#African women writers | Explore Tumblr Posts and Blogs

deadassdiaspore · 2 years

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#African women #African Feminism #African women writers #African women thinkers #Black Women #African Women Scholars #African Women in Art #Radical African Women

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sbrown82 · 28 days

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Marsha Hunt, circa 1970.

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yourdailyqueer · 10 months

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bell hooks (deceased)

Gender: Female

Sexuality: Queer

DOB: 25 September 1952

RIP: 15 December 2021

Ethnicity: African American

Occupation: Writer, activist, professor

Note: Prefers her name to be in lowercase to honour her late grandmother.

#bell hooks #lgbt history #queerness #qwoc #queer women #female #queer #1952 #rip #historical #black #poc #african american #writer #activist #teacher #academic #popular #popular post

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nickysfacts · 11 months

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All racism has ever done is slow down the creation of new beauty💜

🇺🇸👩🏾‍🦱📖

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shanaspeare · 2 months

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The World is Yours

"Bury me in the ocean, with my ancestors that jumped from the ships, because they knew death was better than bondage." Killmonger, Black Panther

Originally posted on TikTok: @/vitxate

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leyllethecreator · 10 days

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Professional Afro-Hispanic Teen Author: where you can find my works

I have two ongoing novels releasing serialized updates.

One is a disability romance novel called "Damsel in the Red Dress" available here on Wattpad:

https://www.wattpad.com/story/365913868-damsel-in-the-red-dress

The other is a YA novel called "Rigamarole" available here on my Patreon: https://www.patreon.com/posts/103159083

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uwmspeccoll · 1 year

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It’s Fine Press Friday!

This week we present a 1992 Limited Editions Club printing of American poet and writer Margaret Walker’s 1942 Yale Series of Younger Poets Competition-winning poem For My People with original lithographs by African American sculptor and printmaker Elizabeth Catlett, printed in a limited edition of 400 copies signed by the author and artist. The text was hand-set in Monotype Albertus and printed letterpress on Arches Cover paper by Michael and Winifred Bixler in Skaneateles, N. Y. and the lithographs were pulled by J.K. Fine Art Editions in Union City, N.J. Half the edition was bound at Jovonis Bookbindery in Springfield, Mass. and the other half at the Spectrum Bindery in southern California; we have no idea which binding we hold. But we do know that our copy is a gift from our friends Megan Holbrook and Eric Vogel.

View more posts on African American artists.

View more Fine Press Friday posts.

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deadassdiaspore · 1 year

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youtube

#Dodo motsisi #African women writers #sociology #Neo-Colonialism #foreign aid

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sbrown82 · 1 month

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Marsha Hunt, circa 1969

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kiera-mistral-fahey · 7 months

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When they say black women/people or any people of color can't rock color/pink.

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aslisjournal · 1 year

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Before I start I’ll say I have a lot of flaws A couple of fears, And some deep rooted issues But there’s this dream that I have One that I fall asleep to every night One that’s so deeply woven in my heart I don’t care if I’m inadequate

I don’t care if I’m not enough A life with out my art I lived it, I can’t fathom it It’s like I’m walking around with two weights on top of my heart And that’s not exaggerate I have to reach the life of my dreams By any means Even if I have to fight the earth Cause I’m only here this one time And I probably lived more than half of it So even if the earth decides I’m not enough And raises the standard above the clouds Above my reach Then I’ll go the longest route I’ll build day by day I’ll scavenge for pieces Finding new ways And if along the way I spill it all Fall on my face Even If the earth decides to laugh I’ll start again from scratch The reality is I’m not gonna stop So if we got to go back and forth then so be it It’ll be that way with me until the curtains close And when I die And the earth swallows me whole It will say this one...this one put up a fight I will leave on it a scar or two And when it is asked about it It will tell the story of a girl With too much heart Too much grit Too much love I promise you It will tell the stars and echo into the universe The story of our fight

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originalbydondria · 2 months

