We Chill

We Chill
by
Z. Hall

We mighty chill. He
Always thrills. Me

Rise early. He
All worldly. Me

Nimbly in. He
Heart wins. We

Jazz June. We
Love soon.

~~~~~

Listen to Gwendolyn Brooks read We Real Cool.

Image credit: Peaceful Lovers by Monica Stewart

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Object of Affection

Object of Affection

by

Z. Hall

Rugged in handsomeness

sleek and sturdy of build

Though far from ugly

did not stop my eye

Up close

observation

smooth moves

practical in application

Expressively

in style we differ

joined purpose in the game

Unlikely pair

visions shared

attraction beyond skin deep

together and apart

we art

Your embrace-ability

I need

I do

You’ve grown on me

with you I create without end

my favorite pen

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Biblical Proportion Haters

Biblical Proportion Haters

by

 Z. Hall

Don't hide your light under a basket

Oh how I love the Lord!

Put it on a stand and let it shine for all
He’s good all the time!

Let your good deeds shine out for all to see
Bear witness to His greatness!

Matthew 5:15 and16
they quote thee, praise be

‘Til your rays become an irritant
unique and brighter than theirs, you see

Turn
destroy your love from others
you too, in the process

"They think they know everything!"

Those five little words
the grace of their God they unmake

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How to Know When a Skirt is Not a Skirt

The recent bangarang over Omar Epps wearing a skirt on 'The View' resulted in heated debate about whether a man should wear legless lower-garments. Yasiin Bey (Mos Def) faced similar criticism for donning a Kente wrap at a South African conference. Pharrell Williams was thrown shade for sporting a kilt-like garment in a GQ photo shoot. The debate is particularly interesting as it seems to be concerned with American men — Black American men specifically. White men, on the other hand, get a complete pass as metrosexuals; free to explore fashion and exhibit refined tastes without injury to their masculinity or suspicion about their sexuality.

Yasiin Bey, Getty Images

Pharrell Williams, GQ Magazine

No small amount of weight is placed on the shoulders of Black men who color outside the fashion lines. Critics hold them responsible for bringing down the Black race, oppressing a group of people who are in much need of uplifting. Frankly, that's quite a bit of power to endow upon individuals who are simply responding the question in their head: "What will I wear today?" Further, misplacement of this responsibility on the part of critics assumes that the Black population at large is void of its own values, mores, and ability to make decisions based on those factors. 

Legless Garment ≠ Drag

Historically, wearing pants is a recent development in men's clothing. Up until the late 19th and early 20th centuries, men, in many parts of the world, wore legless garments. That's right, playas, Spartans, according to your definition of style, wore dresses! As did many of the most might men known in military history.

Legless Mens Wear, Past and Present from zbreeze

Today, men continue to wear traditional garments in public settings in many parts of the world. African countries are the most often cited locations for this practice by Black Americans, but they are by no means alone in this. Omar Epps credits the Maasai with his fashion choice, but his outfit seems Roman inspired to me. You be the judge!

A skirt or dress in America fashion does not share the shame history, cultural concept, or signification as legless garments from different parts of the world. And when foreign styles are imported into America by Black men (often through sampling, no different than music) they should not be dropped into a melting pot in an attempt to morph them into something distinctly American. To do so is a mark of ethnocentrism and cultural blindness. 

A man dressed in a legless garment is not always a man in drag. Knowing the difference requires that one denounce stylistic laziness and, instead, acquire knowledge about clothing outside their limited universe.

Emasculation of Black Men or Just Another Realm of Restricted Freedom?

While researching this piece, several theories surfaced. They are used to explain what's behind the "skirt gang," an emotionally charged phrase defining Black American men in what are thought to be female clothes. The thinking is that the Illuminati are intent on demeaning Black life and culture by hinging the wealth and stardom of Black entertainers on how well they perpetuate the gay agenda, contributing to the emasculation of the Black male. Critics of the "skirt gang" attribute this foggy plan to the Devil.

No attempt is made here to unravel this notion or to dismiss it, whole cloth, as a crazy conspiracy theory. What is argued here is that if there is sincerity concerning the moral aptitude of the African diaspora in America, it must be coupled with knowledge of and an respect for men's clothing and apparel of other cultures. 

Morally, critics need to be careful that they are not promoting a dictatorial stance that perpetuates irrational oppression and robs men of their freedom to make choices for themselves. They must be careful to not diminish Black culture by prohibiting the importation of African culture by Black American males. They must be careful not to suppress the freedoms of the Black male by attempting to employ the types of "moral decency" and "proper role" strategies that have crippled women for too many centuries. They must be careful to not be participants in that foggy impoverishing force intent on emasculating the Black American male.

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[Book Review] Visual Culture in the Modern Middle East: Rhetoric of the Image

Is the study of visual culture a legitimate field of interdisciplinary inquiry or a trendy movement? It is a question sharply debated by educators, curators, researchers, and others today. Among other things, opponents of visual culture are concerned that there is a blatant disregard for the essential differences between works of visual art, “fine art,” and other types of cultural artifacts. Some take the position that visual art is the sole province of art history and that visual culture studies wrongly includes every kind of visual artifact in their purview—including fine art. Proponents argue that visual culture is a valid research and curricular area, which takes the visual image as a focal point in the cultural context of meaning-making. The debate is complex; with many nuances, but essentially, it boils down to aesthetics verses utility.

The Crying Boy,' painted by Bruno Amadio,
was popular in Turkey during the 1970 and '80s.

Visual Culture in the Modern Middle East: Rhetoric of the Image ("Visual Culture") situates itself squarely within this debate. By drawing upon theoretical insights from such fields as communication, global studies, history, Islamic studies, sociology, and art history, the text unfolds as a model of how visual culture may serve as an entry point among the disciplines that treat visuality. The thirteen essays address four topics — “moving” images, Islamic iconographies, satirical contestations, and authenticity and reality in trans-national broadcasting — wherein researchers explore the constructed nature and fluidity of Islamic and secular ideologies in public visual culture after the colonial period.

"Visual Culture" contributes to filling a gap in knowledge and understanding concerning how images are articulated locally, statewide, and regionally, as well as imported and re-articulated in the modern Middle East. This work moves the study of Islamic art forward from the twentieth to the twenty-first century by engaging the role of visual culture through the framework of formations of secular and Islamist registers in public culture.

Poor Christians and Muslims united in suffering during Lebanese Civil War.
Rich Christians and Muslims are united in ignoring them, Handhala observes.
Unpublished drawing, Naji al-Ali, 1978.

The aestheticization and politicization of suffering in the Turkish Islamic imagination as portrayed in the widely circulated and re-imagined image of the ‘Crying Boy’; the mural of Muhammad’s ascension on the exterior wall of a five-story building in Tehran; the iconography of Arab secularism in the powerful imagery of Palestinian cartoonist Naji al-Ali: each invites methodological investigation to understand the roles of visual metaphors, icons, and other devices that construct meaning.

There is widespread use of imagery in the modern Middle East and there is a need to explore the role of imagery in that context. "Visual Culture" explicates how imagery functions rhetorically in speaking to individuals within those societies, for architects of social conventions, and about Middle East societies to the rest of the world. Communication scholars, sociologists, anthropologists, art history and Islamic art scholars, as well as educators and researchers interested in the modern Middle East will find this work useful to their research, teaching, and their students.

____________
Gruber, C., & Haugbolle, S. (Eds.). (2013).Visual culture in the modern Middle East: Rhetoric of the image. Bloomington and Indianapolis: Indiana Univ. Press