| Re-Imagining the Nation: Tradition, Folklore and History by Noelle Lorraine Williams
Noelle Lorraine Williams innovatively re-imagining history and contemporary culture through word and form. She uses culture and text to visually and emotionally reexamine the truth of our historical American culture that has shaped our contemporary community.
Image copyright: Colleen Gutwein, The Newark Arts Photo Documentary Project http://www.newarkartsphotodoc.com
| The Black Women’s Fairy Tale Museum
The Black Women’s Fairy Tale Museum is a mobile, changing and imaginative space that presents the contemporary, historical movements and folklore of Black women in the United States. Narratives that passionately, creatively and spiritually re-imagine what it means to be American by transforming culture: the body, emotions, sound, politics and the environment.
It is imagined by Noelle Lorraine Williams.
Please learn more about Noelle Lorraine Williams click here.
Like the folklore of the “The Black House” the property rumored to be a house Lauryn Hill gifted her mother (a painted Black house adorned with Adinkra symbols in an “upscale” section of Newark actually owned by Oiada International) the power of naming, renaming, imagining and creating folklore, this imagined and cultural space third space of truth between “reality” and existing fairytales and myth and battleground was at the core of Black women's survival strategy - our art, cultural production to rebuild the imagined community to re-mythologize the self, to bear witness, triumph madness and win, everywhere in the United States and Newark, NJ too.
Newark becomes a powerful site of cultural mythologizing.
It is said that when Queen Latifah would travel from Newark to NY one of her favorite parties was at Latin Quarters in Midtown Manhattan. This is where she saw Sweet Tee and Jazzy Joyce, though she admired the other women rappers like Salt-n-Pepa and others, it was Jazzy Joyce’s tomboy style that appealed to her, it showed her that her image could be controlled by her own dictate, her own will. She also, like many during that period was attracted to the liberation and Black power of reggae music, her first song “Princess of the Posse” was a reggae one. These two aesthetic: the urban, pretty tomboy and the autonomous reggae storyteller, would combine to make her distinct and relevant to the movements of the time, the beginning of a cultural or socio-political female empowerment period. (continued here)
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