Black Women Are Teachers

[simple-payment id="3067"]Becoming a teacher saved my life.I began my teaching career one month after the passing of my father. I'd spent the summer grieving - laying in bed sad and lost - navigating the path of who I was now that he was gone.On the first day of school, I sat nervously behind my desk - and watched as a gaggle of bright faced Black students walked into my classroom. Ahmad, Caleb, and Dalyn shook hands and found pleasure in having class together. Taryn entered, long legged with a mouth full of braces. Then Shaheem, loud and prepared for a fight. And Calvin, who ended most of his sentences with the colloquial "you heard me?" This was my introduction to the children of New Orleans.There were days when I thought I would lose my mind - as is normal for any first year teacher. Some days the grief of losing my father was so heavy - that I would walk out of class and weep in the bathroom. Some days, I could not leave fast enough and would weep in front of my students. And they would sit in silence - or rush to me and hug me; telling me stories of a grandmother who they lost to cancer, or a friend they watched bleeding in the middle of the street.But most days, I spend my time laughing and learning from young people who are searching for themselves in a city that makes it easy to be lost. New Orleans, if you let it, will eat you alive and not even have the decency to spit you back up. My students have seen death and glory; know what it means to be literally and theoretically hungry.They are surviving and survivors.The relationship between myself and my students is a mutually beneficial one; they often tell me how much they love and need me.For some, I am mother, sister, aunt, nurse, therapist, and friend. And as daunting as that responsibility may seem - it is not one I take lightly or for granted.That is why I've created Black Women Are Teachers, a movement that celebrates all the guidance Black women give to students - in and outside of the classroom. A part of this movement is funding the artistic, entrepreneurial, and scholastic efforts of students of the African Diaspora.Find out how you can help me on this mission!

BLP in Chicago

I am so excited to be facilitating a workshop about the art of writing about love and identity politics. If you're in the Chicago area, please come see me! This workshop will occur during the 2017 College Unions Poetry Slam Invitationals (CUPSI), so come check out all of the amazing teams competing, particularly Tulane (me being their coach bears no bias.) 

On Super Sunday and Mardi Gras Indians

[audio m4a="https://blackloveproject.files.wordpress.com/2017/02/1-07-jock-a-mo.m4a"][/audio](press play)

I'm havin' my fun on the Mardi Gras Day

Mardi Gras, for many, means a chance to travel to New Orleans and indulge in a certain kind of debauchery that is generally frowned upon in the rest of the world. There is something exciting  to tourists about being able to drink alcohol openly and wander down infamous Bourbon Street.When we look at Mardi Gras historically, there is a blatant foundation of racism and classism. You see this in the high membership fees for parading krewes and veiled white men who often selectively (see racially-selective), throw beads at the crowds who yell at them to, "Throw me something, mister." Black participation in Mardi Gras was initially reserved for the position of flambeaux; men who carried torches for miles to light parade routes. The main Mardi Gras routes follow St. Charles and Canal Streets, and black social clubs, most notably the Zulu Social Aid and Pleasure club, were forced to parade on back streets of black neighborhoods. Black social clubs, most notably the Zulu Social Aid and Pleasure Club, were not allowed to parade on main routes, like Saint Charles and Canal Street until 1968. Up until then, black krewes were contained to routes along back streets of black neighborhoods.To counter this exclusion, New Orleans' black community did what most oppressed groups do; created something that is now ingrained in the fabric of the city's culture. In black neighborhoods in Uptown and Downtown New Orleans, parading men created gangs called Mardi Gras Indians. Similar to West African secret societies, these gangs are shrouded in secrecy and ritual. Outwardly, the suits, chants and music pay homage to the African and Indigenous roots of the New Orleans black population, with ritualized hierarchal structures. So while Mardi Gras holds great historical and cultural weight for the city of New Orleans; the history of Mardi Gras Indians tells a greater story of black perseverance and influence.

My spy boy met your spy boy / Sitting by the fire / My spy boy told your spy boy / I'm gonna set your flag on fire 

