Written by actress, Danai Gurira (seen in The Walking Dead and Mother of George, Andrew Dosunmu’s dazzling film) and directed by Liesl Tommy, the play tells the story of the Liberian Civil War from the perspective of five women.
After its successful run at the Public Theater, the play opened at the Golden Theater. Not only is this the first time in Broadway history that women entirely run a production, but it is run by Black women. This season, it is also the only new play written by a woman.
Oscar winner Lupita Nyong’o is a member of the remarkable cast, in the lead role but the other talents are impressive as well: Pascale Armand, Akous Busia, Zainab Jah and Saycon Sengbloh.
The powerful script is well rendered by the impeccable interpretation of these women that we would love to see more often and on the big screen.
If you are in New York or are just passing through, I recommend you see it!
Translated by Alberta Wilson
]]>During a stopover in Palo Alto, I took a side trip to Stanford where the African and African American Studies Department was hosting its annual St. Clair Drake Memorial Lecture.
The guest speaker was Nate Parker, first seen a few years ago with Denzel Washington in The Great Debaters. He came to screen his first full-length film and present his militant stance with strong and unequivocal statements.
Referring to the permanent “state of emergency” in America, he cited the murder of young Mike Brown in Ferguson, the prison system that disproportionately jails Blacks and concluded with his long-time hero, Nat Turner.
Nat Turner is the main character of The Birth of a Nation. His name may be relatively unknown in France but he is by no means a fictional character. This slave, a hero of the Black struggle, organized a slave uprising in 1831. Nate Turner’s film tells the story of that bloody uprising.
The title of the film deliberately echoes the D.W. Griffith movie, well-known for its depiction of the abject state of the racist ideology that flourished in the U.S. at that time. To ensure that his film would be seen by the greatest number of viewers, especially high school students, Nate Parker refused Netflix’s financially attractive offer to finally settle with Fox Searchlight.
Like most of those at the conference, I was impressed by the powerful presentation of this committed actor whose sharp reserve is more remiscent of media personalities.
Let’s hope this film will shake up the white consensus that has pervaded the Oscars for the past few years and obtain its due in the 2017 ceremonies.
]]>Traditionally, the ceremony is held in February, Black History Month. But snowzilla hit, pushing it into March. BET HONORS began in 2008 to recognize African Americans who excel in such varied fields as business, entertainment, film or public service.
This year’s awards went to:
Lee Daniels (TV and Film) – Director of The Butler, among others and creator of the hit TV series, Empire; Eric Holder (Public Service) – former US Attorney General; Mellody Hobson (Corporate Citizen); Patti LaBelle (Music Arts) – iconic singer with over 50 million albums sold worldwide; L.A. Reid (Excellence in Entertainment) – CEO of Epic Records who launched the careers of several musical talents, such as Jermaine Jackson, P!NK and Outkast.
Honoring them, a slew of celebrities whose lives and careers they touched, took to the stage. Among them were Toni Braxton and Usher, discovered by L.A. Reid, Jussie Smollet, star of the series, Empire, created by Lee Daniel, Janelle Monae, acknowledging the advice she got from businesswoman, Mellody Hobson and Monica Brown, still floored by Patti LaBelle’s astounding talent.
I was privileged to interview the honorees and those closest to them. You can see it all on BET this Sunday.
The host for the evening was Arsenio Hall (Coming to America, Harlem Nights, Black Dynamite) and it took place in the famous Warner Theater in Washington D.C., not only the US capital but the historically Black city where Martin Luther King, Jr. made his immortal I have a dream speech – the dream to see all talents recognized with racial distinction.
]]>My first favorite was the mistress of ceremonies, Florence Foresti and her immense burgundy velvet bow tie.
Our super MC’s humor was at the root of her smashing entrance, worthy of the best blinged-out rappers. Puff Daddy and Kanye West, go get dressed.
Florence Foresti wears the pink fur coat from “On aura tout vu” better than anyone.
