At the heart of Creative Thinkers International’s operational philosophy has always been a core belief in the ability of positive creativity to help inspire nonviolent conflict resolution. This is not a romantic notion; it is a crucial alternative.
The blood-and-bone-splattering spectacles of war have come to command most news headlines in the modern world. The maniacal brutality that was 9/11 engraved in the world’s collective consciousness themes and realities intensified by perpetual chaos, terror, and death. It is a chilling prospect, and yet an observable phenomenon, that humanity at this point in history too often defines itself by how efficiently it destroys itself.
Love, it seems, is valued most when violence or disease threaten to annihilate the life that would serve as a channel for it. Men and women discover the deeper nature and beauty of their characters by exposing them to man-made insanities that threaten not only human beings, but the nonhuman forest-, ocean-, jungle-, and mountain-dwelling species that also call the Earth home. Such an inclination is not one that supports notions of sustainable communities or advances based on peace rather than war.
That very dangerous realization is an extremely important one to note. The reason is because the natural and social forces that combine to compose what some call “the human story” are developing in such a way that, like it or not, more and more people you may once have thought of as strangers or foreigners are now becoming neighbors, co-workers, classmates, bosses, employees, and in-laws. Between extreme weather events and more prolonged climate transformations, plus cross-cultural merging caused by man-made atrocities and inter-cultural interactions facilitated by advances in technology, the boundaries that once defined notions of community are dissolving as steadily as shelves of ice breaking off the Antarctic.
Cultural migrations and evolutions are not new. Some have occurred because of genocide or war, such as the almost two million refugees who have fled the pandemonium in Syria to resettle in Turkey and other neighboring countries. There is no shortage of examples of people who have escaped persecution in one nation to rebuild lives in another. There are also opposite examples: such as those African-Americans who left the American South, and natives of the Caribbean who ventured forth in the 1910s and 1920s to settle in New York and other areas of the Northeast and Midwest. It was their hunger for opportunity and adventure that launched the Harlem Renaissance.
The Talk in 2013
In 2013, a lot of talk in the United States focuses on shifting demographics. Commentators point out the increasing business and political savvy of women, the more expansive and inclusive values adopted by the Millennial Generation, Gays’ non-retreating battle for marriage equality, the increasingly diverse population of the United States, and the borderless connections made possible by social networks.
Creative Thinkers International stepped out ahead of the crowd and the curve when the community formed in September 2007. Members then and now recognized that whatever barriers had restricted practices of cooperation and communication in the past need not do so in the future. As with the tumbling of the Berlin Wall in 1989, the time had come to work around divisiveness rather than maintain monuments to hopelessness.
Whatever tomorrow does or does not bring, the artists, authors, teachers, poets, photographers, mentors, videographers, students, and creative others who comprise this online village will always be able to take some pride in knowing one particularly important thing. At a time in history when so many in the world chose to exhibit the worst of what human beings might become, they at least tried to demonstrate the very best of what human beings might become.
29 May, 2013
Encyclopedia of the Harlem Renaissance, first published by Facts On File in 2003 and through Infobase Publishing in 2010, is now available as a Kindle Edition on Amazon and that is big news for a lot of good reasons.
For one, 2013 marks the tenth anniversary of Encyclopedia of the Harlem Renaissance’s publication and a new edition of a new edition of a modern award-winning classic is always a good way to celebrate such occasions.
Secondly, advances in technology proved a powerful component of the Harlem Renaissance just as it has in the contemporary era. During the 1920s and 1930s, important developments took place through the growing radio and the recording industries. Those advances not only allowed African Americans to showcase and preserve the marvels of black music such as jazz, ragtime, and the blues. It gave also them a foothold in an industry that allowed many to earn a living (though just barely for some) and a few to attain wealth.
Another significant development during the period was the growth of the publishing industry in New York City and other urban locales. Without that expansion, the odds of authors such as W.E.B. Du Bois, Claude McKay, and Zora Neale Hurston becoming as well known to readers as they are today would have decreased considerably.
The Kindle story is one of the defining chapters of the digital era. In many ways, it represents the same kind of growth in publishing that the establishment of important literary houses did during the Harlem Renaissance Jazz Age. It has helped make more titles available to more readers while simultaneously increasing opportunities for more authors to publish their books. It has not––and should not––replaced the print industry but it is now an integral part of publishing overall.
The Harlem Renaissance as a whole meant forward movement in regard to the practice of democracy in the United States and astonishing social and political progress for the generations of African Americans who, with substantial cross-cultural assistance, made it happen. A Kindle Edition of Encyclopedia of the Harlem Renaissance means forward movement of different kind: for this specific book and toward the 100th Anniversary of the Harlem Renaissance.
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.