Visionary Vibes: A Blog by Aberjhani

Days of Midnight Madness 30 Years On

2/1/2024

(“Mad Days in Savannahland” art by Aberjhani 2024© for Bright Skylark LP)

There are not too many living writers who can claim to have authored books which had the kind of impact upon a city which John Berendt’s Midnight in the Garden of Good and Evil has had on Savannah, Georgia (USA). The boosts it provided for Savannah’s tourism and film industries have been well documented. Appropriately enough, during this 2024, 30th anniversary, of “The Book’s” publication, a commemorative edition with a new afterward by the author has been released and a musical adaptation for Broadway is reportedly in production. Everything just noted means February 5, 2024, will mark the 30th anniversary of the first in a series of book signing I had with Berendt and various nonfiction characters featured in Midnight in the Garden of Good and Evil. My part in the story of those now legendary times is told in the story “Days of Midnight Madness, published in the book Greeting Flannery O’Connor at the Back Door of My Mind. an excerpt from which is shared below:

A Taste of Success and of Madness on the Way

We had worked hard to make the signing as successful as it was turning out to be and I was glad about that. Aside from knowing we were on our way to logging a very good day sales-wise I was also intrigued by the other more metaphysical and aesthetic aspects of what was occurring. It was so much like a plot or theme from a Woody Allen movie, or a magical realism novel, in which these characters came alive to add their own preferred twists to the author’s celebrated story. The surrealistic difference was these characters had come alive long before the publication of their writer’s richly-embroidered text. Yet it was through Berendt’s work they were discovering the power and significance of their own voices. The rightness of the moment in a way reflected the author’s stated purpose in his note following the afterword:
“…Where the narrative strays from strict nonfiction, my intention has been to remain faithful to the characters and to the essential drift of events as they really happened.”
An essential drift of events was certainly happening at the live moment. The one character I wished could have been there (had she still been alive) was Minerva, the so-called voodoo priestess. Though as I thought about it, I realized many people might have stayed away if she had been there. Still, I would have liked to hear her impressions of what was happening and the impact she thought it might have on the city. While that simply was not possible, I would a couple of years later have such a conversation with the gifted intuitive Angel B. Hakim [now Dr. Hakim], the same individual to whom the producers of A&E’s Midnight in Savannah documentary would turn for comments on Minerva.

Not one to overlook the value of a rare literary occurrence, I pulled out the copy of Midnight that Berendt had signed for me and during breaks in the crush got autographs from every live character present except Emma Kelly. The first time I asked her to sign it and stood smiling beside her, she looked in the opposite direction and I thought she might have misunderstood me. After the second and third request, I understood that for whatever reason she might have “The Lady of 6,000 Songs” did not want to favor me with her signature. I had not yet made the acquaintance of the woman known as “Badness,” Miriam K. Center, who for me one day would become a source of inspired Goodness. (Eventually I not only added her autograph to the rest of the cast’s but experienced the pleasure of publishing Scarlett O’Hara Can Go to Hell, Center’s popular memoir.)

While cleaning up after all the excitement, the customer service manager gave me a large manila envelope with my name on it. Opening it, I found inside an 8 x 11 black-and-white head shot of Chablis in full glamour mode with hair swept back on the right and hanging in a partial bang on the left, large bright diamond-shaped earrings, and chin resting upon jeweled fingers. In the lower left corner was what appeared to be the photographer’s name, LaRosa, and “The Lady Chablis” centered in Embassy script beneath the image itself. At the beginning of chapter seven in the book she had written what I figured she probably wrote for everyone, penning after my name, “Ain’t Life Grand!!” It was certainly looking more and more that way for her with each passing day and every sale of her friend’s book.
Following that singular triumphant moment which boosted our normal sales by at least 200 percent, store owners of one kind or another throughout the downtown area began to hold Midnight signings featuring characters from its pages. They came often to my store to buy cartons of autographed stock wholesale, about $14 per copy and fourteen books per box, so they could go back downtown and sell them for twice the amount. Sometimes more than double or triple their tax-free cost. Hillis recognized the value of being both one of the principal players in the drama, Mandy, and a business owner. Her account, again as relayed in The Vamp of Savannah, of discovering an associate was forging her name to sell autographed copies of Midnight at the Hamilton-Turner House, gives some indication of just how thick, lucrative, and sinister this new-urban South plot was becoming.

