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The BMX National Gatekeepers  e-Newsletter

JULY  15th , 2011
Black Men's Xchange-National

 
In This Week's Gatekeepers Issue
This Friday's BMX-NY Topic:
ARE YOU MARRIAGE MATERIAL? - Now that We Can, So What?
Friday Forum Recap (06|24|11): How Do We Flex Our Political Muscle?
Upcoming Topics: BMX- NY 2011 Summer Calendar
This Sunday's BMX-Baltimore Topic:
N/A
Upcoming Topics: BMX-Baltimore 2011 Summer Calendar
Community Corner Announcements: I AM A MAN: Black Manhood & Sexual Diversity In The Black Community
SGL Black Heroes:
Alvin Ailey
The Bawabisi SGL Symbol
About The BMX-NY Chapter...
About The BMX-Baltimore Chapter...
BMX Mission Statement
Black Men's Xchange National Gatekeepers e-Newsletter Archive Homepage

 

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When & Where Are Our Chapter Spaces?
 
BMX-New York Chapter:
730 Riverside Drive
(@150th Street)*
Suite 9E
Harlem, New York 10031
212-283-0219
Website: BMXNY.org 


*PLEASE NOTE:
THE DOOR ENTRANCE IS
LOCATED ON 150th STREET.
Ages 18 and up. 

Time:
8:00 PM - 11:00 PM
(Every Friday night, except for our hiatus month in August)
   
Directions: 
Take the #1 Train to 145th Street or the M4, M5, M101 or M100 to 149th Street & Broadway
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BMX-Baltimore Chapter:

1609 Saint Paul Street*

(Between East Lanvale and East Federal Streets)  

Baltimore, Maryland 21202

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*We are located across the street from the Amtrak train station. Our space is designated by the RED DOOR.Ages 18 and up. 



Time:

6:00 PM - 9:00 PM
(Every Sunday night)


Contact Us

Black Men's Xchange-NY

730 Riverside Drive
Suite 9E
Harlem, New York 10031


Email:
[email protected]
Phone: 212-283-0219

Official BMX-NY Website:
BMXNY.org




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Black Men's Xchange-Baltimore 

1609 Saint Paul Street

Baltimore, Maryland 21202


Email:
[email protected]
Phone:
410-637-3016


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.Welcome To The Black Men's Xchange National Gatekeepers e-Newsletter. This e-newsletter is for the BMX-New York chapter gathering on Friday, July 15th, 2011.


 

Brothers, please if you would take the time and tell us about your experience at a BMX-NY meeting. This is a confidential Survey with no names required. We appreciate your time and comments as we continue to try and make your experience at BMX-NY one of true community.       

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BROTHERS! Although not required, BRINGING A POTLUCK DISH AND/OR BEVERAGE of your choosing would be a generous offering for the repast after the group discussion! Your offering defrays a cost to the organization.  Also, end of gathering DONATIONS are also greatly appreciated, too. THANK YOU!

ACHE!

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BMX- New York  Topic  For  This  Friday,  July  15th,  2011       

ARE YOU MARRIAGE MATERIAL?

Now That We Can, So What?

 

Facilitated by JM Green

 

Damian and SeanMichael 

   

  

Is marriage a patriarchal, heterosexual construct?

Black Patriarchal Marriage


Is marriage compatible with an SGL consciousness?

Black Love (Hand Holding)


Are you ready for marriage? How do you know?

House and Money


Healthcare (Barack Obama)


What are the potential gains and losses of an SGL union?


SGL Romantic Male Couple 2


It's been said that Black men loving Black men is a revolutionary act. What say
you?


If White supremacy created a hostile environment for Black love, what kind of context exists for same gender love in the Black community? And, how can we change it?

 






 

Friday  Forum  Recap

(BMX- NY  Topic  Hi-lites  From  Friday,  June  24th,  2011) 

  

 How  Do  We  Flex  Our  Political  Muscle?   

      

Facilitated  by  Anthony  Truly   

   

During Friday's dialogue we looked at the extent to which same gender loving men flex our political muscle from the following angles:  

 
 

Define political.

 

"To advocate for causes..."

 

[Participant reads dictionary definition] "'Pertaining to public policy; concerned with the administration of government: a political system: Engaged in or taking sides in politics...'"

