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Narrative of William Wells Brown, a Fugitive Slave, Written by himself. Two years later he traveled to England to lecture on the abolition circuit, as Frederick Douglass had done. While he was there, the U.S. Congress passed the Fugitive Slave Act (1850), making it impossible for Brown to return to the United States without either facing reenslavement or purchasing his freedom from the man who claimed to own him. Brown refused to do either. He was trapped in England, but he prospered there, publishing new versions of his narrative and writing and publishing Clotel; or the President’s Daughter. In 1854, abolitionists bought Brown’s freedom and he returned to America. ....
Going out was out of the question for most of the year. Fortunately we could rely on a few online hangouts and activities. The art gallery was one of them. The thought of being cooped up for as long as we were due to the Covid-19 pandemic may bring back memories of claustrophobia. We had to resort to different kinds of entertainment when the TV got boring, and a number of online performances stepped in – some more memorable than others. Not to be left behind, art galleries adapted, with some offering their gallery spaces virtually. The Standard Bank Art Gallery is one of those spaces. The gallery’s esteemed curator, Dr Same Mdluli, unpacks how this came about and how this creative call kept the pandemic at bay and artists working. ....
Growing up, Leila Weefur knew of Frederick Douglass, the writer, activist, and former slave turned abolitionist. “As a child, my mother put me in an all-Black elementary school in Oakland,” Weefur, a UC Berkeley lecturer and a member of artist network The Black Aesthetic said. “In kindergarten we were learning to read on [Douglass’] slave narratives. We recited the Black National Anthem every morning and we were practicing Kwanzaa principles. It was a very Black cultural experience.” As part of a larger exhibition inspired by the life of Douglass, Weefur has curated a program of short films called “New Labor Movements” that “seeks to engineer a gender diverse, intergenerational dialogue amongst Black filmmakers,” according to the website of San Francisco’s McEvoy Foundation, which is sponsoring the show. The first two installations, or “movements,” in Weefur’s series are available to view online via the Roxie Theater through December 24th. ....