This is a continuation of the classic 2010 article excerpted from "5 Notable Women of the Past and Present" first published by AXS Entertainment:
Simone’s composition, "To Be Young, Gifted and Black," written for her friend Lorraine Hansberry, became one of the major anthems of the civil rights struggle and the title of Hansberry’s autobiography. Her “Four Women” is a marvel of minimalist art in which she deftly dramatizes the impact of racism upon the lives of four different women. In all, Nina Simone composed more than 500 songs and recorded more than fifty albums throughout her prolific career.
[If you missed part 1 of this classic article you can click here to check it out.]
The singer’s achievements were celebrated with, among others, awards like the 1966 Jazz at Home Club’s “Woman of the Year,” and the 1967 “Female Jazz Singer of the Year.” As if to help make up for the anguish in her tortured genius soul, the committee for Human Kindness Day in Washington, D.C., selected her as the day’s honoree in 1974.
None of these, however, proved sufficient enough to compensate for the wounds inflicted by racism or the grief experienced over the death of peers who understood her best. Like Josephine Baker, Abbey Lincoln and others before her, she left the United States in 1978 in search of greater artistic and political freedom. Her journey over the next seven years took her to Barbados, Liberia, England, Switzerland, and France, where she eventually settled. Relocation, however, did not solve all of her problems and she sometimes engaged in widely-reported public battles with stress and depression.
She returned to her homeland in 1985 to perform and record for six years before going to the Netherlands, then moving back to South of France.
The great performer revealed in her 1991 autobiography that she once attempted suicide. Since the publication of I Put a Spell on You, at least two biographers have explored the theory that she suffered from a bipolar disorder and depression. Some have taken this as the reason she sometimes appeared combative towards unruly audiences or certain critics and described it as the cause of her “downward spiral.” Others have interpreted the possibility as one of the sources of her phenomenal talent. Moreover, that fact that she evidently won battle after battle against the illness to produce the triumphant award-winning works that she did, make her in the eyes of many that much more heroic.
Before her death in Carry-le-Rouet , France, on April 21, 2003, Nina Simone enjoyed the satisfaction of receiving honorary degrees from the Julliard School and The Curtis Institute (the very school that had previously denied her application) and honorary doctorates from the University of Massachusetts and Malcolm X University. Consequently, she is often referred to as Dr. Simone.
The Legacy from 2010–2020
One of the greatest confirmations of the value of a musician’s work is the passion with which peers and following generations embrace it. From 2010–2020, Nina Simone has become one of the most covered, remixed, frequently rediscovered, reinterpreted, and generally honored musicians in music history. The sheer diversity of artists––ranging from hip hop and rock stars to Broadway and jazz divas–– who have either “sampled” her work or recorded versions of it, prove her contention that she was an accomplished artist of multiple genres. Among those who have linked their creative visions to that of Simone’s are: hip hop artists Common, Lil Wayne, Timbaland, and Kanye West; the groups Faithless , Walkabouts, and the Animals; and European cabaret singer Barb Jungr as well as American jazz diva Randy Crawford, in addition to many more.
The music icon was also a favored subject of photographers while she lived and is a treasured focus of fine artists now. Sculptor Zenos Frudakis worked with the Eunice Waymon-Nina Simone Memorial Project to create a life-sized bronze statue of the singer. A dedication ceremony was held for it February 21, 2010, in Simone’s hometown of Tryon.
This Mother’s Daughter
Nina Simone was married to her manager and business partner Andy Stroud when she gave birth to her daughter and only child, Lisa Celeste Stroud in 1962. Like her mother, Stroud also developed into an exceptional entertainer. Known simply as Simone, she has starred in such major Broadway productions as Rent and Aida. She made her recording debut in 2008 with Simone on Simone, a CD of covers of her mother’s music. A second album reportedly is set for release in spring 2010.
Following Nina Simone’s death, Simone the Second (more recently listed under credits as Lisa Simone Kelly) established the Nina Simone Foundation (NSF) as s a non-profit organization dedicated both to preserving the performer/composer’s legacy and to spearheading initiatives to establish various education opportunities and cultural resources. From April 16-25 in Atlanta, Georgia, the Foundation will present The Nina Simone Experience. In addition to performances and a fashion show, the event will feature a fine arts exhibition of works depicting images of Nina Simone and visual interpretations of her music.
In an interview with Jet Magazine in 2008, Simone pointed out, “I am keeping my mother’s name out there in a positive light, which she deserves because she sacrificed a lot and she stood for a lot. She deserves to be recognized and honored for that.” She accomplished that mission to critical acclaim as executive producer of the 2015 Netflix biopic on her mother titled: What Happened, Miss Simone?
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of the Harlem Renaissance
Harlem Renaissance Centennial 1919-2029
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.
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.
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.
author of Dreams of the Immortal City Savannah
and co-author of Encyclopedia of the Harlem Renaissance
Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination
That Elemental, the Power of Illuminated Love, would prove a challenge to get published had always been known. Potential traditional publishers had no problems admiring its bold creativity and uninhibited spiritual intensity. What most could not accept was something traditionally troublesome when it comes to artists and the marketplace: the financial risks involved.
With all respect to healthy doubts and sensible reservations, so far as Luther and I were concerned the years of energy, labor, and determination already invested in Elemental by the time 2006 rolled around equated to something more than a calculated transactional value. From the perspectives of our deepest meditations and intentions, the completion of Elemental meant contributing to the cultural legacies established by creative artists like those who made possible such movements as Impressionism, Cubism, Surrealism, and the Harlem Renaissance. This last, especially, was one which had already stamped our destinies as Luther had studied with artists of the Harlem Renaissance and I had already co-authored Encyclopedia of the Harlem Renaissance.
The center image for this art graphic features the first two stanzas of a poem by Aberjhani from ELEMENTAL (p. 22) titled "Past, Present & Future Are One" based on a Luther E. Vann painting of the same title. The third-eye illustration seen above was drawn by Jason Maurer when the poem was published in the former SCAD newspaper The Georgia Guardian in 1993, 15 years prior to the publication of ELEMENTAL. The combined creative synergy demonstrates how ELEMENTAL has helped to inspire and empower others from the beginning.
But once creative passion and committed partners empowered us to finally produce a physical book, we reached two important conclusions. First: we recognized the need to articulate, both for potential buyers and booksellers, as definitively as we could, the goals and values inherent in Elemental. Secondly: it seemed obvious the work could be adapted for different mediums. These considerations resulted in the following statements:
When envisioning Elemental as a staged musical or as a video production, I described it thus:
...An exploration and documentation of the way human beings occupy public spaces in interpretative contrast to how they experience inner spaces... It illustrates the way collective intention makes communal interaction possible while individual need and impulse maintain the integrity of a person's separate being.
For example, the Luther E. Vann painting "Christ Listening to Stereo" (p. 27) is of a youth on a bus in New York City (please see image below). The image reveals how the youth is at once physically part of a larger setting while remaining, via his personal stereo, completely apart from it. Immersed in his music, he claims a connection to the artist who made the music and who allows him to not only share in the expressed creative passion, but to utilize the same as a kind of soundtrack for his own anticipations, memories, desires, needs, or fears of the moment. Very similar and yet very different scenes are enacted in such public spaces as parks, malls, back yards, office buildings, clubs, and street corners. They all make the individual part of a larger whole even while many individuals continue to exist primarily as isolated fragments of that whole.
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.