#BoycottHumanZoo #ExhibitB en France: “Respect et Dignité”

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A lire au préalable : #BoycottHumanZoo part 1 : le racisme s’invite au musée. #BoycottHumanZoo part 2 : à la culture de notre servitude. “Respect, Dignité”. Voilà les mots que l’on pouvait entendre criés sous le froid et la pluie. … Continue reading

Roots & Inspiration:”Women” by Carol Rossetti [Eng,Fr]

covercarolrossetti

  Sur son tumblr, une des images de cette série était une femme mince dont la légende dénonçait cette injonction aux formes féminines pour prouver sa féminité. Un commentateur a demandé “pourquoi il manque un bras à cette jeune femme … Continue reading

[BOOKREVIEW]”Blues Pour Elise” de Léonora Miano : une belle intro à la Littérature Afropéenne [Fr]

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Depuis le temps que j’attends de vous écrire une telle critique… Pour ceux qui me lisent depuis un moment, vous savez déjà combien j’ai l’habitude de déplorer l’absence d’une mise en valeur d’une littérature afropéenne. Les raisons de cette envie … Continue reading

BOOKREVIEW: Toni (Morrison), what’s going on ?

  In France, a literature similar to traditionnal afro-american literature  (Toni Morrison, Alice Walker, Alex Haley…etc) is not as strong as in U.S.A, I think. We have a lot of essays, of history books, but novels… Not so many. Somehow, I share this afro-american culture which screams the “black History” or “black culture”, because I hardly found something or I never heard anything similar here. Don’t get me wrong, maybe I just don’t know and probably did not go further, but the fact is my mother fed me of these movies like Color Purple and so on, when I was very young. I was 8 when I saw ROOTS for the first time. Since that day, I watch it every year like a ritual (if you want I will talk about that another time). Therefore, it’s in this afro-american influence that my mother adviced me to read Toni Morrison. God, I avoided it during a long, long, long time. Toni’s book alone on my desk, or my bed, or in my bag. Never in my hands. Don’t ask me why, I have no idea. Then, this year for christmas, Home got succesfull in France and, for once, I agreed to read something which was popular in medias and dropped my past century books that I love so much.

Let’s go further after this long introduction : I read Home. Yep. I read it and this book made me feel dizzy. As if I did not correctly hold it, as if I was guilty of something that I did not know. The atmosphere of the novel is heavy, systematically drowning you in a deep way. It is not something that you read to relax, you read it in order to see how look Truth. Not the noble one, the one that we congratulate with a moral weight. No, the other one, the ugly truth of History. Frank, the main character, could steal some sympathy from us. Page after page we could feel sorry and close from his intimate misery, the misery of a survivor soldier after Korea War. Yes, we could, but his life is so ugly by his authenticity that it is uncomfortable to know all the details. It’s uncomfortable to see that we cannot not judge him. How hard we try to understand his sister or him, to understand this reckless and bitter America… We can’t not judge.

I would be interested to know how American readers felt during their reading.

The fact is reading Toni Morrison’s book was tough. It was like eating something so thick that, even if it is good, we don’t really know if we’ll have a stomackhake after that. My opinion will seem mixed to you, so let’s be clear : I liked it :) . I don’t know why, probably because her way of writing “acted” on me, touched me, troubled me. After finishing this book, I felt… thirsty. Yeah. Thirsty. The history itself did not entertain me so much, because it needed to be digested. Analized. It’s just I needed to read more. Like “Toni, what’s happening to me ? what’s going on ?” This is the reason why, now, when I take the metro, I try to find a seat. Not seats which will need to be available when it’s crowded. A comfortable seat. Only then, I can open my purse, letting run my hand in the bottom, and take Tar Baby, another Toni Morrison’s book.

I don’t really know what to think about Toni’s books, because it’s not about to think but to feel.

What I know though, is that I don’t feel thirsty anymore. 

