Amazing 9 year old Asean Johnson brings the crowd to their feet at Chicago school closings rally
Asean (ah-Shawn) goes to Marcus Garvey Elementary School, slated for closure by the Chicago Public School administration, an un-elected board who’s members are appointed by Mayor Rahm Elmanuel, former Chief of Staff for President Barack Obama
Daaaamn. Watch this 9-yr old student stand up and spit hot fire at a mass rally against the Chicago Mayor and Public School administration who are trying to close his and dozens of other schools in mostly non-white neighborhoods.
Crying. Black and brown children shouldn’t have to grow up so fast. This kid is absolutely amazing, but I wish we lived in a world where he could just play with his friends, hang out with his family or spend time worrying about if that girl down the street has a crush on him, instead of having to take on the responsibility of advocating for himself and other black, brown and low income childrens’ education. POC kids can never just be kids, man.
Bolded that last sentence for the cot damn truth.
Wow. So proud.This is awesome and sad just like the above comment sad.
#Prayers #Repost from @gcode2222 “If you see her please call the number 404-503-5848 or hit @robinhoodmills” via @InstaReposts
SIGNAL BOOOOOOOOOOOOOOOOST!!!! Help Bring her home!
by keef cross, college park, ga.
The African Renaissance Monument (French: Le Monument de la Renaissance africaine) is a 49m tall bronze statue located on top of one of the twin hills known as Collines des Mamelles, outside of Dakar, Senegal. Built overlooking the Atlantic Ocean in the Ouakam suburb, the statue was designed by the Senegalese architect Pierre Goudiaby after an idea presented by president Abdoulaye Wade and built by a company from North Korea. It is the tallest statue in Africa.
Seven year old Arzo, The Ashuqan School
“The Taliban was the enemy of education, particularly for women. I am trying to bring the pupils from the darkness to the light.”
- Khaliq Dad, 42, principal of the Ashuqan School, Kabul, Afghanistan
Photo by James Mollison
Photo 1: Artwork by Palestinians in Israeli prisons is on display in Gaza governmental offices.
Photo 2: A mass hunger strike in Israeli jails in 1985 forced Israeli prison authorities to let prisoners use and keep art materials.
Photo 3: Ministry spokesperson and exhibition curator Mukarram Abu Alouf with some of the artwork on display.
For former Palestinian detainee Abdelfattah Abu Jahil, prison art is a victory.
“At the beginning, it was really hard,” he said of painting, embroidery and sculpture during his first detention by Israeli forces in 1983. “It wasn’t allowed. We had to keep it hidden from the guards. And we had to smuggle the tools, like beads and threads, to make the art.”
“The greatest achievements of the prisoners’ movement were in 1985,” Abu Jahil said. “We went on hunger strike to force the Israelis to allow us to make art, among other things. I myself went on hunger strike for 79 days.”
Their success allowed art by detainees to flourish, he explained. “After the [Israeli Prison Service] allowed prisoners to make art, we were able to ask our families to send supplies, or buy them from the small shops in the prisons.”
Today, Abu Jahil, who was finally released from his fourth detention in 2002, continues to make art about detainees and the prisoners’ movement in Gaza.
Drawing a stipend for his work from the Palestinian ministry of prisoners’ affairs, he now produces much of it for a permanent exhibition of prison art hosted by the ministry.
The collection, which opened in 2010, fills a hall in the ministry’s headquarters in Gaza City’s Tal al-Hawa neighborhood. It includes works of early prison art, like a gilded Dome of the Rock made from toothpaste and the copper foil in its tube, and sketches on thin tissue paper used to wrap fruits and vegetables in prison commissaries.
More extravagant pieces show the effects of the new influx of art materials to prisons in 1985, as well as continued participation in the project by freed detainees.
Imposing portraits of veteran prisoners, pastel landscapes of theJerusalem skyline and the Gaza Strip’s countryside, and papier-mâché sculptures of Palestine’s topography and the Gaza-bound international aid ship, the Mavi Marmara, were obviously made in Gaza or transported here from prisons with the knowledge of the Israeli Prison Service. Some of the embroideries and smaller items were smuggled by visiting family members and detainees released at the end of their terms, ministry employees say.
