Showing posts with label Alexis Pauline Gumbs. Show all posts
Showing posts with label Alexis Pauline Gumbs. Show all posts

Thursday, March 3, 2011

What to Do When God Hates You: A Lordeian Intervention into the Westboro Case



What to Do When God Hates You:
A Lordeian Intervention into the Westboro Case
by Alexis Pauline Gumbs

Yesterday the US Supreme Court voted 8-1 in favor of a definition of free speech that includes hate speech on what the court considers "moral and political" issues in the case of Westboro Baptist Church, a small organization that uses the funerals of military and public figures as a platform to express their belief that certain deaths are evidence of God's punishment of the United States for its so-called tolerance of homosexuality.

Most people were not surprised yesterday at the results of the case. Most scholars of free speech statutes know that this is nothing new. This is certainly not the first case of its kind with a similar result. Anyone who is schocked might have a misunderstanding of the function of the state. The state is not convened to prevent hate. The state is not a medium through which we are trained or encouraged to love each other. The state, particularly the form of the state that we are surviving here in the United States in late capitalism, is in fact invested in moderating love as a more dangerous social factor for hate.

Hate, an individual and systemized behavior based on a profound belief in the separation of people across multiple lines of difference, can actually be quite useful in a capitalist society in which it must somehow make sense for people to abandon each other into exploitation, to enjoy rights and access at the expense of other people. Love on the other hand, that force, that possibility that would require us to look at each other eye to eye, to refuse any exploitation or violence against any being, that powerful force that could make us indivisible is dangerous to the status quo. And love cannot be legislated.

As a student of the Lorde (Audre Lorde) I think it is important to remember in a mundane moment, where hate has renewed and relegitimized its normative role in US social behavior that we have precedent for a response that goes beyond the apathy of the law. When I see the images of the sensationalist signs of the Westboro baptist church, I find them apalling, but not original. In 1983 in her groundbreaking essay "Eye to Eye: Black Women Hatred and Anger" Audre Lorde recounts a remarkably similar pre-Westboro demonstration of hate in the name of God:

"The bicentennial, in Washington, D.C. Two ample black women stand guard over household belongings piled haphazardly onto a sidewalk in front of a house. Furniture, toys, bundles of clothes. One woman absently rocks a toy horse with the toe of her shoe, back and forth. Across the street on the side of a building opposite is a sign painted in story-high black letters, GOD HATES YOU." ("Eye to Eye: Black Women Hatred and Anger," in Audre Lorde Sister Outsider, 151.)

In the face of this particular instance characterized by Westboro Baptist Church, a particular family and the outrage of another family, the bereaved relatives of Marine Matthew Snyder we need black feminist memory. We need to remember that hatred is not only instance, but also institution in the United States. We have to see the connections between the emotional and economic reality implied by a God who can hate.

The logic of the decision of all but one Supreme Court Justice to decide that Matthew Snyder's father's claim of being personally harmed by the Westboro protests at his son's funeral was ungrounded is based on their determination that the protests were about moral and political issues and were therefore not a personal attack, but an engagement in admittedly offensive and hurtful free speech in the public realm. The one dissenting Justice's main basis for disagreement is based on the the counter-belief that in fact the funeral protest did constitute a personal attack against the Marine's father.

In other words, the words of the Supreme Court majority, to Mr. Snyder could be summarized as: "don't take it personal." But as black feminists we believe that the personal is political and that the political is personal. And not only is it obvious that the bereaved family would take actions like this personally, as a queer black woman hundreds of miles away, I take it personally myself. The fact that the protesters were a thousand feet from the church door and the fact that the story Lorde recounted happened decades ago can't numb a breathing person. I am impacted personally by the implication of a human insistence on a God who hates. I am angry about the consequences of such a profound separation. I am not content to respond to separation with more separation. I take it personally.

So what are the politics that this implies? In "The Uses of Anger: Women Against Racism," Audre Lorde explains that anger and hatred are not the same thing and that "anger is a justified response to racism" and other forms of systemized hatred. I think the Westboro brings home the fact that anger is indeed justified as a radical form of intimacy and investment, and the distance and discipline of the court system is useless in an engagement like this. In fact, the Westboro Baptist Church, which claims to have no donors or outside institutional supporters actually gets most of its money from court fees. Every time someone channels the hurt they feel when the Westboro Baptist Church shows up full of hate at a funeral into a civil suit, Westboro wins on the grounds of free speech and the money goes into their bank account, supplying that many more florescent posterboards of hate. It seems then, that civility, at least in the legal sense, is not an adequate response to hatred.

