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The BMX- NY Gatekeepers  e-Newsletter

JANUARY  13th, 2012
Black Men's Xchange-National

 
In This Week's Gatekeepers Issue
This Friday's BMX-NY Topic:
Speaking the Unspeakable: Having Voice in the Black Community and Beyond
Friday Forum Recap (12|23|11): "AM I ALL THAT I OUGHT TO BE?" - A Kawaida Kwanzaa Primer
Upcoming Topics: BMX- NY 2012 Winter Calendar
Community Corner Announcements
SGL Black Heroes:
Countee Cullen
The Bawabisi SGL Symbol
About The BMX-NY 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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Contact Us

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730 Riverside Drive
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Email:
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Phone: 212-283-0219

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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, January 13th, 2012.


 

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- NY  Topic  For  This  Friday,  January  13th,  2012  

 

Education and Black Men: Moving Forward

          

Facilitated by L. Jett Wilson      

                  


While it's true that 'college isn't for everyone,' what is education for?
 

How would you characterize your educational experience, historically?
 

What, if anything, should SGL youth be taught to prepare them for success?
 

Have you ever thought about going back to school?  If so, what, if anything, has stood in the way?
 

How is sexual diversity currently navigated in schools?
 

Mis-Education of the Negro
If you believe "Mis-education of the Negro" is real, why would you ever go back?
 

What, if anything, might you like to know more about, or be more accomplished at?
 


Is there anything you could learn that might help you to be a freer, more empowered same gender loving man?
 

Are you where you want to be career-wise?



         

  

 

 

Friday  Forum  Recap

(BMX- NY  Topic  Hi- lites  From  Friday,  January  6th,  2012) 

 

 

Speaking the Unspeakable:

Having Voice in the Black Community and Beyond

 

   

Facilitated by JM Green   

 

Evan Reid

 

 

In the first forum of 2012, the Black men of The Black Men's Xchange-New York took personal and collective inventory of their voice in the following deliberations:  

 

 

What have you said or done recently that you might not have a year ago?


"It's like I'm more verbal about who I am...I'm proud of who I am...My family says, 'Why do you have to tell everybody?'...Now, it's like a natural part of who I am..."


"I was recently looking for an apartment, and talking to a woman who [at one point,] I asked  why she wasn't married...[She thought I was interested in her] and I said, 'No, I play for the other team'...Having voice, and being free like that, and not censoring myself was something I wouldn't have done a year ago...The more I use my voice, not censoring myself, the fewer consequences there are...I have my own internalized fear...The more I do what I want to do, I'm living for me and not for them..."

 


What does it mean to have a voice?


"What did the Planners have in mind when they came up with the term, 'voice?'..."


{Facilitator says, "The Planners were thinking about personal and collective agency...or, as this gentleman put it, "being free"...having a sense of empowerment that translates into the capacity to speak and act on behalf of one's self and one's fellows...There is risk involved, so, it also involves courage...usually to say something that extends beyond, or which challenges the norm..."}


"Having voice is having power...I'm having a tough time now...I'm looking for an apartment...I get some assistance from the state...I feel confident enough to articulate what I want, but, finding he right ears [to hear what I'm saying is proving challenging]..."


"[Having voice is] having the power to change someone else's life...I never thought of myself as a Leader...but people around me tell me they see it in me...Having voice is being heard...I'm very outspoken...I'm loud...Having voice means I have something to say that can be uplifting, enlightening, life-changing...and [creating] a platform to use it...My writing is [becoming] my platform..."


"[Having voice is] a choice, and an opinion that is expressed...A year ago...me and [my man]...we kiss openly...[Recently] we went to Baltimore...We were kissing in the Black Wax Museum, and people were scared that we would be attacked...Then we went to the seaport, and were kissing there...That's something I wouldn't have done a year ago...It's my choice, my opinion and my expression..."

 


What's the connection between having voice and fulfillment?


"The voice and fulfillment question stuck out to me because I'm finding my voice and I'm unfulfilled in a number of ways...I know that I have voice...[that is] I give voice to my feelings and thoughts...Thanks to BMX, I can speak about my sexuality...I just spent the last four years paying down a whole lot of debt...[For doing that] it feels like I have more voice [too]..."


"I lost what I thought was a wonderful friend by saying who I am over the last year..."


"When I'm on the subway, I like to cruise...the kind of person I'm looking for would be turned off by what they [the kissing couple] do...I consider myself Down Low...We need to establish some benchmarks for how we respect each other..."


