Visionary Vibes: A Blog by Aberjhani

The Years 2022 and 2023 (part 2 of 2): Looking Ahead

1/1/2023

(Multimedia art graphic by Aberjhani featuring book covers of Infobase Publishing’s Encyclopedia of the Harlem Renaissance incorporating artwork by Harlem Renaissance artists: Jacob A. Lawrence and Archibald J. Motley, Jr.)

EDITORIAL NOTE: You can read part 1 of this article by clicking here. Part 2 begins now:

The years 2020-2022 delivered some brutal surprises most of us could easily have done without and it is likely the year 2023 will throw some hard punches our way as well. That makes it all the more pleasurable to begin the second part of this article by noting the entire suite of current and forthcoming Bright Skylark websites will continue to offer Free Full Reading and Viewing Access. It is an honor to be able to say content highlighted here has benefitted the goals and aspirations of people around the world. These goals and aspirations to date have been in the form of:

Humanitarian campaigns in support of climate change refugees
Humanitarian campaigns in support of nonviolent conflict resolution
Activism efforts to end war in diverse countries around the world
Ecological campaigns supportive of environmental sustainability
Classroom materials for teachers (texts on Proquest.com citing works)
Research papers for high school and college students (cited on Course Hero)
Graduation theses for college students and PhD candidates (cited on Academia.edu)
Platform support for new and emerging literary talents
Platform support for new and emerging visual artists
Promotion of cultural arts and practices devoted to harmonious coexistence
Advocacy efforts in support of human rights in diverse countries
Humanitarian campaigns devoted to the prevention of suicide

A listing of all Bright Skylark initiatives, and how values and strategies have translated into different cultures and languages, would require a separate article. For now, the above listing provides a solid idea of the work done here. Beyond the noted inspired labors, a lot of groundwork has already been laid to reach important project goals and create memorable moments worth appreciating and, when appropriate, celebrating:

Harlem Renaissance Forever

A big special moment two decades in the making is the 20th anniversary of the publication of Encyclopedia of the Harlem Renaissance (Infobase Publishing). With the emphasis many place these days on cultural heritage and legacies, the deaths of Sandra L. West (1947-2019 and Clement Alexander Price (1945-2014), my co-author and foreword author on the encyclopedia respectively, make its 20th anniversary all the more significant. With them, the encyclopedia itself, and the numerous scholars, researchers, and creatives who have benefitted from it in mind, observations of the milestone will take place throughout 2023. They will include but not be limited to the following:

THE 2023 RELAUNCH of Harlem Renaissance Centennial website with the brand new header seen at the top of this post.

THE FIRST-TIME EVER publication of “The Harlem Renaissance in Savannah: Presentation Commemorating the 90th Anniversary of The Savannah Carnegie Library, August 28, 2004” (on HR Centennial website).

FIRST-TIME PRESENTATION of stories from the Encyclopedia of the Harlem Renaissance Archives told through collected correspondence and project journals.
PRESENTATION OF CLASSIC AXS articles and poetry from National Cultural Arts Examiner Column and Creative Spirit of the Harlem Renaissance Archive Collection.

Resting on Laurels Not Part of 2023 Strategy

The idea of “resting on one’s laurels,” as in proclaiming past accomplishments while doing nothing to grow the existing body of one’s creative works, has never been an option for me. The need to do better, and contribute more (when possible) has always served as motivation to address humanity’s ever-changing condition in imaginative ways. That at times has meant using minimal resources to accomplish maximum results.

At the end of January 2022, I began video-recording weekly interviews with legendary Savannah State University radio programmer and former Coastal Jazz Association president Theron “Ike” Carter. At this point in January 2023, we now have more than 100 gigabytes of footage and photographs, along with a small library of books and CDs for a special work in progress: The Ike Carter Passion Supreme African-American Musical Heritage Project.

Legendary Savannah State University radio programmer Theron "Ike" Carter Jr. contemplating dynamics of the history of African-American music.

Fans of Carter’s who grew up listening to his music programs, as well as those now enjoying rebroadcasts and new streaming editions, know he brings an incredible wealth of knowledge and insights to his craft. In our conversations, we’ve attempted to go even further by delving into the significance of influential figures in music and how music culture in Savannah impacted his life and personality.

