Dark Girls Documentary Film

     The documentary, Dark Girls, takes a candid look at "colorism," a prejudice within one's own ethnic group about skin color. Producers and writers, Bill Duke and D. Channsin Berry, are showcasing the film in a theatre tour that includes discussion after viewings. Taking a non-traditional route to showcasing the film, they have chosen the approach of stage play and concert producers, saying if plays and artists in concert can tour, a film can most certainly do the same. Showings of the film began on the East Coast in Baltimore, Philadelphia, and at the Apollo in New York City, and in upstate New York in Buffalo.

     "Is life different for women who are darker than most?" is the controversial question raised in the film. Because of the historical relationship of African-Americans with slave masters and white supremacy, it has been a longstanding, though negative aspect of the culture that light skin and straight hair have been the acceptable standards of beauty. In some circles, the "paper bag test" has been the criteria that determined acceptance or rejection. In securing careers, selecting mates, negotiating social circles, joining organizations, and in some cases, churches, the code was that one had to be lighter than a paper bag. Despite contemporary advances of African-Americans and greater acceptance of the diverse hues that characterize the race, the people in the film share painful experiences of distain, prejudice, and rejection related to dark complexions.

     As this bias is passed from generation to generation, children and teenagers have become the victims and perpetrators. In a psychological test similar to the infamous Doll Experiment of the 1940s in which black children repeatedly attributed positive characters to white dolls and negative ones to black dolls, a little girl in the film was instructed to give feedback about five drawings for which the only difference was complexion. The child equated the drawing of the light skin person to being smart and pretty, and that of the dark skin girl to being dumb and ugly. A teenager wished she could wash her color off because she felt dirty, and she hated her father because she inherited his dark complexion. Another asked her mother to put bleach in her bath water to lighten her skin. Still another teenager spoke of an instance in which she overheard her mother bragging about her (the daughter's) brillance and beauty, but added, could you imagine how much more beautiful she would be if she was lighter. After generations of attempting to eradicate colorism, it is still a pervasive issue for youth who inherit the physical predisposition for melanin rich complexions.

     Expert psychologists, historians, sociologists and others in the film point to several possibilities for addressing the issue. Colorism is a learned attitude that can be unlearned, according to one expert. There is nothing in human DNA that makes people inherently hate dark skin. As African-Americans and other ethnic groups continue to assimilate into American society, the perception of beauty must be continually challenged and redefined.

     People have to be self-assured and avoid becoming mesmerized by the standards perpetuated by mainstream media, and stop relinquishing power to social systems and political policies that do do not operate in their favor. There must be a collective effort to analyze images, understand their impact, work to heal wounds that have been inflicted, and change the awareness of self. Knowing history, defining goals and methods of repatriating culture, and realizing that the sum total of experiences helps determine identity are all key factors in addressing colorism. Families must play a role in combating negative attitudes. Black men must address the needs of family, community and Black women. Mothers must teach daughters that they are beautiful and to love themselves.

     Embracing and loving self should not be overlooked in combating colorism. "You are the keeper of your soul," says one interviewee. If you don't love and cherish yourself, how do you expect anyone else to...and loving oneself does not mean hating anyone else."

     Accordint to Berry, "the skin discussion is one we need to have once and for all...so we can eradicate it."

     Berry and Duke are currently working on another film, The Yellow Brick Road, which examines the experiences and suffering of light skin people. They maintain those of fair complexions have a story to tell as well, and pain is pain regardless physical appearance. Dark Girls received the Audience Choice Award at the Pan-African Film Festival, and is rescheduled to show in the Toronto Film Festival  in September. It is scheduled for release on DVD at the end of the year. For more information, visit www.officialdarkgirlsmovie.com.

