Written by Anita Mowete
Edited by Veronica Vivi
Illustrated by Florence Aina
Black women are often expected to put their heart and soul in relationships, even if it is to their own detriment. However, just because you can, does not mean you should.
By Alma Alma
Edited by Veronica Vivi
Artwork by Natasha Ruwona
Words are important for history as it is through words that history is told. So, what is the language of an untold history? It is the language of imagination, dreams, of interpretation of the tongue. For marginalised communities, history is the study of loss – a loss that is sometimes irretrievable. Without conventional historical sources, the past remains a locked door, but with an imaginative approach through a combination of personal experience, memory, and creativity there can be a re-construction of the past. With black history often found in oral traditions, folklore, and music, these stories are frequently at odds with more conventional historical practices such as written documents and official records, thus leaving them unexplored and untold. The work of black women writers such as Dionne Brand and Toni Cade Bambara shows how this hurdle can be overcome through an illustrative and imaginative writing practice.
Edited by Maria Elena Carpintero Torres-Quevedo
Illustration by Iara Silva
As I continue to write this Utopian Curriculum series, it feels important to address questions raised from previous essays. In online conversations and email exchanges around parts two (Black Panther) and three (Sultana’s Dream), a particular point raised was whether something can be truly utopian if it is only positive and ideal for a specific demographic. It is apt, then, to dedicate part four to the art form of voguing.
Ibtisam Ahmed
Edited by Maria Elena Carpintero Torres-Quevedo
Illustration by Iara Silva
Welcome back to the Utopian Curriculum series with Project Myopia! In this post, I will look at the first case study on the curriculum, the 2018 Marvel film Black Panther. Directed by Ryan Coogler, it has received a renewed level of attention and love since the tragic passing of actor Chadwick Boseman.
Cameron Perumal
Edited by Veronica Vivi
Artwork by Maia Abayomi
‘Dirty Computer – an emotion picture’ is a narrative film accompanying Janelle Monáe’s 2018 album of the same name serving as a backdrop to (and catalyst for) its plot. It depicts the story of Jane 57821 – a femme-presenting, queer android – in a seemingly dystopian future. ‘Seemingly’ because the film almost scarily imitates an all too familiar contemporary political landscape and its relationship with the Other (including, as mentioned by Monáe in interviews, queerness, being minoritised, and the experience of being a Black woman). Jane 57821 is a queer android – inferred from her relationships with Zen and Ché (portrayed by Tessa Thompson and Jayson Aaron, respectively). Jane is also part of an underground resistance and is captured by the oppressive government, deemed a ‘dirty computer’ that needs to be cleaned, and has her memories deleted one by one – but not before the audience gets to relive each one.
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.
Art by Priyanka Meenakshi https://www.priyankameenakshi.com/
We celebrated Project Myopia with a beautiful launch event towards the end of semester 2. It was a night of music and poetry, as well as an opportunity for some of our contributors to elaborate on their essays and ideas. Our performers touched on a wide range of serious issues: from the exclusion of racial minorities’ contribution to the canon of literature, to the oppressive nature of zero-hour contracts that prevent tutors from being able to fully engage in helping all students get ahead, let alone those from a minority background who need assistance most. We’re incredibly grateful to everyone who performed and shared their experiences, and we also have to thank everyone who attended and helped us drink the wine we provided! Project Myopia aims to bring marginalized people together and amplify their voices, and our launch felt like a perfect culmination of our semester’s work: people came together and shared their experiences of an academic world we need to change.
Izzy Bravo
Edited by Carolina Palacios
Art by Laila Borrie https://www.facebook.com/underthepeacocktree/
Each year in March I see a wave of young Latinas on social media expressing their love for Selena, as they share images of their Selena-inspired make-up, Selena outfits for the Selena club parties, and plans to watch Selena, the 1997 film that chronicles the short life of Selena Quintanilla. Why March? March 31 is the anniversary of Selena’s death, which occurred in 1995. And for any young Latina who grew up dancing to Selena’s “Como la Flor” in their living room, March is an important month to remember those days and the unhinged hope for a music idol. I grew up listening to Selena and have memories of my sister singing along to “Como la Flor” when it played in the radio. I can also recall trying to hide this fandom in a poor attempt to assimilate to the American culture I was learning in grade school. It was not until my first year of undergrad that I noticed it was suddenly okay to be Latino.
