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The Journal of Revolution and Liberation

Volume 2, Issue 1 (February 2019):

"Divine Feminine Rising"

Cover Photo By: Daniel Hanna

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Editorial Summary: "Divine Feminine Rising"

There was a time, not long ago in the scheme of things, when Humanity lived in Harmony with Nature, taking from it only what was required and then replenishing that which had been derived. This was the time before the emergence of the white supremacist patriarchy as a dominant global philosophical, political, social and economic force. In this time, the Feminine and Masculine aspects of Divinity were understood to exist in a balanced Harmony. But sadly, this balance has been disrupted to a great degree by a patriarchal manifestation of religious doctrine, followed by the scourge of capitalism, urging the destruction of Mother Nature in the pursuit of Ego and profit margins.

 

And We, the Children of Mother Africa, have been casualties of imbalanced patriarchal pursuits for over 5 centuries; the map of global capitalism was drawn on the backs of our Ancestors. In this issue of JRevLib, we present our first EXCLUSIVE mini-documentary, "Watch the ports: Privatisation of the Nation's Gateways"; in this we expose the globalist plan, in collusion with local wealthy Bahamian special interests, to dredge a shipping superhighway through the Bahamas in order to access the Panama canal with ever larger shipping vessels. The general ambition to find faster and more efficient shipping routes began almost 537 years ago, with Columbus seeking a faster trade route to India across the Atlantic ocean, resulting in an accidental landing in the Bahamas; the end results of that pursuit were not of benefit to the Lucayans living in the Bahamas in 1492, any more than the modern neo-Columbian pursuit of faster shipping routes will benefit modern Bahamians as a whole.

The Divine Feminine speaks not to Womanness per se, but to the qualities of Love, Nurturance, Community, Sustainability, Remembrance, Healing and Gentleness, qualities that have been downtrodden and dismissed as being of little worth for centuries in this era of capitalistic patriarchy; an era in which rape of Mother Earth and conquest of Living Spirit fuel the greedy selfish ambitions of the World's wealthiest individuals and corporations. In this context of the desecration of Mother Nature and those of Us who depend on her, it is of urgency that we redeem the image of the Divine Feminine, of Ma’at and Isis and Yemaya and Shakti and Ishtar and Mami Wata and Pavarti and Tara. The Divine Feminine qualities are Universal, transcending gender and ethnicity, and must be manifested and re-balanced even in Men, because only in the spirit of peace and love, and remembrance of the Mother, can the community move forward in Health and Harmony. Because as goes the Root so goes the Fruit.

Coinciding with Women's History month, this issue of Journal of Revolution and Liberation opens with two poems evoking the spirit of the Divine Feminine Rising. Like the moment a chick hatches from an egg, through these poems we are given a snapshot of the Emergence of the Feminine Self in the context of societal constriction. "Sister Degree" by Valerie Knowles tells the urgent story of a young woman nailed to a bed and to a societal role, who realises that she must ‘break the shell’ and become something that she has never seen. In the same thread, "Comin home" by Niambi Hall Campbell Dean deals with the friction between tradition and memory on the one hand, and progress and self-fulfilment on the other. 

The reality of the suppression of the Feminine Self is drawn hauntingly in the 'Gender based violence' art series by AJ Rodgers, depicting the faces of the victims of gender-based violence in the shadows of the newspaper headlines. Notably, both male and female victims are depicted, because the scourge of gender based violence impacts the community as a whole. The rise of the Divine Feminine will reveal a more balanced perception of masculinity, and this is reflected in a digital art series, 'Ode to the African Man' by Jalan Harris, in which she presents a complex, sensitive and beautiful vision of African masculinity. Likewise in Arvis Mortimer’s "Message to a beautiful Black Bahamian boy" we are called to celebrate a healthy, balanced version of masculinity as antidote to the toxic masculinity promoted and celebrated under the patriarchal regime.

The Mother is calling all of her seeds in this JRevLib issue, literally, as we see in the "Smooth Giants" photo series (cover art) by Daniel Hanna which draws our attention to the prolific and majestic silk cotton trees of Nassau, Bahamas, progeny of West African trees that floated across the Atlantic ocean, along with Us, the Children of Mother Africa. The strength of the Mother is demonstrated by the persistence of her dispersed seed. And Dion Hanna's piece 'Black People's Contributions to Britain: A song from the margins' evokes the sentiment of Dispersal and Persistence of Africans in Britain, and their various hidden contributions to British society. In a similar vein, in ‘Junkanoo as a technology of resistance’ Indira Martin posits that Junkanoo as a dispersed seed continues to expose the strength and the will of Mother Africa through its persistence in the Caribbean.  It is through the exposure of the persistence of the dispersed seed that we hail the enduring and nurturing strength of Mother Africa.

And so, in our first issue of 2019 we are happy and proud to present you with ‘Divine Feminine Rising’ in which pay due respect to Mother Earth, Mother Nature and Mother Africa, as we eagerly await the Liberation of Her Daughters and Sons.

Editorial Summary
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JREVLIB EXCLUSIVE MINI-DOCUMENTARY:

"WATCH THE PORTS: PRIVATISATION OF THE NATION'S GATEWAYS"

Summary: What is going on with ports in the Bahamas? Everywhere we look, it seems like another harbour is being dredged to facilitate yet another cruise or cargo port. This led the JRevLib team to look deeper at what was going on...

Watch the Ports
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Sister Degree

Sister Degree

by Valerie Knowles

Valerie is a  Clinical Psychologist based in The Bahamas

Summary: Women sometimes inadvertently or intentionally are socialized to be the strongest supporters of gender disharmony. Until we can give targeted research and intervention into the dynamics of socialization that initiate and sustain this self-flagellation, no degree of conscious legislation will make much difference.


Sister Degree, a prostrated,
black- sun- sand- sea- symbol.
Weaved, bleached, nailed,
to mattresses buried in
clapboard and cement.
Placed in token envelopes
addressed to Inequality.
Her Degree, vain in front of
tribes-people fixated on baby,
and man, where worth of
warriors and maidens grow
in her-supported serial polygamy,
misogyny, mammies and man;

 

no need for a Brother’s Degree
if Sister-with- Degree, and
mammies give ride and place
to warriors unfettered of
mortgage, pride, support,
commitment and money.