    

    

Dance Theatre of Harlem Ensemble

      Magnificent and spellbinding was the general consensus of viewers about the performance of Dance Theatre of Harlem Ensemble at Morgan State University's Murphy Fine Arts Theatre in Baltimore. The presentation included hip hop and contemporary movements, modern, jazz, interpretive, and Dunham, but maintained classical ballet as it foundation. Because of the company's cadre of loyal supporters and stellar reputation in the world of dance, a viewer commented that dancers and artistic directors from around the state were undoubtedly in the audience as they deemed attending the show mandatory.
   
The program opened with "Six Piano Pieces Harlem Style," a showcase of traditional ballet with acoustic piano accompaniment by Melody Fader. This segment was underscored by precise synchronization in various combinations of solos, duets, and group pieces.

     Choreographed and described by Robert Garland as "post-modern urban neoclassicism," the next segment entitled "Return," featured performances to the music of James Brown and Aretha Franklin. "Mother Popcorn" integrated modern, ballet, and classic James Brown movements popularized with the release of the song in 1969. The next dances, performed to Aretha Franklin's "Baby, Baby, Baby" and "Call Me," transitioned from up tempo and rhythmic to smooth and graceful. "Baby, Baby, Baby" began with dancer, Mayuko Shoka, performing a short, dramatic solo with no musical accompaniment and was accented by the stage and backdrop lit in scarlet red. As she was joined by male dancer, Frederick Davis, for a duet, music was introduced, lighting changed, and the piece was completed with other dancers joining. "Call Me," featuring dancer, Renee Bharath Kim, revealed the tender story of a young women being wooed by several men as she emoted to each on the lines, "I love, I love you, and I love you too." The mood shifted once again as the high energy instrumentation of James Brown's "Superbad" (originally released in 1970) and "I Got the Feelin'" inspired dancers to incorporate ballet, Dunham, 1970s dance steps, and a Soul Train Line.

     The mystic blue, dream-like segment, "In the Mirror of Her Mind," was choreographed by Christopher Huggins and performed to the "Symphony of Lamentation Songs" by Polish composer, Henryk Gorecski. Dancers, Alexandra Jacob Wilson, Fredrick Davis, David Kim and Jehbreal Jackson masterfully conveyed emotional turmoil and evoked empathy. The final act, "Contested Space," featured a contemporary musical composition of African drum rhythms and other percussions, jazz inspired strings, and synthesized riffs. Dancers matched the intensity of the rhythms by combining Dunham, ballet, and African inspired movements.

     "Incredible! I didn't even know the human body could do those things," an audience member commented as theatre goers socialized at the close of the event.

    Dance Theatre of Harlem Ensemble delivered a flawless presentation that unquestioningly upholds the company's reputation for cultivating some of the finest talent in the country. Dynamic, non-traditional costuming and superb lighting expanded the dimension of the show and accented the tone and mood of each dance. In general, lovers of dance and the performing arts no doubt left the theatre with a renewed commitment to hone their crafts and continue supporting the arts.

    
     Dance Theatre of Harlem, founded more than forty years ago, has maintained a focus of training young people in classical ballet and associated arts, providing arts education, community outreach and positive role models while it presents "a ballet company of African-American and other racially diverse artists who perform the most demanding repertory at the highest levels of quality." Artistic Director, Virginia Johnson, is a founding member and was the principal ballerina until she retired from the stage in 1997. Dance Theatre of Harlem Ensemble, under the direction of Baltimore native, Keith Saunders, is the second company of the organization. As the name indicates, the Dance Theatre of Harlem School is located in New York City's Harlem community. With scholarships and tuition assistance, every year, the school serves more than 500 students from the inner city and around the world, regardless of ethnicity or economic circumstances. For more information about the school, the company, or bookings, visit their website, www.dancetheatreofharlem.org.

Political Pundit Donna Brazile - Civility in the National Political Discourse

     As we prepare for the impending 2012 presidential election, political pundit, Donna Brazile encourages political discourse and examination of the issues, but advises that it is possible to do so without denigrating and attacking each other. In her recent address at the Weinberg Center Y of Central Maryland, Brazile paid tribute to the legacy of Dr. Martin Luther King, saying that if he were alive, he would rebuke those in the political arena contributing to and perpetuating negative dialogue.