Many actresses went for the simplicity of black, a sure thing on the red carpet, whether a dress or a tuxedo. A few pulled off French elegance, a homage to classic Parisian style. The famous “less is more” so envied by our friends on the other side of the Atlantic, where nothing is over the top and everything breathes refinement straight from the source like Melanie Laurent in Saint Laurent or Carole Bouquet, icon of French chic. Let’s not forget Juliette Binoch wearing a Roberto Cavalli and Chopard jewels.
Legend: As for me, I had the enormous honor of dressing the beautiful and talented Deborah François, who presented the Cesar for the best photography. Both of us want delicacy and poetry. We want to thoroughly play the Red Carpet game by choosing a cinema look that will make movie-goers dream. We immediately decided on a marvelous Haute Couture dress, corseted and powdered, by Alexis Mabille<http://www.alexismabille.com/. Our make up choice imitated the immortal star Rita Hayworth’s look.
Legend: Our final shout out to those who dared to stand out, like the pretty Karidja Toure in a short black and silver outfit, distinguished by its freshness. The ravishing Audrey Chauveau made a marvelous choice for the Red Carpet, a long lamé dress.
Our next style post of course will be from the Oscars. Following their best looks, we’ll see how the Americans shone on the Red Carpet.
Gayanée PIERRE*, Le Choix du Style
Translated by Alberta Wilson
* Gayanée PIERRE is a French fashion professional. She lives and works in Paris. Follow her on Instagram and Twitter.
]]>The performance opens up on a jail-like setting, four cells in which black men are locked up. One of them played a melancholic melody on the saxophone: the sound of Terrace Martin. You could also see black men out of these jail cells, in chains and shackles, walking up the stage in rhythm, led by the artist himself. At a time when black artists are seriously considering boycotting award shows due to the lack of diversity, Kendrick Lamar caused quite a stir by performing “The Blacker the Berry”, in a set that brings to mind middle passage of the slave trade. By staging such a painful chapter of American history, he chose to shine the spotlight on the black narrative and reclaim it on prime time National television. The jail décor echoed the slavery imagery embodied by the chains and shackles, suggesting that the mass incarceration of black males is a form of modern day slavery, with inmates’ underpaid labor benefitting big corporations.
Slavery imagery suggesting mass incarceration
The verse he chose to perform depicts quite a few stereotypes assigned to black men, “the bottom of mankind”, and the racial animosity that has been expressed towards coloreds for centuries. His verse is punctuated by the voice of reggae DJ Assassin singing the chorus and chanting: “every race start from the black, remember that”. The chorus comes as a liberation as all prisoners break free from their chains before entering in a dance trance by Krumping and Flexing. Anybody familiar with both dance styles would tell you that Krumping is a style which originated in LA and aims at channeling pain, rage and anger in a constructive way through dancing. Flexing, also known as Bone Breaking, consists in defying your body’s limits by performing extreme contortions. Both involve exorcising some type of pains, whether it is mental or physical.
In this short piece, we witness the display of Hip Hop at its greatest: MC with the chorus by DJ Assassin with a strong black message, Dancing, Graffiti with glow in the dark colors painted on the costumes; the DJ is replaced by a live band for the background music. What if Hip Hop was the last 40+ years’ gospel?
I can’t help but recall his acceptance speech for best rap album just a few minutes earlier, in which after thanking God, his parents, his fiancé, TDE and Top Dawg himself for taking him and his TDE colleagues out of “Compton … to be the best they could be”, he paid tribute to past classic Hip Hop albums and veterans: Ice Cube, Snoop’s “Doggystyle” and Nas’ “Illmatic”. He concluded by the following quote: “we will live forever, believe that”. Quite an ode to an art form which started from nothing.
African-looking village
The next setting is an African-looking village to perform “Alright”. We have everything from drums, dancers in traditional garments to a blazing fire – “next time” (a nod to James Baldwin maybe): back to Roots for a minute. This song seems to have become the hymn of Civil Rights Movement 2.0 all across America, as it was chanted during police harassment protests in Cleveland or during the 20th anniversary of the Million Man March, just to name a few occurrences. This song embodies a cry of hope for a community that has witnessed quite a few atrocities in the past few years. Scratch that, centuries. A new generation of activists can relate to Kendrick Lamar’s music and even use it as chants in a similar way “We Shall Overcome” was a rallying anthem to the African-American Civil Rights Movement.
