BEGIN:VCALENDAR VERSION:2.0 PRODID:-//University of Chicago//NONSGML v1.0//EN BEGIN:VEVENT DTSTART:20230210T013000Z DTEND:20230210T023000Z SUMMARY:Expanded Practices DESCRIPTION:In 1976\, an extraordinary group of Black feminist artists an d activists organized the first ever Black women's film festival: the Soj ourner Truth Festival of the Arts. Films by Michelle Parkerson\, Ayoka Ch enzira\, Edie Lynch\, and Madeline Anderson\, among others\, were screene d. The festival was simultaneously a celebration of the emerging world of Black women's filmmaking as well as a radical call for the kinds of soci o-political and institutional changes necessary for a Black women's film culture to thrive. Four decades later\, the Sojourner Truth Festival of t he Arts\, 2023 commemorates the 1976 festival with a nine-week screening series\, held in conjunction with Professor Allyson Nadia Field's winter 2023 course "Creating a Different Image: Black Women's Filmmaking of the 1970s-90s\," and a two-day symposium about the original festival and the tradition of Black feminist filmmaking. For more information\, visit voic es.uchicago.edu/sojourner (http://voices.uchicago.edu/sojourner) Pivot ing to animation and the avant-garde\, this program celebrates Black wome n's contributions to different forms of filmmaking. Produced between 1972 and 1981\, Carol Munday Lawrence's animated Nguzo Saba films illustrate the nguzo saba of Kwanzaa\, or seven principles of unity. Ayoka Chenzira' s Hair Piece: A Film for Nappy Headed People (1984) is an animated short that satirizes the notion of "good hair." O.Funmilayo Makarah's Define (1 988) is a meditation on identity and the negotiation of "dominant culture ." And with L.A. in My Mind (2006)\, Makarah uses digital filmmaking to e xpress the artist's idea of Los Angeles. Zeinabu irene Davis's video A Pe riod Piece (1991) is a comedic interrogation of the false promises of fem inine hygiene product advertisements. Alile Sharon Larkin creatively reim agines the children's story with her animated Dreadlocks and the Three Be ars (1991). Barbara McCullough's groundbreaking Water Ritual #1: An Urban Rite of Purification (1979)\, made in collaboration with performer Yolan da Vidato\, is an experimental filmic ritual and an experiment in film as ritual. With her experimental short films (c.1976) Zora Lathan captures the delight and whimsy of the mundane\, including her daily commute to th e University of Illinois-Chicago campus. (16mm\, 35mm\, and digital video \, 113 min.) Hair Piece: A Film for Nappy Headed People courtesy of Mile stone Films and Kino Lorber. L.A. in My Mind and Define courtesy of the U CLA Film and Television Archive. Zora Lathan films courtesy of the Nation al Museum of African American History and Culture. Water Ritual #1: An Ur ban Rite of Purification courtesy of Third World Newsreel. Presented b y the Film Studies Center\, Sisters in Cinema\, and South Side Projection s\, and co-sponsored by the Center for the Study of Race\, Politics\, and Culture. X-ALT-DESC;FMTTYPE=text/html:
In 1976\, an extraordinary group of Black feminist artists and activists or ganized the first ever Black women's film festival: the Sojourner Truth F estival of the Arts. Films by Michelle Parkerson\, Ayoka Chenzira\, Edie Lynch\, and Madeline Anderson\, among others\, were screened. The festiva l was simultaneously a celebration of the emerging world of Black women's filmmaking as well as a radical call for the kinds of socio-political an d institutional changes necessary for a Black women's film culture to thr ive. Four decades later\, the Sojourner Truth Festival of the Arts\, 2023 commemorates the 1976 festival with a nine-week screening series\, held in conjunction with Professor Allyson Nadia Field's winter 2023 course "C reating a Different Image: Black Women's Filmmaking of the 1970s-90s\," a nd a two-day symposium about the original festival and the tradition of B lack feminist filmmaking. For more information\, visit voices.uchicago.edu/sojourner
Pivoting to animation and the avant-garde\, this program celebrates Black women's contributions to different forms of filmmaking. Produced between 1972 and 1981\, Carol Munday Lawrence's animated Nguzo Saba films illust rate the nguzo saba of Kwanzaa\, or seven principles of unity. Ayoka Chen zira's Hair Piece: A Film for Nappy Headed People (1984) is an a nimated short that satirizes the notion of "good hair." O.Funmilayo Makar ah's Define (1988) is a meditation on identity and the negotiati on of "dominant culture." And with L.A. in My Mind (2006)\, Maka rah uses digital filmmaking to express the artist's idea of Los Angeles. Zeinabu irene Davis's video A Period Piece (1991) is a comedic i nterrogation of the false promises of feminine hygiene product advertisem ents. Alile Sharon Larkin creatively reimagines the children's story with her animated Dreadlocks and the Three Bears (1991). Barbara McC ullough's groundbreaking Water Ritual #1: An Urban Rite of Purificati on (1979)\, made in collaboration with performer Yolanda Vidato\, is an experimental filmic ritual and an experiment in film as ritual. With her experimental short films (c.1976) Zora Lathan captures the delight an d whimsy of the mundane\, including her daily commute to the University o f Illinois-Chicago campus. (16mm\, 35mm\, and digital video\, 113 min.)
Hair Piece: A Film for Nappy Headed People courtesy of Mi
lestone Films and Kino Lorber. L.A. in My Mind and Define courtesy of the UCLA Film and Television Archive. Zora Lathan films co
urtesy of the National Museum of African American History and Culture.
Presented by the Film Studies Center\, Sis ters in Cinema\, and South Side Projections\, and co-sponsored by the Cen ter for the Study of Race\, Politics\, and Culture.
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