Visionary Vibes: A Blog by Aberjhani

Regarding War in Ukraine: Glowing Wings of Freedom 2023 (art and poetry)

2/23/2023

(Image detail from mixed media painting by Aberjhani titled Glowing Wings of Freedom 2023. Full image may be viewed and purchased in art store on this site at Fine Art America/Pixels.com)

Glowing Wings of Freedom 2023 with and without text are the second and third mixed media painting editions of my 2017 artwork titled Glowing Bird of Midnight Love. The original work featured the following quote from the book Visions of A Skylark Dressed In Black.

“I see your wings are made
of many kingdoms,
nations, and stories
oh glowing bird of midnight love…”

The quote for the 2023 text edition comes from the book The River of Winged Dreams. As seen below, it is part of a poem titled “Angel of Hope’s Persistent Flight.” The poem was first written as a chain of haiku to commemorate Barack Obama’s historic election to the U.S. Presidency. It is shared with this 2023 creation to commemorate the first year anniversary of the people Ukraine’s valiant battle to remain an independent sovereign democratic nation.

The heartbreak of millions of refugees and the economic crises which have resulted from the conflict with Russia over the past year have impacted communities around the world. But none, where this particular war is concerned, have suffered more or fought harder to preserve the values of what we call “freedom” and “democracy” than Ukrainians themselves.

Angel of Hope’s Persistent Flight

1.
Wreaths of nuclear ash
decorate civilian hearts
with unresolved blood.

Greed, crowned emperor,
rules the earth with cold disdain
for harmony’s path.

War poisons the land
like diseased minds downloaded
into bowls of tears.

Chaos, loving none
so much as itself, slurps and
spits dead souls like bones.

What is belief now?
What is faith that will not die?
What news from heaven?

2.
In midnight’s orchard
roses blossom the secrets
that heal daylight’s wounds.

Beats of broken hearts
flow waves of revelation––
open gates to strength.

Cradled in scorched arms,
a soldier’s moon keeps its vows––
shines persistent hope.

This love that God is
curves in figure eights greater
than both time and space.

Death wins nothing here,
gnawing wings that amputate––
then spread, lift up, fly.

(from The River of Winged Dreams)

By Aberjhani
February 24, 2023
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance

More on Volodymyr Zelenskyy and Russia’s war in Ukraine

0 Comments

On Josephine Baker and the Politics of Educating Americans

1/23/2023

0 Comments

"Josephine Baker and Chiquita Abstract Magenta" digital painting by Aberjhani. Now available for purchase at Pixels.com, Fine Art America, and here at Bright Skylark Literary Productions.

The article on Josephine Baker (1906-1975) for Encyclopedia of the Harlem Renaissance was written by Sandra L. West (1947-2019). Until working on the book project with her, my perception of the great diva had been shaped primarily by quick glimpses of classic black and white images of her dancing either nude or semi-nude.
She was to me a pretty, comical, innately sensuous, island girl with some vague connection to the United States and France. Research revealed and corrected the many layers of a misunderstood truth.

I began this post to draw attention to the above Josephine Baker tribute art series. Just as I was completing it, disturbing news arrived: Florida Gov. Ron DeSantis and the state’s Department of Education had rejected an Advanced Placement course addressing different aspects of African-American Studies. The rationale for doing so was that it paved the way for ideological indoctrination into the “Woke movement” as fueled by Critical Race Theory. That is something DeSantis has strongly opposed and stated the proposed AP African-American Studies course lacks educational value.

Dr. Lisa Hill, one of the authors of the program, said at its launch in September last year: “The course encourages students to examine each theme from a variety of perspectives, without ideology, in line with the field’s tradition of debates.” In short, the objective is to expand access to the kind of knowledge which impacts our understanding, or misunderstanding, of the demographically evolving world in which we live. It was the same goal that I and different contributors to Encyclopedia of the Harlem Renaissance had when completing it.

Perceptions and Realities

The intensity of DeSantis’ objection to progressive initiatives when it comes to racial factors have long puzzled many People of Color. Perception of the governor’s political strategy is not very different from how Justice Clarence Thomas’s unyielding conservatism is viewed among many Blacks. While it appears to make no sense within the context of their daily social reality, it stands up well enough as abstract legal conception.

