Negritude

Website for jewelry brand <n>All Blues</n>, designed by <n>Lundgren+Lindqvist</n>.

Négritude was first and foremost a black poetic appropriation of the French language. Unlike other nationalisms, he explained, which reclaimed the tongue of the people against the imperialist imposition of the language by which they were governed, black people had to use the language of domination imposed by French colonialism as cement for their shared Négritude and as “miraculous weapons”[3] against that same domination. In so doing they radically transformed it, manifesting through their poetry that there was nothing natural and unquestionable in the way in which the language would identify Being with Good, Beautiful, Right and White. The simple song of a black poet chanting in French the beauty of the naked blackness of the woman he loved, Sartre wrote, would then appear to the ears of French people a fundamental violence against their linguistic and indeed ontological self assurance; in spite of the fact that the poem was not even meant for them, or rather because of that.

Layrid / 100th Projects

The grim reality behind the 1983 'march for equality and against racism'

Award-winning website for <n>Sal Parasuco</n> by creative studio <n>G-NS</n> and web designer <n>Niccolò Miranda</n>.

Visual identity for <n>Space and Agency</n> by <n>ATIO Studio</n>, featuring work by <n>K-448</n> for <n>Amotea</n>.

React Bits

Paris. Paris 05e. Arrondissement de Pantheon. Strassenszene

Beyonce

Cover art for <n>Figurehead</n>'s release, inspired by <n>gatto zampa</n>'s poetry collection <n>Aurelia</n>.

A wide river (British Guiana)

Le Dernier Gaulois - Immersive Garden

A website portfolio template designed by <n>neveknobes</n> using <n>Framer</n>.

The Sunset Club

This example indicates what Senghor understands by “rhythm” and illustrates what he sees as its omnipresence in Black aesthetic products, as he certainly remembers here the notion expressed, ten years before by Jane Nardal, of a “rule of rhythm, the sovereign master of [black] bodies” (Nardal, 2002, 105)