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On Netflix today.
HEART OF THE HUNTER

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AT LAST!!!Something new in Afrofuturism!

ARTECHOUSE | Innovative Art + Tech Experiences | New York City Immersive art experiences at one of the most unique art destinations and things to do in New York City. Located beneath the Chelsea Market.

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Looking for African American voice actor with a bold, dynamic voice, similar to Tyler James Williams, 25-35 years old for Afrofuturist animated film going to Cannes Film Festival in May.
Please send samples or links to samples to
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Congratulations to Jun Giovanni on the reception of her BAFTA Award today.

Who is June Givanni? Recipient of BAFTA’s Outstanding British Contribution to Cinema Award Givanni follows the likes of Andy Serkis, John Hurt and Ken Loach in receiving the award.

There is so much to say about Clyde Taylor. It was Clyde who brought attention to the black film movement that emerged from UCLA in the late 1970s from the work of Charles Burnett, Haile Gerima, Julie Dash, Alile Sharon Larkin, Billy Woodberry, Ben Caldwell, Jamaa Fanaka and others whose names I may forget. He and Paul Carter Harrison moved to Panama about the same time. Now they have both passed away there. I miss our conversations.

Clyde Taylor, Literary Scholar Who Elevated Black Cinema, Dies at 92 A leading figure in the field of Black studies in the 1970s, he identified work by Black filmmakers as worthy of serious intellectual attention.

Factoid 6 Pan-Africanism is Black history
- Sol Plaatje in America
Founding member of the African National Congress, author, actor, activist, polyglot.
He came to Chicago, stayed at fellow journalist Ida B Welles home, met with William Foster to discuss distribution black films in South Africa, sat with Garvey, and Dubois.

In the mid-1920s, Plaatje toured the South African countryside showing films he brought from the Tuskegee Institute in the United States. Plaatje’s cinema tours complemented his educational talks on the status of Africans in the Union of South Africa alongside the material he collected for books, speeches and political tours

Solomon Tshekisho Plaatje (9 October 1876 – 19 June 1932) was a South African intellectual, journalist, linguist, politician, translator and writer. Plaatje was a founding member and first General Secretary of the South African Native National Congress (SANNC), which became the African National Congress (ANC).

A short, well-dressed 44-year-old man of the southern African Barolong tribe stood at the American border near Niagara Falls holding Canadian passport No. 79551. It stated the bearer was a British national and a resident of Toronto. In fact, he was Solomon Plaatje, the first secretary-general of what would become the African National Congress — the party Nelson Mandela would later lead, and the party that would eventually overthrow South Africa’s old racial order.

Plaatje was headed to the U.S. for a series of speaking engagements intended to spread the word about alarming new segregation laws being passed back home. Just how he persuaded Canadian officials to issue him a phony passport is lost to history. In his recollections, he simply notes: “I crossed the border about noon and reached Buffalo.”

The previous year, 1920, Plaatje had written to American social activist and author W.E.B Du Bois, stating he might not be able to meet him because South African authorities “had the measure of me.” Indeed they did. Edward Barrett, the South African secretary of native affairs who withheld Plaatje’s passport, described the ANC leader as “a troublesome professional agitator” whose lectures in the U.S. would “no doubt consist of mendacious attacks” on the South African government.

Mendacious, unlikely; clever, certainly. Plaatje was an autodidact of prodigious talents. Educated at a remote German missionary school to the level of a 13-year-old, he was fluent in seven languages by age 18. He went on to translate Shakespeare and author one of the first novels written in English by a Black South African, Mhudi. He started his career as a postman, but by 1921 he was well-known in South Africa and Britain as a writer, newspaper editor, politician and activist.

If allowed in the U.S., Barrett believed Plaatje would ally himself with the “mischievous activities” of a fellow traveler — Marcus Garvey, a leading American proponent of Black nationalism. Although Plaatje shared the stage with Garvey at a sold-out Liberty Hall in New York, Black nationalism was not on Plaatje’s agenda. He fervently opposed a separate-but-equal solution to the race question. Instead, he, like his lifelong friend Du Bois, fought for racial equality under the law. Plaatje was hugely influenced by his meetings with African-American intellectuals and with Du Bois in particular, whom he took “as a model for black modernity,” says Laura Chrisman, a professor of English at the University of Washington.

Few records of Plaatje’s tour of the U.S. remain. Brian Willan, author of Sol Plaatje: A Biography, uncovered a report in the publication Negro World stating the South African held his audience “spellbound” during a lecture in Brooklyn. A faded poster broadcasts Plaatje’s upcoming appearance on March 13 at the Bethel AME Church in Harlem to give “a thrilling account of the condition of the Colored Folk in British South Africa.”

Despite traveling widely — Washington, D.C., the Hampton Institute (now Hampton University) in Virginia, Booker T. Washington’s Tuskegee University in Alabama and elsewhere — Plaatje’s overall impressions of America are preserved only in a letter to an English friend. In the missive, he marvels at his white traveling companions in a Pullman railroad car. “Should South Africa ever get Pullman carriages of this type,” he wrote, “the Jim Crow Act No. 22 of 1916 would prohibit a Native from looking into one, except perhaps as a cleaner.” In the same letter, he noted with amazement that white Americans “speak to me precisely as if the world had no such thing as color.”

He is said to have attended the first pan-African conference in Paris in February 1919 and also the 1921 conference, but no evidence supports this. He did return to London in May 1919, a few months after the SANNC deputation to Versailles had left South Africa. Late in 1919 he took part in a meeting with British Prime Minister Lloyd George. In December 1920 he went to Canada and the United States, where he traveled widely. Meeting with leaders of the National Association for the Advancement of Colored People, he arranged for an American edition of his book. Native Life, to appear.

At the end of 1923 he returned to South Africa. He continued to write, and when Parliament was in session he traveled to Cape Town to cover the sessions and to lobby for African interests as a representative of the ANC. Influenced by his experiences in the United States, he became involved in the Joint Council movement. He also joined the African People's Organization of Abdul Abdurahman. He made a trip to the Congo to observe conditions there and was active in civic affairs in Kimberley. Although his relations with the ANC were sometimes uneasy, in December 1930 he accompanied an ANC deputation to the Native affairs department to register African complaints against the pass laws. He died of pneumonia while on a trip to Johannesburg on 19 June 1932.

https://www.sahistory.org.za/people/solomon-tshekisho-plaatje

The story of commercial black cinema begins in Chicago over 100 years ago, when women and men like Eloyce Patrick King Gist, William Foster and Oscar Micheaux saw cinema as a new technology that could be used as a tool to “uplift the race..”

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We are canceling the Black World Cinema Program for this evening. I have fallen ill, as well as having an incredibly tight work schedule. You don't wanna hear me coughing during the film spreading germs.

We will have some Black History Month Screenings at Chatham and I will send out the information over the weekend.

If you ever have questions about Black World Cinema please feel free to call me, Floyd Webb, at 708-704-1482. We aim to please you, our loyal audience, who has followed us faithfully this past 8 years.

As it is Black History Month please remember that commercial black film production was began in Chicago on 31st and State St by William Foster.

William D. Foster, sometimes referred to as Bill Foster (1884–?),[1] was a pioneering African-American filmmaker who was an influential figure in the Black film industry in the early 20th century, along with others such as Oscar Micheaux laying the groundwork for the modern black film industry. He was the first African American to found a film production company, establishing the Foster Photoplay Company in Chicago in 1910. Foster had a vision for the African-American community to portray themselves as they wanted to be seen, not as someone else depicted them. He was influenced by the black theater community and wanted to break the racial stereotyping of blacks in film. He was an actor and writer under the stage name Juli Jones, as well as an agent for numerous vaudeville stars. His film The Railroad Porter, released in 1912, is credited as being the world's first film with an entirely black cast and director.[2] The film is also credited with being the first black newsreel, featuring images of a YMCA parade.[3] Foster's company produced four films that were silent shorts.

A few of our Black History Making directors.
From left: the directors MICHAEL SCHULTZ (“Cooley High,” 1975), ROBERT TOWNSEND (“Hollywood Shuffle,” 1987), REGINALD HUDLIN (“House Party,” 1990), CHARLES BURNETT (“Killer of Sheep,” 1978) and ERNEST DICKERSON (“Juice,” 1992). Photographed at the Wiltern Theater in Los Angeles on Feb. 13, 2020. Bon Duke

What happens when you get a story right?Whether it’s live-action or a 30 minutes animated story, it's such a wonderful, amazing experience.

Such it is with Marvel’s latest superhero characters, the First Nation(Native American to some of y’all) Mohawk teenager, Kahhori, a brand-new character introduced in What If...? season 2, Episode 6, with no basis in Marvel Comics, making her one of the most significant original Disney MCU characters.

What If...? explores alternate realities in the MCU's multiverse, investigating what might have happened if pivotal choices in the MCU's history had been made differently.

"Kahhori" is a real Mohawk Wolf Clan name, meaning "she stirs the forest" or "someone who motivates those around her." Kahhori gains her powers after being exposed to the Tesseract, a.k.a. Space Stone, and has abilities similar to Carol Danvers, a.k.a. Captain Marvel. Her Character will potentially lead to a crossover into the live-action MCU. Good, because a lot of it’s becoming a bit stolid and tired.

The episode was created by Ryan Little in collaboration with members of the Mohawk Nation to ensure cultural authenticity, and will be delivered in the Mohawk language. Mohawk historian Doug George praised What If...? season 2 for portraying Kahhori's story from a Native American perspective, noting that the episode was created "with the complete cooperation of the Mohawk people from dialogue to adornment." The story takes place in the Mohawk language and is informed by the history of the Akwesasne region in what is now upstate New York.

In this alternative history, Kahhori’s people are threatened by the brutal gold seeking Spanish Conquistadors, she enters an alternative world
Of peace, and learn of her potential inner power but cannot be content and goes back to save her people from the colonizers. And she whups much ass, providing a a relieving bit of cathartic satisfaction.

Left me wondering why the Disney Black Panther stories put us more in conflict with one another and other people of color, but not those colonial forces still in operation on the continent.
It almost like somebody has a fear of even fiction resistance against colonialism and imperial missions. 😇

I’ll say no more. One of the great joys I get is watching my First Nation cousins beautiful culture coming to fore. My maternal grandfather Darby Miller and great grandmother, whose name is lost to us, are of the Choctow Nation.

Kahhori is excellent story-telling. Check it out.

https://disneyplus.com/series/what-if/7672ZVj1ZxU9?sharesource=iOS "What If...?" on Disney+.