A frequent assumption regarding DeSantis is that he is Latino and his interests should, therefore, automatically align with those he decries as woke ideologists. However, despite the smiling photograph of him on Hispanic culture pages, the governor’s publicized heritage is Italian––not Latinx––going back several generations. He clearly has found it more politically advantageous to let Americans assume whatever pleases them while presenting himself, more than anything else, simply as a committed conservative republican.

It would be fair enough at this point to ask what any of this has to do with my current celebration of Josephine Baker. The answer is pretty much: everything. Were it not for the social, political, and financial inequities and omissions which daily impair the lives of people belonging to different demographic groups in America, there would be no need for certain types of corrective considerations. As it is, levels of awareness concerning different cultural experiences directly influences the quality of all Americans’ lives.

Detail from "Josephine Baker Stardust Silhouette" art by Aberjhani. Now available for purchase here on Bright Skylark Literary Productions, on Pixels.com, and at Fine Art America.

What I knew and did not know about Josephine Baker’s story prior to studying it in depth for Encyclopedia of the Harlem Renaissance had caused me to consider her in much less regard than I should have. But it wasn’t the victorious Baker and other Harlem Renaissance greats who had lost out to all those years of unknowing. It was me and other misinformed individuals like me.

From New Art Series Product Page:

"Cheers went up around the world in 2021 when French officials announced American-born actress, singer, and World War II spy Josephine Baker would become the first Black woman to be inducted into the Parisian Panthéon. The announcement made me smile because Josephine Baker is one the historic figures celebrated in Encyclopedia of the Harlem Renaissance (this year 2023 is the 20th anniversary of the encyclopedia’s publication).

"The new 2023 edition prints of Baker featured in this series are mixed media and digitally textured interpretations of classic historical photographs and posters categorized as public domain. Some of the new prints are abstract expressionism, or surrealistic impressionism, and others enhanced antique sepia. Baker is widely celebrated during Women’s History Month, Black History Month, and in general as an iconic international entertainer. I sometimes think of her as America’s loss (due to the extreme Jim Crow racism practiced in the United States during her lifetime) and France’s gain."

Aberjhani
Creator of the Original Silk-Featherbrush Artstyle
Co-creator of Encyclopedia of the Harlem Renaissance

0 Comments

A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

9/16/2019

0 Comments

Title art-graphic with Suzanne Jackson, Rachel Reese, and Alonzo Davis on stage at Telfair Museums Jepson Center for the Arts. The screen above them is showing archival images from the Suzanne Jackson Five Decades art exhibit. (photo by Aberjhani for Bright Skylark Literary Productions)

Having refrained for years from attending any kind of party at all, I relaxed my self-imposed tension by mixing in a little work with a lot of fun. In a room next to the kitchen (which itself resembled an art installation) I saw a stack of books and, being the bookaholic I am, could not resist their pull.

Picture my surprise when discovering in the pages of Daniel Widener's Black Arts West: Culture and Struggle in Postwar Los Angeles (2010), and Kellie Jones's South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017), extensive references to the woman of the hour. Also nearby was a copy of ELEMENTAL and seeing it made me feel like the spirit of our friend Luther had dropped in to support the launch with his blessings.

By the time of the party, I had already learned that as well as being a visual artist, Suzanne was a poet who had studied with the phenomenal Lucille Clifton (1936-2010). At least two volumes featuring poems by her had been published: What I Love: Paintings, Poetry, & a Drawing (1972), and Animals (1978). Her writing had also been included in notable anthologies like the Nikky Finney-edited The Ringing Ear: Black Poets Lean South (2007). Maybe I was hoping to find those among the stacked books as well but, to avoid becoming self-absorbed to a point of rudeness, I forced myself to step away and began taking photographs of Suzanne, different guests, and the lush greenery outside the house.

The symbolic images seen in Suzanne Jackson's 12-foot award-winning canvas "Passages" (1978, above) are described in the FIVE DECADES exhibition catalog as "associated with love, childbirth, and women painted in expressive acrylic layers." It hangs here in front of 1 of 7 display vitrines and next to other compelling works included in the Five Decades retrospective debut at the Telfair Museums Jepson Center for the Arts. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)

I tried to avoid cameras myself, not because I felt shy but because for some unknown reason I had begun to sweat--not daintily "perspire" but ferociously SWEAT, like somebody fully-clothed in a sauna--and my shirt was getting soaked. No one else appeared to be having this problem. Reluctantly, when informed that Suzanne wanted an assistant to take a black-and-white photo of me for potential use in a publication, I consented. Soon afterwards, the sweating became too ridiculous and I couldn't figure out why so I said my good-byes and started walking toward my residence, located at the time on the other side of town.

