Tags Sargent Johnson Gallery
Tag: Sargent Johnson Gallery
Congrats to new San Francisco Mayor London Breed! Congrats to TheatreFirst for “Participants,” the kind of collaborative theatre project which should be the norm, not the exception. Make sure you check out the finale for the TF 2017-18 season: “Between Us” and “Just One Day” beginning Feb. 18. Listen to two engaging conversations with playwrights and actors about “Participants”: Dezi Soléy and Cheri L. Miller, Skyler Cooper, Nick Nanna Mwaluko, Carl Lumbly.
The new “Black Woman Is God” exhibit, curated by Karen Seneferu and Melorra Green, features the work of over 50 Black women artists in a variety of genres: film, mixed media installation, sculpture, paintings, photography – in a range of sizes covering entire walls to intimate corners. We travel below ground into spaces where lives are born and secret formulas are calculated … brews stirred.
African American Shakespeare Company in San Francisco is our community’s premiere showcase for classical theatre through the lens of the African American experience. Their holiday show is an anticipated family event that did not disappoint this season in its current incarnation as a musical. How often does one see “Cinderella” in splendid technicolor?
On the 20th anniversary of the demise of my father, Fred Ali Batin Sr., the 18th anniversary of the Maafa Commemoration San Francisco Bay Area – the Ritual Sunday is Oct. 13, 2013; see http://maafasfbayarea.com/ – and approximately the 60th day of the hunger strike to end the inhuman conditions in California’s Security Housing Units or SHUs, I just want to pause and reflect.
Afrikan history is world history. World history is human history. And the Black Woman Is God. “The Black Woman Is God” exhibit is a continuation of great Afrikan thought, not solely an outstanding new work of collective and individual art. The closing reception is Thursday, May 30, 6 p.m., in the Sargent Johnson Gallery, African-American Arts and Culture Complex, 762 Fulton St., San Francisco
“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.
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.
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.
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.
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.
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?