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...like the omen

I am not here

I am clearly not

I could cry

Fill a mug

And it would empty

To you

But the age would strip cup

Alchemize it to glass

I am not here

I am clearly not

The crawl over my skin

The deep rooted knots

An illusion of the worst kind

Pain so crippling

But you dont believe it

I am not here

I am clearly not

Unless I leave for good

Now you have these thoughts

Lies I suspect

Because I cant reply back

To remind you of your silence

And your lack

The empty responses

"You'll be alright"

But all of the sudden

You knew something wasnt right

Oh now you care

Or you wish you were there

Or I'd come to you

Like I wasnt right there

I am not here

Clearly I am not

In the dark I drown

In the brown I rot

I lacked the desire to mask

You feign fear to ask

I reached out my hand

The side you can see

Funny how seen the unseen

Can be

Until seeing is noticing

Humanity

I am not here

I am clearly not

D. Ondria

03022024

#ecosystem of creatives #african american writers #blackgirlmagic #african american authors #originalbydondria #black writers #creative writing #black creatives #black women writers #original by d ondria

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sunl1tfields · 5 months

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excerpts from My Daddy's Daughter by Noni Selma

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importantwomensbirthdays · 2 months

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Toni Cade Bambara

Writer and activist Toni Cade Bambara was born in New York City in 1939. Bambara published her first short story in 1959. She was editor of the revolutionary 1970 anthology, The Black Woman, which included poems, stories, and essays from influential Black women such as Nikki Giovanni, Grace Lee Boggs, and Audre Lorde. Bambara also edited the 1971 anthology Tales and Stories for Black Folks. She wrote two short story collections, Gorilla My Love and Seabirds are Still Alive. Bambara's 1980 novel The Salt Eaters won the American Book Award.

Toni Cade Bambara died in 1995 at the age of 56.

#black women #black history #black writers #writers #woman writers #women's history #african-american

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african-international-magazine · 2 months

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Rediscovering Senegal's Photographic Heritage

By Jemimah Chungu

A captivating narrative of Senegal's rich photographic legacy emerges from the pages of a new book authored by Guilia Paoletti, an assistant professor at the University of Virginia's Department of Art. In a revelatory exploration, Paoletti delves into the vibrant tapestry of Senegalese photography, unearthing a treasure trove of previously unseen images that illuminate the country's historic modernity and cultural richness.

At the heart of Paoletti's narrative lies a visual journey spanning centuries, capturing the essence of Senegal's socio-cultural evolution through the lens of pioneering photographers. From the earliest surviving daguerreotypes dating back to the 1800s to the dawn of modern studio photography, the book offers a window into a bygone era characterized by elegance, sophistication, and artistic expression.

Speaking with CNN, Paoletti challenges conventional narratives surrounding the history of photography, debunking the notion of it being solely a Western invention. Instead, she highlights Senegal's pivotal role in shaping the medium's trajectory, with indigenous photographers asserting agency and creativity in capturing the essence of their society.

Central to Paoletti's narrative are the remarkable stories of Senegalese women, such as the signare – a class of Black or mixed-race women who wielded significant influence and commissioned portraits as a means of self-expression. Through their patronage, these women defied traditional gender norms and asserted their social status, leaving an indelible mark on Senegal's photographic heritage.

However, alongside tales of empowerment and agency, Paoletti also uncovers instances of colonial prejudice and erasure. The encounter between Belgian explorer Adolphe Burdo and the "King of Dakar" serves as a poignant reminder of the clash between modernity and colonial hegemony, with European perceptions often overshadowing African agency.

Despite the challenges of colonialism and cultural hegemony, Senegal's photographic tradition endures as a testament to resilience and creativity. From the decorative collages known as "xoymets" that adorned wedding ceremonies to the proliferation of studio photography in the 20th century, Paoletti paints a vivid portrait of a society deeply intertwined with the art of image-making.

As Senegal's photographic legacy finds renewed recognition and appreciation, Paoletti's book serves as a beacon of cultural revival, offering a fresh perspective on the country's rich heritage. With each image and anecdote, it invites readers to embark on a journey of discovery, celebrating the ingenuity and creativity of Senegal's past and present photographers.