P.S : Good news, this blog will be updated more often now. I closed my others blogs because this one is the most authentic. Let’s see where we’ll go.

The French Approach to “Anti-racism”: Pretty Words and Magical Thinking

mrsroots:

Un super article à lire d’une experte afro-américaine sur le racisme en France

Originally posted on Aware of Awareness:

I first came to France twelve years ago during my junior year abroad. I was the first person in my family to get a passport and I could barely contain my excitement. In the winter of 2003, two years before the riots that followed the untimely deaths of 15 year old Zyed Benna and 17 year old Bouna Traore, I landed in Paris bright-eyed and bushy tailed, armed with a very shaky grasp of French and a naive fascination with this beautiful country.

As an African-American, I was vaguely aware that France did not deal with issues of race the way we do in the United States. And when I happened to forget, French white people were keen to remind me. In one of the sociology classes I took at a university in the south of France, I hesitantly raised my hand to ask a question. The white French professor had…

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Ces 5 livres que devraient connaître les femmes noires… (1)

Il y a quelques jours, une de mes abonnées m’a demandé : “quels seraient les livres que tu recommanderais pour les femmes noires ?”. Si la diversité de nos identités n’est plus à démontrer, nous restons souvent soumises aux mêmes agressions racistes, sexistes, et de la misogynoir : ces conditions réunies amènent souvent au dénigrement des femmes noires, et à leur exclusion. Parce qu’il me semble important qu’on cesse de prendre la dénonciation de ce que les femmes noires peuvent subir comme de la victimisation, j’énoncerais certes des lectures qui les célèbrent, mais aussi des lectures qui me semblent importantes pour mettre un mot sur les oppressions qu’elles subissent.

S’il est facile d’accuser les femmes noires d’être “des victimes”quand elles ne répondent pas à cette injonction latente où la femme noire doit être forte, digne, même dans sa souffrance, – de la femme antillaise poto mitan à la femme africaine – on oublie qu’elles ont toujours su construire, évoluer, et créer par la suite. Et j’aime penser que ce blog a commencé de cette façon : celle où je me suis retrouvée à me demander ce que j’étais dans un pays qui demande des comptes sur mon identité, pour aujourd’hui avancer et avoir de grandes opportunités, de belles rencontres et des ambitions.

Cette première liste, très personnelle et forcément incomplète, est un moyen pour moi de donner un peu de ce que j’ai ressenti quand j’ai lu Tar Baby de Toni Morrison, cette impression réconfortante que l’on existe quelque part. Enjoy

Women, class and race – Angela Davis

Type: essai

Douloureux à lire, mais tellement essentiel ! Pas besoin de se dire engagée pour lire cet essai fondateur sur la place des femmes noires dans une société patriarcale et raciste. De l’esclavage à son temps, Angela délie les intersections complexes entre les différentes oppressions qui conditionnent la place des femmes noires, les instrumentalisations auxquelles elles sont soumises, etc. C’est un livre vaste, je ne l’ai pas lu d’une traite, car il est difficile à digérer, tant les exemples sont précis et parfois décrits de telle manière qu’il est difficile de prendre du recul.

Pour qui ?

Pour celles qui souhaitent consolider ce qu’elles savent déjà sur les mouvements politiques des femmes noires, et voudraient un apport théorique, toujours concret aujourd’hui. (Je le conseille pour un public plus averti).

 

Blues pour Elise

Type : Roman – La critique du blog : ici.