In 2014, I interviewed a man called Spy Boy Honey, a member of the oldest Mardi Gras Indian gang, The Creole Wild West. We spoke candidly about his time away from New Orleans after Hurricane Katrina. The thing that stuck with me the most was when Spy Boy Honey reminisced about his time away from the city, "I left New Orleans after the storm and didn’t listen to Mardis Gras music for almost nine months. Then one day I heard it and I just started crying. I had to come home, so I came on back to New Orleans." This spiritual reaction and connection to Mardi Gras Indian culture, is also parallel to African secret societies in that it is not something you choose, it is something that chooses you.Spy Boy Honey's name, is indicative of the ritualized hierarchy  of Mardi Gras Indians. Every person plays their part. Since black people were confined to their own neighborhoods, it was expectant that the paths of different gangs would cross. It was the role of spy boy, to spy on and be on the lookout for other parading Indians. This tradition is archived in Sugar Boy Crawford and His Cane Cutters 1953 single, Iko, Iko, where the lyrics tell the meeting of two rival spy boys, with one threatening to burn the flag of the rival gang's flag boy. The flag boy comes next in line and carries the banner of his gang. This mirrors the European procession, in which masked men carrying banners precede the coming floats. Penultimate is the Wild Man. He is the one who clears the paths for and gives compliments like, "You so pretty.", to his Big Chief.  Lastly, comes the Big Chief, the leader of the gang and the one who decides which route to take.The tradition goes something like this: a gang searches for a route to parade, their spy boys walk ahead in search of any rival gangs. As the gangs parade, should they pass one another it is at the discretion of the Big Chief whether they continue to parade, or meet face to face. This meeting, or masking,  was often used to violently settle personal disputes. The name of the song, Jock-A-Mo and the repeated Iko, Iko are reiterations of Indigenous battle and victory cries.  Now the only battle and weaponry are the suits, heavy with intricate beadwork and feathered headdresses. Every member spends a year hand making his suit, so these maskings are the time for them to show off their hard work.

We dress this way to pay homage to the Native American tribes, like the Choctaw, who took us in when we ran away. . . All the beading and feathers we use, we use to pay tribute to them. - Spy Boy Honey

Super Sunday

Sundays in New Orleans hold heavy significance for its black population. New Orleans handled its enslaved populations uniquely; in that they allowed them a day of rest. On Sundays, slaves were able to congregate in Congo Square, while European slave owners attended mass. Some enslaved people and freed people of color were also able to sell goods and keep profit.  It is in Congo Square that black people created and exchanged rhythms and dances. This is where jazz music and second lines were created. Second lines are in short, a neighborhood march. In the first line is the brass band. Brass bands are a New Orleans musical tradition steeped in military colonialism and black innovation with brass instruments. The second line is formed by the people, who follow the band throughout the city, dancing behind.For Mardi Gras Indians there is Super Sunday. A masking that generally occurs on the third Sunday of March. It is a day that honors St. Joseph's Day, as an homage to the Sicilian community who celebrate this saint and who gave refuge to black New Orleanians. This day is perhaps larger than Mardi Gras for the Indians, as it gets down to the very roots of its tradition. There are no masked men looking down at your from above, and you do not get beads. What you do receive is an insight into a hundred year tradition. Super Sunday  is an exhibition of the tradition of what black people do greatly; creating as a means to transcend physical, mental and spiritual suffering.So as you plan your next trip to New Orleans, I highly suggest that you travel outside of Mardi Gras season. If you have never felt the overwhelming spirit of black joy, come to New Orleans on a Sunday.Song: Jock A MoArtist: Sugar Boy Crawford and His Cane CuttersAlbum: Jock A MoReleased: 1953Writer: James "Sugar Boy" Crawford 

love poems: hairy legs

when a white feminist crieshow many black women will she askto hand her a tissue?threetwo to hold the box and one to wipe her tearswhen being privileged gets too hard for herhow many of them will come to you for comfort?twoand how many times, black womanwill she open her mouth and ask you how you're doing?possibly oncethis is why i do not call myself a feministthat word is for women who think hairy legs are a revolutionthey don't know what it means to come from thosewho've been sold by the measure of our hipshow many children we could breedwhat a pleasure that must beto be able to count the days it's beensince the last time you shaved your legswhen somewhere a black mother weepsand counts the days it's beensince the last time her first born took his last breathbody leaking on groundher name was his last prayeror on the seventh daywhen light and dark were madethe Creator rested and said"woman, here is my gift to youthis will be your burden."and the earth responded in thunder and lighteningand the wind is the echo of the first timea black woman opened her mouth to the sky andsaid, "my G-d, my G-d, my G-d."so excuse me white feministsif i do not jump to hold your hand in solidarityhalf of you do not know what sisterhood meansyou are too busy trying to be like white menG-d complexand i stopped believing in white gods a long time agoi believe in myselfi am G-dmy hair is sweet grassmy teeth are the starsso when i say fuck your hairy legswhen i say fuck your hairy legsi mean that shit sincerelyNote:“A womanist is to feminist as purple is to lavendar.” - Alice Walker, In Search of Our Mothers’ Gardens: Womanist Prose, 1983I often don’t preface any of my writing, however this topic is important to me.My writing is for black women. My purpose is to uplift and support black women. If I can do that by sharing my experiences with violent white feminism, then I will continue to do so until I can no longer put paper to pen or finger to keyboard.I wrote this poem after experiencing the vitriol of white feminism, particularly during my time in Baton Rouge. The passive-aggression, the undermining, the silence, the erasure and disloyalty that often occurs when well meaning white feminists suddenly have computational errors when it comes to respecting the space I take up as a black woman. And when I stand up for myself, I am made to be just another angry black woman, unjustified in my reaction to white violence. Using that historically racist trope as a means to erase my work from a community that is seemingly fine with continuing a legacy of erasing women of color.I could go on and on about the history of white feminism excluding and using black women’s bodies for its benefit. We could talk about the present liberal white feminists who use the title in order to say, “well, at least i’m not like them.”, while still having internal conflicts with their own racist ideology; which is often more violent than overt racism. We could literally have this conversation for days. But instead, I wrote a poem about it.