 

“Is we tribal way”, dey say.
“Came from slavery by whitey,
colonial, imperialists’ dem man!”
Baby is contentment, and, man.
The plan that makes we complete.
Intellectual stimulation…Elite.
Degree, a legitimate substitute
for coitus stimulation incomplete.
Woman-contented- with- man
don’t need no Degree;
don’t need no plan, just a man

 

Sister with Degree what is her fate,
if she with them not participate,
in procreate, vegetate, fornicate?
She must educate in legitimate
substitution for placement on
mattresses interred in clapboard
and cement in legitimate envelopes
addressed to Dignity, Equality,
Security, Supportive Masculinity,
and Rightful- Citizenship.

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Comin Home

Comin Home

By: Niambi Hall Campbell Dean

 

Niambi Hall Campbell Dean PhD is an Afrocentric Community Psychologist and consultant. Passionate about the use of culture as a technology for empowerment, she manifests this work as the co-founder of King of the Conch and Assistant Professor of Psychology at The University of The Bahamas

Islanders in the Stream
of a consciousness unknown.
Fluid Navigations
rock me to my bone.
Paradies Plantations where I once called
home
where I birthed God’s Angry Babies
and Took Two cause das woman own.

 

On an Evening in Guanima I see the sunset
roam
to places uneven spaces where all my faces
can be shown.

 

I go to come
I Come to Get Me.
We go to learn
They Miseducate We (negroes).
I come to find
neither sand, sun nor sea.
I wake 3 am
Drum set me free.

 

I do not Wear the Mask
raw face is beauty
Bare and bearing all
Yet she claim she don’t know me?!

 

She say:
“You been off too long
yinna read what ya can’t be.
Yinna sing me in ya song
Cause yinna can’t touch me.”
Yinna see me in ya dream
But I ain’t in ya belly.
Am I your fluid stream?
Be Island gal
swim in me.

 

Am I your fluid stream?
Be island gal
don’t drown.

 

For I will take you in
But I can also hold you down
Don’t reminisce too fondly
Reveries are always bright
Just love me in reality

 

Be island gal
 

Fight.

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Gender-Based Violence Art Series

By: AJ Rodgers

AJ is a young artist from Mayaro which is on the island Trinidad of the country Trinidad and Tobago. He considers himself an 'artistic hybrid' when it comes to his art education because he is partially self-taught but learnt art in secondary school, as well as at the University of Trinidad and Tobago - where he studied Animation. Art and creativity have always been a part of AJ’s life. Having the freedom to be creative has awarded AJ with the ability, to look at the world and all that inhabits it, from a unique perspective. 

Summary: This art series on gender-based violence is comprised of 3 portraits done on different local newspaper articles which deals with violence of some kind . The pieces are titled 'See Them', 'Tell Them' and 'Hear Them'. I was inspired by the saying "see no evil, speak no evil, hear no evil" because though we live in wonderful times, relatively, we all hear of, have spoken to, or seen someone be a victim to gender-based violence of some kind. It's works in tandem with another idea I'm exploring, where I create art on mirrors and other reflective surfaces so that the viewer is forced in a way to confront themselves and do a bit of self searching. 

See Them

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Tell Them

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Hear Them

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GBV Art Series
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BBB

To the beautiful Black Bahamian boy

 

By: Arvis Mortimer

Arvis is a Public Health Specialist from The Bahamas

Summary: I was inspired to write this piece one evening in 2016 as I sat in traffic. I saw a ‘beautiful Black Bahamian boy’ walking, and I thought to myself ‘that as a society, generally, we do a grave disservice to young males’. From a very young age we encourage them to discard parts of themselves that are fundamental to being human. We tell them ‘don’t cry, be a man’ when they are hurt or sad. We laugh when they express sentiments or display emotions that suggest frailty – even fleetingly. And often we make demands of them – particularly financial – that they are ill equipped to meet. Further, when external pressures are too great we often see or hear about young men who, in order to fulfill socially accepted and expected roles, have made choices that are disadvantageous to their long term life prospects. It is my hope that this piece stimulates in the readers a desire to reconsider how we interact with males in our communities – especially young boys. We should seek to nurture characteristics that contribute to them remaining/becoming healthy and complex. Men who understand that there is no singular way to be a ‘real man’ because being a man is multifaceted – strength and sensitivity and softness and fearlessness etc. etc. can coexist in one human being. I believe that when these qualities are cherished and valued in men we may see a dramatic reduction in crime and violence - including intimate partner violence and other forms of violence against women.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hey baby

I just want you to know that

I see you

 

I see your beautiful smile

And your carefree stride

And your bright curious eyes

 

I see you

 

I see your potential

I know that you have great intellect

And gifts within

Waiting to be showcased

Shared and extolled

 

Baby, I see you

                                        

I see the tenderness

In your spirit 

That quiet essence that makes you

You

I know that it will take

Many prayers

Intercessions from the saints

An intervention from all of the orishas

For you to remain

Soft

 

I see you, baby

 

I know that you may grimace

Every time you hear me call you baby

But I do this deliberately

I’m reminding you that you are

Hue-man

You don’t have to callus and harden

To be a real man

You are complicated

You are complex

You are supple

You are strong

 

See, I see you

 

I also know that you live in a world

And society where

In 2016

You are likely to be

Victimized and eroticized

Where your value is questioned

Where your liberty is feared

And therefore impinged upon

In the school system and

By the police

 

Still, I see you

 

Governments have promised to

Protect your body and nurture your mind

But we know the truth

Your development has been left off their program

But see that’s why this poem is addressed to you

Baby

Because you are the program

You are loved

You are the hoped for

You are seen

 

So, rise

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'Ode to the African Man' Art Series

By: Jalan Harris

 

Jalan is a mixed media artist and an organiser in the Bahamian arts community

Summary: In Loving Tribute to the Beautiful, Complex, Cosmic, Mystical and Magical African Man. 

Portrait of 2Tachi

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Amine

Photo from Indira Martin.jpg

Moor

Photo from Indira Martin (1).jpg

The Astrologer

Photo from Indira Martin (2).jpg
African Man
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Junkanoo as a Technology of Resistance

By Indira Martin

 

Indira is a Biomedical Scientist based in The Bahamas

 

Summary: Borrowing from Walter Ong's conceptualisation of Writing as a Technology that restructures human thought, this paper posits that the Junkanoo festival seen in the African diaspora throughout the Caribbean and Americas can similarly be framed as a transcendent Akan Technology of Resistance, via its ritualistic and covert re-enactment of the John Kenu rebellion against European colonialists in the early 18th century.