Le premier – et seul ? – roman afropéen à ma connaissance qui réponde à une littérature afropéenne. Depuis, Léonora Miano a dirigé plusieurs recueils de nouvelles, mais, à mes yeux, Blues pour Elise est l’un des seuls romans afropéens qui puisse se réclamer de ce mot. Qu’il s’agisse des femmes antillaises, des femmes d’origines africaines ou africaines natives, elles explorent les différentes essences qui nous relient : le cheveu, la sexualité, le rapport aux personnes blanches, l’effet “Obama”en France, etc. Et pour tout vous dire, c’est le seul livre que je me suis retrouvée à lire à voix haute pour les femmes de ma famille…

Pour qui ? Pour celles qui ont toujours souhaité une sorte de Sex and the city un peu plus profond et à leur image, qui leur rappelle leur entourage et leurs identités en plein creuset de ce “Mon père est né là-bas, ma mère est née là-bas, moi, je suis née ici“.

 

Une si longue lettre – Mariama Bâ

Type : roman – La critique du blog

Ce doit être le roman le plus juste sur cette manière de décrire la place des femmes africaines sans être dans la caricature ou le flou. La justesse, et cette manière également de comprendre un peu plus la place de ces femmes dans d’autres cultures (ici, la culture sénégalaise). Mariama Bâ apporte un autre regard qui remet à sa place nos égos de femmes noires occidentales qui, parfois, peinent à comprendre nos soeurs d’un autre continent, ou encore nos aînées dans nos propres familles.

Pour qui ? Pour celles qui s’encombrent encore de préjugés sur la diversité des femmes africaines, l’absence de féminisme en Afrique, ou simplement qui voudraient connaître plus sur le poids des traditions chez certaines de nos aînées.

 

 

L’oeil le plus bleu – Toni Morrison

Type: roman – La critique du blog

Peu de livres saisissent l’enfance d’une petite fille noire, mais si seulement ce n’était que ça… Dans un jeu de miroirs, on suit l’héroïne qui aimerait “avoir les yeux bleus” pour être jolie, et heureuse, car tout semble sourire à ceux et celles qui en ont. C’était à travers une histoire tragique que Toni Morrison explore dans son premier roman plusieurs facettes du racisme, du sexisme, du rapport à la mère et à la maternité, de la violence des hommes. Un des livres les plus marquants de tous ceux que j’ai lu, qui laissera sans aucun doute, une trace…

Pour qui ? Gros trigger warning :  âmes sensibles, s’abstenir. Toni Morrison a une écriture qui dérange, elle force à sortir d’un certain confort de lecture en allant dans les détails, les plus violents, les plus embarassants et les plus tristes.

 

 

Pluie et vent sur Télumée Miracle, de Simone Schwarz-Bart

Type : roman – Critique à venir

Ca fait plusieurs jours que j’ai fini ce livre, et je n’ai toujours pas les mots pour ce roman. A mes yeux, toutes les femmes antillaises (natives ou d’origine) doivent lire ce livre. On suit une génération de femmes d’une même famille, et tellement de choses nous semblent familières, comme les plats de chez soi, la chaleur, le makrelaj des voisines, les secrets de famille, le courage des femmes dites “poto mitan”… Simone Schwarz-Bart n’a écrit que deux livres dans sa vie, et nous devrions être heureuses qu’il y ait au moins celui-ci.

Pour qui ? Pour celles qui ne sont pas rebutées par une écriture très lyrique, un paysage bucolique d’une île post-esclavage comme on en décrit rarement. De quoi contrebalancer des lectures plus lourdes et graves que l’on connaît dans la Négritude…

 

Division sexuelle et raciale du travail

mrsroots:

Sur les intersections race classe genre dans l espace du Care et ailleurs, un très bon mémo sur le sujet.

Originally posted on Salut, et encore merci pour le poisson!:

Dans les années 2005-2010, des féministes occidentales, et blanches pour la plupart, utilisent la dialectique du « les femmes sont mal payées car elles s’occupent du care », cela est vrai mais ça serait bien de préciser de quelles femmes  on parle et dans quels secteurs socio-professionnels.
La proportion des femmes non-blanches est majoritaire que ce soit dans le rôle de nounou ou de femme de ménage chez les particuliers, les femmes de chambre dans les hôtels, les ménages dans les entreprises et les services publics ou encore chez  les aides-soignantes,
Pourtant ce n’est pas ces femmes-là qui sont représentées dans l’image du féminisme mainstream et ce ne sont pas ces femmes-là qui bénéficie des revalorisations salariales au nom de « l’équité homme-femme ».