References to the black struggles
In the last part of his performance, he is alone on stage and performs what seems to be a prayer or a contemplation on the night Trayvon Martin died:
“On February 26, I lost my life too (…) and for our community, do you know what it does? Add a trail of hatred, 2012 was taken from the world to see, set us back another 400 years, this is modern day slavery”. The performance goes full circle; we are back to square with a reflection on what the mass incarceration and killing of back people do to disseminate the black community.
The reality is, Kendrick Lamar’ repertoire contains numerous references to the black struggle: “Martin had a dream, Kendrick have a dream” (“Backseat Freestyle” in Good Kid, M.A.A.D City album. Or even in “HiiiPower” (Section.80” album), where he is referring to Huey P. Newton, Bobby Seale and Fred Hampton, just to name a few.
There is so much to say about this performance. His artwork has rekindled a lifetime conversation for generations to come. The more I listen to his music or watch his performances, the more I keep unfolding layers. Lamar has depth. His catalogue is a solid social commentary in a time where racial tensions and racialized discourse are even more present in the public eye. Mr. Lamar’s rap sparks essential questions within the black community, which leads to instilling pride, while still questioning its flaws. In my opinion, Kendrick Lamar’s latest album is part of the soundtrack of the Civil Rights Movement of this generation. And for this, I thank him.
The revolution is now being televised.
]]>As your network correspondent in the US, I’ll keep you posted on goings-on in the heart of African American culture and will bring you exclusives on the biggest events through reports from New York, interviews and conferences, like for example, the one I took part in at the iconic Apollo Theater in Harlem. I’ll also take you inside the BET Studios in Washington and backstage at the network’s most important ceremonies like BET HONORS, coming up in March.
I’ll tell all about Martin Luther King Day and Black History Month. You will also be introduced to celebrities on a regular basis.
As usual, you can watch me on BET presenting exclusive documentaries.
BET BUZZ – Monday through Friday at 8:10 PM All the lifestyle and celebrity news presented every week by RAPHAL, HEDIA and myself.
LES DOCS INEDITS – every Sunday at 9:05 PM Every week, a new BET exclusive documentary presented by ROKHAYA
]]>Dr Eddie Glaude, Jr, , Ph.D. – Author and Chair of Princeton University’s African-American Studies Department and Taylor Branch – Pulitzer Prize-winning journalist, author and historian best known for his award-wining trilogy of books chronicling the life of Martin Luther King, Jr. and the Civil Rights Movement, were among the panelists. AT the standing room only event, our moderator, Brian Lehrer, asked each of us to share our views on racism and white privilege.
It was a magical moment!
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Greeted by many Muslims who were glad to see a positive image of the veil or denounced by those who refuse to accept this religious sign in public, the Swedish poster left no one indifferent. The message is clear: Be what you are, free to wear what you like and supportive of a cause that sees beyond controversy…
H&M, as have many others, understood that numerous Muslim women, have fashion sense and there is no reason not to cater to this demanding clientele. The Spanish giants, Mango and Zara, recently launched collections aimed at veiled women. Special collections adapted to the specific tastes of their clients by geographic zone is nothing new for these fast-fashion brands try to maintain their monopolies in the four corners of the earth. The items found in Sweden are more sober compared to those more colorful pieces in Italy. Also, during Ramadan 2015, Mango created its first collection of “traditional” dresses for the Muslim woman, called “The ideal guest.”
In 2014, the New York fashion designer Donna Karan also created a collection for the Muslim woman, “The Ramadan Capsule Collection.” Already present in the Middle East in its network of boutiques, the luxury brand affirmed its interest in a growing market and is perhaps inspired the increasing number of these new ultra stylistic Muslim fashion consumers.
In the United States these Muslim fashionistas have been causing talk for a few years. A neologism has even been created: MIPSTERZ from Muslims + hipsters. A 2013 YouTube video documented their debut. To the sound of Jay-Z’s Somewhere in America, veiled young women usual associated with submission and austerity break those clichés. Draped in multicolored veils, mounted on high heels, perched on their skateboards, dancing and jumping in the streets or riding motorcycles, these young women finally embody the ordinary face of an American youth in its time.