"the experience of junkanoo is not one that can be easily filed into spectator-performer categories. The performers are not minstrels and acrobats providing entertainment for an audience. They are participants in a therapeutic ritual with important personal and natural implications. The fact that the cultural memory is so vague that the “original” basis for the ritual is foggy is no reason to disrespect the yearnings expressed. 

(Pat Rahming, 1992) (1)

 

Junkanoo (Jankunu, John Canoe, Jonkonnu, John Kuner) festivals are carried out by diasporic Africans throughout the Americas, and hearken to a West African masquerade festival from centuries ago, that began with a celebration and commemoration of a rebellion led by an Ahanta chief named John Kenu in early 18th century Akan kingdom in Ghana. On 25 th December 1708, John Kenu seized the Dutch Fort Fredericksburg and spectacularly fought off Dutch and British attempts to reclaim the fort until 1724, and this victorious feat has been commemorated for over 300 years by the descendants of enslaved Africans in the Caribbean, via the widespread celebration of the Junkanoo festival (2).

 

This paper theorises junkanoo traditions throughout the diaspora as a transcendent Akan technology of resistance, by reference to Walter Ong’s conceptualisation of writing/literacy as a technology that transformed human thought (3). It is proposed here that the persistence of this technology of junkanoo across time and the tragic events of the Ma’afa (trans-Atlantic slave trade) is motivated, if covertly or subconsciously, by the intergenerational transmission of a philosophy of resistance to white supremacy and imperialism as represented by the iconographic story of John Kenu’s rebellion in Ghana.

 

Given that junkanoo is a festival celebration, it may be at first challenging to envision junkanoo as a technology, because the modern definition and perception of ‘technology’ might inspire imagery of computerisation, robotics and other high-tech manifestations. However the true meaning of ‘technology’ is much broader than this, deriving from the 17th century Greek word teknologia, from tekhne (art, craft) and –logy (study of subject). In this paper, technology is defined in this broader sense as ‘the rational process of creating means to order and transform matter, energy, and information to realize certain valued ends.’ (4,5). It is within this broader definition that we can conceptualise junkanoo as a technology.

 

By reference to the above definition of ‘technology’, there has been much published debate as to what the “certain valued ends” of the junkanoo technology are. Authors have cited African spirituality, national self identity, a mortuary ritual for the enslaved, ancestor worship, or a release of culminated energy, as the core purpose or valued end of junkanoo (1,6,7,8).

 

It has also been noted that despite the stigmatisation of African spirituality during enslavement, and the consequent secularisation of Junkanoo, Africans in the Americas retained the African ‘spirit’ element of junkanoo (1). The current paper extends this understanding to propose:

a) that the survival of African spirituality in Junkanoo is itself inherent to its valued ends as a technology;


b) that the valued end is not merely to retain African spirituality in the descendants of enslaved Africans, but also to inculcate seeded remembrance of the John Kenu-led rebellion in Ghana, and to clandestinely implant the philosophy of resistance against white supremacy, across many generations.

 

Summarily, the view is offered here is that the primary driving purpose or valued end of junkanoo as a technology is the covert multigenerational transmission of a philosophy of resistance, as depicted iconographically in the story of the rebellion led by John Canoe in the 1700s.

 

In his pioneering work ‘Writing is a technology that restructures thought’, Walter Ong summarises that “as a time-obviating, context-free mechanism, writing separates the known from the knower more definitely than the originally orally grounded manouevre of naming does, but it also unites the knower and the known more consciously and more articulately. Writing is a consciousness-raising and humanising technology’ (3). Analagously, by reference to Ong’s theorisation of writing/literacy as a technology, it is proposed here that Junkanoo restructures the thought of diasporic Africans in subtle ways; it too “unites the knower and the known”, and is a “consciousness-raising and humanising technology”. This is all the more spectacular because of the horrific conditions of the Ma’afa under which junkanoo nevertheless persisted.

 

Ong’s work has shed substantive light on how the transition from the oral to the written word has restructured human thought. And yet, despite the obvious utility of writing/literacy, it would likely have been an ineffective means by which to communicate from one generation to the next during the Ma’afa; firstly because enslaved Africans lost their languages in the Americas, and secondly because literacy was prohibited for the enslaved.

 

On the other hand, Junkanoo (and African masquerade festivals generally) are imbued with a unique capacity for inter-generational communication, especially under the oppressive conditions of enslavement. It has been argued that “African festivals are a tool of community gathering and unity and place us at the center of our culture and social environment. They are also a medium of cultural education and intergenerational communication and play an important role in the preservation of our cultural heritage, transmitting knowledge and our experiences as a people to future generations” (9). The intricate ritualization inherent to the junkanoo technology, and its covert but persistent linkage to African spirituality (1) and the iconographic John Kenu rebellion, has been an effective means by which to inter-generationally transmit not only a story of resistance, but a deeper philosophy of resistance.

The obvious challenge with viewing Junkanoo through the lens of 'resistance' to white supremacy is that the festival has been used to portray and celebrate white supremacist material such as Queen Elizabeth, White Jesus and even the Klu Klux Klan (10, 11) particularly in its Bahamian form, the largest and most extravagant Junkanoo festival in the diaspora. Indeed, the festival was initially performed for and tolerated by the slave masters (12), who probably did not grasp the full historical context of Junkanoo. Kemau Brathwaite has said that junkanoos are the "visible publicly permitted ikons of African religious culture" (1), and in this vein, it is probable that the covert nature of junkanoo, masked in an entertaining format that was palatable to the slave masters, is a major reason for its survival as opposed to suffering the same fate as many other African cultural, linguistic and religious elements, which were almost completely decimated during the Ma'afa. Covert transmission of the John Kenu rebellion beneath the mask of appeasement to slave masters, white supremacy, and modern tourism in the case of the Bahamas, was arguably a  key component enabling the survival of the Junkanoo technology through the Ma'afa.