Voici une compilation d’articles en français évoquant le travail domestique non gratuit, le plus souvent traité dans le cadre des études sur le Care ou sur les Migrantes (Migration et Genre), et…

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03 Rencontre avec Fania : non-mixité, politique de respectabilité et “niafou”

assiegees

Son site : http://www.xn--assig-e-s-e4ab.com/
Le Twitter d’Assiégées/Le Twitter de Fania 

Les journées ITMTC

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Les journées Intersectionnalité ITMTC

#BoycottHumanZoo: when racism becomes part of the art landscape

 

N.B. This is a translation of a French article – the first part – written by Mrs Roots and Po Lomami. The specific context is that of France’s racism (which deliberately chooses to avoid talking about race or to acknowledge its racism). France is also the host of a distinctive elitist class of academic assholes in white beards who protect “art” at any cost, thus pre-emptively avoiding any constructive concrete art criticism (so we’re definitely not talking about whether this triangle is on the right side of the canvas here – somehow, they see that as more of an acceptable debate than whether a piece is racist or not). Also I’m a white girl who drinks Starbucks and eats bland chicken, so my translation may not be 100% on point, even though I wholeheartedly agree with the author. I hope she’s happy with it, but if you have anything to say, better address me (anything that appears like trash to you is probably just bad translation and I take full responsibility, do not hesitate to throw canned tomatoes at me – without the can).

@evanarchiste

B3d-IhrIYAAziHn

 

Let’s be honest, it took us a while.

It took us a while to accept that we had to sit down, to look in the face of what was happening, to transcribe our anger on those pages, to articulate our different perspectives, one of them being vegan and antispeciesist, and to face the promotion given to this new “artwork”. Yes, it took us a while to realise that today, in 2014, we’re asked to be spectators of a performance showcasing a black person, just like us, behind the bars of a cage, in the name of Art. It took us a while to understand that this was real. After all, the shows and performances and films that we had seen – those public spaces from which we were constantly absent and erased – did not prepare us for the way Art chooses to represent us today. We were accustomed to the promotion of our exotic capital, on which many art institutions build their own capital. At best, we were getting used to the “Vénus Hottentote” remaining a nameless pain, a woman used as an example to denounce the animalisation of the black body, including, even, the dissection of its genitals – while the authors of such horror remain unnamed and undenounced. Yes, despite our lack of representation, despite the caricatures and the uneven perspective, we didn’t expect to see the promotion of an artwork such as Brett Bailey’s. The description reads:

“Caged women and chained men. Here are some of the tableaux presented in Exhibit B, in venues such as the espace 104 in Paris from the 7th to the 14th of December. The South-African artist Brett Bailey chose our colonial past as his theme.”

“Our colonial past”. A very hypocritical “our”, as it is only articulated around the servitude of black bodies for a museum exhibit. It’s been a couple of days since the first questionings about this exhibit’s racism were raised. Should we dare mention its cancellation across the English Channel, and we hear the outrage about censorship and attack on freedom of speech. A freedom of speech that is to be understood as one of depreciation of ethnic minorities as it has always been seen in the media.

Thus, Art is reason enough to justify the existence of this artwork. It’s so sacred that it remains exempt of society’s tendencies and values. It’s neutral land, untouched by the power struggles created by a Western society that refuses to mention race (let alone talk about it), a society that would rather believe in a nonsensical antiracism that refuses to say the word “black” and whose trademark is “I don’t see colour”. This continuous erasure of social issues linked to race is not without consequence.

It’s what allows us today to witness a discussion where people agree on the racial connotation of black bodies in this artwork, while simultaneously denying to consider the artist’s skin colour and its relevance to the subject. Today, still, white is a colour that cannot be named.

