PRESS RELEASE: Summer 2018 kicks off with ‘Blossoms of Nonviolent Conflict Resolution’

Two new releases by Postered Chromatic Poetics creator Aberjhani made their debut on Pixels.com and at Fine Art America as part of May’s ELEMENTAL Month celebration, a third work of art posted June 14, and three more were released June 18. The new releases along with the artist’s entire online catalogue are now offered at 25% off with the use of Discount Code EXLTBU until July, 4, 2018, as part the Summer 2018 “Blossoms of Nonviolent Conflict Resolution” event.

The event takes its name, “Blossoms of Nonviolent Conflict Resolution,” from one of the new works slated for release June 18. The works released in May plus previews of those scheduled to go on sale next week show the author-poet-artist moving in some new directions with visual explorations of night-time urbanscapes, family life, and possibly most surprisingly a trio of abstract works.

Discount Code EXLTBU artsale2018 25 percent offThe page description for the digital painting titled  “Flowers and Wings for Her Tears and Years” states that it is a homage to caregivers. On his Facebook profile, the artist shared that the image was “modeled after a series of pictures taken by my friend, photographer and catalyst-counselor John Zeuli, an uncommonly beautiful soul who did me the honor of photographing me for a gallery of works featuring fellow poet Coleman Barks (celebrated foremost interpreter of works by Jalal al-Din) and others.”

His night-time urbanscape, titled “Moon on Fire over Downtown Savannah” represents a departure from previous depictions of the historic city while further verifying the uncanny mystique that draws millions of tourists to it every year. (The current National Beta Club Convention being held in Savannah is only one example.)

The mixed media digital painting “Of Time and the Savannah River Bridge” is an obvious type of departure in terms of the style employed. But it also shows the artist expanding his public commentary via art –as he did with the popular print “Savannah River Bridge the Morning After Hurricane Matthew No. 2”–on the controversial name of the Eugene Talmadge Memorial Bridge. The text for his collection of bridge images reads as follows:

“There is no ignoring the many social justice calls for renaming the Eugene Talmadge Memorial Bridge so its nomenclature better reflects our changing more inclusive modern times. A lot of dedicated mindful people are working hard to make that happen. But that doesn’t mean we have to wait to celebrate the aesthetic triumph and majestic beauty of the bridge itself.”

The artist further proposed some of the new canvases are, “like painted prayers offered on behalf of all those millions of people in the world today so desperately on the run from one country to another, or one history to another, trying to save their own lives and the lives of people they love. I’m also reminded of the too-many victims of gun violence in schools and homes. Our fellow human beings endure so much horror and yet through their faith and courage and sometimes triumphs, they gift us with amazing inspiring beauty.”

A number of the new images already unveiled have featured on the front pages of several groups at Fine Art America, including: Beauty in Art, Contemporary,  Social Justice Awareness and Unity, and Digital Art.

–Bright Skylark News Notes

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The 2015 Bid for Power and History in Savannah (Georgia, USA) – Bright Skylark Literary Productions

There’s a lot at stake when it comes to casting a vote for the mayor of Georgia’s first city. Candidates not only stand to make history but to shape it some very powerful ways. (photo of Edna B. Jackson courtesy of Diva Magazine)

Journalist Patricia C. Stumb, in a 1999 Connect Savannah news magazine story titled “Peace, love & blessings…,” wrote of how I “found worldly consciousness in the heart of [my] hometown.” Her observation was surprisingly precise because during that period while living in Savannah, Georgia, I had indeed become more aware of my hometown on the global scale of things. I had also become more cognizant of myself as an author whose influences and inspirations tended often to derive from regions far beyond it.

However, expanded consciousness or not, there was no such thing as overlooking the profound thematic shift that occurred in the city’s history when Floyd Adams became its first African-American mayor in 1996. That event prompted the composition of these lines:

By way of an African wind
a letter came today.
It was not scribbled over
Hallmark fantasies or
popcultural postcards;
it was engraved on sweat-dyed scrolls
manufactured by centuries
of anguish, struggle, determination.
––from the poem A Letter Came Today (I Made My Boy Out of Poetry)

The thematic transition grew even more powerful in 2003 with the election of Otis Johnson as mayor of the city and in 2011 when Edna Branch Jackson won the office. Up until this point, too much of the story of African Americans in Savannah had been one of a people continuously oppressed and suppressed by history itself. Different industries (such as film) and individuals benefited economically from that history but Blacks native to the city have rarely done so to any significant degree.