 

 

What does it mean to be political?

 

"Having a voice and using it everywhere I go...And now, learning to use it as a gay, same gender loving, HIV+ man...It's phucking freeing...I came to this [disposition] by almost losing my life..."

 

"[Being political means] If it's not documented, it doesn't exist...It's the ability to make sure things are documented...The police harass us [with impunity]...I call Internal Affairs...I call CCRB...I hold them to account...[That's being political]..."

 

 "Being political is challenging the status quo...Seeing something is wrong or unjust and setting out to right the wrong..."

 

 

What is political capital? How is it garnered?  Do we have any?  Where?

 

"[Having] some kind of clout..."

 

"Capital...The assets, the gains and abilities we have in unity...Resources, numbers, people...BMX could be considered capital because here we are a group of men...We don't have a lot of political capital as Black men because of what we were told by our parents...That we were wrong...It's slowly growing..."

 

{Facilitator says, "That's important...You said Black men don't have a lot of political capital because of what we were told by our parents...Can you elaborate on that?..."}

 

"We were taught into shame..."

 

"That's a great point...That we are not present to our political capital because we have been taught to be ashamed of who we are...Being political presumes worthiness..."

 

"We all have political capital...It's about whether or not we choose to use it..."

 

"Once you give gay, SGL, or whatever [people] the right to marry, you're legitimizing the group...As long as you don't, you're robbing them of their political capital..."

 

"It's not gay, SGL or whatever...Especially where we're talking about political clout...capital...[What I call myself involves] self-determination...It's connected to [having a] voice, and the things that impede our capacity [to find our voice...and take political action]..."

 

"{Facilitator says, "[Same gender loving in the name of] A self-determination movement [which] is crucial...We came out of slavery only a moment ago...We are still in the process of defining ourselves..."}

 

"That's so true...My mother died in January... And as I was preparing for her home-going, it occurred to me that she was born fewer than fifty years after Emancipation...I was born fewer than a hundred years after Emancipation...The reason we went from Nigger to Colored, to Negro...And, I remember, as a kid, for a moment between Negro and Black, some among us identifying as Afro American...Malcolm founded the Organization of Afro American Unity, I believe it was...And I remember Black people arguing amongst ourselves as we opted to shift from Negro to Black...And now, we are in another transition...As homosexual Black folk stand up with Same Gender Loving...The reason we have continually shifted from one identification to the next is because we have continually opted to redefine ourselves in the face of definitions that were imposed on us...So, yes...in terms of gaining political capital, it matters what we call ourselves...Do you think it's an accident that we may be within hours of marriage equality in the State of New York?...No, gay works for the people who coined it...Something I learned growing up through all of that is that, the way you can tell if an identification works for a people is that, it impels them to act in their own interest..."

 

 

Is being pro-Black and pro-SGL radical?

 

"Radical is stepping out of the preconceived notions of normal...I always hated being considered a minority...There ain't nothing minor about me..."

 

"[Radical is] taking a clear and distinct position..."

 

"I think SGL is a way of further separating us..."

 

"The reason I like SGL is because, when I say it, people say, 'What is that?'...And it gives me the opportunity to reflect on things about me...to say some things about who I am [that gay doesn't]..."

 

{Facilitator reads definition, "'Radical...Favoring fundamental or extreme change; Specifically, favoring basic change in the social or economic structure'"...}

 

 

Does the gay liberation movement address our issues?

 

"Do the things the gay movement are fighting for address my needs?...No..."

 

"Yes and no...One time I went down to the LGBT Center...There was a [game night]...People were playing games...It was an open thing...It was all White except for one guy...and this guy [who was running it] kept making all kinds of excuses for why we couldn't play...On Logo, "Noah's Arc was the highest rated show they had, and yet, they still haven't replaced it..."

 

"They don't address our issues...Police profiling...the spread of HIV and AIDS...In some places in Africa, it's up to fifty percent..."

 

"With mainstream society, you know what they say, 'If you can't beat 'em join 'em'..."