The interview sessions have been part of a lengthy preparation for a multi-media project focused on the radio programmer’s experiences and interpretations of different facets of African-American music, culture, and history. Additional research and the completion of a first book manuscript are likely to take the whole of 2023 and revisions may very possibly, or even likely, carry over into 2024. So 2022 gave us a good independent start and hopefully funding will become available to see the work through to completion. Donations to support the project are now being accepted.

Standing Strong against the Pandemic

Progress on the Covid-19 Red Zone Letters and Art Book moved forward in a big way in 2022 with the completion of more than 100 art images and corresponding text to fill 12 sections focused on life in this time of marvels and mayhem. While a number of art pieces created in response to the COVID-19 pandemic are already available for purchase online, the visual style and written substance of this unusual volume are largely unique to it. In addition to representing direct lived responses to the new realities imposed by the pandemic, they provide what may be taken as case studies of the layered racial, economic, political, and social inequalities which added to the challenge of the pandemic itself.

"Social Distance Meets Love's Persistence" COVID-19 art by Aberjhani available for purchase at Fine Art America, Pixels.com, and the Bright Skylark LP art shop.

Yet because people adopted so many innovative ways of adapting to the plague-induced difficulties, the empowering beauty of those times also had to be acknowledged. They remain useful in situations like America’s current so-called “tripledemic.” Because of its multimedia format, it is possible a second paperback and/or eBook edition emphasizing text from the volume may be published.

Becoming Better Practitioners

As yet unforeseen events of the year 2023, independent of hopes and plans at Bright Skylark Literary Productions, will undoubtedly demand attention and cause distractions––much like those of the past year. That will mean becoming even better practitioners of such lessons already learned from exercising resilience and approaching the most damaging challenging problems with the most empowering creative solutions.

Aberjhani Author-Poet-Artist
Author of Dreams of the Immortal City Savannah
Creator of Silk-Featherbrush Artstyle

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Lessons from Nina Simone on Love, Music, and Commitment (part 1)

6/4/2020

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The year 2020 marks the tenth anniversary of an article series I wrote called 5 Notable Women of the Past and Present and which was first published by AXS Entertainment. Included in the series were profiles of: musician and actress Abbey Lincoln, comedienne Jackie “Moms” Mabley, author Octavia Butler, social justice advocate Dr. Abigail Jordan, and Ms. Simone. It is an honor to recognize Ms. Simone’s brilliant legacy and extraordinary life at this time with two new works of art––titled Ode to the Genius and Good Intentions of Nina Simone Numbers 1 and 2–– and republication my article about her ongoing influence on contemporary musical artists. That influence remains as true now as a decade ago. Lessons from Nina Simone on Love, Music, and Commitment part 1 starts now:

Getting to Know Ms. Simone

Many modern audiences first became familiar with the name Nina Simone in 2005 after Canadian singer Michael Buble’ recorded her 1965 hit song, “Feeling Good,” and which finalists on the popular American Idol television show sang before world audiences in 2007.

However, long before Buble’ or American Idol finalists sang “Feeling Good,” Nina Simone made a lasting name for herself on several continents as one of the great singers, composers, and performers of the twentieth century. The fact that at least a dozen books document her life and work illustrate just how great she was and how enduring her music remains. Princess Noire: The Tumultuous Reign of Nina Simone, by Nadine Cohodas, is one of the latest such titles just published in February 2010.

The singer herself published in 1991 (the first London edition) an autobiography titled I Put a Spell on You. Describing just how Simone went about working her musical magic, author and former Ebony Magazine music editor Phyl Garland wrote in her in her own book, The Sound of Soul, The Music and Its Meaning, that:
“She casts her spell with the fluid but frequently complex patterns of notes she etches on her piano and with the distinctive sound of her richly reedy voice.”

Another way to gauge the impact of Simone’s life and legacy is to look at it like this: whereas the great Aretha Franklin earned, and has worn with dignity, the title “Queen of Soul” for at least four decades, Nina Simone earned and wore for decades the title “High Priestess of Soul.”

