) I think it is important to remember in a mundane moment, where hate has renewed and relegitimized its normative role in US social behavior that we have precedent for a response that goes beyond the apathy of the law. When I see the images of the sensationalist signs of the Westboro baptist church, I find them apalling, but not original. In 1983 in her groundbreaking essay "Eye to Eye: Black Women Hatred and Anger" Audre Lorde recounts a remarkably similar pre-Westboro demonstration of hate in the name of God:

"The bicentennial, in Washington, D.C. Two ample black women stand guard over household belongings piled haphazardly onto a sidewalk in front of a house. Furniture, toys, bundles of clothes. One woman absently rocks a toy horse with the toe of her shoe, back and forth. Across the street on the side of a building opposite is a sign painted in story-high black letters, GOD HATES YOU."


("Eye to Eye: Black Women Hatred and Anger," in Audre Lorde Sister Outsider, 151.)

In the face of this particular instance characterized by Westboro Baptist Church, a particular family and the outrage of another family, the bereaved relatives of Marine Matthew Snyder we need black feminist memory. We need to remember that hatred is not only instance, but also institution in the United States. We have to see the connections between the emotional and economic reality implied by a God who can hate.

The logic of the decision of all but one Supreme Court Justice to decide that Matthew Snyder's father's claim of being personally harmed by the Westboro protests at his son's funeral was ungrounded is based on their determination that the protests were about moral and political issues and were therefore not a personal attack, but an engagement in admittedly offensive and hurtful free speech in the public realm. The one dissenting Justice's main basis for disagreement is based on the the counter-belief that in fact the funeral protest did constitute a personal attack against the Marine's father.

In other words, the words of the Supreme Court majority, to Mr. Snyder could be summarized as: "don't take it personal." But as black feminists we believe that the personal is political and that the political is personal. And not only is it obvious that the bereaved family would take actions like this personally, as a queer black woman hundreds of miles away, I take it personally myself. The fact that the protesters were a thousand feet from the church door and the fact that the story Lorde recounted happened decades ago can't numb a breathing person. I am impacted personally by the implication of a human insistence on a God who hates. I am angry about the consequences of such a profound separation. I am not content to respond to separation with more separation. I take it personally.

So what are the politics that this implies? In "The Uses of Anger: Women Against Racism," Audre Lorde explains that anger and hatred are not the same thing and that "anger is a justified response to racism" and other forms of systemized hatred. I think the Westboro brings home the fact that anger is indeed justified as a radical form of intimacy and investment, and the distance and discipline of the court system is useless in an engagement like this. In fact, the Westboro Baptist Church, which claims to have no donors or outside institutional supporters actually gets most of its money from court fees. Every time someone channels the hurt they feel when the Westboro Baptist Church shows up full of hate at a funeral into a civil suit, Westboro wins on the grounds of free speech and the money goes into their bank account, supplying that many more florescent posterboards of hate. It seems then, that civility, at least in the legal sense, is not an adequate response to hatred.

Let us take this moment to see the signs. Literal and implied. Let us take a moment to remember what we all know, especially as people of color and queer people overwhemingly targetted and locked down by the state, the US court system is not a place of love and transformation, no matter the decorations of lady justice on the wall, it is not a place of balance because it is not a place where we can engage each other eye to eye. The revolution will not be legislated. There are those of us who believe in transformative justice, accountability beyond punishment also known as prison abolitionists, who are spending our days and nights imagining and practicing what it would look like, what it would look like to create a world free from harm, and systems in the mean-time that actually address the root causes of harm instead of settling for a economy of punishments that separate us further.

If we believe that this is not all about money, that the bereaved father is not trying to protect his million dollar lawsuit victory in smaller court against the Westboro church, or above that is making a claim, like Antigone, that the dead must be respected, that he and his family deserve a sanctuary in their grief, that compassion is not optional but necessary in these times.... If we believe that the Westboro stunts are not just a strategy to bait people into unsuccessfully suing them but the expression of so much fear and desperation that they must invent a God who hates, that they must project the separation and disconnection that they feel from the other people in the United States onto their idea of God (i too have sometimes imagined a wrathful Lorde and briefly wished that she would obliterate those who oppress and violate my people through capitalist greed and racist hatred), if we can see that they have truly stopped believing in love as an option, that they are trapped in the short-term and toxic refuge of their hatred...then as Jamaican theorist Sylvia Wynter says, "the ceremony must be found," to transform the situation and it won't be found in a courtroom in the United States.