Let us take this moment to see the signs. Literal and implied. Let us take a moment to remember what we all know, especially as people of color and queer people overwhemingly targetted and locked down by the state, the US court system is not a place of love and transformation, no matter the decorations of lady justice on the wall, it is not a place of balance because it is not a place where we can engage each other eye to eye. The revolution will not be legislated. There are those of us who believe in transformative justice, accountability beyond punishment also known as prison abolitionists, who are spending our days and nights imagining and practicing what it would look like, what it would look like to create a world free from harm, and systems in the mean-time that actually address the root causes of harm instead of settling for a economy of punishments that separate us further.

If we believe that this is not all about money, that the bereaved father is not trying to protect his million dollar lawsuit victory in smaller court against the Westboro church, or above that is making a claim, like Antigone, that the dead must be respected, that he and his family deserve a sanctuary in their grief, that compassion is not optional but necessary in these times.... If we believe that the Westboro stunts are not just a strategy to bait people into unsuccessfully suing them but the expression of so much fear and desperation that they must invent a God who hates, that they must project the separation and disconnection that they feel from the other people in the United States onto their idea of God (i too have sometimes imagined a wrathful Lorde and briefly wished that she would obliterate those who oppress and violate my people through capitalist greed and racist hatred), if we can see that they have truly stopped believing in love as an option, that they are trapped in the short-term and toxic refuge of their hatred...then as Jamaican theorist Sylvia Wynter says, "the ceremony must be found," to transform the situation and it won't be found in a courtroom in the United States.

What is the ceremony that heals us from needing, wanting, inventing a God who hates? What is the form of engagement and accountability that could make the unimaginable behavior of the Westboro crew actually unimaginable, useless and ridiculous to the haters themselves? If we follow the words of the (Audre) Lorde, liberal ideas of self-expression as neutral sides of a political discussion are not enough. Audre Lorde says we have to face each other, in our commonality and our difference, eye to eye.

Thus saith the ever-loving Lorde:

"America's measurement of me has lain like a barrier across the realization of my own powers." (147)

And the ceremony happens here in every encounter if we affirm challenge of our very existence together: "I am...acting on you like a drug or a chisel to remind you of your me-ness, as I discover you in myself." (147)

This week, that measurement could be an understanding of law that channels us into supposedly equally hateable equally forgettable masses of flesh. For those of us who know that none of these things are equal and that all of our lives are unforgettable manifestations of the infinite, I'll see you, not in court but in that intimate place where a ceremony is happening that is more powerful than a God who hates.

Wednesday, January 19, 2011

The Zen of Young Money: Being Present to the Genius of Black Youth



The Zen of Young Money: Being Present to the Genius of Black Youth
by Alexis Pauline Gumbs

I fly with the stars in the skies,
I am no longer trying to survive,
I believe that life is a prize,
But to live doesn’t mean you’re alive.

what am I doing? what am I doing?
oh yeah, that’s right, I’m doing me, I’m doing me
I’m living life right now
and this what I’m a do til its over
til it’s over, but it’s far from over

First:
I am a member of a criminalized generation of black geniuses.

My twenty-something age-mates and the teenagers behind us are often dismissed as materialistic, crass, empty-headed, impulse addicts. Elders mourn our distance from the forms of social movement participation they would have imagined and mass media relates to us as a market to be bought, exploited and sold back to ourselves, ever cheaper.

As a particularly nerdy member of the so-called thoughtless generation, I resent the implication. And I wonder sometimes what it will take to make the forms of social interaction, critique and that young black people are engaged in every moment of our high-tech or low-tech days legible to the baby boomers (since we all know that legibility to baby boomers is what makes something real in the United States).