It is also telling that, despite the diversity of Junkanoo expression seen in the Caribbean from one setting to another (13), there are certain features that have been universally sustained, including prominently:

a) the name itself as a reference to John Kenu;

b) the timing of the junkanoo festival in the Yuletide season, corresponding to the timing of the John Kenu-led rebellion beginning December 25 th 1708; and

c) the retention of the goatskin drum and the African ‘spirit’ of the festival.

 

The central argument presented here is that these elements are retained by design, and lend clues as to the valued ends or purpose of junkanoo as a technology; these retentions support the present hypothesis that Junkanoo serves as a (clandestine, masked) means to celebrate an historical moment of resistance against imperialism. In so doing, it has planted the seed of the notion of resistance in the descendants of enslaved Africans, as well as conveying the knowledge of the possibility of victorious
overthrow of the oppressor. 300 years after it began, junkanoo reminds us that white supremacy can be defeated. After all, it is through this technology of junkanoo that contemporary scholars and junkanoo revellers are aware of (if only vaguely) the historical events of the John Kenu rebellion, hundreds of years ago, on another continent. In this light, the junkanoo technology can be theorised as an Akan ‘trojan horse’ that perhaps has yet to realise its true potential as a transcendent technology of
resistance in the Americas.             

References


1. Surviving Secularization: Masking the spirit in the Jankunu (John Canoe) festivals of the Caribbean. Bilby, K. (2010) New West Indian Guide Vol. 84, no. 3-4, pp. 179-22


2. Forts and Castles of Ghana. van Dantzig, A. (1999) Sedco Publishing


3. Writing is a technology that restructures thought. Ong, W. (1992) from The Linguistics of Literacy, eds. Pamela Downing, Susan Lima, Michael Noonan(Philadelphia: J Benjamins, pp. 293-319.


4. The Nature of Technology. Arthur, W. Brian (2009). New York: Free Press


5. Technology and ‘Christian’ values. Funk, K. (1999) http://web.engr.oregonstate.edu/~funkk/Technology/technology.html


6. Junkanoo Past, Present, and Future. Rosita M. Sands, Maureen "Bahama Mama" DuValier and Ronald Simms (1989) The Black Perspective in MusicVol.17, No. 1/2, pp. 93-108


7. An Effigy for the Enslaved: Jonkonnu in Jamaica and Belisario's Sketches of Character. Smalligan, L.M. (2011) Slavery and abolition journal, Volume 32, 2011- Issue 4, pp. 561-581


8. Junkanoo in the Bahamas: A Tale of Identity. Bethel, N. (2000) Adapted from Navigations: the Fluidity of National Identity in the Post-Colonial Bahamas, PhD dissertation


9. Afrocentricity, the Adae Festival of the Akan, African American Festivals, and Intergenerational Communication. Owusu-Frempong, Y. (2005). Journal of Black Studies, Vol. 35, No. 6, pp. 730-750


10. http://bahamaspress.com/2012/12/31/bianca-nygard-as-queen-elizabeth-was-a-show-stopper-in-rawson-square-on-boxing-day-valley-boys-win-parade/

 

11. http://www.tribune242.com/news/2015/jan/03/kkk-style-protest-junkanoo-parade-national-disgrac/

 

12. "There Was No Resisting John Canoe": Circum-Atlantic Transracial Performance. Peter Reed (2007) Theatre History Studies, Vol 27, pp. 65-85

13. Decoding pitchy-patchy: The roots, branches and essence of Junkanoo. Craton,M. (1995) Slavery and abolition journal Vol 16, Issue 1, pp. 14-44

Junkanoo Resistance
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Black People's Contributions to British Society:

A Song From the Margins

by Arthur Dion Hanna Jr.

Dion Hanna is a Bahamian legal scholar, lecturer, researcher and community activist based in the UK.
 

Summary: This paper was presented by Arthur Dion Hanna Jr. to the City Retreat and The Racial Equality Centre's Evening of Celebration, Education and Empowerment, by the People of Leicester, for the People of Leicester. Sunday, 30 October, 2016

 


Salaam in Afrikadesta.


It is my honour and privilege to be able to speak to the contributions of our ancestors to British Society. Traditionally British society has recognized and traced the Black presence in Britain only as far back in time as post World War II migration to Britain. There is a virtual deafening silence about Black contributions to British society and a cognitive dissonance1  which has evoked an historical amnesia about the origins of racial classifications and colonial and imperial exploitation of human beings from Afrika, Asia and the Caribbean in a nightmare vortex in which Black people's contributions have been made virtually invisible and never invoked in the popular imagination of what it means to be British. Rather, Black peoples have always found themselves on the margins of British society as “the other”. As we were advised some time ago, there ain't no Black in the Union Jack2
.
This is underscored by a nefarious process of everyday racism which Philomena Essed defines as a process in which:


“(a) socialized racist notions are integrated into meanings that make practices immediately definable and manageable,


(b) practices with racist implications become in themselves familiar and repetitive, and


(c) underlying racial and ethnic relations are actualized and reinforced through these routine or familiar practices in everyday situations”3.

 

1“Cognitive dissonance can be defined as a profound disorientation that occurs when our foundational modes of thinking are directly challenged ... or our lived experience fails to conform to deeply ingrained beliefs and assumptions” Alexander-Floyd N (2008): “Critical race pedagogy: teaching about race and racism through legal learning strategies‟. Political Science & Politics, vol 41 (1), pp 183– 188;


2 Paul Gilroy (1992): There Ain't No Black in the Union Jack; Routledge; London


3 Essed, P (1991). Understanding everyday racism: an interdisciplinary theory. California: Sage

 


As pointed out by Stuart Hall:


“The black experience’, as a singular and unifying framework based on the building up of identity across ethnic and cultural difference between the different communities, became ‘hegemonic’ over other ethnic/ racial identities—though the latter did not, of course, disappear. Culturally, this analysis formulated itself in terms of a critique of the way blacks were positioned as the unspoken and invisible ‘other’ of predominantly white aesthetic and cultural discourses. This analysis was predicated on the marginalization of the black experience in British culture; not fortuitously occurring at the margins, but placed, positioned at the margins, as the consequence of a set of quite specific political and cultural practices which regulated, governed and ‘normalized’ the representational and discursive spaces of English society”4.
.
So, tonight from the margins we explore the undeniable Black presence and contributions to British civilization which spans not only centuries but many millenia. Today there would be no humans in Britain were it not for the original Black mother of all, the oldest human being known, who spread her seed from the fertile garden of ancient Ethiopia across the planet. The original migrants to Britain were undoubtedly descendants of the Afrikan mother of all 5. It was they who built Stonehenge 6  and their presence predates more recent migration from Europe of the Saxons, Angles, Picts, Danes and Vikings, from which popular British white historical imagination traces its ancestral roots7
.
Kathleen Chater points out that Black people have lived in Britain for