Love Poems: Tilted Crown on Write About Now (Live)

http://www.youtube.com/watch?v=1ewYQhUwRN0 From August 1-5, I traveled home to Atlanta to compete at the National Poetry Slam as a member of Eclectic Truth National Team, Baton Rouge. Amir Safi, Chibbi Orduña and Christopher Diaz of Write About Now were gracious enough to host an after hours cypher. More than 40 poets performed and yours truly was one of them. Check it out!

Natty Dread: On Jamaican History and Hair Identity

 [audio      mp3="https://blackloveproject.files.wordpress.com/2015/07/06-natty-dread.mp3"][/audio]Children get your culture/And don't stand there and just stare/Or the battle will be harder - Natty DreadAs a black person it is radical to love yourself. To be black and proud, to some, means that you are angry or uppity or a threat. In a post-colonial world (using this term lightly), the Diaspora is collectively searching for liberation. The first step in this quest is defining identity. Who are we as a people? Who am I as a black person? In what ways does my body take up space and am I proud of that? I believe these are some of the questions that have to be answered individually before unified steps can be made towards what we believe liberation to be.Black hair has and will continue to be an important measure of identity. Whether it is gelled-up, weaved-up, natural, low fade, waves; however it is that we choose to wear our hair, black people take a particular interest in our hair identity.  This year makes two years that I have been growing my dreadlocks. I did not loc my hair as a spiritual journey; I was tired of the process of maintaining an afro, simple as that. However, as I'm growing and understanding myself as a black woman, my hair becomes a part of that understanding. Untangling myself from the idea that my hair may not be acceptable, particularly in corporate settings, where certain black hair styles are viewed as unprofessional. I know many people who question if they will be hired due to having natural hair. This insecurity coming from the historical measuring of black presentation against white standards of beauty.People often think of Bob Marley as nothing more than a pot smoking Rasta. However, on a deeper level, the popularity of Bob Marley represents the spread of positive black identity that has been accepted amongst the masses. Natty Dread was released in 1974 and is the vibration of the social and political tensions of Jamaica during this time. Jamaicans were collectively understanding who they were as a people.  The country experienced extreme eruptions politically, musically, and religiously; giving the Diaspora a soundtrack and visual to unwavering black pride and its physical manifestation. This manifestation was the widespread visual of black people with dreadlocks which was a distinctly Jamaican message of black divinity, pride, determination and  spiritual dedication to one's hair identity.Never let a politician grant you a favor/ they will always want to control you. - Revolution When the album was released, Jamaica was a social-democratic nation run by the People's National Party (PNP) representative Prime Minister Michael Manley. Contra to the PNP was the conservative Jamaican Labour Party (JLP), led by Edward Seaga. Politically speaking, it were as though Bernie Sanders had beef with Ronald Reagan. Jamaica had free education and health care, but the remnants of colonization created large racial and economic disparities. PNP and JLP took turns controlling the country and used its poor and disenfranchised constituents to fight their battles. Bipartisan bickering always trickles to the communities and Jamaica found itself entrenched in an extremely violent era.Jamaica, at this point, was only twelve-years independent, so the internal conflict reflects the newness and search for sovereignty; particularly for the poor and majority black population. Those who believed that politics, or politricks, as coined by Peter Tosh, was their saving grace, gave themselves to the fight. Neighborhoods were divided along political lines and allegiances. Self-made enforcers policed the streets, creating road blocks and check points. Police targeted citizens and financial bribes and overall corruption rotted the country.  