 

{Facilitator says, "It's not about beating 'em, it's about being our best selves collectively..."}

 

""Your parents were taught not to oppose White people...Your grand parents were taught not to oppose White people...You have been brainwashed to not even choose your own name on the threat of death...We were also taught to settle for whatever they gave us...And we have only been allowed to have about 30 -years of having a voice...You cannot change 450 years of training in 30- years...That's why there has been no revolution...Why we will kill each other rather than them...We wait for them to tell us what to think...Even as we look at marriage equality, they look at it differently than we look at Civil Rights...They look at it as [a] resource right to be able to transfer property and inheritance..."

 

{Facilitator says, "White gays don't have entitlement issues based on PTSS [Post Traumatic Slave Syndrome]...Their entitlement issue is, 'I don't have enough'..."}

 

"We have already been separated, that's what slavery did...we're not separating ourselves...gay marriage or unions is only good for people who can use it..."

 

"If you can't beat 'em join 'em?...No, I'm not joining 'em..."

 

"[I recently realized] I haven't been operating with a full set of emotions...Where did that come from?...I was raised in a household where you were not allowed to express anger...My grandmother is 97...Her mother was born a slave...They were not allowed to express anger...We were raised not to be angry...But there are others of us who may be missing other emotions like love...the ability to love ourselves and each other...This idea that we have been trained to accommodate White people and that we must come together to heal ourselves is very serious...So, all our lives we are taught as Black men that we are not worthy...We are not worthy...Years ago, I was a science reporter...I chronicled Act Up for Newsweek Magazine from the beginning of the movement...I took a plane with them down to Atlanta [and the Centers for Disease Control] where they planned to [disrupt] shit and get thrown in jail...It was a Civil Rights Movement strategy...The difference is they had the money to bail each other out...There was this one Black guy, and my sense was that he was somebody's sex object...And I thought, what's going to happen to him?...When he goes for a job and has to say, 'Yes, I was arrested once, but it was part of a political movement'...Is he going to get the same kind of consideration as his White counterparts?..."

 

"The notion of unity is false...There are two kinds of racism...Systemic and identity...We have not been taught how to deal with racism...Jewish people have set the template for having voice after [having been conquered]...The concept of DL means not having a full identity...We have been [enculturated] not to take power...Power is [saying] 'No,' no matter who it pisses off..."

 

 








Upcoming  Topics:  BMX- NY  2011  Summer  Calendar          

(PLEASE NOTE THAT TOPICS ARE SUBJECT TO CHANGE;
WEEKLY E-NEWSLETTERS WILL REFLECT ANY NEW CHANGES)

             

 

Friday, July 22nd, 2011

"MOGUL" Reading and Book Signing with Author, Terrance Dean  (Facilitated by JM Green)   

 

 

Friday, July 29th, 2011
WHAT CAN WE LEARN FROM EACH OTHER ABOUT BEING IN A RELATIONSHIP WITH A BLACK MAN: A Dialogue with Hetero Sisters

 

    

   

  

 

 

 

Baltimore Night City                 
BMX- Baltimore  Topic

 

Be Back Soon (Male Brutha) 

 

 

    


Upcoming  Topics:  BMX- Baltimore 2011  Summer  Calendar      

(PLEASE NOTE THAT TOPICS ARE SUBJECT TO CHANGE;
WEEKLY E-NEWSLETTERS WILL REFLECT ANY NEW CHANGES)


TO BE ANNOUNCED


                

 


  Under Construction (Man Hole)



 

 

 

 

 Community  Corner  Announcements

 

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PRESENTS

  

I AM A MAN-2 (back)

 

 

I AM A MAN het_promo June_27[1]  

 

 

FOR IMMEDIATE RELEASE

  

Contact: Anthony Truly

Telephone: 212-928-1957

Email: inifinitygroup[at]yahoo.com

Website: BMXNY.org

Download:  "I AM A MAN" Public Relations (PDF) 

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Rev. Al Sharpton, Marc Lamont Hill and Cleo Manago

to Contribute to Historic Discussion at

Black Manhood & Sexual Diversity Forum in NYC

 I AM A MAN Panelists (Banner)    

 

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The Black Men's Xchange National Joins Forces with 

The National Action Network and 

The Malcolm X Grassroots Movement for  

 

"I AM A MAN: 

Black Manhood & Sexual Diversity

In The Black Community" Forum

 