4 Stuart Hall (1988): “New Ethnicities” In ICA Documents 7: Black Film British Cinema; Kobena Mercer (ed)


5<https://www.sciencedaily.com/releases/2005/02/050223122209.htm>;  http://www.bbc.co.uk/earth/story/20141127-
lucy-fossil-revealed-our-origins>; <https://iho.asu.edu/about/lucys-story>


6 <http://www.raceandhistory.com/cgi-bin/forum/webbbs_config.pl?md=read;id=2225>
<http://www.messagetoeagle.com/african-stonehenge-extraordinary-stone-circles-of-enegambia-who-were-theirunknown-builders/>;  http://globaloriginalheritagerevival.blogspot.co.uk/2012/09/blacks-people- tonehengebuilders.html>; Ahmed Ali and Ibrahim Ali, The Black Celts: an Ancient African Civilization in Ireland and Britain (Cardiff, 1992).


7 <http://www.etymonline.com/index.php?term=English>; Oppenheimer, S. (2006). The Origins of the British: A Genetic Detective Story. London: Constable and Robinson; Andrew Tyrrell, Corpus Saxon in Social Identity in Early Medieval Britain by Andrew Tyrrell and William O. Frazer (London: Leicester University Press. 2000); Kumar, Krishan (2003). The Making of English National Identity. Cambridge University Press 

 

many centuries from the time of the Roman invasions and perhaps before. African soldiers serving in the Roman army were stationed at Hadrian's Wall during the 2nd century AD during the reign of Emperor Septimus Severus, the Afrikan emperor born in Libya8. Perhaps, if it were not for their presence, what is now known as England would be part of greater Scotland because it was these influential Afrikan soldiers that kept the so called Scottish barbarians out of England. So you can see I am not being flippant when I suggest that were it not for the Afrikan footprints in the sands of historical time there would not be an England or indeed a Britain.

 

Indeed, the Black presence in Britain and the contributions they made to British society is undeniable, with their bones laying in shallow British graves bearing testimony to their presence, as those of "Cornelius a Blackamoor" whose burial on 2nd March 1593 was recorded in the parish register at St Margaret's Church in Lee and is the earliest recorded Black presence in medieval England 9.


However, the graves of Black people in Britain can be found across the country such as the Kemetan inspired obelisk grave of Rasselas Morjan who was born at Macadi Ethiopia and who died at Wanlip in August 183910. Similarly, in Nottingham can be found the grave in St. Mary's graveyard of George John Scipio Africanus, an enslaved Afrikan captured in Sierra Leone in 1763 who was brought to Wolverhampton, England as a child but later, after the death of his slave master, migrated to Nottingham where he commenced an Employment Agency business, which thrived until his death in 1834. A green memorial plaque in memory of Africanus, “Nottingham’s First black
entrepreneur”, has been erected at his grave site. Sukhdev Sandhu indicates that in the 12th century Black people lived in England in small numbers but that it was empire that caused their


8 Charmaine Simpson (2012): Fifteen Things You Do Not Know About the History of Black People in Britain before 1948 <http://www.blackhistorystudies.com/resources/resources/15factsaboutblacklondonersbefore1948/>; Ann Wuyts: "Evidence of 'upper class' Africans living in Roman York", The Independent, 2 March 2010; <http://www.reading.ac.uk/news-andevents/releases/PR270747.aspx>; Lorraine White (1984): The History of Blacks in Britain: From Slavery to Rebellion <http://www.socialistalternative.org/panther-black-rebellion/history-blacks-britain-slavery-rebellion/>


9 Charmaine Simpson (2012): Fifteen Things You Do Not Know About the History of Black People in Britain before 1948. <http://www.blackhistorystudies.com/resources/resources/15factsaboutblacklondonersbefore1948/>


10<https://www.stnicholascenter.org/galleries/gazetteer/1317/3/>;  http://www.leicestermercury.co.uk/memorial-to-anafrican-slave-is-unusual-tribute/story-29671184-detail/story.html>


numbers to expand exponentially in the 17th and 18th centuries 11. However, during the 16th century there was an African presence in Britain and Black people were considered numerous enough in Tudor towns and cities to draw the attention of the British monarchy, as evidenced by two letters signed by Elizabeth I in July 1596, which proposed the enslavement of these Africans and that they be exchanged for white English prisoners held in captivity by the Spanish and Portuguese 12.


There is considerable literary reference to this Black presence13. Indeed, there was a Black presence in the Tudor court, such as Catalina de Cardones, who traveled to England in 1501 with Catherine of Aragon, Henry VIII’s wife and queen and served her for some 26 years 14.


John Blanke, who was known as the “blacke trumpeter”, was employed by Henry VII and Henry VIII from 1506–12. Kathleen Chater indicates that he had a prominent role in the Westminster Tournament celebrations of 1511 staged to commemorate the birth of Prince Henry Duke of Cornwall, the son of Catherine of Aragon and Henry VIII and that Blanke appears twice on the Westminster Tournament Roll, a contemporary manuscript that shows the procession to and from Westminster Abbey 15.


