THIS CLASSROOM IS DEDICATED TO ALL TRUE WARRIORS FOR THE PEOPLE, such as Black Panther founder Dr. Huey P. Newton, George Jackson and Jonathan Jackson, Bunchy Carter, John Huggins, Fred Hampton Sr. , Mark Clark, all that follow and so many others who gave their very lives to the Black Liberation Struggle and Movement.
The time is ripe to heed the long-standing, and most often overlooked, calls for Afrikan Unity, Cultural Development, Education and Social Transformation. Such is what RBG most fundamentally represents. Contrary to the prevailing, misinformed assumptions, RBG (Black Nationalism / PanAfrikanism ) as an ideology, interaction and academic process is not a rabid assertion of Black supremacy. Unlike white Nationalism and American patriotism, RBG (Black Nationalism / PanAfrikanism ) and its proponents do not seek to humiliate, exploit, or oppress any person or people. Rather, RBG / (Black Nationalism / PanAfrikanism ) is a positive affirmation of the cultural, political, social, economic and moral identity and concerns of African people. In its most rudimentary forms, it reacts to the brutally violent and repressive conditions under which African people have and continue to live. White supremacy / racism creates an environment where whites are necessarily viewed with suspicion, but we are not anti-white. We are Afrikan/ Black on purpose and Black folks must first and foremost be beholden to each other. The most basic expression of RBG (Black Nationalism/ PanAfrikanism ) thought is that Black / Afrikan people in America and throughout the diaspora are bound by the common history and experience of historical chattel and present day mental slavery, suffering and death under the boot heel of white supremacy / racism. Most importantly, RBG is about self-reliance, self- respect and self-defense toward the total liberation and unification of all Afrikan people that desire to defend, define and develop in our own image and interest.
It's all about The Blood, The People and The Land
It's all about The Blood, The People and The Land
RBG DEFINED: No matter if one relates R.B.G. with Red Black and Green, Revolutionary But Gangstas, Redeemed By God, Read Bout Garvey,
Revolutionary Black Gangstas,
Real Black Girls,
Ready 2 Bust Gats or
Riders Basic Guidelines, etc
We must know that the principles and guidelines were passed down from great leaders like Marcus Garvey, Malcolm X and Huey P. Newton. They must know that the RBG Family consists of real leaders that will forever ride for our Black and Brown People worldwide. Revolutionary Black Gangstas,
Real Black Girls,
Ready 2 Bust Gats or
Riders Basic Guidelines, etc
I) DRAWING LESSONS FROM THE BLACK ARTS MOVEMENT
WHEN WE LOOK AT THE NEW IN THE OLD AND OLD IN THE NEW, WE BECOME ACUTELY AWARE OF THE FACT THAT THE MORE THINGS CHANGE THE MORE THINGS STAY THE SAME. THUS, RBG STREET SCHOLARS THINK TANK HAS CHOSEN TO DRAW LESSONS FROM AND USE AS A MODEL THE BLACK ARTS MOVEMENT OF THE 1960’S” AS A SPRINGBOARD TO EXCITE AND INSPIRE THE EVOLUTION OF A 21ST CENTURY CONSCIOUS HIP-HOP/RAP REVOLUTION.
REFERRED TO AS “THE ARTISTIC SISTER OF THE BLACK POWER MOVEMENT,” THE BLACK ARTS MOVEMENT STANDS AS THE SHORTEST, BUT NONETHELESS SINGLE MOST POWERFUL MOMENT IN THE HISTORY OF AFRICAN-AMERICAN LITERATURE/CREATIVE PRODUCTIONS—POSSIBLY IN AMERICAN LITERATURE AS A WHOLE. A COMBINATION OF POETRY, MUSIC, PLAY WRITING/ THEATER AND LITERATURE, IT SIGNIFICANCE HAS BEEN MARGINALIZED AND ACCUSED OF BEING REVERSELY RACIST BY OUR ACADEMICS— BUT I KNOW BETTER, AS I DON’T OFFER THIS SCHOOL AS A STERILE, OBJECTIVE HANDS OFF PRODUCT. MY LISTENING TO AND STUDYING THE PEOPLE DEPICTED ABOVE AND THROUGHOUT THIS CURRICULUM ARE THE ONES RESPONSIBLE FOR ME NOT BEING YOUR TYPICAL RED, WHITE AND BLUE INCONSEQUENTIAL BLACK DOCTOR; AND THUS, WILLING AND ABLE TO PUT TOGETHER A PRODUCT THAT SPEAKS TO OUR PLIGHT.