On their Facebook page, the Mipsterz profess a real philosophy of life, bringing together religion, art and a political aspiration of social equality.
From now on, these fashionistas who want to reconcile their faith and their taste for fashion, have their own icons. Among them is the young American journalist, Noor Tagoori, picked up by the Oprah Winfrey Network and seen in France on the Grand Journal when visiting, at the invitation of the Collective Against Islamophobia.
In Senegal, the national channel RTS, TV personality, Oumy Ndour is a familiar face for her audience, who have dubbed her “the hip veil”. On social media, the London designer Dina Torika, a.k.a. Dina Toki-O, rules the roost with 650,000 Instagram followers. Another Instagram star is Yaz the Spaz, Cuban and Turkish, living in Florida, he has close to 140,000 followers. France is not left out. In 2008, two sisters, Khadijah and Mariame Tighanimine launced, Hijab and the City, a lifestyle website that proclaims, “you can’t tell a Muslim by her outfit.: The site is defunct but its successor is looming creatively.
In spite of their success, these women, mostly young and unpretentious, do not have the unanimous support of their religious community. Some Muslims accuse them of lacking in sobriety, supposedly contrary to Koranic principles. But the Mipsterz don’t really care and choose to ignore the haters. They affirm themselves with style.
The Youtubers, bloggers and other veiled Muslim fashionistas have nothing to envy in Olivia Palermo and other It-girls of the fashion world. Often at the forefront of trends, using humor and tongue-in-cheek, they mix the hijab or traditional clothing with ultra girly Istagram looks. Just like Nadira Abdul Quddus, designer and successful Youtuber, these girls are true style pros. They are followed by hundreds of thousands and have become style-setters for a new genre of Muslim woman.
Gayanée PIERRE * with Rokhaya DIALLO
Many thanks to SainaSix for her beautiful illustrations
Translated by Alberta Wilson
* Gayanée PIERRE is a French fashion professional. She lives and works in Paris. Follow her on Instagram and Twitter.
]]>We were undecided about the cover photo but my editor came up with the idea to have Brigitte photograph me and use my head shot as the cover. Taking into account the subject of the book, I had to put my hair in the best hands.
I made an appointment at my favorite salon, Polished Haircare where they know how to treat all types of hair. As unlikely as it seems, it’s a real trial to find a good salon for curly or kinky hair in Paris in 2015. Polished Haircare is where I located knowledgeable professionals for both treatment and styling.
On the day I went, Nicole Pembrook, hair stylist and salon owner, after an Aveda oil treatment, created a voluminous style for the book cover. One of the advantages of curly hair is that it can be worn short or straightened to play with its length.
My Hair finished, I went to the famous Make Up Forever, that created the Black Beauty Academy whose make-up artists are trained to bring out the best in black and non-white skin. The blogger, Fatou N’diaye was instrumental in its creation.
Fanny Miosotis was waiting for me at the shop located on the rue des Francs Bourgeois.
Noticing that I don’t use make-up very often, she chose a light and natural look. It was right in line with the Afro! spirit. You be the judge.
]]>To end the summer on a sweet note, I suggest you do as I did a few days ago and pick up “L’Amour des Loving” a lovely novel by Gilles Biassette that tells the story of a modest couple who changed the course of American history.
Like many young couples at the time, in 1958, Mildred Jeter et Richard Loving decided to get married. No big deal except for the fact that their honeymoon turned into a prison stint. Mixed marriage in the U.S. at the time was illegal in the segregated South. She was Black and he, White. Thanks to their tenacity, their name foretelling their destiny, the Supreme Court legalized interracial marriage across the land in 1967.
Gilles Biassette deftly mixes their story with contemporary history through the lens of the Obama election, with this so long ago and not so long ago past of a country whose current news reminds us that all has not been swallowed.
The irony of the story is that six years before the Supreme Court decision ruling interracial marriage bans unconstitutional, a White American and a Black Kenyan gave birth to a son named Barack Obama.
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