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The BMX- NY Gatekeepers  e-Newsletter

FEBRUARY  3rd, 2012
Black Men's Xchange-National
  The BMX-New York Chapter
~ Celebrating 10 YEARS ~
December 2002 - December 2012

BMX-NY - Celebrating X Years



 
In This Week's Gatekeepers Issue
This Friday's BMX-NY Topic:
FREAKY-DIKY - Decriminalizing Homo-sex: Dialogue with Formerly Incarcerated Brothers
Friday Forum Recap (01|20|12): PERCEPTIONS OF MY BROTHER: A Conversation Among African Americans, Africans & Afri-Caribbean Men
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

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:
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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, February  3rd, 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,  February 3rd,  2012  

 

FREAKY-DIKY - Decriminalizing Homo-sex:

Dialogue with Formerly Incarcerated Brothers

 

Facilitated by JM Green  

                   

Black Man's Bars (Jail)

What happens when we accept that men in prisons have sex - with each other?


Are 'Vegas rules' about sex in the lock-up a good thing?


Does love live among Brothers in prison? If not, what's there instead? If so, what happens to that love when they leave and come back to "the real world?"

Incarcerated Black Men 

Does desiring another Brother automatically make one a non-man?


Which is the truer mark of manhood, how a man loves, or how a man has the courage to honor how he loves?


Do we have the power to redefine manhood? Should we?


How can we make it safe to be sexually fully present and accounted for in the Black community?
 


 
 

 

 

 

 

Friday  Forum  Recap

(BMX- NY  Topic  Hi- lites  From  Friday,  January  20th,  2012) 

 

PERCEPTIONS OF MY BROTHER:

A Conversation Among African Americans,

Africans & Afri-Caribbean Men   


Facilitated by JM Green     

 

 

In the latest BMX-NY dialogue forty-plus Brothers representing more than twenty geographic regions including: Ghana (West Africa), Cape Verde (West Africa), Brazil, Jamaica, Haiti, Montserrat, Michigan, Ohio, Tennessee, New Orleans, Missouri, Virgin Islands, Milwaukee, Barbados, Trinidad, South Carolina (Gullah Islands), Georgia, Jersey City, the Bronx, Brooklyn, and Harlem considered our cross-cultural perspectives about each other through the following lenses:   

 

 

What role do geography, national origin and shared historical events play in how we identify?


"When Henry Louis Gates did Black in Latin America, it was so shocking to see Blacks with the same pigment identifying differently...Yes, geography, national origin and shared history do play a role in the way we identify..."


{Facilitator asks, "Do you have any sense as to why that may be the case?..."}


"Because white supremacy has chosen to separate us [to control us]..."


"This question dates back to the African slave trade when they went to Africa [ostensibly] to do missionary work, and took some Africans back to England and Europe to do slave work...In the late sixteen hundreds when they were taking Africans to the Caribbean for 'seasoning' before bringing them to America...Then, there were revolutions in the Caribbean...In Jefferson's time...[and they began] separating us in terms of shade, young from old, etc..."


"Growing up in Riverhead, we worked on the farms...Even though the whites saw themselves as better...Here in the city you all have so much culture...[But] they were nasty to me...They called me an Uncle Tom...I'm new to all this...I'm just now acknowledging...my sexuality...I don't even know what Diasporan means..."


"[Diaspora refers to the fact that] Out of Mother Africa we are now everywhere [in the world]...Regarding the role of geography, I think there's a great desire for unity that expresses itself in many ways...I'm Jamaican, but I love soul food...I seek it out...I work downtown...I purposely won't eat at lunchtime and save my money and come uptown to eat at Black-owned restaurants...We go to each others' festivals...Listen to each others' musics..."


"[Your remarks about] Eastern Long Island went right past me...You talked about having missed out on the culture we have here in the city... You grew up alongside working class Whites...I'm from Detroit...It's not just origins, it's also class...[Bearing that in mind] geography plays an important part even on these shores..."


"I identify as Jamaican...Where you're born can impact how you identify your freedom...The history of your people...How we identify can be different than what you're called..."


""I was thinking about being blessed through different jobs to travel... [When I started travelling] I thought I would feel different within Black power structures...But, I didn't...I remember visiting West Africa and people saying, 'You're African but you grew up in White folks' house, so, you're really more White...I had similar conversations in Martinique and I said, 'So let's get this straight...Y'all didn't get here in a ship?'... Now, I'm polite...until I come up against the stereotypes that others have of African Americans...And, how much they're true...Returning to America, they ask...'Do you speak English?'...I liked that...[that they couldn't tell where I was from] I felt as if we are all one...'How many degrees do you have?...How many languages do you speak?..."