It’s what allows us today to witness the defenders of this exhibit arguing that it does denounce racism, while simultaneously denying the thoughts of the actual victims: the black diasporas.

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  1. LET’S TALK ABOUT RACISM – BUT NOT ABOUT RACE

To resume: a white South-African artist decided to recreate a colonial zoo, showcasing black people, in the same way colonial zoos did during colonisation and universal exhibits, for the entertainment of white spectators. We are thus invited to pay a twenty euro fee in order to relive this unique experience – watching caged black people. If the colonial zoo was a problem in the past, what is the difference with today’s exhibit, in Paris? This is the question we raised when facing unconvincing justifications for this exhibit:

  1. “Brett Bailey’s colonial zoo is meant to denounce”: the loyal recreation of human zoo would be a form of denunciation in itself, but how? In choosing to solely expose chained black bodies without representing domination mechanisms, whether it be through the absence of the actors (white colonisers) or of the institutions, we remain in a fantasy according to which our context (being a French society in 2014) speaks for itself. Indeed, who would create an actual human zoo in 2014? The museum exhibit preserves this “actual”, as if the museum as an institution were only a fictional ground, a special place free from our society’s xenophobia. Placing this institution out of its context, out of History, imitates racism’s mechanisms: it follows the belief that the past is entirely detached from the present. The artist counts on a contemporary pride that stems from the belief that our society today is so evolved that it’s post-racial – but, more importantly, that the colonial past is just that: past, done with entirely. Yet, colonial past, just like its friend racism, remains a latent oppression that continues to be perpetuated. Refusing to listen to the black diasporas denouncing this exhibit is yet another proof that the black body isn’t seen as valuable to the narrative unless it’s part of the story, but never as the author. The exhibition of chained black bodies, in its forced passivity, in addition to the absence of the colonisers, is a narrative choice that doesn’t denounce anything. All it does is maintain the colonial tradition that forces black bodies to remain quiet. Its exhibition has one goal only, and an awful one at that: alleviate the guilt while catering to the ego of the spectator, whose sole thought will be “what terrible things they did”, without realising that they themselves are participating in an effort to maintain the racist status quo.
  2. The black body, antiracism’s crash test: thus, the black body remains the crash test of the good conscience. “Let’s go to the museum, so I can see how I’ll react while facing animalised and chained beings!” The spectator will be able to brag about this afternoon of discovery, where their confrontation with a racist exoticism might bother them, surprise them, and maybe even disturb them a bit – an afternoon after which they will resume their daily activities. Brett Bailey creates a performance out of the black body, just like during colonial times, making everyone believe they have something to say about it. However, although each and every one of us may be able to say something about racism, not all of us suffer it.
  3. Black or white artist, does it make a difference? Wanting to denounce racism through the prism of an artwork when everybody refuses to acknowledge the skin colour of the artist pretty much sums up antiracism in France: “let’s talk about racism! But not about race!” It’s as if racism (whether it be today’s or yesterday’s) was confined within espace 104’s walls, for the duration of an exhibit. It may displease the artist and the artwork’s defenders, but racism isn’t about how good one’s intentions are. It’s built on a system of power struggles between the oppressors and the oppressed – and the latter constantly see their narrative and their voice stolen from them in order to justify just about anything. No one asked Brett Bailey to create this human zoo. No one asked for the animalisation of black people to be insisted upon whether it be in a need for catharsis, or as a duty to remember.