The Re-Historicization of a Narrative

The elections of Adams, Johnson, and Jackson created a thematic evolution that has helped the city prepare for even more dramatic and culturally inclusive demographic shifts already in progress. Call it the re-historicization of a narrative that dates back at least to late 1800s Reconstruction.

Please enjoy the complete essay at this link: Source: The 2015 Bid for Power and History in Savannah (Georgia, USA) – Bright Skylark Literary Productions

When the Lyrical Muse Sings the Creative Pen Dances – Bright Skylark Literary Productions

If you’re a regular reader of my national African-American cultural arts column, you may have noticed that I have not been posting articles as frequently as I once did. The reason is simple enough. Having reached a certain point in the research for my current book-in-progress (at least one of them anyway) I had to reduce as many additional writing obligations as possible to fully concentrate on completion of the work.

For me, this is the part of authorship when the lyrical muse sings and the creative pen dances. The greater bulk of the more rigid tasks of verification and documentation have been satisfied, and imagination may be allowed to take over the processes of narrative construction. The resulting musical flow of image and language stamp the work with its own unique identity. And its own self-defined meanings destined to merge with different readers’ interpretations of the same.

The Writer and the Times

I started the national African-American cultural arts column on July 13, 2009, with a story about the debut of Johnny and Me, Savannah author Miriam K. Center’s play based on her friendship with the late 4-time Academy Award-winning composer Johnny Mercer. That was followed by a profile of acclaimed artist Jerome Meadows.

The next month, August, saw the launch of the controversial series on the trial (and eventual execution) of Troy Anthony Davis, convicted for the murder of Savannah policeman Mark Allen MacPhail.  Not writing about Davis’s trial, to my mind, would have been a case of gross negligence. Doing so was one early indication of what readers would discover over the next few years: basically, I found it impossible to restrict myself (as asked to do) to the subject of “the arts” as pertaining to African Americans.

Please check out the full post by clicking here: When the Lyrical Muse Sings the Creative Pen Dances – Bright Skylark Literary Productions

The Abbreviated Mind Faces ‘The King of Music’ Dilemma (part 1 of 2) – National African-American Art Examiner

Michael Jackson in the studio.

Michael Jackson in the studio. (Postered Poetics enhancement of pr release photo)

For those members of a given demographic made uneasy by the idea of eventually becoming just one more minority in America, an abbreviated mind taking note of the evolving dynamics could react with overwhelming fear. The carnage inflicted by Dylann Roof in Charleston, SC, just last month may be considered one such case. That demonstrated by the Norwegian Anders Behring Breivik in 2011 illustrates how analogous scenarios are playing out across the globe.

The idea and reality of losing previously-held political power and privileged authority based on racial domination could (some would say apparently does) encourage violence against those perceived of as a threat. Certainly the ongoing violence inflicted upon unarmed African-Americans by armed White-American policemen ––the latest most visible cases being that of Sandra Bland in Waller County, Texas, and Sam Dubose in Cincinnati, Ohio, does very little to suggest otherwise.

From the opposite end of the undulating spectrum, populations growing increasingly more powerful and reacting with abbreviated minds may, conceivably, develop a penchant for vindictive behavior. It is in fact wholly possible that the 2014 shooting death of Michael Brown in Ferguson, Missouri, and the choking death of Eric Garner in New York City, later followed by shootings of policemen described as “retaliatory,” are precise examples of the dynamics in question. Such scenarios, however, represent only a fraction of the kind of personal, local community, national, and global chaos that an abbreviated mind, especially when linked to intentional guerrilla decontextualization, can cause.

Periods of shifting demographics, along with the often overwhelming giant crashing waves of sudden historical events themselves, often create odd partnerships and dangerously extreme polarization. Fear of getting lost in the shuffle prompts many to abandon personal ethics for some semblance of security motivated by a heightened sense of raging and yet repressed anxiety.

To read the complete post by Aberjhani please click here
The abbreviated mind faces “The King of Music” dilemma (part 1 of 2) – National African-American Art | Examiner.com
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Michael Jackson One Theater production. Video interview with director Jamie King.