By Aberjhani, excerpted from Greeting Flannery O’Connor at the Back Door of My Mind

0 Comments

Surrealistic Poetics of Jazz and the Confederate Monument

9/26/2023

0 Comments

Surrealistic is, undoubtedly, one of the better words to describe a crowd of people gathered near the Confederate Monument in Savannah’s Forsyth Park with their attention focused on something which the figure portrayed atop the structure likely would never have imagined possible. The crowd’s collective passion on Saturday, September 23, 2023, was surging to the sounds of jazz flooding the air as the week-long Savannah Jazz Festival began its weekend wind-down.

Up on his memorial perch, if the battle-weary Confederate soldier’s bronze eyes were able to take in the scene, he likely would have gasped at the throngs of Black, White, Brown, Yellow, and in-between shades of humanity spread across the park on the grass, on blankets, beneath tents, around the Forsyth Fountain, on benches, and lined up at multi-ethnic-flavored food trucks. Back during his 1800s Civil War time, he would have been staring at a very different scene. Filling the area then would have been wounded comrades, captured Union soldiers, and scrambling slaves. The noise of moans, grunts, groans, and impatient orders would have sounded from every direction.

On this warm early-fall sunny day in 2023, what might have amazed him more than anything else were the musicians taking to the stage, some yards away, with intentional brilliance and purpose: The Demetrius Doctor Trio and The Wives, the Martin Lesch Band, the Savannah Jazz Hall of Fame, and Buckwheat Zydeco, Jr. and Ils Sont Partis Band. (And this was just the line-up while I was there, not the performers from the night before or those who would be playing until long after my departure.) What possibly may have astonished him above all else was the musicians’ polyphonic often racially-diversified artistry, and the way pockets of people danced so uninhibitedly to their blood-stirring beats.

He might have been exceptionally moved, toward any given emotional expression, while listening to the Demetrius Doctor Trio’s closing medley. Imagine his heart and mind struggling to process the sight and sound of the Trio’s talented White bass player accompanying his fellow Black musicians on their closing jazz-infused medley of these songs: Burt Bacharach’s “What the World Needs Now Is Love,” easing into Stevie Wonder’s “Love’s In Need of Love Today,” and blending that with the third verse of brothers James and Rosamond Johnson’s “Lift Every Voice and Sing,” commonly referred to as the Black National Anthem. Interestingly enough, with its absence of any actual reference to race, in another twist of historical surrealism the soldier could have assumed the words applied to his own struggles:

… God of our weary years
God of our silent tears
Thou who has brought us thus far on the way
Thou who has by Thy might
Led us into the light
Keep us forever in the path, we pray
Lest our feet stray from the places, our God, where we met Thee
Lest, our hearts drunk with the wine of the world, we forget Thee
Shadowed beneath Thy hand
May we forever stand
True to our God
True to our native land
--(James Weldon Johnson)

Could it be those words, and all the people gathered before him on the campground, were in honor of him? Were all those laughing, chatting, strangely-dressed souls there to celebrate the sincerity of his dedicated, although failed, efforts to keep sons and daughters of African descent in chains? To maintain a power structure more beneficial to his wealthier kinfolks than to himself? What a magnificent thing that would be! Except something in the silent language of numerous faces made it clear it was more unlikely than likely.

Pathways to Recognition

Good poetry, of which James Weldon Johnson wrote a lot, has a way of drilling through rigid biases and opening pathways to recognition of our common humanity. Along with giving myself a break from hurricane recovery repairs, poetry was another reason I chose to arrive at the jazz concert when I did. According to the festival’s program, saxophonist Jody Espina was scheduled to become the 47th inductee into the Savannah Jazz Hall of Fame. As it happened, I had first met Espina some 14 years prior and wrote about that encounter in The River of Winged Dreams:

“...'Sounds Scribbled Mixed-Media Platinum’ was written during a sound painting performance, featuring Savannah’s Creative Force Artists Collective and jazzman saxophonist Jody Espina, at the Jepson Center for the Arts. My purpose for attending the event was to write a news article about it but as the painters and sculptors created their extraordinary works, while Espina and his ensemble exploded jazz throughout the atrium of the Jepson Center, my pen insisted on dancing to their creative beat and the poem wrote itself in the space intended for my notes….”’