“The exhibition shows that Palestinians never give in, they never surrender,” said ministry spokeswoman Mukarram Abu Alouf, who helps curate the exhibition. “We can be creative even under the most difficult circumstances. It also shows that Palestinians, no matter how many parties or categories we are divided into, can be united.”
The exhibition has several uses, she said. A number of delegations visiting Gaza come to see it. Local universities or other galleries often borrow its contents for their own exhibits. Much of it is currently displayed in a protest tent which the Waed Captive and Liberators Society erected at the site of Gaza City’s Saraya complex for Palestinian Prisoners’ Dayon 17 April.
That site, incidentally, formerly contained one of three Israeli prisons that held Abu Jahil. “I was jailed in Nafha, Ashkelon and Saraya,” he said. “It was called the Gaza central detention before 1994. Airstrikes by Israeli warplanes demolished the compound on 28 December 2008.”
“I made around fifty pieces of various kinds in prison,” he said of his seven years in detention. “A lot of it had to do with Palestinian folklore, for example, farmers, embroidered Palestinian dresses and old Palestinian houses. Another kind was about the Palestinian struggle against the Israeli occupation, like the Palestinian flag, map, or fighter. The third kind was the emotional one, making art for my mother, wife, children, or family.”
“My favorites are the emotional ones to my family,” he added. As an example, he cites an embroidery of beads depicting a heart between two candles he made one Mother’s Day.
“There are a lot of reasons to make this art,” he said. “First, to busy myself, to not have a lot of free time doing nothing. Secondly, to let my emotions out. Third, it is a cooperative effort. Another prisoner might make a drawing, then I would turn it into a picture. The fourth is that we when we make these things and send them to our families, it makes them happy. The fifth point is to prove to the world that even if detainees are in prison, under pressure and torture, we can still make something from nothing. All the pressure and torture has not affected our mental states.”
Rawda Habeeb, a social researcher at the ministry whose work also appears in the exhibition, remarked that art was a way to bring Palestinian heritage into the prisons. “We loved doing it because it’s part of the Palestinian culture, which we are all, of course, proud of.”
Israeli forces captured Habeeb on 20 May 2007 and sentenced her to two-and-a-half years. Like many detainees from the Gaza Strip, she was captured while traveling through the Erez checkpoint for medical treatment. She was freed on 4 October 2009, the last of twenty female detainees released by Israel in exchange for a video of a captured Israeli soldier who was held as a prisoner of war by Palestinian resistance groups.
Her cousin Yousef al-Zaq was the 21st prisoner released in the deal, along with his mother, Fatima al-Zaq, Habeeb’s aunt. It was his second birthday, making him the world’s youngest released prisoner, his family said. He started school at a Gaza kindergarten last September.
“We made a lot of art, embroidery, since it is from the Palestinian culture,” Habeeb said of her detention in Sharon prison. “We made embroidered pillows, pictures, blankets and tissue boxes.”
“It was teamwork,” she added. “For example, when we wanted to make an embroidered picture, one would do the embroidery, another the wooden frame, a third the glass. We taught each other how to do the embroidery work.”
While imprisoned, Habeeb began studying social service. After her release, she completed a degree at Gaza City’s al-Azhar University and focused on life outside prison and with less art.
“I didn’t continue after being released,” she explained. “Such work requires a lot of spare time, which I don’t have. I have a husband, four children and a job instead.”
Abu Jahil, who lived on water and salt for 79 days to win his pens and brushes, has no intention of laying them down.
“Prisoners can be creative,” he said. “We always survive. Being captured and detained in Israeli prisons is not the end of our struggle. We will always keep fighting.”
I think that anyone that denies their heritage doesn’t deserve their destiny. My grandmother was a maid. She put nine children - eight of them - through college. I did not finish college. She put all of them through school. We lived in a beautiful home. We had music lessons. We went to the Y, we took dancing classes. I really refuse to be ashamed of where I came from. I refuse. That bugs me more than anything. I know where I came from, so therefore I can appreciate where I am, but if I had to go back and start over, I know that I can live on a can of beans - I wouldn’t want to share it - but I know that I can live on a can of beans. - Nell Carter
If it were not for white supremacy I’d actually know how to properly do my hair by age 17.
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