North Carolina Beginnings

She was born Eunice Kathleen Waymon on February 21, 1933, in Tryon, North Carolina. Both her parents, John Divine Waymon and Mary Kate Waymon, were entertainers when they met but later settled into more stable professions to raise their eight children. Her mother became a devoted Methodist minister, which later prompted Eunice Waymon to adopt the name Nina Simone when she began performing in night clubs and bars.

Simone’s talents as a pianist were recognized early and her family supported her goal to become a world-class concert pianist. She was good enough to study for a time at the renowned Juilliard School of Music in New York but her application to attend the Curtis Institute of Music in Philadelphia was rejected. This rejection, she felt, was based more on her race than her abilities and it has often been cited as a major source of the political fury that characterized some of her music. The planned career in classical music took off instead in the direction of more popular genres. Recording her first album, Little Girl Blue, in 1957, she enjoyed a hit with the George Gershwin song, “I Loves You Porgy.”

"Ode to the Genius & Good Intentions of Nina Simone Number 1" art by Aberjhani. Please click to learn more about the artwork and/or to order it.

While she was quickly labeled and marketed as a jazz performer, Simone had actually developed into a mistress of diverse musical forms that included not only jazz, but gospel, blues, Broadway show tunes, Black folk songs, and other styles in classic American modes. She could have easily carved out a successful career for herself in popular music and simply enjoyed the wealth and fame that comes with such success. But in addition to her musical sensibilities, she also possessed a social/political consciousness that was magnified by friendships with individuals like the playwright Lorraine Hansberry, author James Baldwin, and author Langston Hughes, all of whom at various times lent their artistry to the struggle for racial equality.

It was Hughes who said, “Nina Simone is as different from other singers as beer is from champagne.” While he contributed liner notes to at least one of her albums, she in turn wrote with him the hit song “Backlash Blues.”

Commitment and Consequences

The singer once stated that as far as she was concerned, the job of a creative artist was to address the pressing issues of her times. Towards that end, she wrote and recorded a number of songs that addressed individual moral responsibility as well as the civil rights and women’s rights movements of the 1960s. Following two events in particular––the 1963 murder of NAACP field secretary Medgar Evers in Mississippi and that of four Black girls in a Birmingham church–– she recorded the now classic “Mississippi Goddamn.”

The composition is in part satire, part social criticism, and part political outrage, which, given the real-world apartheid conditions and context of the times, makes a great deal of sense. She introduced the song by emphasizing its title and pointing out that she meant every word of it, then sang with fierce courage and intelligence: “Alabama's gotten me so upset/ Tennessee made me lose my rest/ And everybody knows about Mississippi Goddam…”

Aside from expressing outrage, the singer also implored:

“Can't you see it
Can't you feel it
It's all in the air
I can't stand the pressure much longer
Somebody say a prayer”

While many championed Simone for her courageous outspokenness at a time when passive endurance was considered the key to civil rights success for African Americans, others vilified her for it. Many radio stations banned the song and the impact upon her career would prove a lasting negative one. Other powerful protest songs, notably music legends Sam Cooke’s “A Change Is Gonna Come,” and Bob Dylan’s “Blowing in the Wind,” were also released during this period but apparently considered less confrontational or threatening than “Mississippi Goddamn.”

NEXT: Lessons from Nina Simone on Love, Music, and Commitment part 2

Aberjhani
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of Harlem Renaissance
Harlem Renaissance Centennial 1919-2029

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

9/9/2019

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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

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

9/9/2019

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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

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Springing Forward with Dreams of the Immortal City Savannah

3/23/2019

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"Simply by allowing its darker-hued brothers and sisters to openly discuss ideas without having to constantly justify, defend, or survive the color of their skin, whether in classrooms of the great Sorbonne or while walking un-hunted down a boulevard, Paris [France] made a crucial contribution to what would become known as the Harlem Renaissance and to the legacy of African-American intellectual traditions in general." from Dreams of the Immortal City Savannah quote, art graphic, & new 2019 book by Aberjhani. Click image to pre-order.