Things like that, whether I want them to or not, sometimes happen in my world when it comes to poetry. I’m not going to include the entire 40-line poem with this blog post but here are two stanzas from it:

Such a human being, one observes,
takes to the air on his saxophone
as though it were Pegasus
even as his legacy-blessed hands
channel light through the golden womb
of an artist’s lexicon
conducting pantomimes of creative bliss,
signaling xylophonic spectrums of possibility unlimited.

He ripples like Low Country marsh grass––
and painters smear genius
upon canvases of parallel motion.
His heart pounds his fists with fire––
and keyboards rendezvous naked with strings
and percussions that amplify passion’s brilliant voice.
His eyes explode poems––
and sculptors mold lightning into tangible vision.
--(from The River of Winged Dreams)

My plan at the festival was to place an autographed copy of River in Espina’s hands if I got an opportunity to do so. It did not work out quite that way but one of the festival volunteers was kind enough to act on my behalf and deliver the book to him backstage. The book in my hand was yet another image which might have caused the Confederate statue’s eyebrow to creak upward an inch or so. Not to mention the sight of a black mayor on stage long enough to put in some valuable face time with the jubilant crowd during this election year.

What might that exhausted soldier have thought about the broad-ranging scope of the music itself? Every variation of it tended to put a smile on the face of programmer Theron “Ike” Carter, a friend and another Hall of Fame inductee who prefers the term "African-American classical music" to the word jazz? Would that dedicated soldier have been able to appreciate the way it is celebrated around the world for how it embraces diverse cultural traditions and, by its nature, advocates on behalf of international unity? Would he realize its value as an effective instrument for promoting and even implementing democratic principles? Maybe yes or maybe no.

For the moment at hand, it was enough for those who had not been wiped out by the pandemic, annihilated by climate change, or erased from the world by 21st century gun violence, to be in the park occupying their own niche in history with a sense of something very close to an exhilarating sense of anticipated liberation.

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Silk-Featherbrush Artstyle

0 Comments

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

1/1/2023

0 Comments

(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

0 Comments

The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

5/29/2022

0 Comments

One of Luther E. Vann’s greatest sources of artistic inspiration was the music of jazz. Viewers of his paintings sometimes attempt to describe a certain fusion of impressionistic and expressionistic energy experienced when looking at his work. It may very well be the same energy the painter experienced when imagining himself in a room with Thelonious Monk seated at one piano and himself at another, the two of them trading riffs and solos “straight with no chaser.”

At the awards ceremony held in the Jepson Center for the Arts, where Vann was recognized as the Telfair Museum Juneteenth Artist of the Year 2015, former Savannah State University radio station manager and Coastal Jazz Association president Theron A. “Ike” Carter spoke of the painter’s passion for the music. He recalled with some pride how Vann once said part of the reason he felt he could remain in Savannah after years of living in New York was because he had heard Carter play Monk's "Coming On The Hudson" on one his broadcasts.

Listening to the Jazz Griot of Savannah

During his stewardship over radio station WHCJ 90.3-FM for more than two decades, Carter became what might be described as a Jazz Griot. He consistently promoted jazz as African America’s “classical music” in a variety of shows, including: Impressions, Jazz by Popular Demand, Masters of the Art, Outside the Box, and Listen Here.

In fact, through the accumulated treasury of transmissions documenting the personalities, moments, instruments, and movements that composed the history of African-American classical music, Vann could do more than commune with Thelonious Monk as an influential muse. He could hang out via the southern airwaves with jazz masters like Duke Ellington, Ella Fitzgerald, Billie Holiday, Louie “Satchmo’ Armstrong, Charlie “Yardbird” Parker,” “Sassy” Sarah Vaughn, and Nina Simone as peers providing reassurance from another era.

Screenshot of a Google search result for books exemplifying ekphrasis, or collections of poetry based on visual art, placing Luther E. Vann's and Aberjhani's ELEMENTAL at the top of the list.

Moreover, upon the artist’s passing, Carter dedicated a special broadcast of Listen Here to Vann. The show’s format follows that of a round-table discussion in which guests share and comment on favorite jazz recordings. Participants in the tribute to Vann included painter Suzanne Jackson, sculptor Jerome Meadows, and Lisa Jackson.
Suzanne Jackson recalled first meeting Vann in New York at a gallery where they had work in the same show. Later, they were equally surprised to learn both had relocated to Savannah.
“I believe people,” said Ms. Jackson, “are going to be very grateful to Luther for painting scenes in Savannah that no longer exist.” (Check out: Suzannian Algorithm Finger-Painted on an Abstract Wall)

The music generally provided a Harlem-New-York-City atmosphere in the comfort of his studio (first maintained inside his home and later constructed as the infamous Barn behind it). As he had done while growing up, he could once again combine creative input from the North and the South within his singular being and transfer vibrant interpretations of the experience directly onto canvas. There are some direct homages to music in the pages of Elemental, the Power of Illuminated Love––for example “Christ Listening to Stereo,” “Night Dance,” and “Musical Delight”–– but it is more evident in the 2011 exhibition, Songs of My People.