Chater points out that Elizabeth I also had at least one African in her personal entourage – “a Blackamoore boy”, who is mentioned in a warrant dated 14 April 1574. The warrant states that the queen


11 Kathleen Chater: http://www.history.ac.uk/makinghistory/resources/articles/black_history.html


12 Emma Mason (2012): “The Missing Tudors: black people in 16th-century England” In BBC History Magazine July 2012 <http://www.historyextra.com/feature/missing-tudors-black-people-16th-century-england>; Shyllon F. (1977): Black People in Britain 1555-1833; Oxford University Press, London; Fryer, P. (1984): Staying Power – The History of Black People in Britain. Pluto Press, London


13 Lorraine White (1984): The History of Blacks in Britain: From Slavery to Rebellion <http://www.socialistalternative.org/panther-black-rebellion/history-blacks-britain-slavery-rebellion/>


14 Emma Mason (2012): “The Missing Tudors: black people in 16th-century England” In BBC History Magazine July 2012 <http://www.historyextra.com/feature/missing-tudors-black-people-16th-century-england>


15 Ibid.


ordered the clothes-maker Henry Henre to make the African boy a “garcon coat… of white taphata cutt and lyned…striped with gold and silver with buckeram bayes…knitted stockings [and] white shoes”16.


Kathleen Chater contends that the fact that Africans were not just living in Tudor parishes but were employed inside the royal court helps us to understand that they were part of the anatomy of that
society but that, perceptions of English identity are distorted by a revisionist image of Tudor England often portrayed as being all white 17.


Lorraine White points out that, by the early eighteenth century, Britain had emerged as the biggest and most prosperous slave trading nation in the world and the number one slave carrier for European countries 18. The immense wealth that was reaped from the colonial misadventure and the enslavement of human beings fueled the industrial and economic development of European nations including Britain during this era and has formed the foundations of capitalism and contemporary British society, as has been demonstrated in the momentous works of Dr Eric Williams, Capitalism and Slavery 19 and From Columbus to Castro: The History of the Caribbean, 1492-1969; 20.


White contends that the fabulous wealth generated by slavery and the trading system which thrived around it provided the capital for the development of industry and commerce, which laid the foundations for the birth of modern capitalism. She asserts that the fact that the wealth of the Western countries was built on the backs of Black slave labour is a point many historians seem to conveniently forget or ignore 21. She further points out that the development of racism in its


16 This young man was employed until at least the following April, when a further warrant granted this “littel black a More” another set of fine clothing. Ibid.


17 Ibid.


18 Lorraine White (1984): The History of Blacks in Britain: From Slavery to Rebellion <http://www.socialistalternative.org/panther-black-rebellion/history-blacks-britain-slavery-rebellion/>


19 Eric Williams (1944): Capitalism and Slavery; University of North Carolina Press, Chapel Hill


20 Eric Williams (1970): From Columbus to Castro – The History of the Caribbean , 1492-1969; Harper & Row, New York


21 Lorraine White (1984): The History of Blacks in Britain: From Slavery to Rebellion
<http://www.socialistalternative.org/panther-black-rebellion/history-blacks-britain-slavery-rebellion/>.


modern sense also traces its origins to the role slavery played in the rise of capitalism and that it was during this period that all kinds of pseudo-scientific theories were put forward to justify the brutalities of slavery. The use of science to legitimize and justify slavery paved the way for racism to become a lasting tool of capitalist exploitation 22.


Another product of British Imperialism was a South Asian presence in Britain from at least the 19th century. In the middle of the 19th century Ayahs, who were employed as attendants to English families on the long journey to and from India, were often abandoned on arrival in England and left to their own devices, subsequently being employed as Nannies 23. Similarly, many Indian seamen, referred to as “Lascars” often settled in England as did many students and wealthy princes 24.


From the era of the British “Raj” this significant South Asian presence has had a profound impact on British society, with Dadabhai Naoroji becoming the first Indian elected to parliament in 1892 and Shapurji Saklatvala, a strident trade unionist, anti imperialist and anti fascist, who won a seat for the Labour Party in Battersea, a seat he later held for the Communist Party and as co- founder of the Workers Welfare League in India was arrested and jailed during the 1926 General Strike following a speech supporting striking miners. Others, such as Mulk Raj Anand and Mahatma Gandhi have had a significant impact in English literature, political, social and philosophical thought 25.


After the First World War, when thousands of Black soldiers from Asia, Africa and the Caribbean volunteered to join the British army, there was a growing Black presence in Britain and although many were sent back after the war, significant numbers, mainly seafarers, settled in


22 Ibid.


23 “Black History Month: Ayahs at Sea” In the Women's History Network Blog <http://womenshistorynetwork.org/blog/? p=887>


24 Shompa Lahiri (2013): Indians in Britain: Anglo-Indian Encounters, Race and Identity, 1880-1930; Routledge, Abingdon and New York


25 Mike Squires (1990): Saklatvala: Political Biography. London: Lawrence and Wishart, London; Marc Wadsworth (1998): Comrade Sak: A Political Biography; Peepal Tree, Leeds; “Celebrating the Indian Presence in Britain” In The Hindu, November 26, 2011; Dadabhai Naoroji Biography <http://www.iloveindia.com/indian-heroes/dadabhainaoroji.html>


the port towns of London, Liverpool, Bristol, Cardiff, Glasgow and Hull 26. Lorraine White indicates that, despite their relatively small numbers, many of these early Black settlers were confronted with discrimination and racist violence, as in 1918 when Charles Wooton was murdered by a white mob in Liverpool. This incident provoked an uprising of Blacks in almost all areas where they had settled and set a pattern of resistance that was to characterize the Black experience in this country right up to the present day 27.


The rebuilding of Britain’s shattered economy after the Second World War created a massive demand for labor and there was active recruitment particularly of Caribbean peoples to help sustain the survival of British society whose manpower had been significantly depleted by the savage brutality of the tribal conflict with Germany and its allies Italy and Japan. One cannot overstate the crucial role of Caribbean and South Asian nurses, bus drivers, train operators, textile workers, workers in industrial plants, who fueled the revival of post war Britain 28 and this early wave of migration is poignantly portrayed in “The Leicester Windrush Project” which attempts to document the early experiences of Black migrants from the Caribbean to Leicester 29.


More significant has been the contribution of Black struggles to the shaping of British education in post war Britain and the integral role education played in the emergence of Black British identities 30. In this regard, it has been pointed out that Britain's Black intellectual traditions are powerful and longstanding, despite the fact that this is often missed or ignored by the white western academic world 31.


26 Lorraine White (1984): The History of Blacks in Britain: From Slavery to Rebellion
<http://www.socialistalternative.org/panther-black-rebellion/history-blacks-britain-slavery-rebellion/>.


