Global Black History
“Consider the laughter on October 15, 1982—after 1,000 people died from complications related to AIDS—at the Reagan White House press briefing.”
“When did everyone become Black and not of specific nations themselves? Why did being Black mean not belonging to a place?”
“What would it mean to create a sanctuary for all?”
Butler’s work helps us see how time is a spiral, how the present moment is always layered with multiple pasts and underlying alternate futures.
Rather than politically utopian, Butler’s stories teach us about grief, consolation, hope, and—most of all—how to live in struggle.
“She wanted people to be curious and take action in their lives. Not be sheep. To find the ways we can work together in crisis.”
Pandemics, racist violence, climate change, democratic collapse: it’s finally clear that it’s Butler’s world. We’re just living in it.
“Are there ways in which Black North Americans connected to places and things that were outside of the world we thought they were in?”
Exponentially more enslaved Africans were forced to the lands that now make up Latin America rather than the United States. Where is their story?
“Octavia Butler teaches us,” explains Black playwright Ericka Dickerson-Despenza, “…that we have two options in Apocalypse: adapt or die.”
In 1963, a Panamanian assemblywoman took to Cuban radio to condemn the United States and its control of the Americas.
Once, Black women employed textile arts both as a mutual aid network, and as a safe space to envision a Southern Black liberated life.
Few know the film—the first feature-length film by a West African director—was based on a real-life incident, a real tragedy lost in colonial archives.
White supremacy tells us we do not belong, but we do have a place in history.
“Liberation begins in the mind… Black folks have never been given the opportunity to define our own reality.”
“There is nothing supreme about being white.”
Libertie presents a revolutionary vision of what life could be like for Black women in the 19th century.
Though a new phenomenon, Verzuz isn’t new. Black artistic, scholarly, athletic, and political spaces have always been made into battlegrounds.
“What are the compartments that have been placed around how we understand slavery and genocide and its impact on our lives and the world?”