 

  1. A CALL FOR A BIASED OBJECTIVITY

It’s not uncommon for us, when facing the denunciation of the artwork’s racism, to be met with a cry for objectivity. It’s a very usual response to the denunciation of an oppression. “You’re too easily offended! You see racism everywhere!” Racism and xenophobia are commonly perceived as problems of sensitivity and subjectivity, the “you’re so easily offended” trope. It makes it easy to delegitimise the lived experiences of those victim of racism, forcing us to lose time and energy to explain why racism is racist. Here are the five most frequent responses we get:

  1. “You haven’t seen the exhibit yet!”: True. It’s actually not the first time the exhibit takes place in France, but social media has a way to dig up that which would want to remain unseen. The choice is actually simple. One can choose to pay in order to see the exhibit, out of sheer curiosity, all the while being a willing participant in racist entertainment and encouraging the idea that the artwork is only about caged blacks. This would justify the animalisation that seems to be the entire purpose of the show. But, after all, didn’t the minstrel shows showcasing white actors in blackface to make spectators laugh gather crowds? Who were there, obviously, out of sheer curiosity as well?

Or, one can choose to consider the basic concept of the colonial zoo as dehumanising and conclude that spending an “afternoon in the body of a coloniser” isn’t the healthiest way to reflect on antiracism.

  1. “But, what if it were a black artist? And if they showcased white men?” In trying to advocate for objectivity, our interlocutors see their subjectivity as neutral. Interchanging the races of the actors would seem to constitute a valid argument, but here are some reasons why it’s actually not the case:
    1. Not only do they then avoid the speak about race entirely, but they’re also taking extra care to avoid mentioning Brett Bailey’s and the majority of the spectators’ race, as well as the system’s race bias.
    2. To consider this kind of hypothesis is to see racism simply as “melanin levels that are too high”. Thus, it denies racism as a system based on the historic animalisation of black people (such an animalisation, needless to say, has never been inflicted on white people).
    3. Brett Bailey’s defenders make a big deal about the exhibit’s context, but will present any and all hypotheses to defend him. Its context remains the creation of a show by and for white people, to so-call denounce racism while using racist methods. However, if, the art work is not defendable within its context, what conclusion can we draw? That it’s racist.
  2. “Freedom of speech!”: the freedom to showcase a racist narrative in a public institution would then be more important than the dehumanisation of black bodies that is thoroughly encouraged by this exhibit, because “freedom of speech is a fundamental right”. When we know that that same freedom of speech is the most widely used argument by xenophobic politicians and intellectuals, it seems hard to understand how our interlocutors can deny a freedom that is theirs, but not everybody’s: the freedom of living, to be considered as a human being without fear of seeing your kind exposed in cages for the sake of an experiment.
  3. “It’s a museum! Nothing racist about that!” If institutions were exempt of all discrimination, never would the horror generated by universal expositions have existed, nor would hypnosis performances showcasing “hysterical” women have seen the light of day. French spectators enjoyed those performances, just like they enjoyed human zoos or the exhibition of sick people in front of hospitals.
  4. “There are black people who agreed to be showcased!” Choosing the participants of this exhibit as a safety net without taking into account the difficult economic situation or the complaints issued about the participation of certain workers is simply a desire to alleviate the white conscience. Despite this, let’s take a closer economic look at this situation.

Racism and colonialism had economic and capitalist purposes. Today, this continues to impact us. Indeed, let’s take a look at the way those actors were hired and paid. Bailey is paid while becoming somewhat famous and gaining a reputation as a must-see and a denunciator of racism. On the other hand, the actors were paid 110€ gross salary for a 3h performance (an amount of 120€ for the Gérard Philippe theatre). A reminder that those venues are paid for by public funding.

“What is fairly amusing is that the director pretends he created this project in order to denounce the power struggles between black and white people. Yet, there is no respect policy when it comes to the salary of the artists. He’s paid and continues chasing after fame. Meanwhile, at the 104, the artists were paid a 110€ gross salary for a 3h performance, and only 10€ more for the TGP. I believe this is a perfect example of cultural appropriation and ordinary exploitation.”

 

In other words, the institutions have never tried to stop the depreciation and animalisation of the other’s body. They have never protected the body of those oppressed (whether it be people of colour, transgender folks, queer people, women, not able-bodied, etc.) from the constant voyeurism that has transcended our History and justified number of discriminations, usually based on so-called scientific, psychological, historical or… artistic evidence.