     Brazile says although it is difficult to remain civil in this political environment, it is possible by adhering to several simple principles: faith, love, humility, and trust.

     "Dr. King taught us that faith is taking the first step, even when we can't see the stairs," Brazile said. "Love is the key to many or our problems. I will not let anyone occupy my heart with hate. When I get angry, I try to figure out how to make someone else's day better."

     Brazile says attend political debates, but remain humble enough to listen to opponents objectively. Respect those with whom we do not share views, and to quote an old adage, "disagree without being disagreeable." Figure out how to turn negativity into positivity. Rather than dwell on loses and failure, focus on opportunities. Distrust, one of the impediments to civility, must be conquered, and that will happen through dialogue. Name calling has to stop, but responding to it is also unacceptable for Brazile was taught, "it is not what someone calls you, but what you answer to."

     The political activist is passionate about the future of the youth, and is an advocate for the underserved and underprivileged. She encourages young people to work within the system to improve it, to vote, and run for public office. Brazile is particularly disturbed by denigration of those living in poverty, and says that dignity of those in economic distress must be defended and needs must be addressed.

     In the upcoming election, Brazile is confident that President Barak Obama will be re-elected. She looks at it from a mathematical perspective. If everyone who voted in 2008 votes for him again, he will receive enough votes. In framing the political discourse, she says it is important to discuss why we want President Obama re-elected, rather than why we don't want the republican candidate. She has faith that he can help put America back on track despite the gridlock that currently exists.

      Photos by Titilayo Akanke

     Donna Brazile is a political analyst who regularly appears on ABC's This Week, as well as an on-air contributor to CNN and NPR. She is a syndicated columnist, an adjunct professor at Georgetown University, and the author of the best-selling memoir, Cooking with Grease: Stirring the Pots in American Politics. She has been involved in the political arena for 42 years, since she was a child, and has participated in seven presidential campaigns. She is the founder and director of Brazile and Associates, LLC, a grassroots advocacy, consulting, and training firm based in Washington DC. She has received several honors for her work including being named one of Oprah Magazine's 20 Remarkable Visionaries, 100 Most Powerful Women (Washingtonian), and Top 50 Women in America (Essence). She also received the highest award for political achievement from the Congressional Black Caucus.

    

August Wilson's Jitney

Jitney, by August Wilson, was recently produced by Theatre Morgan and showcased at Morgan State University's Carl Murphy Fine Arts Theatre.

      Set during the 1970s in Pittsburg, Pennsylvania, Jitney is the story of several struggling African-American struggling to earn livings as jitneys while coping with the issues impacting their lives. The protagonist, known simply as Becker (Roscoe Orman), owns the jitney service which has been been located in the same place for 18 years. He learns that the city is planning to condemn and demolish all the property on his block. Becker conceals that information for two weeks from the drivers,Turnbo (Grant Chism), Fielding (Grant E. Harvey), Youngblood (Brian Jamal Marshall), and Doub (Keith Snipes) until one of them inadvertently learns about it and tells the other men.

                                                                                                                    

    

     While the men are trying to decide what they will do when the place closes, Becker's son, Clarence (Jerome Banks-Bey), is released from the penitentiary after serving 20 years for a murder conviction, during which the two had no contact. Becker blames Clarence for the mother's death saying that Clarence's original sentence to the electric chair was more than his mother could bare. Clarence holds no grudge against his father and wants to reconcile, but Becker stubbornly refuses, calling his son "Mr. Murderer," and telling him he is "unfit to live in society."

          Further complicating the situation are the dynamics of the other men's personal lives. Fielding is near alcoholic who tries to hide his drinking. Turnbo is liar and gossip, always in every body's business and continuously starting confusion. Youngblood is Vietnam veteran working two jobs to provide for his son and the child's mother, Rena (Erin Stevenson). He wants to surprise her with the deed to a new home. However, Rena thinks Youngblood is spending so much time away from home because he is seeing another woman, and Turnbo feeds her insecurity.