27 Ibid.;


28 Post 1947 Migration to the UK From India, Bangladesh, Pakistan and Sri Lanka <http://www.strikingwomen.org/module/map-major-south-asian-migration-flows/post-1947-migration-uk-india-bangladesh-pakistan-and>; Shyllon F. (1977): Fryer, P. (1984): Staying Power – The History of Black People in Britain. Pluto Press, London


29 “Documentary Exploring the Caribbean Community's Heritage in Leicester Premiered Tomorrow” In Leicester Mercury,

October 30, 2015


30 Paul Warmington (2014): Black British Intellectuals and Education; Routledge, London and New York


31 Ibid.


Black intellectuals have long figured in British life, such as Olaudah Equiano who was one of the “Sons of Africa” a group of 12 Black men who campaigned for abolition 32. Similarly, Willam Cuffay, a Black tailor from London, was one of the leaders and martyrs of the Chartist movement, the first mass political movement of the British working class 33. It has been indicated that, by the early twentieth century, a “spread of organized black political activity” was evident, including Harold Moody's League of Coloured Peoples, Lapido Solanke's West African Students Union and the first incarnation of the Indian Workers Association 34.


During this era, Panafrikan and anticolonial movements were driven by the vibrancy of figures such as George Padmore and Amy Ashwood Garvey produced a formidable Black British intelligentsia, with primary focus on anti racism, African and Asian solidarity, community education and the welfare of young people and families 35. In 1913, John Richard Archer became first Black Mayor London, when he was elected as Mayor of Battersea 36.


Paul Warmington indicates that, in the post war era, the early stands taken by the Black educational movements of the 1960's and early 1970's against busing, school exclusions and the placement of Black children for the educationally subnormal (ESN Schools) fed into the radical structural analyses of British schooling that, in the work of educators such as Bernard Coard, Farrukh Dhondy, Stella Dadzie and Gus John drew upon experiences of teaching in British schools, Marxist analyses of education in capitalism and the radicalism emerging from the Black Atlantic 37.


Warmington further indicates that, in the 1980's Hazel Carby, Paul Gilroy and “the new generation” of Black British theorists inspired by


32 Ibid.


33 Charmaine Simpson (2012): Fifteen Things You Do Not Know About the History of Black People in Britain before 1948 <http://www.blackhistorystudies.com/resources/resources/15factsaboutblacklondonersbefore1948/>


34 Paul Warmington (2014): Black British Intellectuals and Education; Routledge, London and New York;


35 Ibid.


36 Charmaine Simpson (2012): Fifteen Things You Do Not Know About the History of Black People in Britain before 1948 <http://www.blackhistorystudies.com/resources/resources/15factsaboutblacklondonersbefore1948/>


37 Paul Warmington (2014): Black British Intellectuals and Education; Routledge, London and New York;


Stuart Hall imagined Black British youth forming active opposition to both the authoritarian dimensions of schooling and the distractions offered “by facile forms of multiculturalism”38.


He points out that from the late 1980's Stuart Halls rethinking of articulation between race, class and gender influenced the educational writing of such Black scholars as Safia Mirza, whose work countered earlier accounts of the racialized processes of schooling and Tariq Madood who challenged dominant modes of political Blackness and their reliance on both subcultural and Marxist analytical frameworks 39.


Warmington indicates that, crucially, Black public intellectuals are not and have never been confined to the academy and that the history of Black education also incorporates the works of Bookshops, Art Groups and Publishers such as Bogle L'Ouverture and New Beacon, labour and community organizations such as the Indian Workers Association and the Asian Youth Movements, Black women's groups including Southall Black Sisters and the Organization of Women of Asian and African Descent (OWAAD) and both Black and Multiracial anti racist groups, such as the Black Parents Movement (BPM) and the National Association for Multiracial Education 40.


Black Freedom fighters for workers' rights and against racist injustice, such as Jayaben Desai 41 the bold heroine who led the epic Grunwick worker dispute; Martha Osamor 42, who led the campaign against police abuse in the Broadwater Farm community and Bill Morris, the first Black leader of a major British trade union and President of the TUC, have blazed a path for workers rights and social justice. Here in Leicester, the Raddles Book Shop Collective stood as a cultural beacon in the East and West Midlands and beyond and provided a


38 Ibid.


39 Ibid.


40 Ibid.


41 The Grunwick Dispute <http://www.striking-women.org/module/striking-out/grunwick-dispute>


42 Harmit Athwal and Jenny Bourne (2015): Martha Osamor: Unsung Hero of Britain's Black Struggle; Institute of Race relations <http://www.irr.org.uk/news/martha-osamor-unsung-hero-of-britains-black-struggle/>; Her daughter has followed her epic trailblazing path and is the Labour candidate to parliament for the constitutiency of Edmond (Ashley Cowburn (2015): “Who is This Black Woman?: Kate Osamor on Her Path to Parliament” In New Statesman 12 March 2015)


dynamic cultural epicentre for PanAfrikan consciousness of empowerment and freedom. Our own Iris Lightfoote, the Chief Executive of The Racial Equality Centre, has been a champion for social justice and racial equality, over the past 30 or so years and there are so many others that I could sing their names all night and only scratch the surface, including brother Oliver Wenham better known as Wolde Selassie, who, besides being a trade union leader, more crucially played a critical role in ensuring the the flame of Afrikan culture awareness, consciousness and freedom was kept
burning, not only in Leicester but across England.


Others such as Surrinder Sharma, the Chair of The Racial Equality Centre Leicester and Priya Thamotheram of the Highfields Centre who struggled tirelessly, to ensure racial and social justice, often in the face of official City Council intransigence, have also brought their rich traditions of social activism and campaigning for equality of opportunity to join this chorus from the margins of Leicester, often calling into question the illusion of a so called multicultural society.


There are so many others that I could mention but my time for making this presentation is limited so I will have to conclude by saying that it is the ordinary everyday Black man and woman, who struggle, in their day to day lived experiences, to survive the ravages of racism, social injustice and capitalist greed, who are the real heroes and whose shining light of struggle and sacrifice continues to enlighten and uplift British society from the sordid gutters of its ignoble rancid history of racism and colonial domination and oppression.


It is their song of freedom and justice from the margins; our history and herstory, that we must celebrate tonight and begin to make a record of, as is beginning to be done by the Serendipity Project. It is a song from the margins of a British society which owes much, if not all, of its prosperity to the struggles and sacrifices of our ancestors and it demands Freedom and just reparation for 500 years of injustice and oppression at Home and Abroad. There is no question about it, Reparations are a must! 


