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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 & BroadwayGOOGLE MAP
BMX-Baltimore Chapter: 1609 Saint Paul Street* (Between East Lanvale and East Federal Streets) Baltimore, Maryland 21202 GOOGLE MAP *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)
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Contact Us | Black Men's Xchange-NY 730 Riverside Drive Suite 9E Harlem, New York 10031
Email: blackmensxchangeny@gmail.com 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: BMXnational@gmail.com Phone: 410-637-3016
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Africentric Affirmation Community Links
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Black Men's Xchange National
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Greetings Brothers!
 | "Bawabisi" African SGL Symbol |
. Welcome To The Black Men's Xchange National Gatekeepers e-Newsletter. This e-newsletter is for the BMX-New York chapter gathering on Friday, October 7th, 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.

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!
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Black Men's Xchange National
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BMX- New York Topic For This Friday, October 7th, 2011
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Growing Older and Thriving in the SGL Community
Facilitated by Tommie Thompson & Eugene Howell
Is there really any such thing as aging gracefully?
To the extent that the sex drive doesn't disappear as SGL men age, how does one maintain his capacity to be alluring?
With marriage now an option, how do older same gender loving men escape feeling as if they may have missed the boat?
In the face of constant cultural and political shifts, how does one avoid being relegated to the sidelines and complacency? In indigenous cultures, the elder's role is to guide the community. Are our elders observing that role? Are we permitting them that observance? How might we fashion an elder initiation to assist SGL elders' taking their rightful place within the community?
Getting older in a youth-obsessed culture, how does one remain vibrant, vital and relevant?
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Friday Forum Recap
(BMX- NY Topic Hi- lites From Friday, September 9th, 2011)
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At Friday's BMXNY dialogue, in consideration of the fact that the 5 major African rites of passage involve birth, adulthood, marriage, eldership, and ancestorship, Brothers looked at where we are in relationship to those rites of passage, or their absence...
What is a rite of passage?
"Life transitions..." "[They] allow us to share some of the pain we've experienced...traumas...[They] allow us to learn lessons from [those experiences]..."
{Facilitator says: "Rites of passage are culturally-based rituals designed to facilitate members of the community through the different phases of our lives in order to take our rightful places within, and deliver our respective gifts to the community..."}
"I had a rite of passage when I received my name at an LGBT Kwanzaa [gathering]...Until now, I didn't even realize I had a rite of passage...I was 18 and had just come out...I was a new-bee...They kind of took me under wing...even though my family had forsaken me...It was a rebirth...I am more secure [now]...They allowed me [to be who I am]..."
"There is a connection between entitlement and rites of passage..."
{Facilitator says, "Do you mean we are entitled, as members of the culture or community to be supported by the community through the transitions from one phase or stage [of life] to the next?..."}
"Yes..."
"We're conditioned not to feel entitled to be acknowledged and affirmed as the men we are..."
In the absence of rites of passage specifically geared for men who love men, do we value our lives differently?
"In the absence of ceremonies or protocols to acknowledge our coming into our manhood, how do we value our selves?...46% of all Black men who have sex with men are HIV+...Sometimes, we drink the Koolaid [internalize and act out anti-homosexual attitudes]..."
"We definitely need rites of passage so that we can feel the confidence others display...We should also feel privileged..."
"I had some wonderful teachers...I had rites of passage...They all groomed me so I can be the person I am...When African Americans look at the White person [and compare] ourselves, we may devalue ourselves...We do face negative things...[But,] sometimes, when you focus on the negative, we can miss [our accomplishments]...I remember coming out [and] people telling me not to do this and not to do that...But, I did what I felt to do [and I turned out just fine]...We did have rites of passage..."
{Facilitator says, "If you had had a coming out party, that might have been construed as a rite of passage...Cotillions, debutante balls, a.k.a. coming out parties, for instance, are rites of passage to facilitate upper-class girls from childhood into womanhood..."}
"One of the benefits of rites of passage is that it gives you a voice...The prom is a rite of passage..."
New Jersey's S.T.E.P. (Striving Together Equals Progress) Program
Takes Boys Through The Passage To Manhood
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Link:
To Kill a Lion, Become the Lion:
The Need for Rites of Passage Programs
Can rites of passage specifically designed for SGL youth prime them for roles of responsibility in the community?
"When I first came here [to BMX-NY] at twenty-four, I met brothers who helped me realize not to keep the healing process...the information [to myself,] but [to] pass it on to SGL young people whose minds are crying out for something...I passed the message without fear...I realize I've been groomed for that in these spaces...BMX and ADODI...which is why I keep doing the work...Hearing that brothers and sisters are taking their lives...it gives me chills..."
"We're not entitled to anything...We only get what we fight for...[when I was a boy] a White man showed me some pictures of nude men in the Bible and told me nothing was wrong with me and that let me know I was okay..."