     Shealy (Massimo Delogu) and Phillip (Gordon G. Torney), friends of the drivers, frequent the headquarters. Shealy, despite repeated reprimands from Becker, uses the establishment as the office for his number running business. Philmore frequently needs jitney services as he slyly circumvents the issues with the women in his life. Doub, Becker's partner for twelve years and long time friend, is the voice of reason and the peacemaker in the group. Before the men can enact their plan to challenge the take-over of the property, Becker is suddenly killed in an accident. Much to Clarence's chagrin, he and his father never reconcile.

    

      Overall, the production was superb. The actors delivered dialogue and performances that were rich with the subtleties and dynamics that evoke emotion from an audience. Shealy added humor as he repeatedly talked about the woman who still loved him even though they had not seen each other in 22 years. Becker's refusal to reconcile with his son was painful and difficult to accept. Brief appearances and the a cappella harmonies of the young Doo-Wop Boys (Tamauri Forest, Royal Simms and Jordan Lunsford), added charm and the youth dimension to the production. With more training, experience, and the maturation of their voices, they have a fine future in show business.

     Costuming was believable and the set design was good, but there were some minor problems with blocking. There were a number of times during the production when backs were turned to the audience as actors turned to listen to or acknowledge someone else on stage. Perhaps that is an old school rule of theatre that no longer applies; it was nonetheless, quite distracting. There were also instances when actors were obscured behind someone else as they delivered lines. In its entirety, the production upheld Theatre Morgan's tradition of delivering outstanding presentation, and honored the work of the distinguished the playwright.

     August Wilson is renowned for his ability to capture the essence and sanctity of African-American culture. His work reveals the plight of average, hard working men and women struggling against poverty and racism, and embracing the sorrows, bitterness, joys and triumphs of life. His body of work includes: Radio Gulf (2005); King Hedly II (2001); Gem of the Ocean (2004); Jitney (2000); Seven Guitars (1996); Two Trains Running (1992); The Piano Lesson (1990); Joe Turner's Come and Gone (1998); Fences (1987); and Ma Rainey's Black Bottom (1984). Wilson received seven New York Critics' Circle Awards, a Tony for Fences, and two Pulitzer Prizes for Fences and The Piano Lesson. Wilson joined the ancestors October 2, 2005 after succumbing to liver cancer.

Bob Marley in Detroit - 1979 - Excerpts from Press Conference

     On Bob Marley's last visit to Detroit in November 1979, as a staff writer for the Michigan Chronicle newspaper, I covered the concert at Cobo Arena, and the press conference afterward at the hotel (Book Cadillac). It was my first Reggae concert. Below are excerpts from the press conference which included a number of media representatives. 

Press: How will civilization react when the world is united?

Marley: When black people unite, then others will unite in a sense of righteousness...When the world is united, everything a cool...There will be no competition in the world. There will be no more country against country. People will deal with one good.

Akanke: In terms of revolutions, are Rastas waiting for Jah to come and change things?

Marley: Jah live in a man. We want people to understand that they are someone. Man make laws in America and everywhere, but some are not for the benefit of all mankind. We need truth in this time...When you talk about revolution, it's not a man thing. It's bigger than that. The revolution means one unity, one heart, one thing... We have to sing one song, as one choir. The only thing that can unite the people right now is themselves, which is Jah...

Akanke: What is the role of women in the Rastafarian Movement:

Marley: Women fight the revolution. Women is culture. You can't keep a woman from Rasta. She likes to put on prettiness, but if she is Rasta, she is ital. If you like how God make you, you live longer and you think better. You can't try to be the way society and the system try and make you. She is a mother, a nurse, she is everything.

On What Should African-American Focus for 2012?