{Facilitator says, "What we're doing is both measuring and establishing benchmarks for how we respect ourselves and each other..."}


"Having fulfillment is sharing the things I'm happy about...and [that] I'm not happy about...Where I don't voice what's going on with me, it festers...Where I do, it allows me to move forward...It gives me an opportunity to create a safe space for myself...It's having a process for me to use my voice...It helps me to identify the insanity in my head...[the lies]..."


{Facilitator says, "That's a brilliant gem...Where I use my voice..."It allows me to move forward...[it] gives me an opportunity to create safe space for myself"...So that, having voice involves taking care of one's self...respecting one's self...acknowledgment of one's worth..."}  

 


What happens when you show up as you?


"When I show up as me...I had a friend who [when I told] I was gay...he just left me...I decided to come out in drag...I knew he worked down on Jay Street...So, I dressed in drag and went down to Jay Street...Every time he saw me, he just ran...He thought I was straight...and, I dressed in drag just to impress him..."


{Facilitator asks, "If your dressing in drag was just to impress your friend, was that really an example of you having voice?..."}    "Yes, because I was being who I really was..."


"As we learn to have our voice, we're not going to be accepted by the people who accepted us when we didn't have voice...The people we hung out with before would not hang out with us now...This year, I was open in school and doing all these outreaches...all these Prides...Now my friends know [about my sexuality]...All that's left [for me to tell] is my family......"


"I was in an unsafe place with some friends in the hood in Brooklyn...late at night...We went into a store and some boys from the corner came up and said, 'something, something, something, faggot'...My impulse was to run...Everyone [who knows me] knows that I ain't got no knuckle game...But, from being in environments like this, the first thing that came out of my mouth was, "Leave the fags alone"...I wanted to look and see who that came from...The next thing I knew, the boys just went on about their business...They left!...We were amazed...Being in environments like this, I'm becoming more transparent...My voice is finding new levels...new dimensions..."

 


Are you able to stand up for your rights as a same gender loving Man?


"I know that I have rights as a same gender loving man...[and] I can stand up for my rights as an SGL man to a certain extent..."


"I saw a film [in which] there was a bull that was protecting a calf...the bull was surrounded by eight or nine lions...The lions circled the bull...Those lions did not attack...One by one they got tired out...The bull stood its ground...If we stand up for our rights...Trust me...People will be in a stupor...If that bull stands its ground, people will respect it...My mother told me, 'If you're going to build a house, build a palace"..."


"Voice is never separated from context...It's one thing to have voice and use it to create a safe space...In another place...like Zimbabwe...it can get you killed...I live at 225th Street in the Bronx...at the foot of the hill by the subway is a mosque...[One day] there were two girls making out with each other [outside the mosque] near the entrance to the train station when the children were coming out of school...the Imam walked over to them and told them, 'I have nothing against how you love, but, can you not do it here in front of our place of worship where I'm trying to teach them not to do what you're doing?'..."


"Those girls have as much right to express their love and affection in front of a church as any hetero people do...If I was pulling out my genitals, that's another story...that's completely unacceptable...But, as long as they're being loving, if the church has a problem with it, maybe something's wrong with the church..."


"I've a friend I used to go out with...He always said [about open expressions of affection,] 'I don't do that'...'They don't need to know'...'I have a right to be myself in private'...Every heterosexual [couple] who kiss on a train platform don't check with me to see if I mind...I've been same gender loving for so long...I notice that White gays seem to have no problem with expressing affection for each other...They've a sense of entitlement [about it]...We need to have a sense of entitlement [too]..."


{Facilitator says, "There's a construct there which lies at the core of this notion of having voice...Did you catch it?...Having voice means operating from a sense of entitlement which impels me to honor and respect my natural inclination..."}


"When I was growing up, I used to hang out with my friend in the projects in Detroit, where they used to say, 'Homos,'...Everyone knew about me, but nobody said anything...My friend came to New York to visit and he was supposed to come [here] to the meeting with me, and he missed it...When he got back to Detroit, he called, and he was whispering...He's a record mogul...a powerful, multi-millionaire...I said, 'Why are you whispering?'...[He said,] 'My mother's here'...He was in his own house...I lost so much respect for him in that moment...It's that project [mentality]...I was hanging with some friends recently and one had just come home from jail...And he started saying, 'He's a homo' [about me]...Every time I looked up, I could hear him saying, 'He's a homo'...Finally, I said, 'Being in jail for ten years, people act like they've never touched a man's penis, or had a man's penis touch them!'...He stopped..."


"In response to the question about, what does it mean to have a voice?...I wrote...My voice is very important to the extent that [I] not settle for hatred, killing, murders, but be the opposite...Build a community...Set a moral standard...It starts with me..."


