Throughout U.S. history, these two groups have shared significant struggles, from the fight against enslavement and colonialism to the ongoing battle for justice and recognition. By reflecting on their intertwined histories, we can better understand the resilience that has shaped both communities.

The histories of Native Americans and Black Americans have shared experiences of displacement, oppression, and resistance. Although often viewed separately in mainstream narratives, their connections date back centuries and reflect a common struggle in the face of colonialism and systemic racism.

The first encounters between Native Americans and Black Americans in North America occurred in the early 17th century, as the transatlantic slave trade brought millions of Africans to the Americas. While some Black people were enslaved, others, particularly those who escaped, sought refuge with Indigenous nations. These runaways, often referred to as maroons, found support and solidarity in Native American communities, where they were sometimes accepted and integrated into the societies of various tribes.

In the southeastern United States, the Creek, Seminole, and Cherokee nations formed alliances with runaway enslaved people, offering them protection in exchange for military support and cooperation in trade. Black people often intermarried with Native people, adopting their customs, languages, and social structures. Over time, many of them and their descendants became part of a new, cultural identity: Black Indians.

The Seminole Nation in Florida, in particular, is a notable example of this historical alliance. The Seminoles became one of the few Native American nations to actively resist removal during the 1830s, when the U.S. government began forcibly relocating Native peoples to the West. Black Seminoles fought alongside Native Seminoles in the Second Seminole War (1835–1842), creating a long-standing bond between the two communities.

After the Civil War, the relationship between Native Americans and Black Americans continued to evolve. The Reconstruction period brought a new sense of hope for Black Americans, but it also marked a time of turmoil for Native communities, as they faced pressure from the U.S. government to surrender their land and rights.

Many Black Americans, largely from the South, continued to forge ties with Native nations. In the post-emancipation era, former enslaved people sometimes found work and shelter in Native communities, particularly those that had adopted Black refugees.

The presence of Black people in Native nations was not always accepted. In some cases, Native groups wanted to maintain their racial and cultural purity and distanced themselves from Black people. This was evident after the Civil War when certain tribes were pressured by the U.S. government to sign treaties that would reduce their sovereignty and force them to accept Black citizenship within their borders.

The Cherokee, Chickasaw, Choctaw, and Creek nations, known collectively as the “Five Civilized Tribes,” signed treaties with the U.S. government that recognized the right of freed Black people to live within their territories, but only under certain conditions. Many were descendants of Black enslaved people who had been owned by Native Americans prior to the Civil War. Over time, these freedmen often found themselves marginalized within Native communities.

This time of year, it always widens my eyes even more to the fact that Thanksgiving is deeply complicated. Traditionally, Thanksgiving is celebrated as a time of harvest and gratitude, symbolized by the story of the Pilgrims and the Wampanoag people coming together in 1621. However, for Native Americans, this narrative severely glosses over the centuries of violence and colonization, as Europeans stole Indigenous lands and decimated Native populations.

For Black people, Thanksgiving also carries a painful history. While it is not directly tied to the experiences of slavery, the holiday falls within a broader context of systemic racism and oppression. For enslaved Black people and their descendants, the story of Thanksgiving contrasts with the lived reality of exploitation and dehumanization on plantations.

The histories of Native Americans and Black Americans are linked, as both communities have been subjected to systemic injustice and marginalization since the arrival of European colonizers. For Native Americans, this time of year symbolizes a reminder of the beginning of the end of their way of life. For Black Americans, it can serve as a reminder of the broader struggles for freedom and equality that persist today.

While the relationship between Native Americans and Black Americans has been complex, both groups have shared experiences of segregation, and most importantly, cultural erasure. Both have been subjected to the brutal realities of American slavery. These similar histories of trauma have created deep-rooted empathy that makes us stronger.

The history between Native Americans and Black Americans is one of conflict but also cooperation. It is shaped by colonization, slavery, and racism. As both groups continue to assert their rights and demand recognition, our shared history provides a powerful foundation for collaboration and mutual understanding in the ongoing fight for reparative justice.

The post Celebrating Native American Heritage Month: Exploring the Ties Between Native Americans and Black Americans appeared first on Black Girl Nerds.

Even with the never-ending battle of which is better, East Coast or West Coast rap, many Blacks in the United States have this unspoken connection. 

However, this unity among Blackness can be limited to US borders. This limitation became more apparent while listening to a podcast Black Stories Black Truths, which gave me a new perspective on identity and Black culture. I became more aware that the commonalities that many Black Americans share don’t always exist with Black immigrants within the United States. 

In the podcast, several Black immigrants spoke about their transition into America and their abrupt introduction to Black American culture. After listening to the episode titled “I didn’t know I was Black until I came to this country,” I questioned how the concept of Blackness has been used to divide and unite Black people throughout the diaspora. In addition, it made me see the importance of Black people coming together despite cultural differences. 

Learning from the perspective of African immigrants in the United States

When I think of Black people in the United States, thoughts of Southern hospitality and hip-hop culture come to mind. Likewise, when I think of immigrants, I don’t necessarily think of Africans coming to the United States. Yet a Pew Research study showed that 1 out of 10 Black Americans are African immigrants.

