Harmonia Rosales’ Black Female Universe

Words and Illustration by Tanatsei Gambura @tanagambura

Edited by Veronica Vivi

The Black imagination is a dangerous, radical phenomenon. More still is the Black, female imagination. It is an envoy into the speculative realm of pure freedom. In an existence that is marked by the suppression of the Black female form in all its shapes, the Black imagination functions as a powerful and liberating force. That being said, a pleasurable Afrocentric paradigm of the world is too abstract and incomprehensible to many. However, for Afro-Cuban artist Harmonia Rosales, not only is it conceivable, but, more importantly, it is a divine universe that can be translated into compelling visual representations for others to bear witness to. 

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Zero Patience

Eleanor Affleck

Edited by Ketaki Zodgekar

Illustration by Kirsty Kennedy

I came across John Greyson’s 1993 film Zero Patience: A Musical About AIDS in the first semester of my Queer History masters. I wanted to learn new approaches to public history with the aim of making LGBTQIA+ history and queer politics more visible. The film explored problems I was coming up against in my own practice as a historian, especially questions I began to form about how (and if) my work in institutions could relate to my activism. I think it is important watching for anyone involved in the field of history and museum studies.

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‘IN ORDER TO LIVE’ BY Yeonmi Park: VOICE FOR A SILENT NATION

Giulia Colato

Edited by Veronica Vivi

Illustration by Maia Walcott

“You have to tell the world that North Korea is like one big prison camp . . . If you don’t speak up for them, Yeonmi-ya, who will?” (Park 264). After her mother said these words, Yeonmi Park decided to put aside her insecurities, her fear and the shame she felt and to write about her life.

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Basking in the Afterglow: Barry Jenkins’ ‘Moonlight’

Laura Hackshaw

Edited by Veronica Vivi

Artwork by Maia Walcott

Moonlight has been an unprecedented and much needed piece of art which transcends the basic categories and labels that accompany the ideals of it simply being a unique ‘independent’ movie or at its most reductive, a movie about what it is like to be a young, black, gay boy becoming a man. Moonlight is about running through doors with your eyes closed not knowing how to find your way to the other side. It is about the fear, the panic, the discomfort and the frustration of having to come to terms with your own identity when your identity itself is based on societies preconceptions and expectations of who you should be, how you should talk, walk and who you should love – all before understanding how to first love yourself. It is profound because it transforms and challenges common ideologies surrounding black male-hood; black male tenderness and affection, the redemptive power of mentors, music and community and how these all shape the people we become. 

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Kumar Shahani’s ‘Maya Darpan’

Elroy Pinto

Edited by Ketaki Zodgekar

Artwork by Camilla Anvar

Kumar Shahani is one of the finest film makers in the post-Independence era of India. He was born in Larkana, Sindh in Pakistan, and raised in Mumbai after his family lost their ancestral home after Partition. In 1966, he joined the Film and Television Institute of India under the tutelage of Ritwik Ghatak, the great Marxist film maker from West Bengal. Ritwik Ghatak’s own preoccupations had been with the idea of Myth, folk tales, and the layering of sound, music, and noise within the cinematic realm of melodrama. Shahani spent time learning with the finest polymath from India – D.D. Kosambi. In later years, Shahani was to learn music first from Neela Bhagwat and then rigorously under Pandit Jal Balaporia. In sum, Shahani only made four full feature films, a handful of documentaries, several short films, and Khayal Gatha, a film which was never fully realised as a complete documentary or feature in categorisation. However, Shahani’s ambitions stretched beyond this: his primary concern was to formulate a vision of cinema that explores the Epic form. In the years that followed, Shahani’s work continued Ghatak’s practice; eventually leading him to master his own Idiom.

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Sun Ra’s Space Is The Place: A Radical Black reimagining of a better future

Oluwaseun Matiluko

Edited by Maria Torres-Quevedo

Artwork by Olivia Twist: YesOliviaTwist

I am currently in the final year of my Law degree. When the time came to select the modules I would study this year I decided to pick the modules in which I knew I would feel represented and seen. Although I enjoyed the previous years of studying ‘Contract’, ‘Tort’, ‘Criminal’ and ‘Property Law’ I felt the need to expand my horizons; to study something that I had never had the opportunity to study before and probably would not have the opportunity to study again. So, alongside my modules ‘Equity Law’ and ‘Employment Law’, I elected to study modules in ‘Sex, Gender and Law’ and ‘Law and Race’. I had one more option left, and I was struggling to fill it when I spoke to my good friend Sheila. She had seen an open module listed on our University website– ‘African-American Music in the 20th century’– and when I clicked on it I immediately smiled. A module focussed on the music that I love but also drew on its West African heritage seemed to perfectly intersect with my interests and my personal heritage and so I jumped at the chance to study it. I am so grateful that I did.

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Project Myopia April Workshop Roundup

We held a workshop on liberating and decolonising the academy and curriculum two weeks ago at King’s College London – thanks to everyone who was able to attend! Here’s some of the feedback our co-founder Toby Sharpe collated from the event and some photos too… and make sure you read to the end of the post for information on some exciting events coming up soon!

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