"For this thing to be really practical, there needs to be some community effort on behalf of SGL young people like scholarships...something tangible..."
"I think [it's] empowerment as distinct from entitlement [that rites of passage give us]...Empowerment may lead to a sense of entitlement..."
"As a Black man, there are many rites of passage I have never experienced and probably never will...Like the prom...Who are you going [to go] with?...A girl?...you know that whole trauma..."
"[A rite of passage] acknowledges your acceptance into a community...And with that, there comes a set of roles and responsibilities [you will be expected to observe]..."
"Rites of passage refer to a life span...from birth to transition...In Africa [there are] rituals that have been practiced for thousands of years...thousands of years...that have been honed down...As Africans, we're people oriented...In an African-centered rite of passage it's about, 'I see you'...I just came from the Carolinas where everybody said, 'Hi...How you doin?'...The fact that you are is the entitlement...[In the city] a lot of times we don't acknowledge that we are...That's the remnants of slavery...Being a man and manhood have nothing to do with being heterosexual or bisexual or SGL ...Rites of passage are to build people's character...[and to remind us that] I am because we are...It took thousands [and thousands, and thousands] to make me..."
"[The idea of] a sense of entitlement was something that was hard for me to hear for a long time...I am not there any more...Rites of passage are in stages...One is taking off, and one is a landing...[One is about] I see you and I acknowledge you...Whatever it is you are, go ahead and do what you have come here to do...[such that] little girls who were bar mitzvahed will know that a man is supposed to bring them a diamond ring when they want to marry her...In Africa, there are circles of men in which they let you know what you can do...How far your muscles can flex...That is the nest...The landing is, 'you dare dream of yourself doing something we never envisioned you doing?...The landing is your responsibility [to yourself and to the community]...This trust that I have in myself [that I can observe my purpose]...This faith...The reason [why] it is very important for us to be here and do this work..."
Are there rites of passage that could ease the transition of growing older in the SGL community?
"I'm in an anti-aging program...I [revel] in the things I don't know..."
"Often times, when SGL people come out, they're kicked out of their families...Are there [rites of passage we can create to support them?..."
{Facilitator says, "We have among us people who have studied rituals including indigenous rituals, with whom we are going to create rituals to honor ourselves and facilitate us through the phases of our lives..."}
"We do have rites of passage...Even if there is not one in the room, we learn to focus on White people...That's a rite of passage...If we don't contrast ourselves to them, we are seen as strange...That's a rite of passage...Another is [always] remembering we were slaves...Bullshitting ourselves is another rite of passage...[In fact,] slavery made our lives easier...When [all] you have to [do is] get up, go to the field and come back, life is easier..."
[Facilitator says, "Those social patters you refer to like contrasting ourselves to white people are dysfunctional adaptations many of us have learned as a function of our enslavement, but they are not rites of passage...For rites of passage, not only would we not feel so compelled to contrast ourselves with others, but we would have a clearer sense of what we're here for, and a stronger sense of community by which to support each other's doing what we're here to do..."}
"I was confronted in a circle and had to name my ancestors...[I] had to name seven to nine generations...I was stumped...I had bought into the idea that, because we were slaves there was no way we could know who our ancestors were...But, it was also because I felt shame about the little family tree I did know about...[But, you can] begin a rite of passage by finding out how many generations [you can identify]...A reason [we] don't want to talk about it is shame...[But,] you have to acknowledge [there are people] beyond yourself...I got initiated this year in Nigeria in Ifa...It was life changing..."
"African Americans are not ungrateful...We achieved what we did through blood, sweat and tears...By giving up our lives...Slavery is not necessarily over...The mental aspect...It's not over...If I am talking about slavery [it's] because it's indelible...it's not over...I am going to compare Black and White...They're different...Look at the life spans...They're different...They [take for granted] things we're denied...I am going to compare Black and White..."
"If you say that African Americans are ungrateful, you've been duped because you've been trained to see yourself as 'other'...Contrasting ourselves with White people [is a waste of energy] life is not fair...Whoever told you life was fair was lying to you... Slavery is not indelible...stamped on us...Entitlement is looking at the stamp and saying, 'No'...Entitlement is being clear about what is and moving forward..."
"There's a lot of misplaced anger..."