Unlike immigrants from other cultures, Africans who have immigrated to the United States face a unique experience. Because of Africans’ dark skin color, there is a double layer of expectation and assumption. 

African immigrants are often expected to assimilate into Black American culture without knowing much about Black American lingo and social norms and little about Black history. For instance, one immigrant on the podcast admitted not knowing who Martin Luther King Jr. was simply because it wasn’t taught in her African schools.

Every immigrant coming to the United States carries the expectation to in some way assimilate into the larger American culture. African immigrants face the uncomfortable choice of trying to assimilate to Black culture or not assimilating and identifying more with their African culture to separate themselves from Black American culture.

Why would an African immigrant create this separation of culture? The simple answer is racism. Being a Black American means there is a higher chance you will receive more mistreatment because you are Black.

The divide between African immigrants and Black Americans

On social media, I have occasionally come across what is known as the diaspora wars. According to the National Black Cultural Information Trust, the diaspora wars can be described as cross-cultural arguments in which different people of African heritage or background dislike one another for various reasons. 

These wars, although rooted in white supremacy, have caused great misunderstanding and misperceptions of a variety of Black cultures across the world. For instance, due to limited media coverage, Black Americans often know little about the recent conflicts in countries such as Sudan or South Africa. The same could be said for the Africans not knowing about the water crisis in Michigan and Mississippi.

Because of the misinformation and lack of information in the mainstream media, social media can often spread false narratives that further divide Black Americans from Africans or other people of African descent worldwide. Thus, Black people worldwide must focus on what connects and strengthens us. 

Bridging our cultural gaps

I believe three main things connect Black Americans with Africans and those of African descent. The three things are food, music, and dance.

Our food

As highlighted in an article on Feathers and Whiskey, no matter the dish’s name, there are common ingredients between Southern Black American cuisine and African cuisine. When brought to the United States, enslavers stripped enslaved Africans of their African culture. Yet their culture was reborn through food. Many Southern dishes use staple African ingredients such as black-eyed peas, collard greens, watermelon, okra, and yams. 

Our music 

Black Americans held onto their music despite threats of having their hands cut off if they played traditional African instruments. They created spirituals, music with their hands, and jazz music. Music has often been this unspoken language of influence between Africans and Black Americans — something very evident in the new African music craze Amapiano, which is heavily influenced by jazz music.  

Our dance

From music, dance naturally evolved. Dance is an art form that plays ping pong between African culture and Black American culture. Thanks to pioneers such as Pearl Primus, who brought African dances back to the United States, and the streaming of dance craves worldwide, Black dance has evolved into a collective work of art. 

When Black people, whether African or Afro-Latina, stay open and curious, we can all strengthen our connections and become stronger as a collective. 

The post How Blackness Divides and Unites Black Immigrants and Black Americans appeared first on Black Girl Nerds.

Historically, soul food began during the tragic years of slavery when the enslaved would get cuts of meat and vegetables that were considered inedible by their white masters. The Great Migration following the Civil War introduced soul food to the world.

Today, soul food can be found in every corner of the country. Many soul food restaurants focus on classic dishes, while others put their unique spin on them. These 10 soul food restaurants span from the East Coast to the West Coast and serve up delicious dishes that will please any soul.

Dulan’s Soul Food Kitchen, Los Angeles

Adolf Dulan, known as the “King of Soul Food,” learned to cook on a farm in Luther, Oklahoma, from his mother. He watched her prepare fried chicken, collard greens, and much more. It all set the foundation for what would become his soul food empire. Dulan’s has two locations in California: one in Inglewood and one in Los Angeles. One of the best things about Dulan’s is the huge portions. My personal favorite: the smothered chicken.

Esther’s Cajun Café, Houston

This is probably the friendliest restaurant I’ve ever been to. Huge portions, and you can expect to find candied yams, oxtails, mustard greens, and cornbread. Esther’s has a legacy of Cajun cooking and the gumbo definitely honors that spirit.

Lo-Lo’s Chicken & Waffles, various cities

Lo-Lo’s has locations in Arizona, Texas, and Nevada. The menu offers different variations on the classic combination of chicken and waffles. The Baby Ray has three pieces of chicken, waffles, homemade gravy, and onions. If your appetite is bigger, go for the KK’s, which has waffles, chicken, grits, and eggs. The primary objective at Lo-Lo’s is to infuse the fried chicken with as much love as possible.

Pearl’s Place, Chicago

In the early 1930’s, as the Harlem Renaissance was winding down in NYC, a new surge of Black creativity began to flow in Southside Chicago, known now as Bronzeville. This is where you’ll find Pearl’s Place — the perfect spot in Chicago for soul food. The menu offers Cajun food, in addition to shrimp and cheesy grits, smoked ham hock dinners, and fall-off-the-bone short ribs. The shrimp po’boy at Pearl’s Place is so good. It’s served on hot crunchy French bread. 

Sweetie Pie’s, St. Louis

If you’ve ever watched the television series Welcome to Sweetie Pie’s, you will be familiar with Sweetie Pie’s Upper Crust soul restaurant in St. Louis. The show centered Robbie Montgomery and her mission to spotlight her delicious cuisine. Yes, it’s the real deal. You’ll find fried chicken and big portions of creamy mac and cheese. Even the vegetables are a must on the plate. You have to leave room for the peach cobbler, or you’ll regret it — I promise!

