April 7, 2013
“The Black Woman Is God” exhibit examines and questions the idea of seeing the Black woman as a God figure. Artists use materials, forms and iconography that challenge the belief that the image of God is white and male. The exhibit can be seen at the African American Art and Culture Complex at 762 Fulton St. in San Francisco until May 30, Tuesdays through Saturdays from noon to 5 p.m.
March 31, 2013
The award winning play, “The Mountaintop,” looks at the everyday divinity of ordinary folks and places Martin King right there with them. His greatness is not a greatness which is inaccessible or isolated. In the Lorraine Motel that night, King listens and even agrees at some point with the young maid, Camae, a Malcolm X radical in an apron.
December 7, 2012
Monday, Nov. 26, at the Bay Area Black Media Awards event hosted by Greg Bridges and sponsored by the San Francisco Bay View and Block Report Radio, it was so wonderful to see all the media friends and family for an evening of celebration. KPOO, KPFA, New California Media/Pacific News Service, Wanda’s Picks Radio, Oakland Post, Globe, Poor News Network, Oakland International Film Festival, Black Panther newspaper alumni and others were in the house as “Best” this and “Best” that were saluted.
December 3, 2011
Sobonfu Somé, West African healer, says that when people die and become ancestors, they get smarter and often try to repair any damage they may have made while in this physical form. Ancestors want to be busy making our lives better. She said we can call on them to intercede on our behalf when we are troubled.
March 13, 2010
Multi-layered with healing at its center, the large cast of “Dancing with the Clown of Love,” some infected, everyone affected, shared stories written over the past two years at the Women’s HIV Program at the University of California San Francisco – documented in a short film that opens the show. Hurry! The run closes this weekend.
February 27, 2010
Rhodessa, dressed in an orange prison jumper from South Africa (orange the universal prison attire, like a brand), appears with a whip. All the sensations: cold, hard, eerie darkness, unfamiliar sounds, smells, give the audience plenty to contemplate, especially those in the first two rows where the whip spinning in Rhodessa’s hand over our heads, which she then flicks, we feel, too close to our faces as its breeze and the sting of its impact hits the ground again too close for comfort. But this theme – the Black holocaust – is it supposed to be an idea that brings ease?