Analysis of visitor data has shown that black folks are among the lest likely to enjoy our National Parks system, and to engage in outdoor activities. Getting out and doing activities is one of the most important things in terms of long term health. Doesn’t men you have to zipline Grand Canyon or scale El Capitan – but moderate hiking has great cardio benefits. Not to mention the psychic benefits of just seeing something wonderful.
One of my hobbies for years has been Landscape Photography. Backpacking gear into the wilderness to photograph the scenery, wildlife, and beauty in the mountains, desert, or coastlines. Walking through the 2000 year old Old Grove trees in the Pacific Northwest can be a religious experience, as can the silence of the Desert. Many of these places are located within a few hours drive of a city – some are so remote only a few people even get to them a year.
“There’s something so dynamic about a forest environment,” she said
One woman wants to inspire more black people to participate in outdoor activities, so she created a network where “black people and nature meet.”
Rue Mapp is the founder of Outdoor Afro, an organization that encourages black people to embrace the outdoors and all the activities it has to offer.
“I found that in the nature experiences I had, I was far too often the only one who looked like me,” Mapp said in a video by Facebook Stories. “So I decided to do something about it.”
The nationwide network was created in 2009 and started out as a Facebook group Mapp made to help connect black nature-lovers everywhere. The social media platform and its offerings has become a useful tool for many organizations. Facebook founder Mark Zuckerberg announced Wednesday that now one billion people are using Facebook Groups every month.
“Outdoor Afro is a perfect example of how people can use Facebook groups to build relationships around the things they care about,” Alex Deve, a product manager on Facebook Groups, said in a statement to HuffPost.
Since its launch, Outdoor Afro has grown significantly and now has over a dozen chapters across the country with more than 13,000 members. According to a 2015 report released by the Outdoor Foundation, 70 percent of people who participated in outdoor activities last year were white. Only 10 percent were black.
“National park visitorship, especially in more remote areas, can be as low as 1 percent African Americans,” Mapp said. “I just felt that there were these opportunities and lessons I was learning that more people could benefit from.”
Outdoor Afro has been able to reconnect black people with nature. It encourages black people to invest more in the planet by inviting them on outings such as nature trails and teaches them important lessons on conservation. Mapp said the work she is committed to has evolved beyond her wildest dreams.
“At the end of the day, this is about love and connecting [with] one another,” she said. “Connection is strength and the chance to be better, bigger, stronger and sustainable.”
The Bioblitz Dance – Outdoor Afro and the California Conservation Corps Dance. That is Rue Mapp on the lead in.
Blast for the past! The shadow of the events of 1968 still afflict America. The serial murders of both King and Kennedy, the rise of the right – and “The War”.
Through the ’60s and ’70s, Nina Simone essentially soundtracked the American civil rights movement, emerging as one of the era’s most brilliant, bluntly political artists, and one who was reluctant to speak to white interviewers for fear of misrepresentation. A rare exception to that rule came in 1968, when European jazz singer Lilian Terry talked with the legend at her home in Mt. Vernon.
That interview, which never aired in the United States, has been beautifully animated in the latest installment of Blank on Blank. In it, Simone and Terry start with some light, discursive chat before segueing into a sober discussion of Martin Luther King Jr.’s recent assassination. Simone concludes by noting that “it’s a lot of hell and a lot of violence, but I feel more alive now than I ever have in my life.”
Translated … “They have the weapons. F$%k Them! We have the Champagne!”
The student protest at Mizzou has moved some folks, and changed some minds. Here, Jay Leno lays out the fact that the students indeed had cause for their actions…
Real Time host Bill Maher battled panelists Jay Leno, Michael Steele and Dylan Ratigan on Friday when he complained about the recent anti-racism protests at Yale University and the University of Missouri.
Maher recounted the discussion at Yale that was touched off by a university email advising students not to use Halloween costumes based on cultural appropriation or stereotypes, which led to a faculty member, Erika Christakis, questioning whether the school was stifling students’ right to be “a little bit inappropriate or provocative or, yes, offensive.”
That, in turn, led to hundreds of students signing an open letter criticizing Christakis.
“Who raised these little monsters?” Maher said of the letter. Leno countered by saying that the pendulum in public discourse had swung in the other direction from the days when virtually any sort of slur would go unchecked.
“You could call a government operation ‘Wetback,’ and no one said anything about it,” the former Tonight Show host said. “Now the pendulum swung back, so now the other side gets a taste of what it’s like. Will it come back to the center? I believe it will.”
“That’s spreading — it’s not just Yale,” Maher insisted.
The host also expressed sympathy with protesters at Missouri, but questioned whether prompting the resignation of president Tim Wolfe was beneficial to their cause.
“Do we purge even clueless people from their job now?” he asked. “Is that where we are with the battle against racism?”