 

 
Rewriting Black Manhood Myths 17 (Anthony Jenkins) - Vertical


Saturday, July 16th, 2011 @ 2:00PM

@ National Action Network  

 

     

New York, NY - From comedian Tracy Morgan's controversial rant to CNN's Don Lemon's 'coming out',  to the historic legalization of same-sex marriage in New York last week - homosexuality is at the forefront of water cooler conversations these days.  It is a particularly hot topic within the Black community, given the social, political and cultural ramifications inherit within this community. Where as in previous generations, in order to escape oppression, some very 'light-skinned' Blacks 'passed as White,' today many same gender loving (SGL) men pass as heterosexual, hiding in plain sight, to escape the pain of being regarded as less than "real men."

 

In response to the brewing controversy around homosexuality and the Black community, the Black Men's Xchange (BMX) National has joined forces with the National Action Network and the Malcolm X Grassroots Movement to present the community forum I AM A MAN: Black Manhood & Sexual Diversity in the Black Community on Saturday, July 16th at 2:00 PM at the National Action Network in New York.  The National Action Network is located at 106 West 145th Street (near Lenox Ave.)  Black Men's Xchange National  is the nation's oldest and largest community-based movement devoted to promoting healthy self-concept and behavior, cultural affirmation and critical consciousness among same gender loving, gay-identifying and bisexual African-descended males and allies.

 

 

I AM A MAN 

 

I AMA MAN (Sanitation) 

 

Recalling the signs carried by Memphis sanitation workers at the strike where Dr. Martin Luther King, Jr. was assassinated, I AM A MAN is an affirmation of the common struggle of Black men, and a call for the inclusion of the SGL men among the collective. Noting a rash of highly publicized homosexual teen suicides across the country and that the highest incidence of HIV/AIDS in the Black community is still among Black men, most of whom are homosexual and bisexual, Reverend Sharpton cites, "There is absolutely a need to have this discussion."

 

 

Carl Joseph Walker-Hoover (11-year Old Suicide)Joseph Jefferson

11-Year Old Carl Joseph Walker-Hoover

(suicide) 

 

 

(suicide)

 

Says Cleo Manago, "For generations, the Black community has been so preoccupied with survival in America, or assimilation, we have rarely stepped out of this to figure ourselves out, or rationally address our perceived differences with each other.  This forum is one of those rare opportunities on an essential issue."

   

I AM A MAN (Emery Franklin) 

 

Black Men's Xchange-NY Co-founder, John-Martin Green insists, "This human rights struggle - for diverse Black men to be fully present, respectfully representing our range - can only be won as we muster our courage as a community to face our fears and end misunderstandings that produce unhealthy behaviors and division among us."

 

I AM A MAN (many demostrate) 

 

Join BMX National and their community partners to jointly build a stronger community, where whether SGL, bisexual or heterosexual, it is safe not to "hide in plain sight" anymore. I AM A MAN: Black Manhood & Sexual Diversity in the Black Community will be a forum dedicated to insuring that all Black people can be respected and affirmed.

 

For more information go to http://www.facebook.com/bmxnational

 

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Cleo & Al Sharpton (Breakfast)

AmAASI/BMX Founder Cleo Manago & Reverend Al Sharpton



# # #





 



SGL  Black  Heroes 


Alvin Ailey, Jr.  (1931  -  1989) 


Alvin Ailey (Youth)  

 

 

 

Alvin Ailey 1Alvin Ailey, Jr. (January 5, 1931 - December 1, 1989) was an American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York. Ailey is credited with popularizing modern dance and revolutionizing African-American participation in 20th century concert dance. His company gained the nickname "Cultural Ambassador to the World" because of its extensive international touring. Ailey's choreographic masterpiece Revelations is believed to be the best-known and most often seen modern dance performance.

 

Ailey was born to his 17-year-old mother, Lula Elizabeth Ailey, in Rogers, Texas. His father abandoned the family when Alvin was only 6 months old. Like many African-Americans living in Texas during the Great Depression, Ailey and his mother moved very often and she had a hard time finding work. Ailey grew up during a time of racial segregation and rumors of violence and lynchings against African-Americans. When Ailey was five, his 22-year-old mother was raped by a group of white men, leaving him afraid of whites. Early experiences in the Southern Baptist church and jook joints instilled in him a fierce sense of black pride that would later figure prominently in Ailey's signature works.