Cultivating Individual Distinction

What makes any artist exceptionally notable are not outstanding influences or even history-shaping movements with which one might be associated. Those elements play their part but individual distinction derives from how an artist combines different external components with personal experience to communicate statements endowed with elevated meanings.

The different meanings that color images created by Luther E. Vann are not always apparent. That is both as he intended it to be, and for him, the only way it could be.

He generally advised people to spend time with art––not just his but that of any serious artist––and allow it to possibly introduce them to a new experience or empower them in unexpected ways. That is exactly what different forms of inspired expression did for him throughout his life. Those who have collected his work or viewed it in exhibitions over the years have often validated Vann’s words with their own comments. Newcomers to his painted multiverse could find themselves doing the same.

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Preservation and Erasures of History

Marking a Savannah Milestone
The 2017 Rise of Multicultural Voices
Ukraine, Russia, and the Art of Being Human
Discovering the Many Ways of Looking at a Black Man
Why Genocide in Ukraine Matters to a Black Poet in America
Commemorating 100th Anniversary of Black Wall Street Riots

0 Comments

Laureates and visionaries: Chronicling legacies of black artists in Savannah (part 2/3)

5/6/2022

0 Comments

"Luther and the Coming of Light No. 2" digital art by Aberjhani)

In his introduction to section two of Luther E. Vann’s Elemental the Power of Illuminated Love, contributing writer Bill Dawers makes this statement:

“Even those already familiar with Luther’s work are likely to find the images collected here startling. (Doubly startling, I imagine, since so many of the works are still in the collection or the artist.) Certain thematic and structural elements are visible across the decades––the presence of the spirits, the grids, the convergence of multiple realities, the exploration of human interaction in public spaces.”

(To read part 1 of this article please click here.)

In the decades following his move back to Georgia, the month of May became one in which Vann’s life and career saw numerous milestones. It was May 1991, and again in 1994, that the city of Savannah’s Beach Institute hosted critically acclaimed exhibits by him. Although the historic Elemental show opened at the Jepson Center for the Arts in April 2008, the book launch occurred May 29. Moreover, the legendary Barn Studio and Gallery show took place May 24, 2014. It would seem appropriate enough, then, to consider at this time the implications of the work that remains.

Visionary Artists and Thinkers

The synthesis of Vann’s cultural, spiritual, and philosophical perspectives within his paintings and sculpture––what Dawers referred to as certain thematic and structural elements–– make him something of an anomaly in African-American art. He eschewed what could have been, for him, the easier path of producing––or, more accurately, re-producing–– popular images cast in a Southern motif.

He chose instead to make visual statements aligned with the observations of visionary artists and thinkers with whom he felt a kind of metaphysical kinship. Influences like Italy’s 15th-century Renaissance genius Leonardo da Vinci, Spain’s 16th-century Renaissance painter El Greco, and African America’s 20th-century Harlem Renaissance talent Beauford Delaney probably would not surprise many people. Certain others might.

Doris Lessing and Vann's Universe That is Actually a Multiverse

British author Doris Lessing’s novel, The Golden Notebook, was one of Vann’s favorite reads. He easily related to what it portrayed about a creative individual’s attempt to bring intellectual order to the fragmented landscape of her inner being by working with a collection of four notebooks to produce one definitive Golden Notebook. Those who might question such a link between Nobel Prize for Literature winner Lessing and Georgia Arts Festival winner Vann need only do two things: first read The Golden Notebook, and then study different images in Elemental, the Power of Illuminated Love.

Just as Lessing’s character Anna Wulf drew on different aspects of her imploding biography to compose a more wholistic representation of herself, Vann fused personal spiritual meditations with more objective public observations to paint his evolving theories on humanity as “One.” This oneness was organic in the sense that our physical activities inevitably impact each other’s lives and our spiritual dispositions, or the lack of such, color the nature of our relationships.