What is the ceremony that heals us from needing, wanting, inventing a God who hates? What is the form of engagement and accountability that could make the unimaginable behavior of the Westboro crew actually unimaginable, useless and ridiculous to the haters themselves? If we follow the words of the (Audre) Lorde, liberal ideas of self-expression as neutral sides of a political discussion are not enough. Audre Lorde says we have to face each other, in our commonality and our difference, eye to eye.



Thus saith the ever-loving Lorde:

"America's measurement of me has lain like a barrier across the realization of my own powers." (147)

And the ceremony happens here in every encounter if we affirm challenge of our very existence together: "I am...acting on you like a drug or a chisel to remind you of your me-ness, as I discover you in myself." (147)

This week, that measurement could be an understanding of law that channels us into supposedly equally hateable equally forgettable masses of flesh. For those of us who know that none of these things are equal and that all of our lives are unforgettable manifestations of the infinite, I'll see you, not in court but in that intimate place where a ceremony is happening that is more powerful than a God who hates.

In the name of the Lorde, who loves,
Alexis Pauline Gumbs

Friday, February 25, 2011

"If You Scared Just Say It": Shirlette and the Dynamite Brothers






Play the song before it plays you. Turn it on before game recognizes game. Touch the wound inside before it heals.

This is the urgency of the sharp lyrics and doom bass-lines of the new collaboration between Shirlette Ammons, the Dynamite Brothers and a slew of North Carolina's quirkiest artists on their new project: Shirlette and the Dynamite Brothers. The title isn't the only thing that makes it plain. Full of lust not pretending to be anything but lust and love wishing it wasn't really love, this series of songs faces you with that encounter at the bar, that number exchange, those nights you can't get back and makes you wish you had at least wrote about it and sang to keep from crying.

The queer thing is that these are dark love stories without anything to prove. And for a crew of LGBTQ singers and artists in the age where the dominant political presence of that alternative- lifestyle-type-love is marriage inclusion and clamored for psuedo-respectability, this is a queer stance indeed. What if we already are who we're supposed to be? What if we give "no nevermind" to the chokehold structure of fairy tales and live our lives as the lessons they are? During Black History Month no less.

On "Kissin and Cussin," Shirlette sets the context, "your kiss is fist violent" and (grammy winner!!!!!) Justin Robinson opens the first version of the chorus "tell me pretty baby do you think you're too sweet to die?" Rhianna and Eminem and others have tried this dangerous and controversial hate-how-much-i-love-you trope before, but never with as much haunting, this "inherited, handed down" inevitability. The track is dark, like a chain gang walking on their hands in a coal mine. No one sees a way out, but the fiddle struggles like life depends on it and dawn breaks.

The album is a threat, what if we no longer have to be clean, shiny, fresh and without angles to be visible as who we are. What if we claim the place we stand in? Strut in the funky complicated mess of being here and changeable? On "Tomorrow Neva Comin" Shirlette and Yazarah assert that this is the question of the future asking "If you scared just say it you scared if you're not why not go head and take it there." This album takes it there, to that place too many of us can't admit we already are: ready to just say fuck it, let go of who we thought we were and what we thought the game was and just live real with each other in the face of the morning.

Play these songs before they play you. Accept the invitation to stop your frontin, tomorrow's comin.

Wednesday, February 16, 2011

Mississippi "Odd" Damn: Intergenerational Black Feminism is Unbelievable

Black women on the move have always been queer to the intersecting systems of oppression that rely on us staying in our interchangeable and demeaning place.

“It just sounds really odd. You know?”

This is what a white male police officer said to me several times after he separated my partner and I for questioning and we both explained to him that we were driving through Mississippi as part of our cross country journey interviewing black LGBT feminist elders.

And outside the matrix of uniforms, skin, privilege and visible weapons, ghosts and the bloody history of the state (in the specific sense and the general sense) his disbelief would be at worst a strange look to brush off and at best a conversation to have about intergenerational black feminist love in action. But in this case the fact that the officer could not believe our truth and was much more likely to believe that we were troublesome black teenagers joyriding across state lines in a stolen RV, could have been the difference between us driving through Mississippi and being locked up, or worse. We are inside a matrix where to be black and feminist, to be black and driven by love, where to be black queer women on the move together is unbelievable from the perspective of the state. And we still live in a time when to be black, queer, brilliant, feminist, driven, to be incredible, unbelievable, stunning, to be exactly who we are, is a threat to the state and a risk to our lives.