 

In the fall of 1942, Ailey's mother, like many African Americans, migrated to Los Angeles, California where she had heard there was lucrative work supporting the war effort. Ailey joined his mother later by train, having stayed behind in Texas to finish out the school year. Ailey's first junior high school in California was located in a primarily white school district. As one of the only black students, Ailey felt out of place because of his fear of whites, so the Aileys moved to a predominantly black school district. He matriculated at George Washington Carver Junior High School, and later attended the Thomas Jefferson High School. He sang spirituals in the glee club, wrote poetry, and demonstrated a talent for languages. He regularly attended shows at Lincoln Theater and the Orpheum Theater. Ailey did not become serious about dance until in 1949 his school friend Carmen De Lavallade introduced him to the Hollywood studio of Lester Horton. Horton would prove to be Ailey's major influence, becoming a mentor and giving him both a technique and a foundation with which to grow artistically.

 

 

Alvin Ailey (Young)

 

 

Horton's school taught a wide range of dance styles and techniques, including classical ballet, jazz, and Native American dance. Horton's school was also the first multi-racial dance school in the United States.Ailey was, at first, ambivalent about becoming a professional dancer. He had studied Romance languages at various universities in California, but was restless, academically, and took courses as well in the writings of James Baldwin, Langston Hughes, and Carson McCullers. He moved to San Francisco to continue his studies in 1951. There, he met Marguerite Johnson, who later changed her name to Maya Angelou. They occasionally performed a nightclub act called "Al and Rita." Ailey earned a living waiting tables and dancing at the New Orleans Champagne Supper Club. Eventually, he returned to study dance with Horton in southern California.

 

Alvin Ailey ADT 1 

 

Ailey formed his own group, Alvin Ailey American Dance Theater, in 1958. The group presented its inaugural concert on March 30, 1958. Notable early work included Blues Suite, a piece deriving from blues songs. Ailey's choreography was a dynamic and vibrant mix growing out of his previous training in ballet, modern dance, jazz, and African dance techniques. Ailey insisted upon a complete theatrical experience, including costumes, lighting, and make-up. A work of intense emotional appeal expressing the pain and anger of African Americans, Blues Suite was an instant success and defined Ailey's style.

 

For his signature work, Revelations, Ailey drew upon his "blood memories" of Texas, the blues, spirituals, and gospel. These forces resulted in the creation of his most popular and critically acclaimed work. Ailey originally intended the dance to be the second part of a larger, evening-length survey of African-American music which he began with Blues Suite.

 

Alvin Ailey Dancers 2 

Though Ailey created 79 works for his dancers, he maintained that his company was not merely a showcase for his own work. Today, the company continues Ailey's vision by performing important works from the past and commissioning new additions to the repertoire. In all, more than 200 works by over 70 choreographers have been performed by the company.

 

Ailey was proud that his company was multi-racial. While he wanted to give opportunities to Black dancers, who were frequently excluded from performances by racist attitudes at the time, he also wanted to rise above issues of negritude. His company always employed artists based solely on artistic talent and integrity regardless of their race.

 

Ailey continued to create work for his own company and also choreographed for other companies.

 

Alvin Ailey Dancers 1 

In 1962 the U.S. State Department sponsored the Alvin Ailey Dance Company's first overseas tour. Ailey was suspicious of his government benefactors' motives. He suspected they were propagandistic, seeking to advertise a false tolerance by showcasing a modern Negro dance group.

 

In 1970, Ailey was honored by a commission to create The River for American Ballet Theatre. Ailey viewed The River, which he based on the music of composer Duke Ellington, as a chance to work with some of the finest ballet dancers in the world, particularly with the great dramatic ballerina Sallie Wilson. ABT, however, insisted that the leading male role be danced by the only black man, despite misgivings by Ailey and others about the dancer's talent.

 

Alvin Ailey and Judith Jamison 

 Alvin Ailey and Judith Jamison 

 

 

Cry (1971), was one of Ailey's greatest successes. He dedicated it to his mother and black women everywhere. It became a signature piece for Judith Jamison.