The basic image in this quotation art graphic was derived from visual studies prepared for the works of art which have become known as Harlem Renaissance Deja Vu Numbers 1 and 2 canvases. The work seen above was modeled after a famous photo (photographer unknown at this point) of a young James Baldwin holding a copy of his essay collection, No Name in the Street. In the poster graphic viewed here, this author is seen holding a copy of the forthcoming title, Dreams of the Immortal City Savannah (ISBN 978-9388125956) currently slated for release May 1, 2019. It is also now the focus of a new blog-site you can check out by clicking either the art graphic or this link: Dreams of the Immortal City Savannah

With actress Regina King having won Golden Globe and Academy Awards for her portrayal of Sharon Rivers in the film adaptation of Baldwin's classic novel, If Beale Street Could Talk, plus the critical acclaim garnered by the 2016 biopic, I Am Not Your Negro, the iconic Baldwin is possibly more famous now than ever before. And No Name In Street, of course, has gone on to become an American literary classic.

The personal essay style utilized in Dreams of the Immortal City Savannah may or may not reflect some of Baldwin's influence. He is referenced in the stories "Cities of Lights and Shadows and Dreams," and "Trees Down Everywhere" but any stylistic similarity is not intentional. Contemporary authors who grew up reading Baldwin, as I did, are more likely than not to have been influenced by him to one degree or another on one level or another.

Connecting and Disconnecting

The observation noted in the above quote about the city of Paris's connection to the cultural arts revolution known as the Harlem Renaissance might seem out of place in a book titled Dreams of the Immortal City Savannah. In fact it is not. One reason is because the book is being published during the 100th anniversary of the Harlem Renaissance.

Another is because Savannah, like Paris, also has strong ties to the event which is generally recognized as having lasted throughout the 1920s going into the 1930s, but which endured to a lesser degree well into the 1940s. That such an unlikely connection can be identified between the Harlem Renaissance, Paris (France), and Savannah (Georgia, USA) is one more example of how the phenomenal movement transcended geographical boundaries and strengthened the case for harmonious interactions between multicultural communities.

I first explored that three-way connection in an essay titled The Harlem Renaissance Way Down South, and now revisit it in the aforementioned story, "Cities of Lights and Shadows and Dreams." The narrative stands as a good metaphor for one of the primary concerns highlighted in Dreams of the Immortal City Savannah: how we connect and why we sometimes disconnect during disruptive, or stagnant, moments in our personal lives and shared public histories. Measuring, determining, and applying the value of such awareness holds possible advantages for many more than the denizens of just one city or region.

Aberjhani
100th Anniversary of the Harlem Renaissance

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The Years 2022 and 2023 (part 2 of 2): Looking Ahead

Harlem Renaissance Forever

Resting on Laurels Not Part of 2023 Strategy

Standing Strong against the Pandemic

Becoming Better Practitioners

Aberjhani Author-Poet-Artist
Author of Dreams of the Immortal City Savannah
Creator of Silk-Featherbrush Artstyle

Contact Aberjhani at Bright Skylark Literary Productions

Lessons from Nina Simone on Love, Music, and Commitment (part 1)

Getting to Know Ms. Simone

North Carolina Beginnings

Commitment and Consequences

Contact the Author-Artist

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

Springing Forward with Dreams of the Immortal City Savannah

Connecting and Disconnecting

Aberjhani
100th Anniversary of the Harlem Renaissance

Contact the Author

Aberjhani

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The Years 2022 and 2023 (part 2 of 2): Looking Ahead

Harlem Renaissance Forever

Resting on Laurels Not Part of 2023 Strategy

Standing Strong against the Pandemic

Becoming Better Practitioners

Aberjhani Author-Poet-ArtistAuthor of Dreams of the Immortal City SavannahCreator of Silk-Featherbrush Artstyle

Contact Aberjhani at Bright Skylark Literary Productions

Lessons from Nina Simone on Love, Music, and Commitment (part 1)

Getting to Know Ms. Simone

North Carolina Beginnings

Commitment and Consequences

Contact the Author-Artist

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

Springing Forward with Dreams of the Immortal City Savannah

Connecting and Disconnecting

Aberjhani 100th Anniversary of the Harlem Renaissance

Contact the Author

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Aberjhani Author-Poet-Artist
Author of Dreams of the Immortal City Savannah
Creator of Silk-Featherbrush Artstyle

Invitation to a Party

Aberjhani
100th Anniversary of the Harlem Renaissance