All of this stemming from the very real issue of poverty and lack of opportunity.I remember when we used to sit in the Government Yard in Trenchtown/And then Georgie would make a firelight/As it was log wood burning through the night/And we would cook cornmeal porridge/Of which I'll share with you - No Woman, No Cry In times of chaos, a person will have to choose which way they plan to survive. In Jamaica, its people seemed to choose in three different but interwoven ways; political violence, music or religion. Artists from Trenchtown began to create a very particular soundtrack of keen observations of the times. Lyrically, Natty Dread gives the story of a people who find self through religion, music and a communal identity. ini or I and I is the Rasta word for "we", taking out the individual and replacing with oneness. This influence is present in Marley's song writing as it is the voice of the marginalized and voiceless. When Marley sings of remembering Trenchtown, the story is not only his. Marley and artists like Peter Tosh, Bunny Wailer and Gregory Isaacs, all represented this bourgeoning of Jamaican culture that would impact the world. Immortalizing the stories of those most affected by the political violence and economic downturn.Natty Dread as an album covers the range of musical experimentation going on in Jamaica. Artists were influenced by music coming from America, while integrating native mento, ska and roots. It brought Jamaican patois to the forefront and lengthened the reach of Rasta's influence. Listeners were introduced to nyabinghi chants and scriptures central to Rasta teachings. HIM Haile Selassie I, who the Rastas believe to have been the living incarnate of Jesus Christ, is perhaps more associated with Rasta than for his personal history. Through this music, the world accepted the idea that a black man could govern himself according to his own law. Within the country, Marley and many others gave themselves to the teachings of Rasta teachers like Mortimo Planno and wrote their lessons of spiritual self-discovery into the music.During the 70s the Diaspora experienced pockets of musical revolution inspired by political and social unrest. Fela of Nigeria, Nina Simone and Gil Scot Heron of America, Franklin Boukaka of the Congo, all artists of the Diaspora who devoted their musical presentation to rejecting western philosophy and ideals. What is unique about Jamaica's musical revolution was the inclusion of religion. This may be the most radical release of music; black artists who openly smoked marijuana, had dreadlocks and  promoted the message of belief in black divinity.Natty dreadlock inna Babylon - Natty DreadRastafari can be best described as a liberationist religion founded on the idea of black divinity, self-determination and self-reliance. Based on the Afro-centric teachings of Marcus Garvey, Rasta promotes strength in black identity and creating a connection to Africa. Through the reverence of Ethiopia's former Emperor His Imperial Majesty (HIM) Haile Selassie I, born Ras Tafari Makonnen Woldemikael, who they believe to be  the promised incarnate of Jesus Christ. There are sets of rules and regulations within Rasta, pertaining to how one eats, dresses and presents themselves. This coming from the adherence to the biblical Nazarite vow, which restricts one from drinking alcohol, cutting one's hair and being in contact with a corpse. Samson of the Bible was a Nazarite and was described as having "seven locks" (Judges 16:13). Rastafarians, most but not all, adhere to these rules and the dreadlock becomes a physical reminder of the spiritual journey of man. It is also a symbol of the power of the lion, in reference to the regal title of Haile Selassie I, "Conquering Lion of the Tribe of Judah".  The term "natty dread" refers to any member of the Rasta community.1974 saw an influx of Rastas moving from the mountains down into the city, Trenchtown in particular. Their teachings and way of life infiltrating the big city. For the Rasta, who  marginalized in Jamaican society, living in their truth was a revolution within a revolution. Particularly in regards to presentation. There is a deep understanding that life for black men outside of Africa is inherently harsh. In order to survive, one must create ways to survive. This is not new within the Diaspora. Black people often turn to religion as a means of hope for deliverance.A Rastafarian rejects measures of European standards of beauty. Through dreadlocks, Rastafari solidified their stance of black identity. Creating a world linked directly to heaven on earth, a land for black men to govern themselves and a way to survive Babylon, the name given to downpressing (Rasta replacement for oppressing) systems.  Through the spread of Marley's music, Rastafarian teachings and culture began to influence politics and the society which originally shunned it. Through albums like Natty Dread, Marley immortalized the message of black strength and pride and gave a visual of that notion. It is the parallel of Jamaican politics, music and religion that gifted the Diaspora with a different and more spiritual understanding in the link between hair and black identity.  Song: Natty DreadArtist: Bob Marley & The WailersAlbum: Natty DreadWriter: Marley, Rita & Cole, AllenReleased: October 25, 1974, Island/Tuff Gong