So this rare piece (on my part) of contemporary hip hop commentary is an attempt to provide a specific example for an undercredited belief that is at the basis of my queer intergenerational politic of black love:

As young black people we are experts of our own experiences, we think about the meanings of our lives, the limits of our options and more often than not we choose not to conform, not to consent to an upright and respectable meaning of life. Even in our most nihilistic moments we are tortured artists and mad scientists, living a critique of a dominant society that cannot contain us and does not deserve us. This doesn’t mean that we are always doing the right thing (Spike Lee), but it does mean that any effective transformative politic that is accountable to us, young black people with a variety of intellectual and cultural attractions and modes will respect us as genius participants in a culture in transition (singularity) instead of incorrectly assuming that we are mindless consumers.

Now:

I take, the example of two songs by two of the most visible young black artists around, members of a hip hop crew/entertainment company that has capitalized on glamourizing a sexualized, hyper-capitalist version of youth energy, chosen family, excess and fun: Nicki Minaj, Drake from the Lil Wayne fronted Young Money Crew.

I happen to have been listening to mainstream radio one day in the car during the week that I was reading Angel Kyodo Williams book Being Black, on the value of Zen principles for black people in the United States and, inexplicably free of the usual defenses and judgments I hold against the most highly marketed versions of hip-pop (no typo) and the self-protection against misogyny and hyper-exploitation that generally causes me to hold back my listening, I actually paid attention to they lyrics.

Of course it was incredibly likely that I would hear songs by Nicki Minaj and Drake since they are routinely rotated. It seems like 2 out of 2 songs that are currently played on the radio star or feature one of these artists. But this time, opened up by Williams’ insights about the value of releasing judgment I began to wonder whether beyond payola and the corporatization and uniformity of radio the mass appeal of these two artists might actually not only be the attraction of black youth, and young people in general to…(young) money and the alcohol baptized sexually olympic lifestyle advertised to come with young people’s access to money, but also a very different basic need in the lives of young black people, and a central need in my life: accessible technologies for being present to our own lives.

Read the Full Essay @ The Feminist Wire

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Alexis Pauline Gumbs has a PhD in English, Africana Studies and Women’s Studies from Duke University. Alexis is the founder of Eternal Summer of the Black Feminist Mind and the co-creator of the Queer Black MobileHomecoming Project.

Monday, December 20, 2010

'Left of Black': Episode #14 featuring TJ Anderson and Alexis Pauline Gumbs



Left of Black #14—December 20, 2010
w/Mark Anthony Neal

Left of Black Host and Duke University Professor Mark Anthony Neal is joined by composer T.J. Anderson and Queer media activist and writer Alexis Pauline Gumbs on location at the Beyu Caffe in Durham, NC

T.J. Anderson is one of the leading composers of his generation. Born in 1928 Anderson received a Ph.D in Composition from the University of Iowa. After serving as Chairman of the Department of Music at Tufts University for eight years, Thomas Jefferson Anderson became Austin Fletcher Professor of Music and in 1990 became Austin Fletcher Professor of Music Emeritus. He now lives in Chapel Hill, North Carolina where he devotes full time to writing music.

→A Self-Described "Queer Black Trouble Maker" Alexis Pauline Gumbs holds a Ph.D. from Duke University and is the founder of Broken Beautiful Press. Gumbs is also editor of the blog Eternal Summer of the Black Feminist Mind.


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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

Sunday, December 12, 2010

"Left of Black' LIVE at the Beyu Caffe on Monday December 13th



Join LEFT OF BLACK Host and Duke University Professor Mark Anthony Neal for a live taping of Left of Black, Monday December 13, 2010 at 7:00pm, featuring author and activist, Zelda Lockhart, composer T.J. Anderson, Queer media activist and writer Alexis Pauline Gumbs and pastor and novelist Carl Kenney.

Zelda Lockhart is the author of the recently published Fifth Born II: The One Hundredth Turtle, a sequel to her first novel Fifth Born and Cold Running Creek. As the 2010 Piedmont Laureate, Lockhart has been instrumental in raising HIV/AIDS awareness in Black communities.

T.J. Anderson is one of the leading composers of his generation. Born in 1928 Anderson received a Ph.D in Composition from the University of Iowa. After serving as Chairman of the Department of Music at Tufts University for eight years, Thomas Jefferson Anderson became Austin Fletcher Professor of Music and in 1990 became Austin Fletcher Professor of Music Emeritus. He now lives in Chapel Hill, North Carolina where he devotes full time to writing music.