About halfway there, an energized psychic push-and-pull began stirring in my skull and words started to assemble themselves in flashes and clusters. Phrases such as "painted star-fire" and "unmapped territories" swirled and glowed like special effects in a movie. Is this, I wondered, what all the heat which had started flowing through me at the party and forced me to leave before I was ready was all about? A ball of winged language was preparing to reveal itself in one form or another and left me no choice but to stop walking, grab from my shoulder bag a pen and piece of paper, and write the fragments down.

Cover of Suzanne Jackson Five Decades retrospective catalog. For information on closing tour of the retrospective and book signing with artist Suzanne Jackson click the image. (Cover art courtesy of Telfair Books)

Such experiences were not new to me but the way they sometimes manifested could still come as an unsettling disruption. This was such an instant and every other block I had to stop walking and start scribbling. By the time I got home, I had written a rough draft which looked like it could be the beginnings of a poem. Okay, I thought, I'll just leave it in this folder and go back to it next week sometime.

Except that it refused to wait.

Polychromatic Inked Pages

Over the next few days I kept feeling drawn back to the folder and added to the lines already written in black ink, more lines composed in green, red, and purple ink. Sometimes I wondered: was I writing a poem or painting one?

Eventually, the evolving draft was complete enough to take on the title Syllables Painted on a Suzannian Canvas. It was enough to type up and print a second, then later third and fourth drafts before finally settling on: Suzannian Algorithm Finger-Painted on an Abstract Wall. It fit, I thought, the words which had sweated themselves out, the polychromatic inked pages, and the artist in whose honor the work had been composed.

Table of contents from Suzanne Jackson Five Decades retrospective art exhibition catalog. In addition to artist Jackson and editor Rachel Reese, catalog contributors include: Betye Saar, Aberjhani, Melanee C. Harvey, julia elizabeth neal, & Tiffany E. Barber. (Page image courtesy of Telfair Books)

My hope to come up with an idea for an essay or poem for the planned catalog in a couple of months appeared instead to have become an accomplished mission in a few weeks. It seemed the poem, which in time would be accepted for the pages of the catalog, had started writing itself the moment I read the words HATE HAS NO HOME HERE on the sign in Suzanne's window. Or it may have started long before then, upon that first meeting during my 2004 Harlem Renaissance lecture and book signing at the Carnegie Branch Library.

Contemplating how the poem had unveiled itself, I considered it a direct response to the dynamic creative presences gathered that day in Suzanne's home, and to my observances of the current Harlem Renaissance Centennial. This was appropriate enough given the way Harlem Renaissance artists, musicians, writers, educators, and leaders often inspired and empowered each other's creative efforts and political agendas.

Countering Toxic Bigotries & Heinous Practices

The unprecedented advancements of the Harlem Renaissance on multiple cultural fronts helped counter the toxic bigotries and heinous practices of a time when many Americans, if not most, were still entrenched in unyielding mindsets forged during the death-throes of slavery as it was practiced in the 19th century. They remained so even as social, legislative, and technological progressions in the 20th century indicated those who insisted on holding onto delusions of white supremacy were doomed to agonizing personal and collective implosions.

Our present 21st-century hour bears a lot of similarities to the previous time-frame. Works by black artists supportive of progressive change mattered then as they do now because often found within them were/are important ingredients for remedies to what ails our bleeding and burning world the most. Ingredients like symbols of life-sustaining values and language encouraging actions motivated by compassion and mindfulness.

The recognition and celebration of Suzanne Jackson's achievements in this modern era when chaos and enmity command so much attention on a daily basis is a recognition and celebration of some of our better options for moving toward the next century. Her painted, poemized, and otherwise choreographed meditations offer us touchstones of remembrance and awareness. Those touchstones inspire individuals and communities to consider more deeply and more efficiently the choices which have brought humanity to this 2019 moment of quivering uncertainties, and, the options most likely to help us regain the advantages of higher ground and hopes now seemingly lost.