“I say yes,” Leno responded. “You know why? Because if you’re president of the university, you shouldn’t be clueless. When I saw the faces of those African-American young kids when they had won, they looked like Julian Bond in 1965. They looked like all the black students that protested when I was in college that did the sit-ins that didn’t think they would get whatever it was [that they wanted]. It’s just a different version of that. I applaud them. They looked like they won something. One of those people could be a senator.”
Ratigan concurred with Leno, saying that the protests were forcing conversations about racism “to permeate deeper into the system.”
“You have all this structural racism that we all know about and we talk about it, but it doesn’t get talked about as much as it should and it doesn’t get dealt with,” he said.
Maher then scoffed at the protesters’ efforts to set up a “media-free zone” at one point.
“They characterize themselves as the protesters in Tiananmen Square, but sometimes they look like the Chinese Army,” Maher protested. “Their right to never be offended does not supersede the First Amendment.”
“However irrational the response may be, the irrational response pales in comparison to the structural racism that still exists,” Ratigan shot back.
Steele also argued that the conditions that spurred the protests had not just developed over hours or days, but at least several months.
“This even goes back beyond a few months — it goes back over a period of time that these students have had to live in this environment where they’ve had to deal with this by themselves,” he said. “And after a while, enough’s enough. And cluelessness is no longer an excuse.”
Born in 1891, Archibald Motley would document, through his art – the next 70 years of black experience in Chicago and France.
Portrait of a Sophisticated Lady
The artist Archibald Motley captured both the high times and cultural vibrancy of the Jazz Age, as well as graver themes of racism and injustice.
The sexy sway of a 1920s Paris nightclub, filled with light and dark-skinned people pressed against each other.
The bustling streets of the almost exclusively black “Bronzeville” neighborhood Chicago in the 1930s under a nighttime glow.
A depressing surreal scene of horror following the death of Martin Luther Kingthe failings of the 1960s Civil Rights movement.
These are just a handful of the diverse visual expressions of the African American experience that the artist Archibald Motley so adroitly and sumptuously captured throughout his career.
Bronzeville By Night
As versatile in his aesthetic style as he was committed to scrutinizing African American culture, Motley was a uniquely daring and sharp artist who stood out even among the Harlem Renaissance greats.
Yet, Motley’s name does not elicit the same nods of recognition and respect as his peers, like Langston Hughes, Josephine Baker, and Zora Neale Hurston. That could–and certainly should–change after the retrospective Archibald Motley: Jazz Age Modernist opens October 2 at the Whitney Museum of American Art.
Traveling through different chapters of his career, though not boxed into a strict chronology, the exhibition showcases how Motley was a thorough and sensitive observer of the black community, documenting its diversity while bringing his own keen perspective to its traditions and subcultures.
Motley “set his work apart” because he “created a modern, vibrant world which, as seen through a pair of jaded, laserlike ‘Negro’ eyes, revealed the jazz-and-blues-accented absurdities that lay behind life’s facades and public face,” writes Richard J. Powell in “Becoming Motley, Becoming Modern” an essay in the book,Archibald Motley: Jazz Age Modernist.
Powell, who is an art historian and Dean of Humanities at Duke University, curated the Whitney exhibition.
In other words, Motley wasn’t afraid to capture the good and the bad of black life, as his peers made tremendous gains yet the community in general often struggled in poverty and disenfranchisement in a segregated, very racist America.
At least a significant part of Motley’s distinct perspective on African American life came from his unique upbringing for a black man of his era.
Born in New Orleans in 1891, Motley was raised in Chicago’s then largely white immigrant Engelwood neighborhood and married his white childhood friend, Edith Granzo, in 1924.
Trained at the School of the Art Institute of Chicago, Motley’s earliest critically-acclaimed paintings were portraits of different figures within the African American community.
His 1924 Mending Socks depicted his grandmother, Emily Motley, a former slave, sitting with a quiet pride and refinement.
Motley was not so forward-looking that he ignored the complicated, painful slaveholding past. Mending Socks features part of a portrait of his grandmother’s mistress in the upper left corner, hanging over her.
As important as it was for Motley to capture history, it was equally, if not more, significant to him depict the spectrum of skin tones considered black. A blend of ethnicities himself, he was dedicated to painting “the whole gamut,” as he said, of African American complexions.
1920’s Mulatress with Figuring and Dutch Seascape and 1925’s The Octoroon Girl speak to his commitment of not only visually presenting multi-racial figures, but doing so in a way that showed them as refined, strong figures.
As the Whitney exhibition notes of Motley’s artistic interest in these portraits: “On the one hand, he believed that seeing themselves in art would help African Americans feel pride in their own racial identities; on the other, he hoped that seeing beautiful contemporary black subjects would dispel stereotypes and undermine racism.”...More…