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We Who Are Dark

We Who Are Dark

di Trent Tomengo

Arte visuale Storia

Stagione 3

Dr. Neil Vaz Goes to Ghana (Part II)

In this episode Dr. Neil Vaz discusses his trip to Ghana with Professor Trent Tomengo. They delve into the history of the transatlantic slave trade and the arrival of the Portuguese on the Gold Coast. They also touch on the various Akan polities, the transformation of their societies, and their participation in the transatlantic slave trade.

Dr. Neil Vaz Goes to Ghana

In this video Dr. Neil Vaz discusses his recent trip to Ghana with Professor Trent Tomengo. Dr. Vaz dives into his childhood motivations that compelled him to a point of interest in the Akan culture of Ghana.

Stagione 2

Archibald Motley's "Saturday Night" and "Blues"

In this final episode of Season 2, Professor Tomengo and Dr. Vaz analyze two of Archibald Motley's paintings, namely "Saturday Night" (1935) and "Blues" (1929). In discussing these works, the conversation addresses the new stereotype reserved for Black women in popular culture at the time, the oversexualized Black woman. It also includes commentary on other popular stereotypes and how their use today denotes an ignorance of the real history behind their development. Further discussion of the Harlem Renaissance and Motley's aesthetic conventions solidifies the place his works hold in understanding Black popular culture during the early part of the 2oth century.

Archibald Motley's Painting "Jockey Club" (1929)

In this episode, Professor Tomengo and Dr. Vaz have a spirited discussion about Archibald Motely's painting Jockey Club (1929). The conversation includes information about the various racial categorizations for Black people (Octoroon, Quadroon, Mulatto) and how those people associated with these categorizations navigated Early America.

The Art of Archibald Motley

In this episode, Professor Tomengo and Dr. Vaz discuss the art of Archibald Motley and its role within the context of the Harlem Renaissance. Key to their discussion is the impact that colorism had on Black American life and culture, including U.S. policies concerning "race" in America. Using Archibald Motley's Octoroon Girl of 1925, they discuss the effects of the "one drop rule" and its influence on American societal structures.

American International Politics and WW1

In this episode, Dr. Vaz and Professor Tomengo continue their discussion of Woodrow Wilson's international policies as they relate to Latin American countries. The conversation includes issues related to the aftermath of WW1 (both domestic and international) and the forming of the League of Nations.

Woodrow Wilson and his International Policies

In this episode Dr. Vaz and Professor Tomengo discuss the Red Summer of 1919 and the ascent of Woodrow Wilson to the United States Presidency. Central to this conversation are Wilson's expansion of the Federal Government and his international policies that were based on Roosevelt's Corollary to the Monroe Doctrine. Special attention is given to the United States' evolving relationship with Haiti and Latin American countries.

Meta Warrick Fuller's Mary Turner

In this episode, Professor Tomengo and Dr. Vaz discuss Meta Warrick Fuller's sculpture Mary Turner. Professor Tomengo recounts the circumstances by which he came to teach African American Humanities twenty-four years ago and, by extension, Fuller's Mary Turner. Central to their conversation is how the history of the work has impacted the many students who have taken both their classes down through the years.

Meta Warrick Fuller's The Talking Skull

Professor Tomengo and Dr. Vaz discuss Meta Warrick Fuller's 1939 sculpture, The Talking Skull. They analyze its metaphoric potential and examine the significance of those metaphors for Black people then and now. The conversation also addresses the Administration of Theodore Rooselvelt, his Corollary to the Monroe Doctrine and his handling of the Brownsville Affair of 1906.

Meta Warrick Fuller's The Awakening of Ethiopia

In this eposode Dr. Vaz and Professor Tomengo analyze Meta Warrick Fuller's classic sculpture, The Awakening of Ethiopia. They begin the conversation by continuing an earlier discussion of United States political parties and both of their personal voting strategies as Black men. The discussion then segues into an analysis of Fuller's sculpture and its importance to establishing a metaphysical Black identity, one rooted in pride and humanity.

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