Tampilkan postingan dengan label Salamishah Tillet. Tampilkan semua postingan
Tampilkan postingan dengan label Salamishah Tillet. Tampilkan semua postingan
Sabtu, 18 Agustus 2012
MHP Show: A Long Walk Home--Refuge for Sexual Assault Survivors
Scheherazade Tillet, MAAT, is the co-founder and executive director of A Long Walk Home, Inc. (ALWH).
Senin, 11 Juni 2012
"We Who Believe in Freedom"--Black Thought 2.0
Black Thought 2.0 @ Duke University
April 7, 2012
From Jena Louisiana to Tahrir Square: Activism in the Age of Social Media
Jasiri X (Pittsburg based artist & activist); Alexis Pauline Gumbs (Broken Beautiful Press/Mobile Homecoming Project); Moya Bailey (Emory University/Crunk Feminist Collective); Kimberly Ellis aka Dr. Goddess (artist, activist, historian); Salamishah Tillett (University of Pennsylvania); Treva Lindsey (Moderator, University of Missouri)
Minggu, 20 Mei 2012
MHP Show: Is 2012 the Year of the Young Woman?
Host Melissa Harris Perry with Emily Carpenter (Girls for Gender Equality); Leslie Cardona (Young Women Creating Change); Julie Zeilinger (Barnard College Undergraduate); Salamishah Tillet (Professor, University of Pennsylvania).
Senin, 16 Mei 2011
Our World with Marc Lamont Hill: Gender Justice
Marc Lamont Hill is joined by Salamishah Tillet, Byron Hurt and Akiba Solomon.
Senin, 06 Desember 2010
'Left of Black': Episode #12 featuring Marc Lamont Hill and Salamishah Tillet
Left of Black Host and Duke University Professor Mark Anthony Neal discusses the crisis of Black Males and schooling, the de-skilling of the American Work-force and Social Media with Columbia University Professor Marc Lamont Hill. Neal is also joined by University of Pennsylvania Professor Salamishah Tillet as they discuss the career of Kanye West, the impact of Nicki Minaj and definitions of musical genius.
→Marc Lamont Hill is Associate Professor of Education at Columbia University. A regular contributor to Fox News and CNN, Hill is the author of Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and the Politics of Identity.
→Salamishah Tillet is Assistant Professor of English at the University of Pennsylvania and the author of the forthcoming Peculiar Memories: Slavery and the Post-Civil Rights Imagination (Duke University Press). Tillet is also Founder of A Long Walk Home, a non-profit organization and a regular contributor to The Root.com.
→Marc Lamont Hill is Associate Professor of Education at Columbia University. A regular contributor to Fox News and CNN, Hill is the author of Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and the Politics of Identity.
→Salamishah Tillet is Assistant Professor of English at the University of Pennsylvania and the author of the forthcoming Peculiar Memories: Slavery and the Post-Civil Rights Imagination (Duke University Press). Tillet is also Founder of A Long Walk Home, a non-profit organization and a regular contributor to The Root.com.
Sabtu, 04 Desember 2010
The Root Review: 'Night Catches Us'
Starring Anthony Mackie and Kerry Washington, Tanya Hamilton's moving debut takes us back to 1976, when Jimmy Carter was about to be president, funk was king and the Black Panthers were trying to pick up the pieces.
The Root Review: 'Night Catches Us'
by Salamishah Tillet|The Root
The Black Panther Party in its twilight, circa 1976. Gone are the breakfast programs, dashikis, megaphones and big Afros, as well as the gun-toting, black-leather-clad militants. In the wake of the formidable black nationalist movement are both ruin and rumination. Single black mothers trying to save a community, former Black Panther members turned vigilantes, and fatherless daughters haunted by the legendary leaders of the past.
Set in Philadelphia, Tanya Hamilton's moving debut feature, Night Catches Us, is neither nostalgic nor sentimental. Her attention to period details is focused, meticulous and unswerving. Within the first few minutes of the film, the viewer is caught up in a faraway past: When Jimmy Carter was on the verge of becoming president, plaid pants and pageboy caps were in style, and Cadillacs rested on every corner. Most remarkably, it was still a time when black people held bail parties for those wrongly incarcerated and refused a "stop and frisk" by cops because it denied their constitutional rights.