Sylvia’s, New York City

Many of the picks on this list are from the South. However, New York City has to be present here because of the famous Sylvia’s. This restaurant is a Harlem staple that has been serving up soul food since 1962. The catfish, mac and cheese, and candied yams are legendary, and the ribs are always fantastic.

Niecie’s, Kansas City

My hometown certainly doesn’t disappoint when it comes to the soul food game. Niecie’s specializes in soul food and gives customers fast, great service, serving Kansas City for over 30 years. Their motto is “Good Food, Served Right.” It’s the fried pork chops (fried right), eggs, and grits for me.

Heard Dat Kitchen, New Orleans

Heard Dat Kitchen in the heart of New Orleans serves a tasty spin on soul food by offering reimagined dishes that have all of the classic soul flavors with a fresh and fun presentation. Owner Jeffery Heard Jr., also known as Chef Jeff, believes in building good memories and delicious food, and he does just that. The menu offers several meal options; many are served with fries, bacon, ranch dressing, and perfectly spiced red beans and rice.

Benne on Eagle, Asheville, NC

Benne on Eagle in Asheville, North Carolina, serves upscale soul food with an elegant twist. Additionally, the menu has unique cocktails that make this restaurant the best date night spot in the city. The restaurant offers several delicious dinner options such as crispy fried green tomatoes with rich roasted mushrooms, candied lemon, and tart jackfruit. 

Delilah’s Everyday Soul, Atlanta

This restaurant features a Southern favorite: mouth-watering variations of fried chicken. Sides such as fried green tomatoes, as well as a mac and cheese recipe stamped by Oprah herself show up as key favorites on the menu. Add the freshly squeezed, homemade strawberry lemonade, and you’ve got everything you need. Delilah also competed on the Netflix series America’s Barbeque Showdown.

As we celebrate National Soul Food Month, we remember the heritage and history of the foods of Black people and people from the African diaspora. All of these culinary contributions have made a deep-rooted impact on the American menu. Make your favorite soul food dishes for family and friends, or visit a soul food restaurant in your city.

The post 10 Soul Food Restaurants to Visit appeared first on Black Girl Nerds.

After years of silence, I heard a familiar cry. The hazy memory of my abandoned dream resurfaced, and I mourned to myself, “This must be it” … this is my dream’s final cry before it explodes. There were no ruptures, no vibrations that shook me awake, but I no longer heard my dream’s wail. Curiosity got the best of me as I trekked back to its unmarked grave. When I found the grave exhumed, I realized something profound: Einstein’s “law of relativity” does not only apply to vacuums and light. Just because I had forgotten, ignored, and denied my dream’s being, that did not negate its existence, nor stunt its growth.

So there I was, standing in fear as I faced my unnurtured dream. What I found was no longer a soft whisper of possibility but a nightmarish beast with claws, fangs, and deranged eyes searching mine for retribution. My survival instincts kicked in. I became Daedalus in my own mind, constructing a mental Labyrinth to contain the beast.

But peace did not come. I waited endlessly for Theseus, the hero to arrive and slay it, but no one came. The silence became louder than any cry, and anticipation turned into madness. That’s when I realized: if I wanted to live, if I wanted freedom, I would have to face my dream myself.

I entered the Labyrinth I had built and found myself cornered. The beast was fully grown now — towering, menacing. Its fiery eyes met mine, and the walls I thought would protect me disintegrated. In the darkness, I ran. I ran with no direction, no light, no guidance. Eventually, exhaustion slowed me down until I could only crawl. When I could go no further, I turned to face the beast with the little strength I had left. I braced myself for its claws and fangs, but instead, something miraculous happened.

The air shifted. The stars began to shine on me. The wind carried me, the water welcomed me, and suddenly the beast was gone. In its place, I saw my reflection: vibrant skin, glowing eyes, and wings stretching wider than I had ever dared to imagine. My dream was not my enemy. It was me — stronger, freer, and finally unbound.

With a smile, I spread my wings and took flight for the very first time.

Langston Hughes once wrote, “Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly.” His words echo across time and space, reverberating in our bones as a reminder: do not exile your dream, do not bury it, do not confine it. Dreams may morph, twist, and grow into forms that frighten us, but they are still ours, still calling to us.

My journey through the Labyrinth of fear and denial taught me what Hughes has always reminded us: to live without dreams is to live without wings. And when we embrace them — even the ones we once feared — we discover the magic within us that can carry us higher than we ever thought possible.

So I’ll leave you with this: Hold fast to dreams, because one day, those wings will be yours too.

The post Metamorphosis of my Dream: A Homage to Langston Hughes appeared first on Black Girl Nerds.

Since the era of slavery, gathering together to sing and move hips and feet to the beat of the music of the rhythm of clapping hands has been an act of rebellion and freedom. 

Black dance, once deemed unappealing, has grown to become an art form that is shared worldwide. However, this international sharing of Black dances has made the art form admired and often imitated. 