Officer writing a "courtesy warning" to us for being "odd" in Mississippi.

The Story:

While driving on 1-20 in Mississippi a police officer from the interstate crime division pulled us over, citing a traffic concern: our following distance. Once we were pulled over, he asked us who owned the RV and what we were doing. We explained that we bought the RV, which is in my name, together with the support our community in order to travel the country interviewing our elders. The officer then asked my partner to leave the RV and called for back up. He questioned us separately. He asked us several times where we were going, how we got the money to be able to travel, how did we find these so-called elders, why would we want to visit them, was this for school, where did we live, how were we going to get back home, how did we get connected to these so-called black feminists, how did we know there were black feminists in the southern and western states we were planning to travel, and who are we to each other.

To see the whole article and join the conversation visit:

http://www.thefeministwire.com/2011/02/16/mississippi-odd-damn-black-feminism-is-unbelievable/

or http://www.mobilehomecoming.org/?p=919

Sunday, February 06, 2011

Lending and Reference Library! Coming Soon!!!!

Greetings loved ones!!!!

We are in the final stages of opening something called the Eternal Summer of the Black Feminist Mind Reference and Lending Library in my community (out of my living room) so that people can have access to great books that can inspire and empower them to think about race and gender and sexuality and politics and everything that they may want to think about more. I'm particularly collecting books that are not in the local libraries and I'll be having library days starting in March in addition to the events I have here at the Inspiration Station when folks can look at the reference books, scan themselves copies of articles and chapters and borrow the lending collection to take home!

I'm really excited about it. Since this summer when I started the process over 700 books have been donated!

You can see the books that I have entered so far (about half) here: http://www.librarything.com/catalog/BlackFeministMind


You can see the books that we are still "wishing for" on this amazon wishlist: http://www.amazon.com/registry/wishlist/9JXRNX84Z3R9/ref=cm_wl_act_vv?_encoding=UTF8&visitor-view=1&reveal=


Hooray! Maybe you'd like to donate some books that you already have? Email me at brokenbeautifulpress at gmail dot com. OR maybe you'd like to start your own lending and reference library in your community? OR if you live in Durham...maybe you'd like me to show you how you can catalog the books that you can share! Get in touch!

Much much love and booklust to everybody!!!

Lex

Tuesday, February 01, 2011

Bootcamp Podcast: The Sound of Mothering Ourselves



Loved ones!!!! For those of you who didn't get to participate in the MotherOurselves Bootcamp in Durham NC this January here is a podcast featuring the insights of the participants and some beautiful music!!! Playlist below.

[audio http://brokenbeautiful.files.wordpress.com/2011/02/bootcamp-podcast-1.mp3]


direct link: http://brokenbeautiful.files.wordpress.com/2011/02/bootcamp-podcast-1.mp3


Also know that for the next week...if you become an Eternal Summerian (monthly sustainer of the Eternal Summer of the Black Feminist Mind) your first gifts will be a mixtape of the meditations of release we did during the bootcamp and the motherourselves manual so that you can bring this work into your life and your community!!!



We can make something out of anything.

Insight from Mariel Eaves and

The Revenge of Ricky Williams "Sweet Wolf Shirt"

We recognize and nurture the creative parts of each other without always understanding what will be created.

"Dear Mom" by Adele Nieves and

Climbing Poetree "I Wonder"

We establish authority over our own definitions.

Affirmations from Miya Binta

Doria Roberts "Dying Man's Wish"

We claim power over who we choose to be, knowing that such power is relative within the realities of our lives.

Estas Mujeres: Covenant by Fabiola Sandoval

Amel Larrieux "All I Got"

We provide an attentive concern and expectation of growth, which is the beginning of that acceptance we came to expect only from our mothers.

"When I Crave Mama" by Fabiola Sandoval

Me'shell Ndegeocello "Solomon"

We affirm our own worth by committing ourselves to our own survival in our selves and in the selves of other black women.