Aberjhani
author of Dreams of the Immortal City Savannah
and co-author of Encyclopedia of the Harlem Renaissance

0 Comments

A Hidden American Treasure Comes to Revelatory Light (part 2 of 3): Jazz, Art, & Partying

9/9/2019

0 Comments

Title-art graphic featuring artist Alonzo Davis in conversation on stage at the Telfair Museums' Jepson Center for the Arts. (Art graphic by Aberjhani)

More than a decade after our first meeting, one afternoon I turned the radio on to catch some jazz music on WHCJ 90.3 FM, Savannah State University's celebrated multi-platform multicultural station. To my surprise, I heard Jackson discussing music with the station's legendary former director of programming, and Jazz Festival Hall of Fame member, Theron "Ike" Carter. Their voices were soon joined by that of the great sculptor and Indigo Sky art gallery founder, Jerome Meadows, and those of two more commentators with whom I was not familiar.

Ike Carter's famously-raspy attention-grabbing voice informed listeners this version of his various broadcasts was called LISTEN HEAR and featured a round-table discussion on different music selections brought in by members of the group. Listening to the show in the weeks that followed, it was a kind of revelation to hear Jackson in concert with the others sharing unbridled enthusiasm for classic jazz musicians like: Ella Fitzgerald, Charlie Parker, Billie Holiday, Thelonious Monk, Sarah Vaughn, Duke Ellington, Yusef Lateef, Miles Davis, and numerous others. Her deep appreciation for jazz--often referred to by Carter as African-American classical music--provided hints regarding how the stories, aesthetics, and energy behind the music might, to some degree, influence her own artistry.

Celebrated radio station programmer, African-American music historian, and art enthusiast Ike Carter gesturing toward the Suzanne Jackson painting, Wave (1997). (Bright Skylark Literary Productions photograph by Aberjhani ©2019)

Visiting with Carter, Jackson, and various guests through the low-tech efficiency of FM radio waves became a regular pleasure. The easy simpatico between the sensibilities of the commentators and the brilliance of the music they shared made me feel a little proud to have written the article on jazz for the encyclopedia. It was deeply moving to hear them dedicate the April 12, 2016, program to the memory of Luther E. Vann, who had just passed on April 6. During that broadcast, Jackson spoke of first meeting her fellow artist years before at an exhibition in New York City and referred to him as "one of the best painters in Savannah." Carter would later pay similar tribute on Listen Here to Sandra L. West.

Invitation to a Party

Then time passed as time does and another unexpected development occurred: I received an invitation to a launch party to be held on June 30, 2018, for a forthcoming exhibit of the artist's work.

What!? Really!? This was fantastic news indeed.

The idea of an exhibit of her art excited me because I had only glimpsed samples on the internet and knew the general categorization of her as an abstract artist made Jackson something unique (so far as I could tell anyway). What I knew about Black Women artists came primarily from my work on the encyclopedia and from my adoration for Barbara Chase-Riboud, whom I greatly admired because she also wrote some amazing novels.

It had been a very long time since I'd attended a party of any kind at all. My empathic nature has been known to overload in such situations and get the better of me. I set this thought aside as I walked up the steps of the artist's home and saw in the window a sign which read: HATE HAS NO HOME HERE.

Sign in window announcing launch party for Suzanne Jackson's then-forthcoming Five Decades retrospective and informing the world: Hate Has No Home Here. (Photograph for Bright Skylark Literary Productions by Aberjhani ©2019)

The sign's proclamation bore out as in every room of the house, upstairs, downstairs, on the back porch, in the back yard, and in the adjoining studio, I encountered friends and acquaintances (far too many to name) I had not seen for years. In addition, I met for the first time curator and editor Rachel Reese, along with members of the team who were already playing such an important role putting together the retrospective.

Taking on a Creative Challenge

The suggestion that I consider writing something for the planned Five Decades catalog caught me by surprise. At the time, I was focused on completing and publishing my nonfiction book Dreams of the Immortal City Savannah. It seemed highly unlikely I would be able to conjure enough additional creative energy to write a poem worthy of inclusion in the catalog. Yet the notion of doing so was such a beautiful one it could not be dismissed and I recalled with some small amount of guilt Maya Angelou's statement that the more one used one's creativity the more it increased.