Anthony Mackie plays Marcus Washington, a former Panther leader who mysteriously returns to Philadelphia to attend his father's funeral. Where has he been all these years? In prison for his Panther activities? Or laying low because he was secretly an FBI informant? The ambiguity surrounding his recent past is a tension that drives much of the plot.
But the true mystery that Hamilton tries to unravel is far more ambitious. Moving past the grand narratives of Huey Newton, Stokely Carmichael, and Eldridge and Kathleen Cleaver, Hamilton turns her camera to the everyday lives of Panther members, people who valiantly fought for racial freedom but who now are plagued by the reality that they may have won certain battles, but ultimately they lost the war.
Read the Full Review @ The Root
The Root Review: 'Night Catches Us'
by Salamishah Tillet|The Root
The Black Panther Party in its twilight, circa 1976. Gone are the breakfast programs, dashikis, megaphones and big Afros, as well as the gun-toting, black-leather-clad militants. In the wake of the formidable black nationalist movement are both ruin and rumination. Single black mothers trying to save a community, former Black Panther members turned vigilantes, and fatherless daughters haunted by the legendary leaders of the past.
Set in Philadelphia, Tanya Hamilton's moving debut feature, Night Catches Us, is neither nostalgic nor sentimental. Her attention to period details is focused, meticulous and unswerving. Within the first few minutes of the film, the viewer is caught up in a faraway past: When Jimmy Carter was on the verge of becoming president, plaid pants and pageboy caps were in style, and Cadillacs rested on every corner. Most remarkably, it was still a time when black people held bail parties for those wrongly incarcerated and refused a "stop and frisk" by cops because it denied their constitutional rights.
Anthony Mackie plays Marcus Washington, a former Panther leader who mysteriously returns to Philadelphia to attend his father's funeral. Where has he been all these years? In prison for his Panther activities? Or laying low because he was secretly an FBI informant? The ambiguity surrounding his recent past is a tension that drives much of the plot.
But the true mystery that Hamilton tries to unravel is far more ambitious. Moving past the grand narratives of Huey Newton, Stokely Carmichael, and Eldridge and Kathleen Cleaver, Hamilton turns her camera to the everyday lives of Panther members, people who valiantly fought for racial freedom but who now are plagued by the reality that they may have won certain battles, but ultimately they lost the war.
Read the Full Review @ The Root
Minggu, 17 Oktober 2010
Mad at 'Mad Men'
The creators of Mad Men get so many things right in this period television series. Too bad they get black women so wrong.
Mad at 'Mad Men'
by Salamishah Tillet
In Mad Men, AMC's seminal series on the 1960s advertising scene, all the women are white, all the blacks are men and, well, the rest of us non-male colored folks are housekeepers and Playboy bunnies. At least, that's what one would think watching the show lauded by The Washington Post as "TV's most feminist show."
Mad Men is all about progressive gender politics -- as long as it comes wrapped in white skin. For female viewers who both enjoy Mad Men and come wrapped in brown skin, watching the show can be a frustrating experience.
For the fourth season, Mad Men, which comes to a close on Sunday, the civil rights movement serves as little more than a decorative backdrop. Now set between 1964 and 1965, the show continues to wonderfully detail the fall and the failures of its patriarch, Don Draper, while also exploring the limited gender roles that stifle white suburban housewives, like Betty Draper-turned-Francis, and the sexual harassment and gender discrimination that plague working women, like Peggy Olson and Joan Harris.
In fact, the show's creative representations of white male chauvinism and a budding white feminist movement is best captured in the ninth episode of this season, "Beautiful Girls," which oddly pits the fomenting civil rights movement against the budding feminist movement. When Abe, a white male hipster, sits down with Peggy and waxes philosophic about revolution -- particularly the upheaval in Greece and the civil rights movement in America -- Peggy quickly interrupts, "Most of the things that Negroes can't do, I can't do, and no one seems to care." Abe chides: "All right, Peggy, we'll have a civil rights march for women."
