kaylawordsworth asked: Nayyirah, you are a beautiful writer. Thank you for standing your ground on the issue of your style and your art. Inventions are patented. Picasso is credited with his style along with Monet, and many others. Writers are creators and have the same right. Thievery is not a form of flattery..ever. The difference between a thief and a creator is passion. Your passion will always show through. Your self validation doesn't come from anyone other than you. Thank you for knowing that.
thank you for your support, love. as poc, we have been told, and consistently are told, nothing of ours is our own. that nothing is new under the sun. but this is absolutely not true. i come from a peoples who innovate and create magic from nothing every single day. and if there was nothing new, we would not/ could not comprehend the concept of newness. what a ludicrous idea. these concepts are simply the children of colonization that have conditioned us to believe everything we are belongs or can be owned by someone else. the pyramids were new to those europeans first visiting africa. gun powder was new to the europeans who found china using it for fireworks. there were myriads of things new to europeans, but after colonization, now there is nothing new? and isn’t it telling that white people are always credited as ‘being the first. and the best.’ that every time someone seeks to dismantle my boundaries around my work, they bring up a writer/ or artist of white/european descent. and while they are trying to tell me there is nothing new, here they are, directing my attention to a white person ‘who did something first. who is original. who is the best.’ there are a million of things that are new to me. that are not mine. that i have no issue honoring someone or another peoples and culture for. and that to me is part of the complete joy of being a human being, to be wowed and humbled and grateful for the extraordinary genius that other human beings contain and express. for that which is theirs and not mine. thanks for rolling with a sister. and for letting a sister roll, love :))) sending you honey :)))
The Paris Exposition of 1900 (Exposition universelle internationale de 1900) devoted a building to matters of “social economy.” The United States section of the building featured an exhibit that, according to W. E. B. Du Bois, attempted to show “(a) The history of the American Negro. (b) His present condition. (c) His education. (d) His literature.” 1
Du Bois and Thomas J. Calloway, who was named special agent for the Exposition, spearheaded the planning, collection and installation of the exhibit materials, which included 500 photographs, as well as 32 charts, numerous maps, and a display of 200 books written by African Americans. Calloway’s report to the U.S. Commissioner-General for the exposition mentions such sources of photographs as:
- Coleman Manufacturing Company, Concord, N.C.
- C.E. Fleetwood of the U.S. War Department
- Hampton Normal and Agricultural Institute, Hampton, Va.
- Bishop B.F. Lee of Wilberforce, Ohio, James P. Niell of Nashville, Tenn.
- Roger Williams University
- Shaw University
- Tuskegee Normal and Industrial Institute. 2
The Library of Congress holds approximately 220 mounted photographs reportedly displayed in the exhibition (LOTs11293-11308), as well as material specially compiled by Du Bois: four photograph albums showing “Types” and “Negro Life” (LOT 11930); three albums entitled “The Black Code of Georgia, U.S.A.,” offering transcriptions of Georgia state laws relating to blacks, 1732-1899 (LOT 11932); and 72 drawings charting the condition of African Americans at the turn of the century (LOT 11931).
The materials cataloged online include all of the photos in LOT 11930, and any materials in the other groups for which copy negatives have been made.
1 Du Bois, W.E. Burghardt, “The American Negro at Paris” American Monthly Review of Reviews 22:5 (November 1900): 576.
2 Report of the Commissioner-General for the United States to the International Universal Exposition, Paris, 1900, (Washington: Government Printing Office, 1901), v. II, p. 464.
— Iyanla Vanzant (via aestheticintrovert)
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