{Facilitator says, "Also, no doubt, the result of the absence of rites of passage...which again, is why, moving forward, we are going to conceive rites of passage by which we will acknowledge each other, each other's gifts and facilitate each other towards identifying and giving our gifts"...}
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Upcoming Topics: BMX- NY 2011 Fall Calendar
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(PLEASE NOTE THAT TOPICS ARE SUBJECT TO CHANGE; WEEKLY E-NEWSLETTERS WILL REFLECT ANY NEW CHANGES)
Friday, October 14th, 2011
Film Screening: "CLASSIFIED X" (1998) The Depiction of Blacks in Film
[Written & Produced by Melvin Van Peebles; Directed by Mark Daniels] (Facilitated by JM Green)

Friday, October 21st, 2011 Baby Boy: Navigating the Matrix as Young Men Who Love Men (Facilitated by JM Green & Joseph Owens) Friday, October 28th, 2011
I Am Who I Say I Am: The Dilemma of Drag Queens
(Facilitated by Anthony Truly)
Friday, November 4th, 2011
Rock the Vote for What?: Is There An SGL Political Agenda?
(Facilitated by Anthony Truly & Cleo Manago)
Friday, November 11th, 2011
Sons and Godsons in the SGL Community: Mentoring SGL Youth (Facilitated by Chad Franklin)
SEE EXTENDED CALENDAR...
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Community Corner Announcements
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The Classical Theatre of Harlem & Hip-Hop Theater Festival Presents The World Premiere of SEED A New Play By Radha Blank Directed by Niegel Smith 
"The streets grow you son" - Chee-Chee Burnt-out social worker Anne Colleen Simpson decides to write a book detailing the child welfare case that brought her acclaim. But when Chee-Chee, a gifted ten-year-old from the last "projects" in Anne's gentrified neighborhood collides into her life, she is forced to confront the shadows of her past. As an unconventional friendship brews between Anne and Chee-Chee, his young mother Latonya becomes threatened, leading to an explosive encounter. This compelling new drama presented by Classical Theater of Harlem, insightfully examines the class an cultural fault lines that exist in one of New York's most prominent Black communities. Featuring: Bridgit Antoinette Evans Nikiya Mathis Tremayne Rollins Warner Miller Pernell Walker September 6th - October 9th, 2011 Wednesday - Sunday @ 8:00PM Saturday @ 2:00PM & 8:00PM Sunday @ 3:00PM & 8:00PM Dr Barbara Ann Teer's National Black Theatre
2033 5th Avenue (between 125th & 126th Streets) Harlem, New York City Directions: Take the 2, 3, 4, 5, or 6 trains to 125th Street GOOGLE MAPS FOR TICKETS & INFO Go to www.seedtheplay.com or call 866-811-4111 Tickets $20 - $48 Group Tickets Avaialble: Call 718-492-4282 or Email: GROUPS[at]HHTF.ORG |
SGL Black Heroes
James Richmond Barthé (1901 - 1989)

Born in Bay St. Louis, Mississippi in 1901, Richmond Barthé moved to New Orleans at an early age. Little is known about his early youth, except that he grew up in a devoutly Roman Catholic household, he enjoyed drawing and painting, and his formal schooling did not go beyond grade school. From the age of sixteen until his early twenties, Barthé supported himself with a number of service and unskilled jobs, including house servant, porter, and cannery worker. His artistic talent was noticed by his parish priest when Barthé contributed two of his paintings to a fundraising event for his church. The priest was so impressed with his art that he encouraged Barthé to apply to the Art Institute of Chicago and raised enough money to pay for his travel and tuition. From 1924 to 1928, Barthé studied painting at the Art Institute, while continuing to engage in unskilled and service employment to support himself.
Supplication, Mother and Son
Even though he mainly studied painting, Barthé's talent as a sculptor was recognized by his fellow students and local critics in Chicago. In 1928, he put on a one-man show that was sponsored by the Chicago Women's Club. He eventually moved to New York City, locating his studio in Greenwich Village and creating art - and socializing - with central figures of the Harlem Renaissance, including Langston Hughes, Alain Locke, Augusta Savage, and Carl Van Vechten. While he rejected the circumscription of his art within racial boundaries, his most well-regarded work had a strong racial content. Feral Benga and African Dancer, the latter of which was purchased by the Whitney Museum of American Art, celebrated the black body and African culture, while The Mother contemplated the horrors of lynching. Of particular inspiration to Barthé's art was the black male body, a reflection of his comfort with his homosexuality, according to one of the foremost scholars of Barthé.
Barthé continued to create sculpture well into the 1960s, some of which was commissioned as public art. He sculpted an American eagle for the Social Security Building in Washington, D.C. and a bas-relief for the Harlem River Housing Project. In 1949, the Haitian government commissioned him to create monuments to the revolutionary leaders Toussaint L'Overture and Jean Jacques Dessalines in Port-au-Prince. In addition to spending time in Haiti, Barthé lived in Jamaica before returning to the United States and settling in southern California. He died in 1989.
Website:
Richmond Barthé Exhibition: Harlem Renaissance Sculptor
(Click The Image Above To View Exhibit)
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 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.
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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
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About The BMX- Baltimore Chapter...
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.
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BMX Mission Statement 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...
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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