In order to honor and preserve Black art, here are 11 Black culture dances that represent joy, creativity, and innovation. 

1. The Juba Dance

One of the original African American dances is the Juba dance, also called the Hambone dance. It was a dance that started as a rebellion. When enslaved Africans weren’t allowed to play drums on the plantations, they created music and sound through their bodies. By clapping their hands on their thighs and chest, they made a dance that helped them to feel grounded and happy. 

Over the years, this dance was popularized by William Henry Lane, also known as Master Juba. The dance became part of the third movement of Florence Price’s first symphony. It was powerful integration of classical music and the history of enslaved people.

2. Tap

Tap is an African American Vernacular art form that fused Irish dancing, British clogging, and West African dance. It quickly became famous in the 1900s.

Gregory Hines comes to mind when many people think of Black tap dancers. Yet other famous female Black tap dancers were often not credited enough for their contributions.

Jeni Le Gon was a unique tap performing; she wore pants instead of skirts and performed with high-energy kicks and turns. She was a confident performer and not a dainty dancer.

3. The Charlestown

The Charlestown is a fun and lively dance that consists of twisting the toes and heels out while swinging the legs back and forth. Often performed to jazz and Charleston music, many may not know it has roots in African dances. Specifically, dances come from Nigeria, Ghana, and Trinidad.

After appearing in the black musical Runnin’ Wild, this dance spread like wildfire. It became the move that everyone was doing.

There is some discrepancy regarding who started the dance. Still, many contribute Russel Brown, Jenkins Orphanage Band, and the Gullie/Geechie community for creating the dance. 

4. The Lindy Hop

As a mixture of African American dances and European partner dances, the lindy hop became famous at the Savory Ballroom, one of the few non-segregated places in the late 1920s and 1930s.

The lindy hop is a dance performed with high energy, and many moves consist of swinging a dance partner out from a closed to a more open position. This dance also has a level of improvisation, which makes sense since it’s primarily performed to jazz music. 

Some of the pioneers of this dance include Mattie Pernell, Shorty’ George Snowden, Big Bea, Little Bea, and Leroy Stretch.

5. The Twist

The origins of the dance aren’t entirely clear. Still, this dance came from the ever-popular song “ The Twist,” originally sung by Han Ballard and the Midnighters. 

However, when Chubby Checker covered the song, he influenced the world. After his premiere of the song and dance on the American Bandstand, everyone was twisting their hips and feet to the rhythm of the beat.

6. Break dancing

Breakdance, known as one of the five elements of hip hop, started in New York City during the Bronx fires. During this horrific time, Blacks and Latinos came together to create art that is known as hip-hop. An art form that extends from music to dance, to art and spoken word. 

When DJs would play music, dancers would perform on the drum breaks of a song. They would go from fast and intricate foot movement to spinning, flipping, and kicking on their hands, feet, and head. 

Some pioneer break dancers are Crazy Legs, Zulu Kings, and Mr. Wiggles.

7. House

Dance is revolutionary, and House music and dance are evidence of this. 

House dancing is a form of movement that isn’t as acrobatic as break dancing but still has unique intricacies. 

House is a more fluid type of dance where dancers move through the beats rather than on them. 

Other staple house dance moves include jack in the box, shuffle step, stomp, and loose leg.

Key players in house dance are Ejoe Wilson, Tony McGregor, Marjory Smarth, Caleaf Sellers, and Brian “Footwork” Green.

8. Hip-hop social dances

On the hip-hop scene, different dance moves emerged at parties and events, such as the snake, the cabbage patch, Harlem shake, the running man, and various movements. 

These social dances allowed people to connect, vibe, and create a shared experience where everyone was moving their bodies in a similar way. 

Buddha Strech, Peter Paul, Scap, Loose Joint, and Rosie Perez were some of the dancers that set the foundation for Hip hop dance. 

9. Locking

Locking is a dance style that took over the dance scene and was spearheaded by two major dance groups: the Lockers and the GoGo Brothers.

Locking is a style of dance that is composed of very exact movements. This dance form is unique because it consists of fast movements accompanied by freezing or locking in certain positions. 

During the 1970s, the dance started gaining popularity. The GoGo Brothers were the first to perform the locking during a basketball halftime show. Tony GoGo and legendary co-founders James ‘SkeeterRabbit’ Higgins and Edwin ‘Buddy GoGo’ Lombard paved the way for one of the most infamous Locking groups, The Lockers.

They were started by Don Campell and Toni ‘Mickey’ Basil. They cemented the locking in the history books with more exact movements and a signature clothing style.

Locking became so popular that The Lockers performed on the Sout Train, Saturday Night Live, Carnegie Hall, and Radio City Music Hall.

10. Popping

Popping is a dance form that many famous artists, such as Michael Jackson and Chris Brown, have shown off in their videos and performances. Yet this style came into play before these artists were well known. 

Popping consists of quickly contracting or flexing your muscles and moving in a robotic sequence. A form of dance that Boogaloo Sam created. The popularity of popping expanded with the formation of the dance group the Electric Boogaloos, which consisted of Booglano Sam, Popin Pete, Mr. Wiggles. Sitter Rabbit, Suga Pop, Pop n Taco, and Boogaloo Shrimp. 