"I apologize to both of you [kissing couple]...I was ashamed to walk down the street with the two of you...I live in Bed Stuy...SGL people are targets [there]...I now respect you ...Thank you..."


"If I don't stand up for myself, who will?...I come out of my house looking like c_ nt...There are a lot of thugs around...I find that when I'm comfortable with me, nobody bothers me...The same way my brothers, my sister and my mother won't stick up for me, I learned, if I don't stick up for me, who will?..."  


{Facilitator says, "Although, from time to time, there may appear someone who is grounded and self-respecting and self-loving enough to take your part, more often, your assertion that, 'If I don't stick up for me who will?' has powerful resonance...I want ask what you mean when you say you 'come out of the house, looking like c_ nt?'"}    


"You know, with my hair done...very tight pants...giving you all that..."     

 
{Facilitator says, "Gotcha...Okay, well, if you will, I want you to consider that, part of sticking up for one's self involves affirming one's self... including my alignment in my female energy...Is the term, 'c_nt' a celebration or affirmation of that energy?..."}  


"No..."   


{Facilitator says, "There you go... 'C_nt' and 'thug' are the ways we've been taught to think of ourselves and each other to keep us from having voice...All of your uniqueness deserves affirmation...and, as someone else said, 'It starts with me'..."}


"My voice is very important...I peer mentor a lot of kids...You don't know what people are going through...This one guy called me asking for advice...He was contemplating suicide...I was his lifeline...If I weren't there...I'm glad to say that a lot of kids that I mentor don't want to commit suicide any more...When they call you at two in the morning...[I realize that my voice is important]..."


"He's right...Just sitting around listening to people's stories...Back in the day, I seen a hoe as a hoe...But, hearing their stories, you hear why they do it...They have no place to stay...or, they were raped as a child and they feel like [sex] is the only thing they're good at..."


"I used to do the 'DL' thing for a while...I find that it limits me to being a sexual being...It's taken me a long time to get to this place...I created chaos instead of love...I realized I wasn't living a full life...I was [only] a sexual being...I looked back and saw all the wreckage [I'd wrought]...Especially where there were people who were trying to love me...Heteros already assume that all we're about is fucking...So, it's very important for them to see this [SGL men loving each other]...For young SGLs to see this...I find it interesting that White SGLs... Talk about entitlement...They expect us to look at them...In fact, I think they get indignant if you don't notice them...It's extremely important to see this in front of us here...Outside [in the world]...In the movies...[Speaking of which] I no longer leave the seat in the middle [between myself and the man I'm with]...It's very important [that] we be whole human beings..." 

 



 

 

 

 

 

 

Upcoming  Topics:  BMX- NY  2012  Winter  Calendar          
 
(PLEASE NOTE THAT TOPICS ARE SUBJECT TO CHANGE; 
WEEKLY E-NEWSLETTERS WILL REFLECT ANY NEW CHANGES) 



Friday, January 20th, 2012
PERCEPTIONS OF MY BROTHER: A Conversation Among African-Americans, Africans and Afro-Caribbean Men
(Facilitated by JM Green)
 


Friday, January 27th, 2012 
"Staying Fit for the Game" Health and Wellness
(Facilitated by Tommie Thompson)
 


Friday, February 3rd, 2012 
I Am Who I Say I Am: Trans Sisters
(Facilitated by L. Jett Wilson)
 


Saturday, February 4th & Sunday, February 5th, 2012
 
CTCA {Critical Thinking, Cultural Affirmation} LEADERSHIP TRAINING Retreat
(Facilitated by Cleo Manago)
 
(TIMES TO BE ANNOUNCED SHORTLY) 


Friday, February 10th, 2012
Black in Latin America  - The D.R. & Haiti - documentary film screening
(Facilitated by JM Green


Friday, February 17th, 2012
Post-Blackness:  What is it?  Is it Compatible with SGL Values?
(Facilitated by L. Jett Wilson & Clark Jackson)



 

    

 

 

 

 Community  Corner  Announcements


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SGL  Black  Heroes 

Countee Cullen  (1903  -  1946) 

 

 Countee Cullen 2

  

Cullen was an American poet and a leading figure with Langston Hughes in the Harlem Renaissance. This 1920s artistic movement produced the first large body of work in the United States written by African Americans. However, Cullen considered poetry raceless, although his 'The Black Christ' took a racial theme, lynching of a black youth for a crime he did not commit.
Yet Do I Marvel

Countee Cullen 1As a schoolboy, Cullen won a city-wide poetry contest and saw his winning stanzas widely reprinted. With the help of Reverend Cullen, he attended the prestigious De Witt Clinton High School in Manhattan. After graduating, he entered New York University (NYU), where his works attracted critical attention. Cullen's first collection of poems, Color (1925), was published in the same year he graduated from NYU. Written in a careful, traditional style, the work celebrated black beauty and deplored the effects of racism. The book included "Heritage" and "Incident", probably his most famous poems. "Yet Do I Marvel", about racial identity and injustice, showed the influence of the literary expression of William Wordsworth and William Blake, but its subject was far from the world of their Romantic sonnets. The poet accepts that there is God, and "God is good, well-meaning, kind", but he finds a contradiction of his own plight in a racist society: he is black and a poet.