The amount of tolerance given to Art, to Brett Bailey and to the ensemble of institutions in the promotion of this artwork is symptomatic of the current xenophobic climate, in France and in Europe. Hoping that museums become places of education and information, while loosely accepting just about anything from the proposed exhibits is condoning the discriminations faced by minorities and the way they’re taught. The deep apathy when facing the exhibition of a human being raises many questions about how sick our society really is. If you deem this kind of exhibition to be acceptable, then you believe humanity to be yet another glamorous object deserving of a place behind a wall of glass.

When facing such constant violence, we ask ourselves: when will racism shock you?

 

Thus, if after those couple of words, the presence of racism in a museum is too much for you, ask yourselves up to what point the general denial has allowed it to subsist; ask yourselves how far the wheels of this century-old oppression have come if, today, this exhibition shocks no one.

 

 

Thank you @evanarchiste for having translated this text.

02 Rencontre avec Fania : les journées ITMTC et l’université populaire

Fania, fondatrice de la revue Assiégées, afroféministe de choc, lance cet été la première édition de son université populaire en non-mixité “Retournement de cerveaux” et ses journées Intersectionnalité Toi-même, tu sais !

Cet après-midi là, la jeune femme au sang #haitianomolotov nous accueille dans son appartement pour nous dire un peu plus sur elle !

assiegees

Son site : http://www.xn--assig-e-s-e4ab.com/
Le Twitter d’Assiégées/Le Twitter de Fania 

Les journées ITMTC

Découvrez le programme de l’université populaire et inscrivez-vous !

PRE-COMMANDEZ LE 1ER NUMERO !

Les journées Intersectionnalité ITMTC

01 Rencontre avec Fania : un militantisme haitianomolotov

Fania, fondatrice de la revue Assiégées, afroféministe de choc, lance cet été la première édition de son université populaire en non-mixité “Retournement de cerveaux” et ses journées Intersectionnalité Toi-même, tu sais !

Cet après-midi là, la jeune femme au sang #haitianomolotov nous accueille dans son appartement pour nous dire un peu plus sur elle !

assiegees

Son site : http://www.xn--assig-e-s-e4ab.com/
Le Twitter d’Assiégées/Le Twitter de Fania 

Les journées ITMTC

Découvrez le programme de l’université populaire et inscrivez-vous !

PRE-COMMANDEZ LE 1ER NUMERO !

Les journées Intersectionnalité ITMTC

En Afrique, l’homosexualité est traditionnelle, mais …

mrsroots:

A LIRE sur l’homosexualité en Afrique et son “occidentalisation”

Originally posted on 76 CRIMES:

Publié le 8 de mai 2012

En Afrique, l’homosexualité est traditionnelle, mais elle prend maintenant des formes inspirées par l’Ouest

Patrick Awondo Patrick Awondo (Photo par Eric O. Lembembe)

L’homosexualité a une longue histoire en Afrique, dit l’anthropologue Patrick Awondo, contrairement aux affirmations de politiciens qui la considèrent comme une importation occidentale récente.

Mais Awondo admet dans une interview le mois dernier que deux éléments clés dans le débat sur l’homosexualité en Afrique est venu de l’Ouest – en premier lieu, les lois de l’époque coloniale contre les activités homosexuelles et, plus récemment, l’émergence des mobilisations homosexuelles qui demandent des droits basés sur ses pratiques sexuelles.

«,L’homosexualité a toujours existée, mais certaines des formes actuelles de son identification ou des mobilisations qui accompagnent cette identification sont nées à un endroit précis avant d’inspirer d’autres contrées du monde dont l’Afrique », at-il dit.

Awondo était au Cameroun le mois dernier pour coordonné sessions…

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[ENGLISH ARTICLE] Blackfeminism in France : what’s going on ?