     African-Americans face a plethora of issues that must be simultaneously addressed to ensure our continued survival and development. Those include health, economics, education, and community security. Ongoing health and nutritional crisis require improvement in preventative measures such as access to wholesome food and knowledge about good choices that promote optimum health, as well as affordable health care. Resources must be pooled for the development of businesses and institutions that promote economic growth and stability. Education must provide an academic foundation for higher education, facilitate skills development, and instill values that combat the negative influences to which we fall victim. We must secure and rid our communities of the violence, drugs, and other crime that denigrate and destroy us.

     With these seemingly insurmountable challenges threatening our survival and contributing to the continued deterioration of our families, communities, and institutions, how do we save ourselves? Obviously, as with any task or goal, we must look at steps that can be taken now and those that are more long term and future focused.

     However, in order to plan for the future, we must actively involve ourselves in immediate strategies that improve our conditions, empower us, and ensure a prosperous, healthy, and positive future? But what are they? On what should African-Americans focus for 2012?

    Mama Imani Humphrey
   Founder, Director Aisha Shule/W.E.B. DuBois Preparatory Academy
    
     We are so broken as a people, and we have lost our focus. We need to focus on developing our unity. We must study our environment, the politics of cities and states, social relations, and how we interact with each other. We need to figure out why we hate each other, why we don't treat each other right, and why black women are denigrated. We need to take a historical approach with our studies, and I would like to see a curriculum developed around these elements. We also need to focus on cooperative economics and develop our businesses and restore our communities.

   Atiba Sanyika
   Tailor and Fashion Designer, Sanyika International
    
     The first thing that comes to mind is survival. With so many homes and institutions being lost, survival is crucial. When I look at the worldwide economic picture, things are desperate. We have to continue to provide for our families, and keep our communities and institutions viable. In order to move to the next level, we have to find creative ways to survive, then move to a point beyond simply existing. We have to look back into our history and see what it took to survive through the Middle Passage, through slavery and through war and imperialism on the continent. We have to look at what it took to survive on the continent before slavery. We had to grow food, use skills such as carpentry and sewing, which is what I am doing right now. Each of us has to examine our own lives and see what skills we have and what we can contribute. Sankofa comes to mind. We have to look back and apply what we have learned so we can go forward.

                                     Dr. Nubia Kai 

                                Assistant Professor Howard University Department of Theatre Arts

     We need to take to the streets in mass protest. We need a mass movement similar to the Civil Rights and Black Liberation Movements to put an end to the exploitation and social disparities based on class and race, neo-slavery through the prison industrial complex, and injustice. The way the capitalist system is structured, many people cannot buy homes, and are so far in debt, they will never pay off their debts. A more feasible system would be socialism in which the major industries are owned by the people, and health care and education are free. We need to take Occupy Wall Street to another level. It may sound unrealistic, but that's what I would like to see us do.

    Malik Yakini
    Executive Director, Detroit Black Community Food Security Network
    Co-Founder, Nsoroma Institute, African-Centered Chartered School

     There are so many things that we need to focus on that it's hard to name one thing. There is a four-fold global crisis facing humanity: ecological, economics, crisis in the food and water system, and social justice. Currently, the predominate mode of providing food for the majority of the western world is an industrial agricultural system which damages the environment, damages the health of people because of lack of nutrients in the food, and creates a great deal of food insecurity. As the human population continues to grow, that method of food production is unsustainable. So given the four-fold crisis that humanity is faced with, African people have the responsibility of creating sustainable systems that will ensure our survival and development.

Dr. Ahmad Rahman
Associate Professor of History, Director of African and African-American Studies
University of Michigan, Dearborn
    
     We have some issues. Black people should begin to look at methods for bringing about social change outside of voting for a president every four years. Black people have developed a mode of thinking that voting will be our method for change, and if our candidates do not get into office, we are inactive four years until it's time for another election. Voting and demonstrating can be effective tools for ushering in social change, but Black leaders need to examine other ideas and implement other strategies. Dr. King used civil disobedience, marches and demonstrations, but he did much more than that. He and others in The Movement developed an agenda around the issues affecting us and mobilized thousands in a way that brought our concerns to the forefront in attempts to resolve them.