"One of the reasons I came here was to learn how it is to be Black in America...In my country I was always told that African Americans were very violent...I remember the first time I saw a Black family on TV, it was The Fresh Prince of Bellaire...It was very strange to me...I went to a symposium on Brazilian culture at NYU...I talked to a professor about how [Brazil is] developing opportunities [for Blacks]...  [He suggested that] it's not going to change...I said we have to learn more African American history...[About] how they stood and fought for their rights...[When I came here] I was uneasy to be called Black...It was like an insult...Like the 'n' word...There's a movement in Brazil now for affirmative action...They're saying it won't change anything...We'll see..."


"I only had to identify as Black when I got here...I always felt Black was limiting...So, geography really does have a lot to do with it...Think about [the] Guyanese...They're South American, but they identify as Caribbean...We're transplants, but we're forced to identify as the same...Africans are very proud of all that makes them African...I played an African in A Raisin in the Sun and had to learn [a] dialect and all the inflections...Some Africans still criticized my accent...Other [Americans] who didn't know the difference thought I was convincing...Geography has made us different...Western man has a way of limiting us...[It's an extension] of our slavery narrative...Like Red Tails...the trouble [they had] getting it distributed..." 


{Facilitator asks, "Do you have any sense as to how Western man is limiting to us or why?..."}


"Why?...Because we are not them...They're bound not to in vest in our salvation...We have to do it...We have to use the same strategies as our ancestors to get ahead..."

 


Is it important to know African American History as a Diasporan countryman?


"It's very important to know our history...My people are from Montserrat...When I see a Black person get a house...I see us getting a house...It has to be recognized...[Otherwise] I start to beat up on myself if I am not successful like they are...What I've learned from studying African American History is that there are struggles on both sides...[For not knowing the history] I hear Caribbean Americans using the 'n-word' now...I take on these ideas are toxic to my well-being..."


"[Knowing African American History] is very important...Just as every place has it's own history...Without knowing history there can be misunderstandings...Statistically, when people come from the Caribbean, after five years, they're doing better than average African Americans...It's important to understand because we're all in the same boat..."


"It's important to know what African American History we're talking about...Are we talking about Frederick Douglass and Rosa Parks to make ourselves feel better?...Or, are we talking about oppression?...What people did to be happy [in the midst of the horrors we lived through?]...What people did to survive...Are we talking about Post Traumatic Slave Syndrome?..."


{Facilitator says, "African American History is all of those things...It is the sheroes and heroes who, for challenging our oppression, facilitated our transcendence of those forces...It is the things we did to be happy...And the extent to which the things we did to be happy worked and didn't work...Post Traumatic Slave Syndrome is real...which means that, from one to the next of us sitting here, we are operating from different levels of woundedness... African American History is connected to all African Diasporan History...That is, what happened to us here happened to us throughout the Diaspora...perhaps only the degrees of oppression were different...But, it is only as we understand that stuff that we can acknowledge that we have sustained wounds and begin the process of salving and healing the wounds so that we can strategize empowerment strategies that can actually work..."}


"[In Brazil] We didn't identify as Black because it's the meaning of everything bad...It's taken time, but I understand the difference now..."


"[Understanding African American History] is important...I remember my grandmother  used to have conversations I couldn't understand...She was a Geechie...The movie, Daughters of the Dust woke me up to this culture...They have their own traditions...I watched it over and over again...My grandmother used to have dialogues... I used to ask her, 'Why are you not speaking English?'...She had to sit me down and tell me I was from Africa and about slavery...And [how] we've lost those African traditions [through] Americanized thinking..."


"It's important not just to know African American History, but to know that the origins of all history began in Africa...the place where civilization started...I was taught about Frederick Douglass and Civil Rights [struggles]...[But] Until I started reading Africentric books I didn't realize that our history extends thousands of years beyond [our bearings in] the Diaspora..."

 


What happens when we attach SGL to African or Afro-Caribbean?


"It seems like we disappear when you add [same gender loving]...Had I not had the BMX experience I wouldn't believe the two could be in the same body...Being in the Caribbean, you only existed as gossip at the dinner table...When I was a boy, I had a cousin [who] said [to me] 'Don't hold your hands like that!...They'll [brand] you a [homo]...I had a female cousin who was SGL...My aunt said, 'I don't care if [she] lives or dies' when she first learned that she was SGL..."