5 Ways to be Geniuses Together: Celebrating Ja Jahannes

Quote by Ja A. Jahannes with art graphic by Postered Poetics and Aberjhani.
“Unless we learn” quote by Ja A. Jahannes (with art graphic by Postered Poetics)

One self-penned definition of the word genius is: a focused intensification of individual intelligence resulting in works of exemplary creativity, visionary leadership, or uncommon spiritual depth and beauty. This definition is perhaps a fitting one to describe much of the life and legacy of Rev. Dr. Ja A. Jahannes, who was born August 25, 1942. in Baltimore, Maryland, and died in Savannah, Georgia, on July 5, 2015.

As recently as April 28, Jahannes (as he was known to many of his friends) had started a new blog in which he stated his intentions as follows:

“This is the beginning of me putting my thoughts, observations, queries, photos and insights in one place for present, current, and past generations (it could happen…time travel) to read and witness that I made some small, if not minuscule, contribution to Planet Sol-3.”

Unfortunately, battles with illness and the drive to continuously produce creative works did not leave much time or energy for the planned blog entries. That does not, however, mean there was or is anything at all “minuscule” about the contributions Jahannes managed to make to the world community before leaving it. Proof of that statement may be found in the announcement that his latest play, “Thought My Soul Would Rise and Fly,” will be performed July 26, 2015, at the Jewish Educational Alliance in Savannah.

Indeed, anyone even vaguely acquainted with his name find themselves astonished when learning about his prodigious output as a veteran of the U.S. Air Force, an educator, minister, proud alumnus of Lincoln University (Pennsylvania), composer, playwright, poet, novelist, essayist, photographer, family man, community leader, publisher, and public intellectual.

Please enjoy the complete article by clicking here:
5 Ways to be geniuses together: Celebrating Ja Jahannes (part 1 of 3: the man) – National African-American Art | Examiner.com.

Some Notes on the Colors of These Changing Times: Editorial with Poem


(
poem poster art copyright by Aberjhani)

Given the horrendous white-versus-black-motivated massacre in Charleston, S.C., on June 17, the jubilant rainbow celebrations that broke out following the U.S. Supreme Court’s historic ruling legalizing same-sex marriage nation-wide on June 26, and increasing calls to cease flying the Confederate flag on government properties, colors have commanded a lot of attention during these changing times.

The hues celebrated the most of course on July 4 in the United States are red, white, and blue. Many like to believe they stand for freedom, justice, and the American way. Officially, however, according to the House of Representatives’ publication Our Flag, red stands for hardiness and valor, white represents purity and innocence, and blue symbolizes vigilance.

But long before the founding of America’s democratic republic, visual and literary artists have used colors to create realistic images of external environments as well as representations symbolizing psychic responses to those environments…

Please check out the complete post with video at this link:
Some notes on the colors of these changing times: Editorial with poem – National African-American Art | Examiner.com
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Red Summer: Text and meaning in Claude McKay’s “If We Must Die” (part 1 of 4)

The summer of 2015 marks the 96th anniversary of the publication of Harlem Renaissance poet Claude McKay’s masterful poem, “If We Must Die.” This essay is presented in commemoration of that literary milestone and in remembrance of the extraordinary Red Summer of 1919 that inspired it.

There were many good reasons to believe America had entered––or at least was about to enter––a golden era of post-racialism following the election of Barack Obama in 2008. Among them was the election of the country’s first African-American president itself, an increasingly diverse American population, and a sociopolitical landscape made more democratic (in appearance at least) by the various influences of technological innovation.

Unfortunately, none of those good noble reasons were able to withstand the onslaught of reality as the number of hate groups in the country began to increase almost immediately, even while the Black prison population and Black unemployment rates continued to do the same. In a word, the country was nowhere near “there” yet.

Red Summers of Yesterday and Today

The growing number of cities where protest demonstrations have occurred over the past few years in response to extreme uses of force by policemen against African Americans, and the very oppressive conditions under which many African Americans continue to live, is eerily similar to another riot-filled time in U.S. history. The period which might first come to mind for most people is the 1960s, a decade in which “race riots” flared up every other year in places such as Greensboro, N.C. (1960), Los Angeles (Watts), Calif. (1964), Detroit, Michigan (1967), and Baltimore (1968).

However, the historical moment which possibly resembles the current intense state of racial affairs the most is that of the period leading up to the Red Summer of 1919. As pointed out in Facts on File’s Encyclopedia of the Harlem Renaissance:

To enjoy this complete article by Aberjhani with accompanying video please click below:

Red Summer: Text and meaning in Claude McKay’s “If We Must Die” (part 1 of 4) – National African-American Art | Examiner.com.