True, the entire volume of ELEMENTAL, the Power of Illuminated Love contained ekphrastic verse derived mostly from meditations on paintings by Vann. But a large number of the poems I'd written since then were elegies acknowledging and mourning the passing of beloved friends or famous individuals. Here gleaming before me at the Five Decades launch party was an opportunity, to paraphrase Martin Luther King Jr.'s famous statement on jazz: to let poetry speak to life by commemorating the ongoing achievements of a largely-unsung s/hero who combined within her person multiple artistic gifts and persuasive passion disciplined enough to infuse those gifts with history-altering purpose.

I therefore promised to consider writing something--most likely an essay but possibly a poem--for the catalog and said I would provide a more concrete yes-or-no answer in a month or so. That was what I said. The almighty multiverse apparently had something else in mind.

NEXT: A Hidden American Treasure Comes to Revelatory Light (part 3 of 3)

Please CLICK HERE to read: Part 1 of A Hidden American Treasure Comes to Revelatory Light.

Aberjhani
author of The Wisdom of W.E.B. Du Bois
and Dreams of the Immortal City Savannah

0 Comments

A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

9/9/2019

0 Comments

Title-art graphic featuring artist Suzanne Jackson in conversation on stage at the Telfair Museums' Jepson Center for the Arts. (Art graphic by Aberjhani)

Anyone on June 27, 2019, attending the opening of the Suzanne Jackson Five Decades retrospective at the Telfair Museums' Jepson Center for the Arts in Savannah, Georgia (USA), or involved in its production prior to that historic evening, could tell something exceptional was happening. In addition to the mesmerizing kind of vibrant textiles and stunning canvases one might expect to discover at such an opening for a contemporary artist, there were seven vitrines (display cases) filled with family photographs, vintage 1960s flyers advertising a "Revolutionary Art Exhibit," sketchbooks, program notes, letters, photographs, and other revealing archival materials from different chapters of Jackson's, and America's, life stories.

The items made available went beyond career highlights to illuminating an artist's considerable immersion in a significant historical moment: the 1960s-1970s Black Arts Movement as it rooted and flowered in Los Angeles and San Francisco, California. For those observers of African-American history who contend America's West Coast contributed much less to the Harlem Renaissance than other regions because it lacked, during the 1920s-1940s, a heavy representation of the traditions and institutions then associated with Black culture in the South, the 1960s may be considered the bridge which connected history and geography.

Ideas of how and why that might be the case, within the context of Five Decades, first struck me as apparent while listening to the on-stage conversation between Jackson, fellow artist Alonzo Davis, and Telfair Museums curator Rachel Reese. Jackson's and Davis's stories of establishing art galleries in downtown Los Angeles, building a sustainable cultural arts community, and balancing commitments to careers and political struggle with commitments to family life were not completely unlike what we find in the life stories of East Coast predecessors like Lois Mailou Jones and Augusta Fells Savage.

This observation does not contradict the contexts of ecowomanism and black feminist ethics contexts in which the brilliant essays by Reese, julia elizabeth neal, Melanee C. Harvey, and Tiffany E. Barber place Jackson's work in the forthcoming Five Decades catalog. It simply acknowledges one more powerful aspect of the place she now occupies as an influential contemporary artist of historical importance. In her foreword to the catalog, artist Betye Saar alludes to the significance of Jackson's role as someone whose art and advocacy have bridged gaps:

"In the 1960s, black artists in Los Angeles were struggling to be recognized. Some public venues had integrated exhibitions, but generally speaking black artists were ignored... Suzanne made a concrete imprint when she opened Gallery 32 on Lafayette Park Place..." (Appropriately enough, work by the 93-year-old Saar herself is currently undergoing a kind of revival with forthcoming solo shows at the Los Angeles County Museum of Art and the Museum of Modern Art in New York City.)

After Jackson's, Davis's, and Reese's dynamic conversation, the feeling when walking among the dozens of artworks hung with dazzling appeal in the Steward North and Kane Galleries, absorbing the full impact of the actual exhibit, was like glimpsing a long-hidden priceless American treasure. Those who have yet to treat themselves to the experience still have until October 13, 2019, to do so at the Jepson. Just as importantly, the exhibition catalog is due out September 25 and orders for it are being accepted now.

