I think that slogan has been meant to serve and I think is serving a very important aspect of our attempt to get at humanity. You are challenging the very deep roots of the Black man’s belief about himself. When you say ‘black is beautiful’ what in fact you are saying to him is: man, you are okay as you are, begin to look upon yourself as a human being. … So in a sense the term ‘black is beautiful’ challenges exactly that belief which makes someone negate himself.
—Steve Biko, from his book I Write What I Like
Steve Biko founded the Black Consciousness Movement as a student leader. He was an anti-apartheid activist in South Africa in the 1960s and 70s, and became a martyr for the movement after dying in police custody in 1977.
Archbishop emeritus Desmond Tutu spoke in memory of Biko in 2006:
“That is what Steve diagnosed in us as our illness and black consciousness was meant to exorcise this demon, to make us realise that as he said, we were human and not inferior as the white person was human and not superior. I internalised what others had decided was to be my identity, not my God-given utterly precious and unique me.”
Former president of South Africa Thabo Mbeki said of Biko in 2007:
“Steve Biko understood that to attain our freedom we had to rebel against the notion that we are a problem, that we should no longer merely cry out -Why did God make me an outcast and a stranger in mine own house?, that we should stop looking at ourselves through the eyes of others, and measuring our souls by the tape of a world that looks on in amused contempt and pity.”
Musician Peter Gabriel wrote a tribute in a song titled “Biko”:
You can blow out a candle
But you can’t blow out a fire
Once the flames begin to catch
The wind will blow it higher
Oh Biko, Biko,
because Biko Yihla Moja,
Yihla Moja - The man is dead
South African supporters hold a vigil in honor of the anniversary of Biko’s death. (photo: Rajesh Jantilal/AFP/Getty Images)
A Twitterscript with Gordon Hempton
by Trent Gilliss, senior editor
On March 7, 2012, the audio ecologist and “soundtracker” Gordon Hempton found his way to a comfy-quiet public radio studio in Seattle to speak with our host, Krista Tippett, via ISDN line. We live-tweeted some of the best verbal nuggets from this conversation. What are your favorites?
Mario Savio and “Bodies Upon the Gears”
by Susan Leem, associate producer
Born on this day during World War II, student activist Mario Savio delivered his now-famous “bodies upon the gears” speech on the steps of Sproul Hall at the University of California, Berkeley in 1964. It was considered a clarion call of the Free Speech Movement:
“We asked the following: if President Kerr actually tried to get something more liberal out of the Regents in his telephone conversation, why didn’t he make some public statement to that effect? And the answer we received — from a well-meaning liberal — was the following. He said, “Would you ever imagine the manager of a firm making a statement publicly in opposition to his board of directors?” That’s the answer!
Now, I ask you to consider: if this is a firm, and if the Board of Regents are the board of directors, and if President Kerr in fact is the manager, then I’ll tell you something: the faculty are a bunch of employees, and we’re the raw material! But we’re a bunch of raw material[s] that don’t mean to have any process upon us, don’t mean to be made into any product, don’t mean to end up being bought by some clients of the university, be they the government, be they industry, be they organized labor, be they anyone! We’re human beings!
There is a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part; you can’t even passively take part, and you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it, that unless you’re free, the machine will be prevented from working at all!”
Grace Lee Boggs Challenges Occupy Wall Street Protestors to Reinvent Society and Not Just “Expose the Enemy”
by Trent Gilliss, senior editor
A couple of weeks ago we posted Grace Lee Boggs’ first video in which she called on Occupy Wall Street participants to use this moment as a time for personal contemplation and reflection. Here is a follow-up video in which she challenges the 99% movement not to just “expose the enemy” but to become the solution by reinventing society, work, education, and culture.
We’ll be interviewing her today at 1 p.m. Central for a public radio show to air in few weeks. If you want to participate and ask questions while we live-tweet, follow us at @Beingtweets.