11. Krumping

Krumping, a dance form that can appear violent and strange to those outside the culture, has served as a saving grace for many young dancers.

Originating from the streets of  South Central Los Angeles, krumping developed from a style of dance known as clowning that Tommy, the Clown, started.  

Clowning became a dance crave where dancers formed groups and performed at various events in their communities. From these groups, younger dancers sought to create something new and original. Thus they developed krumping, a style that used more exaggerated arm and leg movements.

Black history is found within the history books, it’s heard in stories that are told, but it can also be seen within the movement of black dancers.

The post 11 Black Culture Dances That Represent Black Joy! appeared first on Black Girl Nerds.

Curated by Allana Foster Finley of Cur8Africa, The South African Collective is the inaugural fine art initiative of the Art in Black Foundation—founded by Ellis Friday, a visionary young creative committed to cultural connection, with support from his parents, Nicole and Jeff Friday. This curated experience marks an evolution in ABFF’s programming, expanding the festival’s cultural offerings to include global visual art in dialogue with Black film, media, and storytelling.

The idea for this collaboration was born during an immersive art tour through South Africa led by curator Allana Foster Finley and attended by Jeff Friday. Inspired by the depth of artistic talent and cultural expression, the journey laid the foundation for what would become this inaugural showcase.

“This exhibition is an exciting step forward in ABFF’s mission to uplift global Black creatives,” said Jeff Friday, founder of ABFF. “We are proud to provide a platform where African art and cinematic storytelling can exist in conversation, inspiring deeper cultural connection.”

Featured Artists:

Steve Maphoso – A self-taught Angolan-born artist, Maphoso blends acrylic and charcoal to create emotionally resonant portraits. His current series centers on twin boys guided by ancestral intention, exploring themes of migration, ritual, and brotherhood through symbolic narrative and layered abstraction.

Thabiso Dakamela – With roots in Venda and Ndebele heritage, Dakamela’s Afrocentric work examines identity and emotion. His expressive style—often rendered in powerful blues—has earned national recognition, and his DKS Project House supports emerging artists in South Africa.

Assan Taylor – Known for textured portraits combining oil, charcoal, gold leaf, and found materials, Taylor’s work bridges tradition and innovation. His bold, multilayered pieces reflect the vibrancy of contemporary Southern African culture and human connection.

Siyabonga Mlambi – Originating from South Africa’s Eastern Cape, Mlambi’s art is deeply rooted in Nguni tradition and modern innovation. His unique style, Khanda-Art Superblur African Synthetic Cubism, employs fabric, stones, and mixed media to evoke unity, imagination, and spiritual energy.

Ayanda Moyo – A Zimbabwean artist whose work in charcoal and acrylic explores identity and culture, Moyo’s emotionally rich paintings invite deep reflection on the shared human experience through bold, expressive techniques.

Together, these artists bring their individual perspectives to a collective narrative that intersects visual art with the broader mission of ABFF—celebrating and amplifying Black stories worldwide.

The post Join The South African Collective at Miami’s ABFF 2025 appeared first on Black Girl Nerds.

Art often asks, “What does this mean?” But this piece asks something else: “Who is she? Why does she feel so familiar, so necessary, in this space?”

In the documentary What Happened, Miss Simone?, Qubilah Shabazz asks, “How does royalty stomp around in the mud and still walk with grace?” Grounded in the Stars feels like an answer. She stands, rooted. Regal without needing a crown. Graceful not in spite of the mud, but because of it.

And where she stands matters. New York City’s Times Square may be bright, but the histories she carries are heavy. She stands in the truth of who she is. She carries it all: the memories and the weight of being a Black woman in America. Being seen but unheard, expected to be strong, to be soft, to be everything, yet still invisible.

It is not just about the past. It is about the everyday. The holding. The swallowing. The rising anyway. She is stillness with intention.

The Artist Behind Grounded in the Stars

Thomas J. Price, a British sculptor, is one of those artists whose work commands attention. In his latest piece in Times Square, Grounded in the Stars, there is a striking lifelike accuracy, not just in how she looks but in how she feels. Through choices like posture, expression, and clothing, he invites us to think about how society assigns value to people based on appearance, race, and class. 

Price uses the sculpture to explore what it means to truly see someone. He reclaims this space, turning a fictional Black woman into something far beyond just a sculpture. She is a symbol of presence, power, and possibility.

A Monument Made Familiar

She’s not abstract or trapped in an art-world mystery. She’s a regular-degular Black girl in sneakers, braids, and a T-shirt, standing tall in the middle of Times Square. The bronze isn’t polished to perfection. It’s textured just enough to feel familiar. Like skin. Like fabric. Like her.

Her pose is soft, a shifting contrapposto. One hip tilted, her weight settling onto a single leg, the other at ease. It’s a posture that breathes. Ancient sculptors used it to make stone feel alive, to let bodies speak, even in stillness. Here, it speaks of confidence, ease, and presence.

This is the same pose Michelangelo gave David. White marble, mythic masculinity, carved to dominate, but Thomas J. Price gives us something else. A woman made monumental by her ordinariness. She’s not here to imitate history. She’s here to reframe it.