Continental Crossings & Fortuitous Connections

Artist Suzanne Jackson (right) speaking with librarian Mark Darby (left) at historic 2004 "Harlem Renaissance in Savannah" book signing and lecture presented by Aberjhani (center) at the Carnegie Branch Library in Savannah, Georgia (USA). (Photograph Bright Skylark Literary Productions Collection)

My journey toward the almost magical evening of June 27 actually began on August 28, 2004, when Ms. Jackson attended my "Harlem Renaissance in Savannah" lecture and book signing at the Carnegie Branch Library in Savannah. Since relocating to the city eight years earlier, she had been surprised to discover the African-American cultural arts scene was as vibrant as it was and included someone who had co-authored (with the late Sandra L. West) the groundbreaking Encyclopedia of the Harlem Renaissance.

I was surprised and impressed to learn she had lived on the West Coast--just as I had in San Francisco--and now taught at the Savannah College of Art & Design (SCAD). If I'd had the slightest prophetic clue of the visual marvels that would be revealed 15 years later, I would have been flat-out amazed.

Mounted wall screen showing video images from life and career of artist and educator Suzanne Jackson. The video was part of the opening for Jackson's Five Decades Retrospective at the Telfair Museums Jepson Center for the Art in Savannah, Georgia, on June 27, 2019. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)

That early meeting was genuinely fortuitous because in those days my responsibilities as a caregiver had already started to limit participation in public events. I nevertheless did make it out occasionally and during the years which followed the lecture our paths crossed enough for an acquaintance to become a friendship. As it turned out, we had more than the cultural arts and California in common. We had both also spent time in Fairbanks, Alaska--she as a child growing up there and me some years later as a U.S. military journalist.

We came to know many of the same creatives and shared enthusiasm over their triumphs. Grief, too, demanded acknowledgement when experiencing the loss of such individuals as painter Allen M. Fireall (1954-2014), his fellow artist and friend Luther E. Vann (1937-2016), and author-educator Ja A. Jahannes (1942-2015). More personal, more blood-connected losses inserted themselves into the stories of our individual lives as well, both stalling and fueling painted poems and poemized visions that would manifest in coming years.

NEXT: A Hidden American Treasure Comes to Revelatory Light (part 2): Jazz, Art, & Partying

Aberjhani
author of Dreams of the Immortal City Savannah
and Songs from the Black Skylark zPed Music Player

0 Comments

<<Previous

Regarding War in Ukraine: Glowing Wings of Freedom 2023 (art and poetry)

Angel of Hope’s Persistent Flight

By Aberjhani
February 24, 2023
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance

More on Volodymyr Zelenskyy and Russia’s war in Ukraine

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

On Josephine Baker and the Politics of Educating Americans

Perceptions and Realities

From New Art Series Product Page:

Aberjhani
Creator of the Original Silk-Featherbrush Artstyle
Co-creator of Encyclopedia of the Harlem Renaissance

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

Polychromatic Inked Pages

Countering Toxic Bigotries & Heinous Practices

A Hidden American Treasure Comes to Revelatory Light (part 2 of 3): Jazz, Art, & Partying

Invitation to a Party

Taking on a Creative Challenge

Contact the Author

A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

Continental Crossings & Fortuitous Connections

Contact the Author

Aberjhani

Archives

Categories

Regarding War in Ukraine: Glowing Wings of Freedom 2023 (art and poetry)

Angel of Hope’s Persistent Flight

By AberjhaniFebruary 24, 2023Author of Dreams of the Immortal City SavannahCo-author of Encyclopedia of the Harlem Renaissance

More on Volodymyr Zelenskyy and Russia’s war in Ukraine​

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

On Josephine Baker and the Politics of Educating Americans

Perceptions and Realities

From New Art Series Product Page:

AberjhaniCreator of the Original Silk-Featherbrush ArtstyleCo-creator of Encyclopedia of the Harlem Renaissance

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

Polychromatic Inked Pages

Countering Toxic Bigotries & Heinous Practices

A Hidden American Treasure Comes to Revelatory Light (part 2 of 3): Jazz, Art, & Partying

​Invitation to a Party

Taking on a Creative Challenge

Contact the Author

A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

Continental Crossings & Fortuitous Connections

Contact the Author

Aberjhani

Archives

Categories

By Aberjhani
February 24, 2023
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance

More on Volodymyr Zelenskyy and Russia’s war in Ukraine

Aberjhani
Creator of the Original Silk-Featherbrush Artstyle
Co-creator of Encyclopedia of the Harlem Renaissance

Invitation to a Party