I HAVE A DREAM OF HIP-HOP AND RAP LEARNING FROM AND BUILDING ON THE BAM CONTRIBUTION; IN VIEW OF THE FACT THAT THEY ARE THE ORIGINAL RAPPERS. THE BAM FUNDAMENTALLY FORCED CHANGE OF WHITE ACADEMIC AMERICAN’S ATTITUDES BOTH TOWARD THE FUNCTION AND MEANING OF BLACK LITERATURE AND ART. ITS MAJOR THEMES WERE BEAUTY, LOVE, POWER AND REVOLUTION. MY DREAM GOES LIKE THIS—FORTY YEARS FROM NOW WHEN OUR YET TO BE BORN READ ABOUT HIP-HOP/RAP THE RECORDINGS WILL SAY “THE MOVEMENT FUNDAMENTALLY FORCED CHANGE OF WHITE AMERICAN’S ATTITUDES. ALTHOUGH IT SUFFERED SOME UPS AND DOWNS, IT EVOLVED FULL CIRCLE AND LEAD A MOVEMENT WHOS THEMES WERE BEAUTY, LOVE, POWER AND REVOLUTION.
THIS CLASSROOM'S FEATURED POET
Sonia Sanchez
VIDEO CLIPS (click broadband to play)
 | My Family / Growing up in Birmingham | broadband |
| Riding the Bus in Alabama | broadband |
| A Course on the Black Woman | broadband |
| Harlem Hospital Protest and My Father | broadband |
| How I Overcame Stuttering | broadband |
| Enslaved People | broadband |
| My First Visit to the Schomburg Library | broadband |
| My Involvement with Rappers | broadband |
| My Poems | broadband |
| I Was Pushed Out of New York City | broadband |
- Academy of American Poets
- Sonia Sanchez Biography at Voices from the Gap
- Approaches to Teaching Sonia Sanchez's Poetry
- An Evening with Sonia Sanchez
- Painted Voices: Sonia Sanchez Biography
- Women of Color Women of Word
- Sonia Sanchez Biography at Speak Out
- Sonia Sanchez Article at the Heath Anthology of American Literature
Book Description
At poetry slams, in coffee houses and cafes, on spoken word CDs, and even featured in Hollywood movies, a new and exciting renaissance of Black poetry is emerging out of the oral tradition of African-American culture. 360: A Revolution of Black Poets presents the cutting edge of this poetic firestorm sweeping across America. Featuring five pages per poet, 360 presents forty established and emerging Black poets in an anthology of contemporary verse. Stylistically there is everything from rap-like performance verse to haiku, political rants to lyrical love songs, narrative tales to personal meditations. 360 is a treasure map of Black poetry. 360 is published in conjunction with a two-day series of poetry readings, workshops, and film screenings at the Baltimore Museum of Art (Sept. 11) and the University of Maryland-College Park (Sept. 12). Edited by New Orleans writer/producer Kalamu ya Salaam with writer/publisher Kwame Alexander, 360 includes sharp-edged n! ew work from Amiri Baraka, a historic founder of the sixties Black Arts Movement, complemented by a moving elegy for a friend with cancer from activist/poet Tony Medina, editor of an award-winning anthology on political prisoner Mumia Abu Jamal. Grand divas Sonia Sanchez, author of Wounded in the House of a Friend and Does Your House Have Lions, and Mari Evans, author of the classic I Am a Black Woman, are displayed side by side with the youthful albeit sophisticated musings of Apollo Showtime winner Jessica Care Moore and Pulitzer prize nominee Ruth Forman. Haki Madhubuti, who has sold over 3 million books, and poetry slam World Heavyweight Champ Quincy Troupe mix it up with performance poet D-Knowledge (featured in Poetic Justice and Higher Learning) and Dark Room Collective founder Thomas Sayers Ellis. The table of contents is a poetic who's who. From Emmy-winning West Coast writer Wanda Coleman and legendary playwright/novelist/poet Ntozake Shange, to Abiodun Oyewole! , a founding member of the Last Poets, and Mannafest, a Lon! don-based female duo, the range of Black poets is encyclopedic. 360 is one of the most eclectic poetry anthologies in decades. 360 poets are: Kwame Alexander, Amiri Baraka, Ras Baraka, Toni Blackman, Nadir Lasana Bomani, Roger Bonair-Agard, Kysha N. Brown, Wanda Coleman, Kamau Daaood, D-Knowledge, Thomas Sayers Ellis, Mari Evans, Stacey Lyn Evans, Ruth Forman, Peter J. Harris, Angela Jackson, June Jordan, Carolyn Cooley Joyner, Quraysh Ali Lansana, Toni Asante Lightfoot, Haki Madhubuti, MANNAFEST, Laini Mataka, Tony Medina, E. Ethelbert Miller, Jessica Care Moore, Tracie Morris, Abiodun Oyewole, Eugene Redmond, DJ Renegade, Kate Rushin, Kalamu ya Salaam, Sonia Sanchez, Ntozake Shange, Glenis Redmond Sherer, Nichole L. Shields, Askia M. Toure, Quincy Troupe, wadud, and Afaa Michael Weaver.