In her body, contrapposto becomes something else entirely. Not a reference, but a reclaiming. No crown. No sword. Just stillness. The kind that hums with quiet power, like something’s about to happen, but only on her terms. Grounded in the Stars honors the kind of Black woman we pass every day but rarely see immortalized. There’s grace in her stillness, power in her quiet. Rooted in the real, reaching toward something bigger. She feels like all of us, and more.

Public Response

That reframing doesn’t stop with the sculpture itself, it extends to how we react to her. Reactions to Grounded in the Stars have been layered. For many, it’s a breath of fresh air. A Black woman, unbothered, finally taking up space. People stopped, took photos, took it in. For Black women especially, it felt like being seen. But not everyone welcomed her.

Some questioned her clothes, others her body. It was too casual, too big, too ordinary. Not what a sculpture is “supposed” to look like. We could frame these critiques as complex cultural puzzles, something to ponder in theory. But the truth is simpler: Fatphobia exists. Racism exists. Sexism exists.

The discomfort says more than the critique ever could. This was never really about the statue. It’s about who we’ve been taught deserves to be seen, cast in bronze, made permanent, and who doesn’t. It’s the same pressure Beyoncé names in Ameriican Requiem, the expectation to fit a mold that was never made for you. Grounded in the Stars is challenging who gets to be seen, how beauty and power are defined, and what deserves to be monument-ized.

The Power of Presence

There’s something quietly defiant about just standing still. No flash. No spectacle. Just presence. Grounded in the Stars is the answer to erasure, a soft yes in a world full of no.

A body that says: “I am here. You will see me. Not because I perform. Not because I suffer. Because I breathe.” This is what existential defiance looks like: a Black woman, cast in bronze, unmoving but full of motion, grounded but reaching. Existing, without apologizing. 

Even when the world doesn’t make room for you. Even when your name is lost and your story unwritten. Even when the mud clings and no one sees the weight. Stand anyway.

Grounded in the Stars will be at Times Square until June 17, 2025.

The post Who Is the Black Woman Depicted in New Times Square Statue? appeared first on Black Girl Nerds.

More important, however, is to examine the connection to the late Judge John L. Phillips, Jr., and another historic venue known as the Slave II Theater. Born in Ohio, Judge Phillips was an eccentric but deeply respected figure who sought to uplift Black communities through empowerment and education. Known as the “Kung-Fu Judge” (he earned a 10th degree Black Belt in Kung Fu), Judge Phillips began buying a bunch of property in Brooklyn, which later became known as Slave I and Slave II theaters.

The first of the two properties was the old Regal Theater on Fulton Street, which Judge Phillips named Slave I Theater, while the other was a property located on Nostrand Avenue. The Slave I Theater quickly became a hub for civil rights gatherings and a rather broad range of Afro-centric programming in the form of film screenings, theatrical productions, or town hall-type meetings. The aim was to foster political awareness and cultural pride of African Americans at a time when many spaces often marginalized Black people and their voices.

The second property was bought from the family of a beloved community businessman, Arthur Miller (who was choked to death by NYPD officers in June 1978), which he later called the Slave II Theater. Though it was founded later than the first Slave I Theater, Slave II emerged as a natural extension of the first one, sharing its core objectives centered on creating a place where Black art and artistry, as well as history and culture, were not just acknowledged but also celebrated.

The Slave II Theater, soon renamed Black Lady Theatre, offered a ready stage to those who had something to say or show. This soon attracted local musicians, spoken-word poets, and aspiring actors. But the theater wasn’t only about art; it was also a place of dialogue, with many community elders and civic leaders often discussing broader issues, such as civil rights, police brutality, economic disparity, and many other social problems. However, one of the main reasons why Black Lady Theater became an iconic cultural venue was its accessibility and inclusivity.

These two qualities applied to all artists, not just those who managed to make a name for themselves. While segregation had officially ended during the 1960s, many performance venues in the 1980s — even those that advocated multiculturalism — were exorbitantly expensive with their rental fees or often adhered to gatekeeping practices that were too daunting for aspiring artists. This kept many Black artists who were just starting out from performing and sharing their art in such venues.

Black Lady Theatre, on the other hand, purposefully had lower barriers to entry, operating on either incredibly affordable fees or donation-based events. This encouraged broader participation, allowing younger artists to present their work without having to worry about exorbitant costs. It also attracted broader audiences, including those individuals who might’ve felt unwelcome in more formal or expensive venues. As a result, the theater developed a rather diverse offering, ranging from small, intimate poetry circles to rousing musical performances and community-led discussions.

But that’s not all. This emphasis on openness soon created an environment where people felt free to speak their minds and be heard, which was really important, especially considering how mainstream media often overlooked the nuances of African-American life and culture. This gave the theater the role of a corrective lens, bringing the art and community closer together, with artists inspiring the community and vice versa.  

This evolved, rather organically, into relationships and alliances that extended beyond the theater itself, with many community leaders mentoring younger people and many established performers guiding emerging talents on how to best approach their craft. This cross-generational exchange of ideas soon in a place dedicated to Black expression became the act of resistance against a society that often marginalized said expression.