"I Am My Mother's Daughter" by Rashida James-Saadiya

Lauryn Hill "If They Only Knew"

We refuse to settle for anything less than a rigorous pursuit of the possible in ourselves, at the same time making a distinction between what is possible, and what the outside world drives us to do in order to prove that we are human.

"Mother Ourselves" by Julia R. Wallace (JDub)

Santigold "Unstoppable"

We recognize our successes and are tender with ourselves even when we fail.

"My Mother Ourselves Covenant" by Dara Montaque

Res "Bittersweet"

We learn to love what we have given birth to by giving definition to, to be both kind and demanding in the teeth of failure as well as in the face of success without misnaming either.

"Letter of Release to the Next Generation" by Miya Binta

Erykah Badu "My Life"

We lay to rest what is weak, timid and damaged without despisal and we protect and support what is useful for survival. We explore the difference together.

"Mother as Savior" by Miya Binta

Georgia Ann Muldrow "Runway"

We stand toe-to-toe inside rigorous loving and speak what has always seemed like the impossible to each other.

Truth Booth Conversation between Miya Binta and Manju Rajendran

Tata Vega, "Miss Celie's Blues"

As we speak the truth to each other it become unavoidable to ourselves.

ESG "Keep on Moving"

Infinite love,

Lex

Tuesday, January 25, 2011

MotherOurselves Materials! Gifts for Eternal Summer of the Black Feminist Mind Monthly Sustainers!!!!


Happy January beloved and far-flung supporters of the Eternal Summer of the Black Feminist Mind!!!!!!

Since it is a beautiful new year...we have a beautiful new gift for our beloved Eternal Summerian monthly sustainers! All existing Eternal Summerians and all NEW monthly sustainers who sign up before the end of the month will receive their very own digital copies of crucial priceless curriculum materials from the MotherOurselves Bootcamp:

*The MotherOurselves Manual (including the mother ourselves manifesta, playlist, activity station descriptions and a 5 cycle meditation of release including direct quotes from across Lorde's body of work...especially Eye to Eye: Black Women Hatred and Anger.

*The MotherOurselves Meditation/Dance Party Mixtape: guide yourself or your group through the cycles of meditation and release with music, poetry and the mesmerizing sound of my voice :)


AND Eternal Summerians who sign up at levels of $20 or more will receive hardcopies of both the Manual and the Mixtape (well CD actually) and a one of a kind collage in the mail!!!


Hooray!!!!! Sign up today or on payday! Thank you for making another year of ETERNAL inspiration possible!!!!

Love,

Lex

Sunday, January 23, 2011

nomad lullaby for kai


1/23

may your birth be easy

as one two three wants to be

(free)


may you have exactly the hot drink and black skirt you want

wherever you happen to be


may your bright black brain be ever enough

light to paint by


may markerstained hands map you

back to drawing board belief


may the flavor of sunset stay singing

in your ear as praise


may you keep dreaming

next millennia dreams

set in the place you were two days ago


may your circles whirlwind you up to hope


may you see yourself in our bravest most beautiful faces


may our hearts beat and victorious dance your echo name

deep footprints bootsunk

heeled


may we know where you have walked by our reshaped pulse


and may you always know you are right

here

Tuesday, January 18, 2011

The Zen of Young Money: Being Present to the Genuis of Black Youth

I fly with the stars in the skies,
I am no longer trying to survive,
I believe that life is a prize,
But to live doesn't mean you're alive.


Being Black: Zen and the Art of Living with Fearlessness and Grace, Angel Kyodo Williams
"Over" Drake
"Moment for Life" Nicki Minaj

what am I doing? what am I doing?
oh yeah, that's right, I’m doing me, I’m doing me
I’m living life right now
and this what I’m a do til its over
til it’s over, but it’s far from over

First:

I am a member of a criminalized generation of black geniuses.

My twenty-something age-mates and the teenagers behind us are often dismissed as materialistic, crass, empty-headed, impulse addicts. Elders mourn our distance from the forms of social movement participation they would have imagined and mass media relates to us as a market to be bought, exploited and sold back to ourselves, ever cheaper.

As a particularly nerdy member of the so-called thoughtless generation, I resent the implication. And I wonder sometimes what it will take to make the forms of social interaction, critique and that young black people are engaged in every moment of our high-tech or low-tech days legible to the baby boomers (since we all know that legibility to baby boomers is what makes something real in the United States).

