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Famous and not so well-known African-American artists have remarkably shared representations of historical and contemporary occasions and individuals, cultural point of views, and the experiences and battles of minorities through their art work. This article highlights the pivotal work of Black artists who helped to bring African-American experiences into the elite art world. The art catches historical and modern experiences. Some art captures race and gender relations. Black magics as a movement speaks straight to the needs and aspirations of Black America. The Black artist speaks to the spiritual and cultural needs of Black people in their artistry.

The specialists of Black arts are motivated by a desire to face white power structures and assert an African American cultural identity. Black arts aim to serve the neighborhood and artists.

From 1927 until his death in 1979, E.F. Joseph documented the daily lives of African Americans in the Bay Area. His images were printed in the Pittsburgh Courier and the Chicago Defender, but not widely published in his home community.…

Black artists emphasize racial pride, a gratitude of African heritage, and a dedication to produce works that reflect the culture and experiences of black people. In each era, events of the day galvanize black artists to create, arrange, and transform the world.

Via http://www.blackartists.org.uk/archives/897

Famous and not so well-known African-American artists have actually remarkably shared representations of historic and modern individuals and events, cultural point of views, and the experiences and battles of minorities through their artwork. This post highlights the essential work of Black artists who helped to bring African-American experiences into the elite art world. The art records historical and modern experiences. Some art records race and gender relations. Black Arts as a movement speaks directly to the requirements and aspirations of Black America. The Black artist speaks with the spiritual and cultural needs of Black individuals in their artistry.

The practitioners of Black arts are inspired by a desire to challenge white power structures and assert an African American cultural identity. Black arts aim to serve the neighborhood and artists.

Dinesh Angelo Allirajah. 6-05-1967 to 9-12-2014

Whether as a writer, activist, or teacher, Dinesh Allirajah moved through his various simultaneous-pursued professions much like a swan, gliding through the water elegantly and effortlessly, or so we thought. Such was the man’s humility, grace, patience, and generosity, few stopped to really consider the energy and commitment he put into everything he did, or quite how many different things he was always doing at one time.

Dinesh was born in Kensington in 1967 and grew up in Upper Norwood the second son of Sri Lankan parents Evelyn and father Sivam. His Sri Lankan heritage was always dear to him – a springboard for the internationalism that informed all of his creative passions and teaching – and yet, true to his humility, Dinesh spent a lifetime inwardly smiling whenever anyone categorised him as simply ‘Asian’.

In 1985 he moved to Liverpool to attend university and attained a BA (Hons) in Modern History and then an MA (Distinction) in Ethnic Studies. His dissertation was called ‘Groove in Tongues’: The radical Potential of Black British Poetry. In Liverpool he found the stimulus to explore the worlds of literature, music and performance in which he was to excel. During the First Gulf War he became a DJ and helped keep alive what for many was the only independent voice on the airwaves: the pirate Toxteth Community Radio. In 1992 he became a co-founder of the poetry performance collective ‘Asian Lives, Asian Voices’, which quickly built up a large following, performing at venues across the country.

Within two years of arriving in Liverpool Dinesh also co-founded the Spark Collective: a multimedia performance company that took centre-stage in the Liverpool live art scene: a collective of diverse, talented artists that he continued to support and admire over the years to come. During the 90s, he built a career as a Literacy and Creative Writing teacher, facilitating workshops in community centres, schools and prisons, and latterly delivering university modules at LJMU, then UCLan and Edge Hill universities. He was also a Writer in Residence at Hope University where he worked with fellow writer and poet Michael Murphy. His literary repertoire expanded to take in poetry, song lyrics (working with Marty Muscatelli, creating demos of Jazz rap poetry under the name ‘Flag’), more jazz poetry (as one of ‘The Imaginary Selves’), short fiction, literary criticism and reportage (most recently on his brilliantly funny and erudite blog, Real Time Short Stories).

His work was recognised and published by, among others, Sable Magazine, Peepal Tree Press, Spike Books, The Windows Project, Comma Press, Moving Worlds Magazine, and Amauta Publications.

He also performed his work internationally: in France, Poland, Germany,  Bangladesh and Nigeria. His first collection, A Manner of Speaking was published by Spike, winning the praise of Levi Tafari among others, and he was working towards a second collection through various commissions with Comma Press, its intended title was to be ‘Easy on the Roses.’

He described his writing as ‘narratives of the unnoticed moment’, giving airplay to what happens ‘on the edge of the crowd’, where characters have to suddenly reassess who and what they are. He often said the Czech dissident and exile, Josef Škvorecký was the author that most influenced him. Dinesh was also very influenced by Chekhov.

The term ‘Cultural Activist’ hardly does justice to Dinesh; he worked tirelessly as a believer in the liberating and educating power of the arts: he was Chair of the NALD (1995-7), and of Catalyst Dance and Drama (1999-2001); he became the Chair the National Black Arts Alliance Trustees in 2002, and was also a founding Board Member of Literature Northwest from 2005, and a Director of Comma Press from 2012. In his capacity as the Bluecoat Events Programmer (2002 to 2004), he fund-raised, programmed and developed the team for the inaugural Liverpool Arabic Arts Festival and the Liverpool Irish Festival, and played an instrumental role in establishing Liverpool’s Writing Officer

For NBAA prior to becoming its Chair Dinesh was a major team player in its extensive arts projects and conferences. Keynoting alongside such luminaries as Ntozake Shange and performance acting alongside 147 men for ‘In My Father’s House’. As chair he steered NBAA wisely securing its reputation as the UK’s largest network of Black artists.

For many years he dedicated his time to Yellow House founded by George McKane (director) helping to support and develop young people through arts based projects.

Clearly Dinesh never swam with the tide; he had his own direction.

His encyclopaedic knowledge of writers was matched by an equally staggering knowledge of music (jazz in particular) and cricket. A shrewd intellect, a master of the subtle satire, and a generous, supportive and trusting soul; perhaps most of all he will be remembered for his humour. Even as when he took ill, he jumped at the opportunity to poke fun at his own ironic situation (on his blog): the image of a writer, finally with time to write!

Everyone who met Dinesh, even if only briefly, instantly admired and liked him, he will never be forgotten. The many organisations he helped throughout his life – Comma Press, NBAA, The Bluecoat and others – will work together to establish a commission or prize in his name. He is survived by his mother and older brother Duleep, his fianceé Vic, two sons Bruno and Rufus, and their mother, his ex-partner Jo.

With love SuAndi, Vic, Duleep & Ra Page.

Photographs courtesy of David Hynes via Maurice Fyles on FaceBook

Black artists stress racial pride, a gratitude of African heritage, and a dedication to produce works that show the culture and experiences of black individuals. In each period, occasions of the day galvanize black artists to develop, organize, and change the world.

Via http://www.blackenterprise.com/photos/photos-top-women-in-advertising-marketing/

This article highlights the pivotal work of Black artists who assisted to bring African-American experiences into the elite art world. Black Arts as a movement speaks straight to the requirements and aspirations of Black America. The Black artist speaks to the cultural and spiritual needs of Black individuals in their artistry.

The specialists of Black arts are encouraged by a desire to confront white power structures and assert an African American cultural identity. Black arts intend to serve the neighborhood and artists.

Black artists stress racial pride, a gratitude of African heritage, and a dedication to produce works that show the culture and experiences of black individuals. In each period, events of the day galvanize black artists to create, arrange, and transform the world.