The civil rights movement, it seems, was for black men only.
Part of the reason the show gets away with such a reductionist version of the civil rights era is that for the past two seasons, there have been few references to the major battles and gains of this significant social movement. Significant moments of the '60s, from the March on Washington to the Birmingham Bombing to President Lyndon Johnson signing the Civil Rights Act of 1964 or the Voting Rights Act, are either mentioned in passing or show up as grainy news footage on TV.
Black male historical figures like Malcolm X, Nat King Cole and Harry Belafonte are mentioned only briefly by the show's white characters. Or they're strangely used as the shadowy metaphor for the societal oppression of white women, like Betty Draper dreaming about Medgar Evers when she is heavily sedated for her third child's birth, or when the Muhammad Ali-Sonny Liston fight serves as a backdrop for Peggy Olsen's duel with her family.
Read the Full Essay @ The Root
Mad at 'Mad Men'
by Salamishah Tillet
In Mad Men, AMC's seminal series on the 1960s advertising scene, all the women are white, all the blacks are men and, well, the rest of us non-male colored folks are housekeepers and Playboy bunnies. At least, that's what one would think watching the show lauded by The Washington Post as "TV's most feminist show."
Mad Men is all about progressive gender politics -- as long as it comes wrapped in white skin. For female viewers who both enjoy Mad Men and come wrapped in brown skin, watching the show can be a frustrating experience.
For the fourth season, Mad Men, which comes to a close on Sunday, the civil rights movement serves as little more than a decorative backdrop. Now set between 1964 and 1965, the show continues to wonderfully detail the fall and the failures of its patriarch, Don Draper, while also exploring the limited gender roles that stifle white suburban housewives, like Betty Draper-turned-Francis, and the sexual harassment and gender discrimination that plague working women, like Peggy Olson and Joan Harris.
In fact, the show's creative representations of white male chauvinism and a budding white feminist movement is best captured in the ninth episode of this season, "Beautiful Girls," which oddly pits the fomenting civil rights movement against the budding feminist movement. When Abe, a white male hipster, sits down with Peggy and waxes philosophic about revolution -- particularly the upheaval in Greece and the civil rights movement in America -- Peggy quickly interrupts, "Most of the things that Negroes can't do, I can't do, and no one seems to care." Abe chides: "All right, Peggy, we'll have a civil rights march for women."
The civil rights movement, it seems, was for black men only.
Part of the reason the show gets away with such a reductionist version of the civil rights era is that for the past two seasons, there have been few references to the major battles and gains of this significant social movement. Significant moments of the '60s, from the March on Washington to the Birmingham Bombing to President Lyndon Johnson signing the Civil Rights Act of 1964 or the Voting Rights Act, are either mentioned in passing or show up as grainy news footage on TV.
Black male historical figures like Malcolm X, Nat King Cole and Harry Belafonte are mentioned only briefly by the show's white characters. Or they're strangely used as the shadowy metaphor for the societal oppression of white women, like Betty Draper dreaming about Medgar Evers when she is heavily sedated for her third child's birth, or when the Muhammad Ali-Sonny Liston fight serves as a backdrop for Peggy Olsen's duel with her family.
Read the Full Essay @ The Root
Senin, 04 Oktober 2010
'Left of Black': Episode #3 featuring Salamishah Tillet and David Ikard
Host Mark Anthony Neal Discusses Sexual Predators with University of Pennsylvania Professor Salamishah Tillet & Florida State University Professor David Ikard.
Professor Tillet is Founder of A Long Walk Home, a non-profit organization that uses art therapy and the visual and performance arts to document, to educate and to bring about social change.
Professor Ikard is the author of Breaking the Silence: Toward a Black Male Feminist Criticism.
Professor Tillet is Founder of A Long Walk Home, a non-profit organization that uses art therapy and the visual and performance arts to document, to educate and to bring about social change.
Professor Ikard is the author of Breaking the Silence: Toward a Black Male Feminist Criticism.
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