So this rare piece (on my part) of contemporary hip hop commentary is an attempt to provide a specific example for an undercredited belief that is at the basis of my queer intergenerational politic of black love:

As young black people we are experts of our own experiences, we think about the meanings of our lives, the limits of our options and more often than not we choose not to conform, not to consent to an upright and respectable meaning of life. Even in our most nihilistic moments we are tortured artists and mad scientists, living a critique of a dominant society that cannot contain us and does not deserve us. This doesn't mean that we are always doing the right thing (Spike Lee), but it does mean that any effective transformative politic that is accountable to us, young black people with a variety of intellectual and cultural attractions and modes will respect us as genius participants in a culture in transition (singularity) instead of incorrectly assuming that we are mindless consumers.

Now:

I take, the example of two songs by two of the most visible young black artists around, members of a hip hop crew/entertainment company that has capitalized on glamourizing a sexualized, hyper-capitalist version of youth energy, chosen family, excess and fun: Nicki Minaj, Drake from the Lil Wayne fronted Young Money Crew.

I happen to have been listening to mainstream radio one day in the car during the week that I was reading Angel Kyodo Williams book Being Black, on the value of Zen principles for black people in the United States and, inexplicably free of the usual defenses and judgments I hold against the most highly marketed versions of hip-pop (no typo) and the self-protection against misogyny and hyper-exploitation that generally causes me to hold back my listening, I actually paid attention to they lyrics.

Of course it was incredibly likely that I would hear songs by Nicki Minaj and Drake since they are routinely rotated. It seems like 2 out of 2 songs that are currently played on the radio star or feature one of these artists. But this time, opened up by Williams' insights about the value of releasing judgment I began to wonder whether beyond payola and the corporatization and uniformity of radio the mass appeal of these two artists might actually not only be the attraction of black youth, and young people in general to...(young) money and the alcohol baptized sexually olympic lifestyle advertised to come with young people's access to money, but also a very different basic need in the lives of young black people, and a central need in my life: accessible technologies for being present to our own lives.

The year after I was born (1983) Lillie Allen created a workshop in Atlanta (as part of a vibrant and inspiring black feminist health movement and environment created by the National Black Women's Health Project) called Black and Female: What is the Reality? which evolved into a curriculum for self and community empowerment called Be Present. Could it be that the contemporary moment in hip-pop is keeping the attention of so many young people...including me, not for the predictably offered reasons, but rather as evidence of a deeply held desire to be present to our own lives in a culture too obsessed with progress to allow reflection or stillness?

Because really...what is compelling about the monotone of Drake's voice in his clearly un-melodic non-chorus on "Over"? Is it only the saturation of media with images of his arrogant attempt to bring light-skinned tall brothers back into style with each other and the rest of the world? Or is it also the thin line between Drake's monotone and a buddhist chant?

Because if, as Buddha writes in the Ghitassara Sutta, the lack of melody of the chant is designed to train us to release our attachment to sound so that we do not lose the moment behind it, Drake seems to also be accountable to something besides melody. What is it that Drake's tonelessness offers that compels my generation to listen to it over and over again? Maybe it is the value of the moment behind the sound wanting to be revealed. The reminder to self, a struggle most evident in Drake's questions and answers to himself:

what am I doing? what am I doing?
oh yeah, that's right, I’m doing me, I’m doing me
I’m living life right now
and this what I’m a do til its over
til it’s over, but it’s far from over

This chorus seems to me to describe and enact exactly the struggle of my own stillness, my own attempts at meditation and mindful living in the world, the difficulty of escaping evaluation of my own life (especially its productivity), of placing myself on a limited timeline, of not "living life right now." I wonder if other people, especially other young black people, who may not have recently read the writings of a brilliant black woman on the value of Zen awareness, are attracted to this same process, reflected in Drake's existential moment, depicted in the music video as sitting on a hotel bed talking to himself charged out of nonchalance into liveliness as soon as he jumps (still seated) and says "oh yeah, that's right, i'm doing me." A contextually distant echo of Audre Lorde's "I am who I am, doing what I came to do," but an echo nonetheless, with the potential to do what Drake says he is capable of, making the biggest skeptic a believer." Could it be that my fellow black young adults and teenagers resonate with this non-song because it is an invitation to let go of some of the skepticism we bring to the value of our lives in their mundane and moving moments and to be present?