"When I was coming up I was taught to be masculine...I've been running away from this...I had to leave home because I didn't want to embarrass you...I grew up apologizing for being..."

 

 

Does White supremacy differentiate between our different identities?


"I met some of my Panamanian cousins...[About identifying as Black] One of them said, 'I'm nobody's slave'...This whole Latino thing is a farce...a [device] to separate us...I wasn't connected to African American culture...I was a little disillusioned...misguided...thinking I was different...we're Jamaican...'We don't have that history'...It was never said outright, but there was an underlying current..."


"You in South Carolina learning [American] history which isn't Black...Your class goes on a trip to Charleston to the slave market...It was eerie... you could feel the presence of the slaves...and we started asking all these questions that weren't in the curriculum...And the teachers took it upon themselves to [start] teach[ing] us African American History..."


{Facilitator says, "Thank heaven for childhood inquisitiveness...That's what critical thinking is about...Last week Jett facilitated a dialogue about our education, and screened a short film about changing educational paradigms in which the narrator discussed a construct called Divergent Thinking...which basically involves the capacity to conceive a multiplicity of answers to a question...The theory goes, a person with great divergent thinking capacity is a genius...So, they conducted a study with children at five-year intervals, starting when the children were five...95% of the five-year-olds had extraordinary divergent thinking capacity...Five years later, about 80%...five years after that, only 50%...So that, the system of education we are learning in is designed to train us not to question our circumstances..."}


"If I say I'm free, I can't use the language of oppression to describe that freedom..."


"More and more as I disclose...[when] they ask me, 'Are you gay?'...I say, 'I'm same gender loving'...I get into fiery discussions...They accuse me of semantics...I'm still learning...I say, 'I wasn't in the room when they coined the term gay, but I'm betting no African Americans were there, so, the term doesn't really have anything to do with me'...My Christian friends think there's still hope for me..."  

[Laughter...]


{Facilitator asks, "Why do you think your friends might want to dismiss your identification as 'semantics?'"...}


"I don't know..."  


{Facilitator asks, "Does anyone else know?..."}...{"It's because the gay liberation movement has been so successful in branding it that the term gay is ubiquitous...that is, it permeates the social and cultural fabric of society...so much so, in fact, that many people think the term gay is synonymous with homosexual..."}


"What do you mean?..."


{Facilitator says, "Gay is a social construct...like race...or, Colored, or, White...or, Negro, or, African American...Homosexual is a clinical term which describes biological wiring or sexual inclination...But, the gay liberation movement has been so successful in their branding of gay as a social construct that it has become part of the white supremacist hegemony...or psychological control...any homosexual who identifies their sexuality differently must necessarily be running from who they really are...That is, if you're not who I say you are, then you don't really exist..."}

 


How can we build solidarity across our differences?  Should we?  Why?


"We should build solidarity because the differences don't outweigh the similarities...There are all these theories that have been advanced...African Americans are lazy...Well, what have they done...Everything African Americans have acquired they have acquired through blood, sweat and tears...Nothing was given to them...For Afro-Caribbeans, that is the case too...We're all the same...That's Europeans trying to separate us...A house divided cannot stand..."


"We were taught that gay was a white thing...visited upon us by Whites...That there was no gay in Africa before Whites..."


{Facilitator says, "In fact, that is true...There was no 'gay' in Africa before Whites...Now, as for 'homosexuality'...that may be an entirely different story..."}  [Laughter...]


"Part of the challenge is in deconstructing the myth that there was no homosexuality in Africa prior to colonization..."


"Portia Simpson Miller...the first female Prime Minister of Jamaica...has declared that she will have homosexuals in her cabinet..."


"I went to Jamaica last October and something I noticed was that there was a certain tenderness among the men that isn't present here...Regarding being SGL and Afri-Caribbean...I'm gonna' claim all of who I am...I have the freedom to honor all of my experiences...It all comes together with me..." 

 

 

 






 

 

 

 

Upcoming  Topics:  BMX- NY  2012  Winter  Calendar          

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


Friday, February 10th, 2012  
I Am Who I Say I Am: Trans Sisters
(Facilitated by L. Jett Wilson)


Friday, February 17th, 2012 

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


Friday, February 24th, 2012 
Black in Latin America  - The D.R. & Haiti - documentary film screening
(Facilitated by JM Green)


Friday, March 2nd, 2012
Youth Speak - Open Mic/Spoken Word Event
(Facilitated by JM Green)


Friday, March 9th, 2012
Sex Talk with Kyle
(Facilitated by Kyle Doyle)



        

 

 

 

 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.

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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)... 

 

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