It’s been a while since I wrote an english post, right ?

Even if I try to dedicate my blog to french readers, I am more and more concerned about keeping in touch with english-speaker fellows ! If you did not follow the last afrofeminist events taking place in Paris, here is a little recap :

– On February, “Ouvrir La voix”/”Speak up/Make your way” hosted the first black feminist conference ! After 30 years without any event and reunion, we’re back ! It was exciting and I was moved to be part of this event, meeting so many non-white women in the room speaking up. Amandine gay, conference’s president and director of the documentary “Speak up/make your way” presented diverse issues around being a black woman in France. This “we” around the table was meaningfull, because we shared so many different experiences (queer, islam, disability, classism, racism, sexism… ).

On March, my sisters were back in the streets thanks to Mwasi, a black feminist and panafrican association ! Lot of us neve felt represented in this feminist march, and for the first time, we felt there was a place for us, finally. I could’nt be there that day, but I was so full of joy to see all the pictures and all this solidarity. Even though this blackfeminist march was welcomed with racist slurs on social media (and elsewhere), nothing could fight or erase us !

Many things are coming, and it’s funny to see how many people want to insert themselves in our initiatives, so they can use us, lol. Tell’em it won’t work with Black Jesus, lmao. We are strong and visible and here.

I am touched everytime I received a tweet, a mail or private message from a black young woman telling me she’s happy. Happy to see us and what we are doing, happy from the little city where she lives.

assiégées

What’s next ? Well, the first and new intersectional magazine AssiégéEs will launch “Intersectionnalité, toi-même tu sais” (“Intersectionality, you know better”), two days in two countries (France and Belgium) with conferences, workshops and so much more ! I will participate to the one taking place in France, and maybe in Belgium too, but I can’t reveal the program for now… So stay tuned !

Les prochains évènements à venir, et le premier Q/A du blog !

QAbannière

Bonjour tout le monde !

Peu de temps pour lire, et  tellement de projets en route et à venir ! Voici un petit résumé bref des prochaines actualités :

  • Vendredi 27 Mars (ce vendredi donc) : Nasema consacre son émission au 8 mars et au cortège afroféministe sur Radio Libertaire. Vous pourrez suivre l’émission en direct et une brève interview avec Many Chroniques et moi !
  • Le 2 mai, second café littéraire du blog autour du  thème de l’engagement ! (complet). Je vous ferai un petit topo, pour celleux qui n’auront pas pu être là.
  • Le 14 Juin à Paris et 28 Juin à Bruxelles, les journées “Intersectionnalité toi-même tu sais” : tenez-vous bien, les journées ITMTC arrivent ! A cette occasion, je participerai à la journée sur Paris pour un projet secret – suivez leur page Facebook pour connaître leur programme, il sera révélé bientôt ;) J’ai vraiment hâte de vous en parler. Je serai peut-être également à Bruxelles, à reconfirmer.
  • D’autres portraits de femmes afro sont à venir sur la chaîne Youtube ! La prochaine sera la rédaction du magazine Assiégées, le premier magazine non-mixte pour femmes racisé.e.s, queer et bien  d’autres choses !

Après plus d’un an d’existence, le blog répond à vos questions !

Dans la lignée de ces portraits présentés sur ma chaîne Youtube (Amandine Gay, Po Lomami…) et vu le nombre de questions que je retrouve à plusieurs, je vous propose une vidéo  Q/A où je répondrais à vos questions, 100% transparent – ou presque, hein – :

  • Sur Twitter : Posez votre question, suivie du HT #MRBlog
  • Sur le blog : Posez votre question dans les commentaires de cet article.
  • Sur Facebook : Posez votre question dans les commentaires du post.

C’est le moment, pour les plus timides, de poser leurs questions ! La date du Q/A sera annoncé une fois que j’aurais récolé vos questions :)

 

A bientôt !