A Self-Described "Queer Black Trouble Maker" Alexis Pauline Gumbs holds a Ph.D. from Duke University and is the founder of Broken Beautiuful Press. Gumbs is also editor of the blog Eternal Summer of the Black Feminist Mind.

Pastor Carl Kenney is the founding Pastor of Compassion Ministries in Durham, NC and former pastor at Orange Grove Missionary Baptist Church in Durham, NC, Kenney is also the author of Preacha Man and the just published sequel Backslide.

Beyu Caffe
335 West Main Street
Durham, NC 27701-3215
(919) 683-1058

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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

Tuesday, August 3, 2010

Happy 86th Birthday James Baldwin

Happy 86th Birthday James Baldwin from Alexis Gumbs on Vimeo.

Love messages for the queer Black genius James Baldwin gathered at a Sunday School/Birthday Party in his honor in Durham, NC.

brought to you by the MobileHomeComing Project: Celebrating generations of queer Black genius.

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Monday, June 28, 2010

Alexis Pauline Gumbs, Public Intellectual



WUNC
The State of Things w/Frank Stasio


Meet Alexis Pauline Gumbs

The words of black feminist writers touched Alexis Pauline Gumbs at an early age. She connected deeply with the theories of Audre Lorde, a Carribbean-American author and activist, and embodied Lorde’s revolutionary spirit in college and into graduate school at Duke University where she concentrated on English, Women’s Studies and African-American Studies. Gumbs now operates the School of Our Lorde, a series of educational sessions for the Durham community on politics, social change and feminist theory. Gumbs can also be heard as the host of a podcast and public access TV program called “Eternal Summer of the Black Feminist Mind” and she is currently traveling the country in an R.V. that she calls her “revolutionary vehicle” collecting personal stories from black homosexual communities. Gumbs joins host Frank Stasio to talk about how black spirituality, sexuality, motherhood and sisterhood play a role in the survival of our society.

Listen HERE

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Friday, March 26, 2010

Celebrating Toni Cade Bambara


photo credit: ©1994, Susan J. Ross

From Broken Beautiful Press

Happy Birthday Toni Cade Bambara!: New Podcast :)

Today in honor of Toni Cade Bambara’s 71st Birthday we present a podcast full of reflections, laughter, poetry, music and LOVE for the brilliant sister warrior mother writer, dancer, filmmaker, screenplay transformer, community organizer Toni Cade Bambara!

I create this podcast with much inspiration from Cheryll Y. Greene and with the priceless collaboration and words of Aishah Shahidah Simmons, Cara Page, Linda Janet Holmes, Kai Lumumba Barrow and Nikky Finney. Contextualize your day with the brilliant insights of these women and listen to music from Sarah Vaughn, King Pleasure, Erykah Badu, Amel Laurrieux, Cassandra Wilson, Abbey Lincoln and some of my favorite producers.

Listen Here

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Monday, January 11, 2010

Sister Outsider 2.0: Alexis Pauline Gumbs



Alexis Pauline Gumbs: Technology’s Sister Insider
by Duchess Harris
January 11, 2010

In the Nov./Dec. issue of Utne Magazine, Alexis Pauline Gumbs was recognized as a “media activist” in an article entitled “50 People Who Are Changing Your World.” I initially discovered her work in a November 2009 op-ed piece, “The Revolution Will Be Blogged” for Wiretap Magazine, a re-envisioning of Gil Scott Heron’s famous 1970’s poem/song The Revolution Will Not Be Televised.

I have to admit, forty definitely feels old when people are recognized for things that you haven’t even heard of (media activism?), but then I’m sure Gil Scott Heron can relate. Who could even have imagined the immediate and pervasive power of the internet back in the 70’s when the only mass medium was television, and the only roles for Black people were either based on or touched by minstrel stereotypes (remember Jimmy Walker’s Kid-a-Dy-no-mite?).