Sadly, in 2001, a judge ruled that Judge Phillips, who had retired in 1994, was mentally incapacitated, placing him under guardianship. Some believe that this decision had political connotations, as it was meant to stop Phillips from running for district attorney. This resulted in a series of unsavory decisions made on Judge Phillips’ behalf regarding his property and finances, and by the time he died in 2008, Phillips had lost all but three properties, and he owed millions in taxes.

The iconic Slave I Theater was torn down in 2016, leading to a massive investigation that ended up with lawyers behind bars for stealing nearly $600,000 from Judge Phillips and another lawyer ordered to pay back more than $400,000 to Judge Phillips’ estate. However, the Black Lady Theater isn’t in the clear; there are legal issues tied to the property and the notorious Mendel Gold appears to have bought the tax lien and the eventual referee’s deed of the Black Lady Theater, which could give him ownership of the venue.

The Black Lady Theatre still stands, but the property is under attack by big real-estate developers backed by legal loops and politicians, all working together to shut down another cultural institution. Those interested in helping preserve this cultural venue can make a small donation on the Black Lady Theatre website and help cover the immediate costs of legal representation, storing and preserving previous artwork, and printing and filing documents.

The post The History of the Black Lady Theatre and How It Created a Safe Space for Expression appeared first on Black Girl Nerds.

These stations also celebrate Black culture, promoting music genres like jazz, blues, gospel, and hip-hop, which are central to Black identity. By doing so, they preserve and share Black culture with broader audiences while providing a space for cultural pride. Additionally, Black radio has played a significant role in political activism, from the Civil Rights Movement to more recent efforts like Black Lives Matter.

Beyond activism and culture, Black radio serves as a community hub, connecting listeners to local events, resources, and news that mainstream outlets might overlook. They also support Black-owned businesses, offering economic opportunities and fostering entrepreneurship. Black radio stations are integral to shaping both community identity and public perception, offering an alternative to stereotypes and reflecting the diversity of Black life.

Kansas City PBS is commemorating the legacy of one of the nation’s oldest Black-owned radio stations with the documentary, Diamond Jubilee: A 75-Year Celebration of Carter Broadcast. Kansas City filmmaker Kerry Rounds tells the extraordinary story of Carter Broadcast Group through archival footage, interviews with industry icons, and personal anecdotes from listeners and staff, showcasing the profound impact of a station that has been a cultural pillar of Kansas City for 75 years. Today, Carter Broadcast Group is home to several stations, including KPRS Hot 103 Jamz, Gospel stations 1590 AM and 106.1 FM, as well as RNB 106.9 FM.

Carter Broadcast Group’s 75th anniversary is a significant milestone in the history of both Kansas City and the broader landscape of Black-owned media in the United States. As the oldest Black-owned radio station in the country, Carter Broadcast Group has played an essential role in shaping the cultural, social, and political landscape, especially for Black people in the Kansas City area.

Founded by Alvin A. Carter Sr. in 1950, the station has been an enduring symbol of the power and influence of Black media in an era when opportunities for Black people in the media industry were limited. Mr. Carter had the audacity to start a Black radio station during the height of Jim Crow and just prior to the Civil Rights Movement.

Throughout its history, Carter Broadcast Group has not only provided entertainment but also a platform for community voices, local news, and social change, reflecting the values and experiences of Black Americans.

Celebrating 75 years in business is a monumental achievement. It is a testament to the resilience and dedication in maintaining its mission, often through challenging times. The station’s enduring success is a product of its commitment to providing programming that resonates with the community — whether it’s music, talk shows, or news that highlights the issues and achievements of Black people.

Also, the station has had a profound impact on Kansas City’s cultural fabric, becoming a vital part of the city’s Black heritage. Over the years, it has provided both a voice and a platform for various influential figures. The station’s historical significance goes beyond just broadcasting; it’s about creating a space where Black people can see themselves represented, heard, and celebrated.

When I was growing up in Kansas City, Carter Broadcast Group was an essential part of my life. KPRS Hot 103 Jamz was the soundtrack of my childhood, and it felt like a constant companion in our home. My parents, who grew up listening to KPRS and the KPRT Gospel station, introduced me to the station at an early age. I still remember the excitement in their voices when their favorite songs came on, and that carried over to me and my siblings.

I have always loved tuning into KPRS, especially the shows hosted by Sean Tyler and Julee Jonez. Sean’s energy and humor were contagious, and he always knew how to make the music feel even more alive. You can still always count on Julee and that signature voice for the latest songs and great conversations. It wasn’t just the music that made KPRS special, it was the connection to the community, and how these personalities brought us all together.

On my way to work, I listen to Deona Hustle and Brian B. Shynin’, and then on the way home it’s The Playmaker Show.

What makes this experience even more meaningful is that Sean and Julee are not just radio personalities to me — they’re friends. Over the years, I’ve had the chance to connect with them on a personal level, and their authenticity is just as impactful off the air as they are on it. Knowing them personally has made my connection to KPRS even more special, as it’s never just about the music, but about the people behind the voices who shaped my love for radio.

