The negation of Black people is pervasive in the historical genealogy of white supremacy. Black society, and Blackness, as defined and fabricated by Western thought and action, exists in “outer-space” (Sexton, 2011). However, white constructs of Blackness are merely that—constructs. This piece acts in three parts: 1) an intellectual conversation with scholarly thought holders, 2) a space of personal reflection and interpersonal dialogue, and 3) pieces of prose and imagery that embody various forms of Blackness. This piece explores Black clairvoyance through examples of Black youth identities, social movement politics and practices, and affirmations of our creations, sacred spaces, and rituals. Our praxes are visible in our daily gestures even as we hold trauma—sometimes informal or episodic—but always seeped in love, creativity, ancestry, and spirituality, existing as moments of movement and healing resistance.
{"title":"reflections on the negation of Blackness//affirmations of our clairvoyance through creative healing praxes","authors":"P. Williams","doi":"10.33137/INCITE.1.28876","DOIUrl":"https://doi.org/10.33137/INCITE.1.28876","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000The negation of Black people is pervasive in the historical genealogy of white supremacy. Black society, and Blackness, as defined and fabricated by Western thought and action, exists in “outer-space” (Sexton, 2011). However, white constructs of Blackness are merely that—constructs. This piece acts in three parts: 1) an intellectual conversation with scholarly thought holders, 2) a space of personal reflection and interpersonal dialogue, and 3) pieces of prose and imagery that embody various forms of Blackness. This piece explores Black clairvoyance through examples of Black youth identities, social movement politics and practices, and affirmations of our creations, sacred spaces, and rituals. Our praxes are visible in our daily gestures even as we hold trauma—sometimes informal or episodic—but always seeped in love, creativity, ancestry, and spirituality, existing as moments of movement and healing resistance. \u0000 \u0000 \u0000 \u0000","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132906164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On January 25, 2011, Egyptian youth protestors took to the squares and streets in all the major cities of Egypt, asking for “bread, freedom, and social justice.” A few days after, when marches across Egypt ballooned, the protesting youth felt empowered to topple the oppressive Mubarak regime that had lasted for close to 30 years. In a collective effort, they gushed into Tahrir Square in downtown Cairo, and the streets in its vicinity, to ensure that their needs were known and to demand that they be met. The subsequent series of events included the first fair election in the modern history of Egypt, followed by the military coup. Throughout these events, street art and social media became the main two mediums of public expression and news sharing. The walls of the streets surrounding Tahrir Square were very dynamic, changing with every new incident to communicate the tragedies that the state media refused to circulate. One of the walls, a wall on the street leading to Muhammed Mahmoud Street, was particularly interactive. This poem addresses the resistance of the inspired youth protestors against the government before and after the military coup.
{"title":"THE WALL","authors":"Hassnaa Mohammed","doi":"10.33137/incite.1.28853","DOIUrl":"https://doi.org/10.33137/incite.1.28853","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000On January 25, 2011, Egyptian youth protestors took to the squares and streets in all the major cities of Egypt, asking for “bread, freedom, and social justice.” A few days after, when marches across Egypt ballooned, the protesting youth felt empowered to topple the oppressive Mubarak regime that had lasted for close to 30 years. In a collective effort, they gushed into Tahrir Square in downtown Cairo, and the streets in its vicinity, to ensure that their needs were known and to demand that they be met. The subsequent series of events included the first fair election in the modern history of Egypt, followed by the military coup. \u0000Throughout these events, street art and social media became the main two mediums of public expression and news sharing. The walls of the streets surrounding Tahrir Square were very dynamic, changing with every new incident to communicate the tragedies that the state media refused to circulate. One of the walls, a wall on the street leading to Muhammed Mahmoud Street, was particularly interactive. \u0000This poem addresses the resistance of the inspired youth protestors against the government before and after the military coup. \u0000 \u0000 \u0000 \u0000","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124608310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La Misma Canción is a personal reflection that was inspired by the environment that we all live in. The author, Hector, is only a student in middle school. Already so much hate, crime, and racism occurs and is still very much relevant. Why is this occurring in the year 2018? Everyone needs to vent and put his or her thoughts on paper to see more clearly. These are the thoughts and short wisdom of Hector that have developed over his 13 years of life.
La Misma Canción是个人的反思，灵感来自于我们所生活的环境。作者赫克托尔只是一名中学生。已经发生了如此多的仇恨、犯罪和种族主义，而且仍然非常相关。为什么会发生在2018年?每个人都需要发泄一下，把自己的想法写在纸上，这样才能看得更清楚。这些都是赫克托尔在他13年的生活中形成的思想和短暂的智慧。
{"title":"La Misma Canción","authors":"Hector Pleytez","doi":"10.33137/INCITE.1.28875","DOIUrl":"https://doi.org/10.33137/INCITE.1.28875","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000La Misma Canción is a personal reflection that was inspired by the environment that we all live in. The author, Hector, is only a student in middle school. Already so much hate, crime, and racism occurs and is still very much relevant. Why is this occurring in the year 2018? Everyone needs to vent and put his or her thoughts on paper to see more clearly. These are the thoughts and short wisdom of Hector that have developed over his 13 years of life. \u0000 \u0000 \u0000 \u0000","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128536090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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