In her Wiretap piece, Gumbs writes,

If capitalism slept, it would have nightmares about us. … But capitalism doesn’t sleep. So neither do we. We stay up all night, or wake up early and refresh the screen. We live on each others’ words and prove the lie of the hourly news story about our worthlessness. We speak for far-flung intimate audiences, and when we wind up wounded, we don’t stop because slowly we learn that these words are salve. We stay up, stay connected, send love letters every way we know how. These words are salve. Halfway to salvation.
What I’ve learned from Gumbs is that blogging is the 21st century version of “consciousness raising groups.” Consciousness raising groups were pioneered by Women’s Liberation groups in New York City, and quickly spread throughout the United States. In November 1967, groups began meeting in apartments. Meetings often involved women going around the room and “rapping” about issues in their own lives. Forty-two years later, Gumbs has gotten on the internet highway to embrace Queer Black women and their allies.

Read the Full Essay @ Race-Talk
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Wednesday, December 30, 2009

In the Life: A Birthday Tribute for Joseph Beam



From brokenbeautiful press

December 30th is Joseph Beam’s Birthday…in honor of this brilliant Black Gay literary genius ancestor and and the fact that both In the Life and Brother to Brother are back in print thanks to RedBone Press this podcast includes readings and reflections from Lisa Moore of RedBone Press, La Marr Jurelle, Darnell Moore, Justin Smith and a round the kitchen table conversation with some of Durham’s most inspiring Black queer visionary men: Ashon Crawley, Sendolo Diaminah, Thaddeaus Edwards and Justin Robinson. Hosted by Alexis Pauline Gumbs

Listen HERE


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Friday, October 16, 2009

A Queer Black MobileHomeComing

MobileHomeComing: Here We Go! from Alexis Gumbs on Vimeo.



A Queer Black MobileHomeComing is an innovative and loving response to a deep craving for intergenerational connection. A craving that lives in the hearts of queer black same gender loving elders and visionaries. A craving that has taken over the minds of two young queer black women. Julia Wallace of Queer Renaissance and Alexis Pauline Gumbs of BrokenBeautiful Press have decided to dedicate the next phase of their lives to collecting and amplifying the social organizing herstories of black women who have been refusing the limits of heteronormativity and opening the world up by being themselves from the 1980’s and before.


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Sunday, March 16, 2008

Beyond Hallie & Whoopi: Black Women and American Cinema--A Conversation















Wednesday, March 19th, 2008
12:00 PM - 01:00 PM
John Hope Franklin Center
Duke University
2204 Erwin Road
Room 240

WEDNESDAY AT THE CENTER:
BEYOND HALLIE AND WHOOPI: BLACK WOMEN AND AMERICAN CINEMA-A CONVERSATION

With a figure like Michele Obama poised to challenge America's perceptions of black women, journalist ESTHER IVEREM will discuss the ways that black women have been portrayed in recent cinema. Expanding on her recent book WE GOTTA HAVE IT: 20 YEARS OF SEEING BLACK AT THE MOVIES, 1986-2006, Iverem will discuss with activist and poet ALEXIS PAULINE GUMBS, the tensions associated with black female performances in mainstream cinema in a moment when black women's bodies are particularly marked as dangerous, oppositional, and non-traditional.

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Esther Iverem is a cultural critic, essayist and poet based in Washington D.C. Her most recent book is We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986-2006 (Thunder's Mouth Press), featuring more than 400 of her reviews, interviews and essays on the "new wave" of Black film. She is founder and editor of SeeingBlack.com, an award-winning Web site for Black critical voices on arts, media and politics. She is a former staff writer for The Washington Post, New York Newsday and The New York Times and is a contributing critic for BET.com and Tom Joyner's BlackAmericaWeb.com. She is the recipient of numerous honors, including a USC Annenberg/Getty Arts Journalism Fellowship, a National Arts Journalism Fellowship funded by the Pew Charitable Trusts and an artist's fellowship from the D.C. Commission on the Arts and Humanities. She is also the author of two books of poems and a member of the Washington Area Film Critics Association.

Alexis Pauline Gumbs is a 25 year old queer black trouble-maker. She is currently a doctoral candidate in English, Africana Studies and Women's Studies at Duke University Alexis is also a member of
UBUNTU and the founder of BrokenBeautiful Press.

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Sponsored by "Center for the Study of Black Popular Culture" (CSBPC)