Cullen's Color was a landmark of the Harlem Renaissance. The movement was centered in the cosmopolitan community of Harlem, in New York City. During the 1920s, a fresh generation of writers emerged, although a few were Harlem-born. Other leading figures included Alain Locke (The New Negro, 1925), James Weldon Johnson (Black Manhattan, 1930), Claude McKay (Home to Harlem, 1928), Langston Hughes (The Weary Blues, 1926), Zora Neale Hurston (Jonah's Gourd Vine, 1934), Wallace Thurman (Harlem: A Melodrama of Negro Life, 1929), Jean Toomer (Cane, 1923) and Arna Bontemps (Black Thunder, 1935). The movement was accelerated by grants and scholarships and supported by such white writers as Carl Van Vechten.

A brilliant student, Cullen graduated from New York University Phi Beta Kappa. He attended Harvard, earning his masters degree in 1926. He worked as assistant editor for Opportunity magazine, where his column, "The Dark Tower", increased his literary reputation. Cullen's poetry collections The Ballad of the Brown Girl (1927) and Copper Sun (1927) explored similar themes as Color, but they were not so well received. Cullen's Guggenheim Fellowship of 1928 enabled him to study and write abroad. He met Nina Yolande Du Bois, daughter of W.E.B. DuBois, the leading black intellectual. At that time Yolande was involved romantically with a popular band leader. Between the years 1928 and 1934, Cullen travelled back and forth between France and the United States.

By 1929 Cullen had published four volumes of poetry. The title poem of The Black Christ and Other Poems (1929) was criticized for the use of Christian religious imagery - Cullen compared the lynching of a black man to the crucification of Jesus.

As well as writing books himself, Cullen promoted the work of other black writers. But in the late 1920s Cullen's reputation as a poet waned. In 1932 appeared his only novel, One Way to Heaven, a social comedy of lower-class blacks and the bourgeoisie in New York City. From 1934 until the end of his life, he taught English, French, and creative writing at Frederick Douglass Junior High School in New York City. During this period, he also wrote two works for young readers, The Lost Zoo (1940), poems about the animals who perished in the Flood, and My Lives and How I Lost Them, an autobiography of his cat. In the last years of his life, Cullen wrote mostly for the theatre. He worked with Arna Bontemps to adapt his 1931 novel, God Sends Sunday into St. Louis Woman (1946, publ. 1971) for the musical stage. Its score was composed by Harold Arlen and Johnny Mercer, both white. The Broadway musical, set in poor black neighborhood in St. Louis, was criticized by black intellectuals for creating a negative image of black Americans. Cullen also translated the Greek tragedy Medea by Euripides, which was published in 1935 as The Medea and Some Poems with a collection of sonnets and short lyrics.  

 

 

Poetry  

"I Have a Rendezvous With Life" (1920s, poem)

Color Harper & brothers, 1925; Ayer, 1993, ISBN 9780881431551 [includes the poems "Incident," "Near White," "Heritage," and others], illustrations by Charles Cullen      

Copper Sun, Harper & brothers, 1927


The Ballad of the Brown Girl Harper & Brothers, 1927, illustrations by Charles Cullen    

The Black Christ and Other Poems, Harper & brothers, 1929, illustrations by Charles Cullen     

Tableau (1925)    

One way to heaven, Harper & brothers, 1932    

 Any Human to Another (1934)     

The Medea and Some Other Poems (1935)     

The lost zoo, Harper & brothers, 1940, Illustrations by Charles Sebree    

My lives and how I lost them, Harper & Brothers Publishers, 1942    

On These I Stand: An Anthology of the Best Poems of Countee Cullen, Harper & Brothers Publishers, 1947     

My Soul's High Song: The Collected Writings of Countee Cullen (1991)      

Countee Cullen: Collected Poems, Library of America, 2011, ISBN 9781598530834 

 

 

Prose
One Way to Heaven (1931)    

The Lost Zoo (1940)     

My Lives and How I Lost Them (1942) 

 

 

Drama
 St. Louis Woman (1946)

 

 

 

 






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 

 



BMX  Mission  Statement

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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...  

 

   

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