Chay Chay Poley: A Quick Lesson on Liberian English

[audio m4a="https://blackloveproject.files.wordpress.com/2016/07/01-chay-chay-poley.m4a"][/audio]Song: Chay Chay PoleyArtist: Tokay TomahThe linguistics of the Diaspora is fascinating to me. No matter where we landed or remained, our tongues have been influenced by colonization. West Africa is known for its various forms of Pidgin or broken English, the West Indies for their patois and the United States for AAVE. When we look at these variances of Black people learning European languages, the syntax and patterns are often similar across the Diaspora. Noun verb agreement, order of words, inflections and speed, deletion of consonants; all of these things point to the linguistic and comprehensive nature of indigenous African languages and the overall evolution of the syntax Black people. There are many parallels in the spoken languages of the Diaspora. For Liberian English, there is a close relationship to AAVE, given the influence of freed American slaves.As Liberia celebrates its 169th birthday, I think it fitting to pay attention not just to our history of  war; but to our culture and traditions. As language and words define a culture, I want to discuss the unique vocabulary and expressions of Liberian Engligh, known as "colloqua".  The Liberian accent is like no other; spoken quickly and melodically. There are tonal inflections that indicate whether an exclamation stands alone or is in support of an independent clause.  For example,  "o" an exclamation that when used by itself, shortly and with an upward inflection means disbelief. When expressed longly, there is downward inflection and denotes sorrow. However, the same "o", placed at the end of a sentence is merely for support of the main idea, like, "I hungry, o.", this time, the "o" has little upward inflection and is there to support how hungry one is.  Even the pronunciation of the letter "r", pronounced  "ara", I thought R. Kelly was Ara Kelly for a very long time.Liberians are by nature a happy people, always ready for a good time. I think the accent is very telling of our that.  We speak in song and riddle. Liberia, with a population of indigenous Liberians, freed slaves from the Americas, and a Caribbean population mixed to create one of the best accents across the Continent.Fellow Liberians, feel free to add to the list in the comments section! Happy 26th o!Quick Guide to Liberian Englishla/ley: theda: thatyor: you all, y'allo: exclamation. used by itself, often in disbelief. or at the end of a sentence. either short or long in sound, at variance. example: i hungry, o.enh: suffix used as a question. example: you hungry, enh? or, you must be hungry, huh? also means and.yah: suffix. used at the end of a sentence for emphasis or affirmation.mehn: man. also used as emphasis  or support.jue: girl, womanold man/old ma: term of respect for elderseh yah: exclamation said in lamentation or remembrance.eh mehn: exclamation said in pity, sadness, or disappointmentjust now/jeh now: quickly. right now. at this moment.hobojo: a loose woman. prostituteyor how do o?: how are you?business: matters or affairs. example: that man business nah easy. or things concerning men aren't pleasant.fini: has finished. has occurred. completely. example: i fini eating long time. or i ate a while ago.fini give: gavego-come: to go and return in a short period of timetoo bad: very much.  example: I want him, too, too bad.to the: answer to question of someone/thing's location. example: where is Mary? She to the house.da lie: you're lying. that's a lie.nyama nyama: small thing. trivial things.don't add my frustration up: don't make me angry dry: skinny. thin.different-different: various typesplum: mangobutter pear: avocadoground nut/ground pea: peanutgoo goo: good good. tasty. pleasant.  example: da goo goo woman. example: that's a good/pleasant woman.country: referring to indigenous people, culture, traditionswaste: spilled. example: da whole thing waste or everything spilled out.what place?: where? example: da what place you at?why you looking so?: what's wrong with you?(but) wait now: hold up. similar to AAVE hol'upI coming go: I'm about to leavedress (small): move over. move to the side.make shame: to embarrasskwi: Americo-Liberian, Congo, bougieplenty:  a lot of. example: she made plenty rice. Similar to AAVE use.fine boy/girl: term of endearment. attractive man or womanyou boy/you girl: term of endearment. similar to AAVE use of boy, girl in conversationso-so: nothing but. example: so-so women were there. or there was nothing but women there.my people: referring to a group of people. or to one's family.  can also be used alone in lamentation. example: o, my people o."pronounced "my pee-po"your people: used when inquiring of another's family.move from here: stop complaining to me. can be used in disagreance.for true: for realhelluva: big, large.vex: angrysmall-small: a little; in amount or distancesweet: good. delicious. enjoyable. example: "dis rice eh swee' o."take time: be careful. A child's song sings, I was passing by/my aunty called me in/and she said to me/Jewel take time in life./You got far way to gopalava: trouble or argumentcarry: to bring somewhere. "come carry me to the store."doka flea: used clothingyou will see me: to show one self. said in anger.wetin . . .?: what thing? suffix to da, "da wetin?" or what's the problem?chay chay poley: a gossiper.da force?: have i forced you? (asked rhetorically)