The other function of this piece is that while I have peripherally overhead every black feminist who engages with popular culture asked about what Mark Anthony Neal calls "the meaning of Nicki Minaj" in the midst of some kind of valuing or comparison with Lil Kim and the Barbie brand, I have to admit that I had not developed an idea of Nicki Minaj's meaning or even an attunement to the sound of her voice until I was at Drag Bingo and a very fierce drag queen in a bobbed and banged blond wig did an impressive and well mouthed medley of Nicki Minaj song and I found the metaphors hilarious, (akin to what the smart-assed kid and poet in me is drawn to in the mid-career work of Eminem.) So I started listening to the words when I heard her baby-monster-robot voice on the radio. And when I heard:

In this very moment I'm king,
In this very moment I slay, Goliath with a sling,
This very moment I bring
Put it on everything, that I will retire with the ring,
And I will retire with the crown, Yes!
No I'm not lucky I'm blessed, Yes!
Clap for the heavyweight champ, Me!
But I couldn't do it all alone, We!

I thought, this is drag performance all over again. A young black woman channeling the energy and poetry of a young Muhammed Ali as seamlessly as Janelle Monae channels the dance possession of James Brown. And I listened to "Moment for Life" on youtube several times reflecting on what made the sequence above so affirming, and settled beyond my thrill at a young black woman that other young black women listen to embracing her masculinity and being proud of being a "heavyweight" was the repetition of "this very moment." The powerful presence of the sequence places infinite value on the present moment. "This very moment I bring," rumbles without knowing its embodiment of the energy and clarity of the Combahee River Collective's "black women are inherently valuable." What would would mean to affirm that what we bring is the moment again and again and that is enough. Period. Minaj literally uses affirmation as a practice in the piece (the repetition of "Yes!") and the closing trinity of the passage above, divine context (no i'm not lucky i'm blessed. yes!) self-affirmation (clap for the heavyweight champ. me!) and interdependence with community (but I couldn't do it all alone. we!) is exactly the mix that I use to keep myself centered. Who would have thought?


For a million reasons, most of them related to capitalism, racism and patriarchy it is extremely difficult for us, young black women, to be present to the miracle of our every breath. Usually we are waiting to exhale while the entire society collaborates to devalue and demean our living, our physicality, our impact. What are the possibilities of the resonance of an affirmation that moves beyond gender, that reaches to champion elders, that invokes a divine context and a need for community for all of us?

And more than that, what is the potential of my people, young black folks if we can be present to the value of our existence, and if everyone else can be buddhist about us, let judgment fall away and acknowledge the contribution we are to the universe just by existing as ourselves?

(We won't be cocky, we'll be vindicated.)
<3

Dr. Alexis Pauline Gumbs is free, black and 28.




Tuesday, January 11, 2011

Mothering Myself

"We can learn to mother ourselves."- Audre Lorde "Eye to Eye: Black Women, Hatred and Anger" 1983.


(photo also circa 1983)

mother
myself

i honor the ancestors and the universe for placing their passion for creation in my heart. in my hands. rushing it through my veins as faith and movement. i am full with love and gratitude and overflowing and renewed.
a-she.

mother. myself.

i promise to see myself from the perspective of this photograph that my mother took. a bright energy learning to walk. heart and hands open to celebration, to support. I can remember to believe that even if i fall i will be loved. always more surrounded in love.

mother
myself

i will honor this body as a place where life happens. i will attend to this body lovingly as a sacred passage where ancestors walk, dance, sing and fly, where new life will grow and be born, as an altar to their greatness that must always be as clear, open and whole as possible.

mother
myself

i take responsibility for creating safe, soft and well-communicated boundaries to protect and train my purpose which is sacred and which grows and walks and changes. i will remember that these boundaries do not make a closed box. they make a fruitful path.

mother
myself

i honor and cherish the act of opening. i honor and participate in the process of birth in a different and related way, every day. i honor my purpose when i create and support loving spaces for my community to be reborn, individually and collectively

mother
myself

that's me!
mother.myself.

Monday, December 13, 2010

The Queerness of Love: Photoshoot from the Juneteenth Freedom Academy



Tabblo: Photoshoot for My Pretty Man


(a genderqueering photoshoot

after June Jordan's "Poem for My Pretty Man")







the complexity is like your legs
around me
... See my Tabblo>