   Titilayo Akanke - Writer, Tutor, Literacy Advocate,
    LAACEI (Literacy Advocates and Contemporary Educational Innovators)
    Graduate Student, Writing Tutor, Morgan State University

      After we examine the many issues facing us, we have to get involved with those groups and causes for which we feel most equipped to make contributions and offer possible solutions. In the words of Kwame Toure (aka Stokely Carmichael), "Organize, organize, organize." Each of us should join an organization that is working toward the goals that we wish to see realized, and if the organization does not exist, start one. It might sometimes seem overwhelming when we look at all the problems in the world, and those in our immediate communities. No one person or organization can solve all problems, and humankind will always have multiple issues that plague us. However, collectively organizing toward a particular goal or resolving an issue can make a difference in the lives of many, and perhaps significantly reduce the negative conditions that bred the problem.

     What do you think? Join the discussion by posting your comments on the blog page or emailing your comments and photo to titilayoakanke@gmail.com or ttakanke@hotmail.com. You can also post on my Facebook page (Titilayo Akanke) or send me a tweet @TitilayoAkanke.

The Relevance of Kwanzaa and Application of the Nguzo Saba in Our Daily Lives

       Political activists, community organizers, educators, and artists who have celebrated Kwanzaa for decades were asked to reflect on the holiday and the Nguzo Saba (Seven Principles) and respond to a couple of questions. Each was asked "Why is Kwanzaa still relevant?" and "How do you incorporate the Nguzo Saba into your daily life?"  Below are some of their responses. 

Dr. Nubia Kai Salaam

Assistant Professor, Howard University, Department of Theatre Arts

     Kwanzaa is still relevant. It's growing, and not just here in the states. There are celebrations in the Caribbean and in parts of Africa. The principles are relevant to our struggle here in America because we are still an oppressed people. We are still divided and lack self-knowledge. There is a need to come together as family and community, to remember our ancestors, heroes and sheroes, and to be inspired by their example. We have to do that through the principles of Kwanzaa. They have been a beacon of light for us and provide a foundation for us today.

     Historically, Black people have endured a daily dose of racism, insults, and abuse, and have continued to strive for social justice. As a Pan-Africanist, I still have the ambition of seeing our people free and independent. I feel we should still strive for an independent nation, and I believe it's possible because anything is possible. I work toward that goal and exhibit self-determination (Kujichagulia) through my political philosophy and activism.  In choosing to work in a black institution with black students, I exhibit collective work and responsibility (Ujima). I work with my colleagues and various departments and organizations to mentor students. All of us take the responsibility of the students' development to heart.

      

     In terms of cooperative economics (Ujamaa), I make contributions to black organizations, families, and community members when they are in need. I make in-kind contributions through my work with various organizations. Through my daily work in the Department of Theatre Arts, I'm involved in the arts, which reflects Kuumba (Creativity). When ideas are transmitted in various creative and aesthetic forms such as poetry, music, writing, or drama, it becomes more transformative. Ancient Africans say teach concepts in rhythm. Conveying  our history and heritage through the arts taps into the natural creativity of Black people.

Dr. Ahmad Rahman

Associate Professor of History, Director of African and African-American Studies, University of Michigan, Dearborn

     Some people are having issue with celebrating Kwanzaa because of allegations against Maulana Karenga that date back to a conflict between Karenga's organization and the Panthers. Many of the allegations against him are not true, and resulted from the Cointelpro program under the direction of J. Edgar Hoover that was designed to disrupt black organizations and turn them against each other.

     Kwanzaa is beyond Karenga. We are not worshiping or honoring Karenga when we celebrate Kwanzaa, and he never asked for that. The celebration is about the principles of Kwanzaa and what it means to us as a people. Kwanzaa is relevant to our history and culture, and it counters the insane consumerism that plagues us.