 

The Alvin Ailey Dance Theater was constructed by Tishman Realty and Construction Alvin Ailey Theatre (NYC)Corporation of New York, Manhattan's largest builder.


Ailey made use of any combination of dance techniques that best suited the theatrical moment.[5] Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet ("a ballet bottom") combined with a dramatically expressive upper torso ("a modern top"). "What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things."

 

Alvin Ailey Dancers 

 

Ailey's dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

 

In 1992 Alvin Ailey was inducted into the C.V. Whitney Hall of Fame at the National Museum of Dance in Saratoga Springs, NY

 

Ailey kept his life as a dancer a secret from his mother for the first two years.

Ailey was homosexual and is one of the most prominent SGL Black men in American history. According to Black homosexual activist Keith Boykin, this is rarely acknowledged in the Black community due to the stigma surrounding homosexuality. Ailey died in 1989 at the age of 58 from a complication of AIDS.

 

Alvin Ailey - 50 Years!








  
 
The Bawabisi SGL Symbol

Bawabisi SGL Symbol (Partial Transparency)

The SGL symbol, the Bawabisi, is inspired by Nigerian Nsibidi script and West African Adrinkra symbols. The two facing semi-circles represent unity and love. The figure has been split symmetrically in half to suggest parts of a whole that mirror each other. Dots are often used in Adinkra symbols to represent commitment and pluralism. The split and dots, with the addition of color, suggest the concept of gender. The circle encompassing the figure reinforces the idea of connectedness despite duality, suggesting the idea of two-spirited.





About  The  BMX- NY  Chapter...
 
  



THE BLACK MEN'S XCHANGE - NEW YORK (BMX-NY) was founded in Harlem in 2002 and is a gathering for same gender loving (SGL) and bisexual Black men to powerfully and respectfully address issues that impact their lives, and to connect with one another in a positive, affirming, nurturing and transformational environment. Ages 18 and up.

BMXNY.org 

 



About  The  BMX- Baltimore  Chapter...
 
  
Young BMX-Baltimore Bruthaz 1


THE BLACK MEN'S XCHANGE - BALTIMORE was founded in 2008 to provoke critical thinking; to teach Black men how to unlearn internalized oppression, and to give Black men the tools to deal with these issues. Ages 18 and up.

  

 



BMX  Mission  Statement

BMX Logo (Black)
THE BLACK MEN'S XCHANGE (BMX) was founded in 1989 by activist, writer and behavioral health expert Cleo Manago, as an instrument of healing and empowerment for same gender loving (SGL) and bisexual African descended men. The mission of the Black Men's Xchange (BMX) is to affirm, heal, educate, unify and promote well-being and critical thinking among Black people - 18 and up - diverse in sexuality, class, culture and philosophy.  Black Men's Xchange (BMX) conducts activities that promote healthy self-concept, sexual health, constructive decision making, and cultural affirmation among same-gender-loving (SGL), bisexual and heterosexual Black populations. BMX affirms and educates Black men (and the community at-large) while providing tools for self-determination, community responsibility, self-actualization and the prevention of health threats (e.g. HIV, isolation, substance and other addictions, and mental instability). BMX creates an environment that advances Black culture and involves identifying and unlearning ingrained anti-homosexual and anti-black male and female conditioning.

 

BMX is built on a philosophy that embraces same gender loving experience as intrinsic to everyday Black life.  Integral to BMX's approach is the understanding that, in order to decrease internal and external anti-homosexual thinking, and demystify differences around diverse ways of living and loving Black people must engage in supportive dialogue with each other and the community.

 

At BMX we believe that self-determination is crucial in achieving success toward healing and empowerment.  We understand that our cultural and experiential uniqueness requires a uniquely focused and precise approach.  Affirming strategies born out of our own experience is powerful; hence, the adoption of the terms, Black, African American and Same Gender Loving (SGL).

 

The Term Same Gender Loving (SGL)... 

 

READ MORE...  


   

BMX-NY MMM Photos 11
 
The Black Men's Xchange-New York And Our Allies At The Millions More Movement (MMM) In Washington, DC
(October 15th, 2005) 
 
 

 






 
 

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