The concept of conscious unity is important to the artist because these intertwining dynamics (what Dr. Martin Luther King, Jr., called “an inescapable network of mutuality”) occur quite paradoxically within a universe that is actually a multiverse. While Doris Lessing’s novel may be described as an innovative work of feminist fiction, it contains numerous passages descriptive of experiences in Vann’s life and the place art occupied within it. Moreover, in Lessing’s introduction to the 1971 edition of the novel, she discusses how opposing characters reconcile their different perspectives:

“…They have also reflected each other, been aspects of each other, given birth to each other’s thoughts and behavior––are each other, form wholes. In the inner Golden Notebook, things have come together, the divisions have broken down, there is formlessness with the end of fragmentation––the triumph of the second theme, which is that of unity...”

Lessing’s aesthetic declaration could be applied to many of Vann’s masterful works, such as “The Widow Remembers” or “For the Love of the Poet,” and prompt the viewer to discover how dominant and sub-narratives flow in and out of each other on their way toward wholeness. The freedom allowed by such a strategy could produce what Lessing referred to as “delicious intoxication” leading to “the recklessness of infinite possibility.”

For Luther E. Vann, Infinite possibility meant painting outside the lines of aesthetic and cultural assumptions. Even as he relished celebrating his adored African-American community on Millen Street in West Savannah, when it came to making some of his more profound statements either on canvas or off it, he reached so far beyond his earthbound surroundings that commentators often referred to him as a visionary.

Carl Jung and More Benevolent Consciousness

From the Swiss psychologist Carl Gustav Jung’s mapping of the human psyche the artist extracted an operational template which influenced the language he committed to paintings. You could say it helped him both to literally paint his place in the world at a given time, and to shape the purposes that defined his life as they unfolded throughout adulthood.

Jung’s teachings allowed him to view and embrace human beings beyond categories defined by racial, political, or social constructions. In Vann’s multiverse, whether lost in shadows or made radiant by grace, all living souls are on a mission to manifest and serve a self-contained, higher, and more benevolent, consciousness.

NEXT: The jazz factor: Chronicling legacies of black artists in Savannah (part 3/3)

By Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Heritage and Erasures of History

0 Comments

<<Previous

Days of Midnight Madness 30 Years On

A Taste of Success and of Madness on the Way

Contact Human Author-Poet-Artist Aberjhani
at Bright Skylark Literary Productions

Surrealistic Poetics of Jazz and the Confederate Monument

Pathways to Recognition

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Silk-Featherbrush Artstyle

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

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

The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

Listening to the Jazz Griot of Savannah

Cultivating Individual Distinction

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Preservation and Erasures of History

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

Laureates and visionaries: Chronicling legacies of black artists in Savannah (part 2/3)

Visionary Artists and Thinkers

Doris Lessing and Vann's Universe That is Actually a Multiverse

Carl Jung and More Benevolent Consciousness

By Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Heritage and Erasures of History

Contact Aberjhani at Bright Skylark Literary Productions

Aberjhani

Archives

Categories

Days of Midnight Madness 30 Years On

A Taste of Success and of Madness on the Way

Contact Human Author-Poet-Artist Aberjhani ​at Bright Skylark Literary Productions

Surrealistic Poetics of Jazz and the Confederate Monument

Pathways to Recognition

AberjhaniAuthor of Dreams of the Immortal City SavannahCo-author of Encyclopedia of the Harlem RenaissanceCreator of Silk-Featherbrush Artstyle

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

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

The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

​Listening to the Jazz Griot of Savannah

​Cultivating Individual Distinction

AberjhaniAuthor of Dreams of the Immortal City SavannahCo-author of Encyclopedia of the Harlem RenaissanceCreator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Preservation and Erasures of History

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

Laureates and visionaries: Chronicling legacies of black artists in Savannah (part 2/3)

​Visionary Artists and Thinkers

Doris Lessing and Vann's Universe That is Actually a Multiverse

Carl Jung and More Benevolent Consciousness

By AberjhaniAuthor of Dreams of the Immortal City SavannahCo-author of Encyclopedia of the Harlem RenaissanceCreator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Heritage and Erasures of History

Contact Aberjhani at Bright Skylark Literary Productions

Aberjhani

Archives

Categories

Contact Human Author-Poet-Artist Aberjhani
at Bright Skylark Literary Productions

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Silk-Featherbrush Artstyle

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

Listening to the Jazz Griot of Savannah

Cultivating Individual Distinction

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

Visionary Artists and Thinkers

By Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle