Happy 57th Independence Day to the country that raised me. Though tragedy through generations separated us physically for a while, our spiritual connection is forever.
God bless our homeland Ghana. 💛🎉👊 Finish the National Anthem if you know the words! #Diasporan #Love #GoldCoast #Pisceason


#AfricanWomenSeries Ghanaian singer and songwriter Rhian Benson bio here. Her opinions as a Diasporan are intriguing, her self identification showcases the diversity Africa has to offer, #happyBHM.

reallyblain asked:

Hi, I have a question on your post about "mixed doesn't mean u have to be mixed with white " so like if I'm like Jamaican and Nigerian Am I considerd as mixed? Sorry I'm really confused 😁

Well Jamaican and Nigerian aren’t different races just different nationalities but I guess saying whether you’re mixed or not really depends on you. Like im Nigerian and “African American” (I hate this term) and as an African American I know my ancestors here were probably raped by white men and apart from that I do have Native roots as well. Some people would say this is mixed, I just identify as black/black diasporan.

When I said mixed doesn’t have to mean mixed with white I was talking about people of color (of different races) getting together amongst themselves, their child would still be mixed. (Ex. Afro-indigenous, Afro-Indian)

NEW YORK, May 16, 2015/ — The Museum of Contemporary African Diasporan Arts (MoCADA) celebrated its 15th anniversary of serving the community through the arts with its inaugural MoCADA Masquerade Ball.

Held 14 May 2015 at the Brooklyn Academy of Music (BAM) Lepercq Space, this annual Spring Gala was also a fundraiser that will benefit the museum as it embarks upon a new capital campaign to raise monies for community programs and to fund the development of a new larger museum in Brooklyn.

Attendees included: Rosario Dawson, Jesse Williams, Estelle, Malik Yoba, Tonya Lewis Lee, Phillip Agnew, Bevy Smith, Cynthia Bailey, Jill Zarin, Grace Mahary, Eiley Montana, Gbenga Akinnagbe, Mashonda Tifrere DJ Kiss, Kirk Douglas, Emil Wilbekin, Ariel Foxman, Borough President Eric Adams, Assemblyman Joseph Lentol, Assemblyman Walter Mosley, Council Member Laurie Cumbo, State Senator Jesse Hamilton, Kehinde Wiley, Sharon Carpenter, Chantelle Fraser, Geneva Thomas, Simba, Deborah Willis, Delphine Diallo, Tim Okamura, Ayana Jackson, Charles Harbison, Juliette Jones, Kyle Hagler, Maria Brito, Nicole Fuller, Nicola Vassell, Ouigi Theodore and Roberta Annon.

The MoCADA Masquerade Ball celebrated individuals who have positively influenced the Contemporary African Diasporan Arts and the community, including Tonya Lewis Lee and Spike Lee with the Philanthropic Advocacy Award; Mickalene Thomas with the Artistic Advocacy Award; Phillip Agnew and the Dream Defenders with the Social Justice Advocacy Award, and TransCanada with the Corporate Advocacy Award.

Photos courtesy of MoCADA

The Museum of Contemporary African Diasporan Arts Celebrates 15 Year Anniversary NEW YORK, May 16, 2015/ — The Museum of Contemporary African Diasporan Arts (MoCADA) celebrated its 15th anniversary of serving the community through the arts with its inaugural MoCADA Masquerade Ball.
Diasporan Blues

Another immigrant
washing away leftovers from plates
He might have flown over the seas
or she, across the harsh desert
Over and across, don’t matter
Tall fences blocking aliens away
Long stretched out rivers.

We are all the same,
uniquely shaded for the sun
We of the gun-shaped origins,
eyes all crisp with dimly lit hope
Look into these voided pupils
Past these migrated dreams
Through these walls…

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Synthesis Blog

By: Jack

The Philippines is complex. From Rizal to Imelda to Manny, Filipino history is riddled with fascinating characters who have left an indelible mark on the culture of the islands, and the world. A new generation of Filipinos today is coming of age not anywhere on the islands but in countries far afield, including in the U.S. Their connection with their ancestral homeland will be especially valuable in building cultural bridges between communities. On the last day of class, we were presented with a provocative quote about diasporan communities. Although I think I agree with the general thrust of the statement, it is obvious to me that a nation’s culture is not produced entirely within its borders. Identity is tricky, and something I’ve largely never had to confront as a white male in America, but a greater understanding of who we are and what we can contribute to others is incredibly important. I don’t think that’s controversial.

I knew almost nothing about the Philippines before taking this class. What I’ve learned since has made me consider just how limited my overall understanding of other cultures is. The Philippines comprises nearly 100 million people and the only one I could have named beforehand was a boxer.  Even more pathetic, I was largely unaware of the large Filipino population within the United States. Through the course, I ‘ve gained a deep appreciation for the richness and importance of Filipino culture as well as a greater understanding of the rich promise in other oft-ignored cultures.

I’ve become more aware of the presumptions mainstream American culture makes about what and who is culturally pertinent. That France and the United Kingdom have only two-thirds of the Philippines population shouldn’t be surprising but it is, given the focus we put one over the other. This common perception is especially embarrassing in light of our nation’s history of oppression in the Philippines. These truths are commonly distorted in the name of Grand Patriotic Narratives. The intentional formation of cultural misunderstanding interests me, and the American domestic portrayal of the Philippines has served as the focal flashpoint of my understanding.

The crux of so many evils that afflict human society can be found in the Igorots’ forced consumption of dog meat at the 1904 World’s Fair. Its very act evinces a world of commercialization, propaganda, political disenfranchisement, and imperialism. That’s the one of the primary images I will carry with me as I leave college. One should understand what they’re being presented with and how it plays into prearranged narratives. This is true not just for state exhibitions but commercials, events, and even daily conversations.

Different perspectives breed empathy. Couch criticizers often disregard third world countries, and intra-national minority groups, as fundamentally irresponsible and immature, without any grappling with our own complicity. The international production cycle makes this struggle all the more necessary. To ignore the third-world countries that make our clothes and consumer products, while also buying the goods we design and profit from, is to tether oneself to a false reality. The world is complex. But solipsism is not a valid option.