IN THE WORDS OF SEKOU TOURE “TO US, REVOLUTION MEANS THE COLLECTIVE MOVEMENT INITIATED BY A GROUP OF MEN OR BY A WHOLE PEOPLE, AND SUPPORTED BY THEIR CONSCIOUS DETERMINATION TO CHANGE AN OLD DEGRADING ORDER INTO A NEW, PROGRESSIVE ORDER IN VIEW OF ENSURING THE SAFEGUARD AND DEVELOPMENT OF COLLECTIVE AND INDIVIDUAL INTERESTS, WITHOUT ANY DISCRIMINATION WHATSOEVER.
THE PEOPLE’S REVOLUTION, TO US, REMAINS THUS A COLLECTIVE CONSCIOUSNESS IN MOTION, AND A COLLECTIVE MOVEMENT GUIDED BY CONSCIENCE AND WHOSE ULTIMATE AIM IS THE CONTINUED PROGRESS OF MAN AND THE PEOPLE.” (FROM: SEKOU TOURE REVOLUTION AND RELIGION—EXCERPTS FROM ENHANCING THE PEOPLE’S POWER).
THE NEW AFRIKAN LIBERATION MOVEMENT TODAY
Video Education and Readers (Multimedia Documents)
II) DRAWING INSPIRATION FROM THE
ORIGINAL BLACK PANTHER PARTY
ORIGINAL BLACK PANTHER PARTY
THE INSPIRATION FOR THE RBG KNOWLEDGE DROP SQUAD CORE CURRICULUM HAS BEEN OUR YOUTH OF THE PAST-THE BLACK PANTHER PARTY FOR SELF-DEFENSE (BPP). DURING THE LATE 1960’S AND EARLY 1970’S THEIR COMMITMENT TO OUR COMMUNITIES INCLUDED HEALTH SCREENINGS, FOOD AND CLOTHING BANKS, CHILD AND YOUTH EDUCATION AND OF COURSE SELF-DEFENSE AGAINST POLICE BRUTALITY. MANY OF THEM WERE MURDER BY U.S. GOVERNMENT ASSASSINS AND TERRORIST IN THE NAME OF THE F.B.I.’S COUNTER-INTELLIGENCE PROGRAM.
OUR TWO CURRENT ROADMAP / ACTION PLAN DOCUMENTS
Lessons from The New Afrikan Liberation Front ( NALF) : For Black Power, Land and Independence
FROLINAN: Front for the Liberation of the New Afrikan Nation
Author's Prefacehttp://www.geocities.com/Heartland/Woods/4623/frolinan/index2.html In the last several years from many corners of the New Afrikan Independence Movement, there has been a clarion call for the building of the Front for the Liberation of the New Afrikan Nation. A revolutionary nationalist front to establish a movement for national independence, to free the national territory of Kush from the colonial (U.S.A.) government. This call has mostly come from BLA-POWs and their... Read Full Story
A RBG POST SCRIPT
The related videos/ menu contain more Pharoah classics
Last Poets with Pharoah Sanders: THIS IS MADNESS!
Pharoah Sanders (born October 13, 1940) is an American jazz saxophonist. Ornette Coleman once described him as "probably the best tenor player in the world."
Emerging from John Coltrane's groups of the mid-60s Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound."
Emerging from John Coltrane's groups of the mid-60s Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound."
Last Poets with Pharoah Sanders
The Last Poets is a group of poets and musicians who arose from the late 1960s African American civil rights movement's black nationalist thread. Their name is taken from a poem by the South African revolutionary poet Keorapetse Kgositsile, who believed he was in the last era of poetry before guns would take over.
The Last Poets have been cited as one of the earliest influences on what would become hip-hop music; critic Jason Ankeny writes, "With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop."
The Last Poets have been cited as one of the earliest influences on what would become hip-hop music; critic Jason Ankeny writes, "With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop."
The related videos/ menu contain more Pharoah classics
This has been another RBG Street Scholar EduTainment Production
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