As the city reflects on this 75-year milestone, it’s also a moment to recognize the broader struggles and triumphs of Black media ownership. Carter Broadcast Group’s legacy is a reminder of how far the industry has come in terms of representation, while also highlighting how much further there is to go in empowering and supporting Black-owned media across the country. This anniversary is not just a celebration of longevity but also of the pivotal role the station has played in the ongoing fight for Black voices in the media.

The documentary is informative and beautifully put together by Kerry Rounds. Taking a trip down memory lane, learning the history and hearing all the stories were fun. It’s a moment to honor the past, recognize the present, and look forward to a future where the Carter Broadcast Group continues to thrive and influence future generations. Here’s to 75 years of impact, and to many more years of serving the Kansas City community and beyond.

The documentary is available to stream on the PBS App and at www.kansascitypbs.org/diamondjubilee.

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Throughout the history of Latin America, Afro-Latinos have been a crucial part of Black history. The Afro-descendants in Nicaragua are no different. Nicaragua, the largest country in Central America, is known as the Land of Lakes and Volcanoes. Within its dynamic landscape, this country nestled between Honduras and Costa Rica has a rich history involving an overlooked culture. Here are some things you should know about Afro-Nicaraguans.

Demographics of Afro-Nicaraguans

There are approximately 500,000 Afro-Nicaraguans, who make up about 9% of the total population. The majority live in the Región Autónoma del Caribe Sur (RACS) and Región Autónoma Caribe Norte, which are twice the size of Maryland. Although large and filled with white beaches, geographically these regions have been isolated compared to the Central and Pacific regions of the country.

Because these regions have been separated from the main areas, some Nicaraguans view Afro-Nicaraguans as outsiders, and unfortunately, their traditions and culture are often perceived as “un-Nicaraguan.” Despite the negative opinions, Afro-Nicaraguans are embedded within the fabric of the nation.

History of Afro-Nicaraguans

One of the key components of Afro-Nicaraguan history is their activism for social change. A crucial point for Afro-Nicaraguans came after the Sandinista victory in 1979. The Sandinista victory refers to the successful overthrow of the Somoza dictatorship in Nicaragua by the Sandinista National Liberation Front (FSLN) on July 19, 1979.

Afro-Nicaraguan activists, intellectuals, and local leaders pushed for greater recognition of their culture and rights. June Gloria Beer, an Afro-Nicaraguan artist and activist, was known as a leader among many Afro-Nicaraguans. Her efforts were instrumental in pushing the Nicaraguan government to recognize regional languages, such as Creole and Indigenous languages, as co-official languages, helping to preserve cultural heritage. As an artist, she used her platform to raise awareness about the struggles faced by Afro-Nicaraguans, promoting social change and community empowerment. Beer’s legacy continues to inspire contemporary movements for racial and cultural equality in Nicaragua and beyond.

Even though progress was made, tensions between the Sandinista government and Afro-Indigenous groups simmered. Afro-Nicaraguans and Indigenous groups wanted their autonomy, traditions, and land rights to be respected. Yet, the ruling government forces wanted to expand into Afro-Nicaraguan areas. This ignited a resistance movement, and some groups, particularly among the Miskito people, aligned with the U.S.-backed Contra rebels, leading to violent clashes.

As a result, the Sandinistas forced thousands of Miskito people to relocate in 1981 and 1982, which led to international accusations of human rights violations. Victory was finally claimed in 1987 when the Sandinista government introduced autonomy statutes, granting the Caribbean coast greater self-governance. This was a victory for Afro-Nicaraguans, allowing them to have more control over their education, land rights, and cultural preservation.

Unfortunately economic disparities and social challenges persist in the region today. Yet Afro-Nicaraguans continue to make their impact on society.

Key Elements of Afro-Nicaraguan Culture

Many languages are exchanged within Afro-Nicaraguan culture. The the two main languages are Spanish, which is the official language of Nicaragua. There’s also Creole English, which is influenced by British English and African languages. Miskito and Garifuna are some of the Indigenous languages also spoken within the region.

Dance and Music

Like Black people around the world, music and dance are pillars of the culture. Blending African drumming, reggae, and calypso, popular dances like Palo de Mayo have emerged. This dance and music style consists of energetic movements and rhythmic footwork performed to traditional instruments such as the marimbas and drums. The dance often includes movements that mimic the gestures of planting and harvesting, reflecting the agricultural roots of the celebration. Dancers often wear vibrant costumes decorated with flowers to symbolize fertility and the beauty of nature.

Palo de Mayo is not just a performance but an inclusive event that involves the entire community, with people of all ages participating in the dances and celebrations. This fosters a sense of unity and collective identity among Afro-Nicaraguans.

Food

Coconut is a staple ingredient in Afro-Nicaraguan cuisine. Many popular dishes include a rich coconut-based seafood stew and pan de coco, a traditional coconut bread. Seafood, plantains, and cassava are often key elements in the region’s gastronomy.

Afro-Nicaraguans, like many across the African diaspora, have endured discrimination and hatred. Despite the circumstances they’ve faced, this vibrant group continues to celebrate and preserve their traditions. Through festivals, storytelling, music, and activism, they ensure that their rich cultural identity remains an integral part of Nicaragua’s diverse heritage.

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