     Those of us who have been part of The Movement incorporate the Nguzo Saba into our lives everyday day. If you studied Queen Mother Moore, Garvey, Nkrumah and others, you live the Nguzo Saba. The Nguzo Saba incorporates their schools of thought into a codified ideology that everyone can easily understand. I am a history and social studies consultant for Detroit public schools. I'm part of an organization that serves thousands of youth. Though those efforts, on a daily basis, I work collectively with people on my job, and I work collectively with people in various organizations to develop ways to uplift Black people.

Mama Imani Humphrey
Founder, Director
Aisha Shule/W.E.B. DuBois Preparatory Academy

     Kwanzaa is still relevant. There is such strife and violence in the black community, and such a lack of knowledge and understanding of our history and heritage. When we tune our thoughts to Kwanzaa for seven days, there is hopefully a lasting residual affect that carries over into the days and months beyond Kwanzaa, and into various aspects of our lives.

     I've been celebrating Kwanzaa since 1979, and each year, the Nguzo Saba becomes more ingrained. I define myself as an African person and have an African name. Those are aspects of being self-determined. I give my brothers and sisters a great deal of respect as a result of practicing the Nguzo Saba, and I receive it in return. I try to set a positive example of what it means to be an African person in the world. I tell our story and work at instilling pride in our people. I don't deal with vulgar and violent language and behavior, and I only deal with people who are willing to work with those who are tolerant and accepting of others. Practicing the Nguzo Saba has regulated my behavior.

  

Atiba Sanyika

Tailor, Fashion Designer, Sanyika International 

I've been celebrating Kwanzaa since 1973. It is still relevant, though it is evolving. When I first started celebrating Kwanzaa, it was observed mostly by families. Now it's celebrated by large institutions in various cities around the country, and some of them use it as a vehicle to bring people into their institutions. I don't see it being celebrated in homes around the country on the same level as Christmas. It serves as an alternative to Christmas for some people, but some people celebrate both. Perhaps if more people celebrated Kwanzaa, more of them would be trying to do things for our people.

    Kwanzaa is mixed in with other holidays now, and included in mass media such as the news. When people say "happy holidays," they're including Kwanzaa, and that's a good thing. It probably has not evolved as we had expected, but that simply means we have to adjust our mindset.  

     Practicing the Nguzo Saba is part of my DNA. As a team leader on my job, I incorporate Umoja and Kujichagulia (Unity, Collective Work and Responsibility) into my daily life, although many people are not attuned to that. I work with people of various ethnic backgrounds, not just black people. I try to build positive relationships.  I encourage people not to speak ill of each other, and to work collectively. I'm sometimes the lone voice encouraging people to support each other, but I continue to do it.

     I still hold onto my dreams and I have high hopes of Black people becoming economically strong and independent on a national and international level. Although it looks bleak right now, I keep the faith (Imani) that this will happen.

Malik Yakini                       

Executive Director, Detroit Black Community Food Security Network

Co-founder Nsoroma Institute, African Centered Chartered School 

      Kwanzaa is still relevant because it's a continued effort of People of African descent in America to be self-defining. One of the crisis that we are continually faced with is identity and culture. Kwanzaa encourages us to continue to identify with  African culture and the values that provide its undergirding.  

     All my adult life, I have attempted to construct a lifestyle that has been focused on the liberation of African people. In all the activities in which I'm involved, the principles of the Nguzo Saba inform my efforts. My main activity right now is encouraging African people to grow food, and to control the food systems that impact our lives. The principle of Kujichagula (Self-Determina-tion) strongly influences that work.

     _____________________________________________

    To quote an ancient parable, "To whom much is given, much is expected." For those of us who have knowledge of and understand the intent and power of Kwanzaa and the Nguzo Saba, it is incumbent upon us to set a daily example of what it means to live by the principles.  This does not mean we have to be dogmatic, condescending, or intolerant. It means that we use our gifts to work to uplift our families and our communities, and through that work, we make the world a better place for everyone.

-Titilayo Akanke