In shedding light on Senegal's photographic heritage, Paoletti's work transcends the confines of academia, offering a poignant reflection on the power of imagery to shape narratives and reclaim lost histories. Through her meticulous research and storytelling prowess, she invites us to reimagine Senegal's past and embrace its photographic legacy as a source of inspiration and cultural pride. (Some excerpts from CNN)

#cnn news #cnn #magazine #africa #my writing #panafrican #senegal #afrofuturism #africa fashion #photography #photographers on tumblr #rural photography #queer writers #african writers #fashion #african politics #writers #afri #women writers

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lotus-flower-writes-history · 8 months

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The Unofficial Black History Book

Mary Beatrice Davidson Kenner (1912-2006)

Mary Beatrice Davidson Kenner is a forgotten black inventor who changed the way menstrual pads operated, but her idea was turned down because of the color of her skin, and she was later not given credit for her invention.

This is her story.

Mary Beatrice Davidson Kenner was born on May 17th, 1912, in Monroe, North Carolina. She came from a family of inventors. Her father, Sidney Nathaniel Davidson (1890–1958), patented a clothing press that would fit into suitcases but never made money off of the invention, which failed. Her grandfather invented a light signal for trains, and her sister, Mildred Davidson Austin Smith (1916–1993), invented and commercially sold board games.

As a child, Kenner was interested in creating tools to make everyday life more convenient. She had her first idea when she was six years old—a self-oiling door hinge—but the idea never came to fruition. She would draw her ideas throughout her childhood. One of her ideas was a portable ashtray that would attach to the cigarette carton and a sponge tip that would soak the rainwater off an umbrella.

When Mary turned 12, her family moved to Washington, D.C., and she would often visit the United States Patent and Trademark Office to see if anyone had beaten her to patent any of her ideas.

Side Note: The Patent System - that started in 1787, was not open to African Americans who were born into slavery, even if freed, as it did not consider them citizens.

After graduating high school, Mary enrolled at Howard University but later dropped out when she couldn't afford tuition. She took on odd jobs and became a federal employee during WWII. She worked for the Census Bureau and later for the General Accounting Office. Mary also chaperoned younger women who attended dances at military bases in the Washington, D.C., area.

She met soldier and renowned boxer James "Jabbo" Kenner and married him in 1951. They adopted five boys but had no kids of their own. She retired from government work and opened a flower shop while continuing to work on her inventions.

By 1957, Kenner had saved enough money to file her first patent for an elastic belt that held sanitary napkins in place. Adhesive Maxi Pads didn't exist at the time.

How the invention worked was that a moisture-proof napkin pocket was built into the belt, which prevented more leaks than the cloth pads and rags women were using at the time.

One company. 'The Sonn-Nap-Pack' was interested in her invention and offered to market it. But when they discovered she was a black woman, they turned her down instantly.

"One day, I was contacted by a company that expressed an interest in my marketing idea. I was so jubilant...I saw houses, cars, and everything else about to come my way. Sorry to say, when they found out I was black, their interest dropped." She said in Laura F. Jeffery's Book, 'Amazing American Inventors of the 20th Century'

Because of racism, they did not patent the sanitary belt until 30 years after Kenner introduced it. But her invention was a crucial step for women's comfort and revolutionized menstrual hygiene during a time when women had limited options.

Between 1956 and 1987, Kenner received five total patents for her household and personal inventions. A backwasher that one could mount on the shower or bathtub wall was among Kenner's inventions for which she received a patent. When her sister was confined to a bed due to multiple sclerosis in 1976, it inspired her to file her third patent.

A special attachment for a walker or wheelchair that included a hard-surfaced tray and a soft pocket for carrying items. Also, a toilet paper holder that made sure the loose end of the roll was always reachable.

Kenner never became rich from her inventions, but her ideas centered on accessibility and ease and paved the way for more inventions in the future.

Mary Beatrice Davidson Kenner died at the age of 93 on January 13th, 2006.

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My Resources

https://www.diversityinc.com/womens-history-month-profiles-mary-beatrice-davidson-kenner-inventor/

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