(Big thanks to WDET’s Mikel Ellcessor for the alert!)
To make a revolution, people must not only struggle against existing institutions. They must make a philosophical/spiritual leap and become more ‘human’ human beings. In order to change/transform the world, they must change/transform themselves.
Grace Lee Boggs on the Challenge and Responsibility of the Occupy Wall Street Participants
by Trent Gilliss, senior editor
“This enemy of ours is not just Wall Street; it’s a whole culture.”
Who better to turn to about Occupy Wall Street and all its other offshoots than Grace Lee Boggs. Born to Chinese immigrants in 1915, the philosopher has seen and thought deeply about issues of social justice, racial and gender equality, and the resurrection of community for more than 70 years now — not from within the halls of academia but from the pedestrian malls and streets of the United States.
“You’re going to have to be thinking about values and not just abuses.”
She offers a historical, sideways approach to OWS and provides a long view of constant questioning. Not only does she think on the grand, larger scale of social values, but she also is embedded, rooted and dedicated to a place — the city of Detroit.
In the video above, she addresses all the people participating in Occupy Wall Street with a note of encouragement and a call for contemplation and reflection. She embraces the movement but also challenges the protestors too, asking them to examine their own minds and hearts about whether they’d happily be part of the culture their against, if they were given the opportunity. She also calls for deep introspection and intellectual rigor as part of the effort.
For a good introduction to Grace Lee Boggs life, check out this two-minute introduction from the documentary film tracing her life, American Revolutionary: The Evolution of Grace Lee Boggs. It’s definitely worth watching.
(Photo of Grace Lee Boggs by Photo by David Schalliol/Flickr)
Remembering Juliano Mer-Khamis and His Theater of Hope and Resistance in Jenin
by Nancy Rosenbaum, producer
Young Palestinian men mourn the death of Juliano Mer-Khamis (poster) outside The Freedom Theatre in Jenin refugee camp in the West Bank a day after unknown gunmen killed the actor and director in his car. (photo: Saif Dahlah/AFP/Getty Images)
“I have no hope for the Israeli-Palestinian conflict, at least not in my lifetime. You ask for political, practical, local hope. Like it’s going to be solved. Jews and Arabs are going to kiss each other and hold hands and go to the beach. This is not going to happen. I have hope as a human being, yes. Oh I have big hope as a human being. I believe in humans. I believe that people are good.”
In a land splintered by contested physical borders and deep wells of distrust, Juliano Mer-Khamis described himself as “100 percent Palestinian and 100 percent Jewish.” The 52-year-old actor and activist was slain last week in Jenin, where he ran The Freedom Theatre, an arts program and cultural center for local youth in Jenin Refugee Camp.
The son of an Israeli-Jewish mother and a Palestinian-Christian father, Juliano Mer-Khamis refused to choose one identity over the other. As an adult, he kept a residence in Haifa, on the Israeli side, as well as in Jenin. Even his funeral transcended borders; pallbearers carried his casket across the Jalama checkpoint from Israel into the West Bank so that Palestinian mourners could participate.
In 2006, Juliano Mer-Khamis described his work with The Freedom Theater as a kind of artistic intifada:
“…we believe that the strongest struggle today should be cultural, moral. This must be clear. We are not teaching the boys and the girls how to use arms or how to create explosives, but we expose them to discourse of liberation, of liberty. We expose them to art, culture, music — which I believe can create better people for the future, and I hope that some of them, some of our friends in Jenin, will lead … and continue the resistance against the occupation through this project, through this theatre.”
Mer-Khamis was a controversial figure who seemed to be a clear-eyed realist about his life and work. In fact, he embraced this. “Lucky me,” he told PBS’ Need to Know.
“To be a theater and not controversial, then you should go open a clinic. Or be a dentist. We are a factory for controversy. We are the factory of ideas, of arguments of disputes. We are the factory where people should not like it. Otherwise, what are we doing here?”