In closing, I quote two passages which poignantly describe this beautiful chorus from the margins, one from Empress Maya Angelou and the other from the Rt. Hon. Robert Nesta Marley because they both encapsulate the essence of what it means to be Black in Britain and the hopes and aspirations of our people at Home and Abroad:


“But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing.


The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom 43”.

 


“Old Pirates Yes They Rob I
Sold I to the Merchant ships
Minutes after They took I
From the Bottomless Pit
But my hand was made strong
By the hand of the Almighty
We Forward in this Generation Triumphantly
Won't You help to Sing
These Songs of Freedom
Cause All I ever have
Redemption Songs 44.”

 


43 Maya Angelou (1983) “Caged Bird” In Shaker Why Don't You Sing; Maya Angelou. Random House
 

44 Rt. Hon. Robert Nesta Marley (1980): “Redemption Song” In Uprising; Island def Jam Music Group
 

 

Let us continue to sing our song of freedom from the margins of British society as we continue to strive for equality of opportunity for all and an end to racial oppression and injustice. As intoned in the Black National Anthem written by a diasporan Afrikan Bahamian descendant, James Weldon Johnson, “Lift every voice and Sing til Earth and Heaven ring with the harmonies of liberty”45.


A Luta Continua!
Forwards Ever Backwards Never!
Free the Land!


45 <https://www.poets.org/poetsorg/poem/lift-every-voice-and-sing>

Black British
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Smooth Giants
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The Smooth Giants

by Daniel Hanna

Daniel is a Plant Specialist, Nature Connoisseur, budding Photographer, Technology geek and Lover of Knowledge

Summary: A photo-biographical exploration of Silk Cotton trees in Nassau, The Bahamas

 

 

 

 

These smooth giants are globally identified as Ceiba petandra, or silk cotton trees, given the soft texture of their clusters of seeds. The ceiba is a fast growing deciduous tree that is native to Africa and the Americas. They are considered to be the oldest living indigenous tree throughout the entire African continent. Many of these giants can also be found throughout the lengths of The Bahamas. It would be intriguing to discover the oldest living tree that resides here. The ceiba’s light cotton seeds within their pods are easily dispersed by the wind, improving the tree’s chances of survival.

Coincidentally, an abundance of these silks can be found nestled in former villages of liberated slaves that developed after the barbaric period of the Trans-Atlantic slave trade. It can be assumed that these cotton seeds also accompanied the slave cargo and survived the treacherous journey across the Atlantic. They are 1 of 9 trees protected under Bahamian law,

Based on the cultural significances of these tree towards these resilient people, there is a strong belief that many of these tall giants were deliberately planted in these free-villages, as important monuments.

Dense populations still reside within many of these former freed-slave communities: Fox Hill, Gambier, Bains and Grants Town, to name a few.

 

The term native is defined as an indigenous association with an environment. These giants and native inhabitants coexisted for generations before the advent of European expeditions to the Americas.

These silk giants are natural habitats that promote a harmonious social construct. It would be naïve to assume that people alone are the beneficiaries of the silk’s hospitality. Animals alike bask within the reverie of the silk’s hospitality.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Historical Uses

Folklore has bestowed a mythological reputation that many generations have traditionally adopted, and in turn, passed onto their descendants.

In some cultures, there is an eerie appreciation that evil spirits inhabit the silk cotton tree. As a consequence for cutting or damaging the core, it is believed that these menaces are unleashed from this vessel to wreak havoc onto the land. This must have instilled mutual respect in the society for the well-fare of these trees.

Based on the numerous giant silks that still exist within the community today, it is fair to assume that the warning to would-be cutters? Was well received.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Arawaks revered these sacred giants. They retained a spiritual connection with their ancestors by identifying the gigantic roots and trunks of the silk cotton trees as zemis, an effigy that housed the spirit of an ancestor.

Silk cotton trees are a refuge of divinity. In parts of West Africa, they are famed for their supernatural prowess in facilitating a successful pregnancy. Women congregate with optimism beneath the canopy of these giants, with hopes of receiving this god-like blessing of life.


The buoyancy of her light wood trunk makes this tree an ideal option for boat making. With trunk lengths that extend up to 80 ft., the potential of carrying scores of persons at once becomes a reality. There are records of West Africans and Native Americans (Arawaks) constructing these water crafts for trade, transportation, sport, and war.

 

Abscission
An annual transformation occurs within these giants. During the months that lead into winter, a remarkable demonstration of survival can be witnessed. The silk cotton trees voluntarily relinquishes her leaves, flowers, and seeds; becoming naked with the resemblance of a skeletal shell.

As the spring months are ushered in, the whispers of rejuvenation stimulates the silk cottons to sprout feathery lush green leaves. This is a signal for her to repeat her year long cycle of life. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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SHIRLEY STREET 

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FOX HILL 

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BAIN AND GRANT'S TOWN 

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BAY STREET 

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About Us

JREVLIB was established in Nassau Bahamas by a cross-sectoral and international group of revolutionary scholars, it is contextualised by an urgent need to provide novel ideas and practical solutions for the economic and social liberation of peoples from the global south. 

JREVLIB distinguishes itself through its core tenets of accessibility and availability to the wider public, and its intentionality of purpose for creating and sharing concepts and knowledge related to the pursuit of revolution, liberty and dignity.

In this light, our mission is to facilitate a space for the presentation of revolutionary ideas that can be widely disseminated to the public. The end goal of this mission is to stimulate the organic ingenuity of readers and viewers, as well as our contributing writers, towards the coordinated, informed and evidence-based realisation of true revolutionary change, particularly in the global South.

The material published will be urgent and topical thereby facilitating discussion, debate and decision making for societal transformation.

Submissions are welcomed in a variety of formats (article, art, music, photography, video etc) and subject matters (law, science, history, philosophy, economics, spirituality etc), from both academic and non-academic contributors.

Please contact us at journalofrevolution@gmail.com if you are interested in contributing.​

Also please check out the Seshat Public e-Library, where you will find our collection of e-books, and you can even contribute to our collection. Visit Seshat here: 

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