Adama Delphine Fawundu Praise House🔒 SSL Verified

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• ↓ The photographer, the wanderer, glides softly in the crush of the everyday, stepping out onto awkwardly paved sidewalks, weaving through crowds, seeking out moments of quiet serendipity. It’s in happenstance, coincidence, that the magic becomes immanent, the constantly weaving, liminal threads taking shape, becoming momentarily visible, forming into occurrences that vibrate, are.
• ↓ —Akinbode Akinbiyi
• ↓ We are running into a great danger, my brothers, if we are not careful, this precious and cultural instrument of information, enjoyment, struggle represented by the cinema is slipping through our fingers forever.
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"Building on the notion of ‘praise,’ Adama Delphine Fawundu frames this book as a celebration of life. She honors the stories whispered to her by her mother; she adorns her body in her grandmother’s textile work; she elevates the memory of various named and unnamed Black women of the diaspora and documents the iconic small Civil War era styled white wooded praise house on a patch of land off the side of a road in South Carolina not far from Beaufort creating an intimate body of work of color photography of an interconnected history."

"This book about female figures—grandmothers, mothers, daughters, artists, caregivers, storytellers, and cooks—explores a range of emotions that consume us about family life and history. It is both an art book and a memoir. Viewing it brings us face to face with known and unknown cultures and introduces us to various art practices shared, taught, and learned through the African diasporic traditions. Fawundu connects to the self through history, joy, and beauty and offers the reader ways to navigate fear based on migration and loss. It is a gift, too, as it allows us to imagine alongside the artist."

"Between 1968 and 1988, the Tashkent Festival of Asian, African, and — from 1976 onwards — Latin American Cinema was held in Tashkent, Uzbekistan. As an exercise in soft power and a response to anti-colonial movements and the socio-political upheaval of the late 1960s, the festival grew into a unique gathering for film professionals and became an important platform for South-South solidarity that went beyond the cinema halls of Tashkent. In essays and conversations by researchers, film-makers, and organizers of contemporary film festivals, the Destination: Tashkent Reader reappraises the original festival’s programming, while also looking critically at its legacy. From the vantage point of Berlin-based diasporas of Asia, Africa, and Latin America, the reader also investigates how such practices of encounters and collaboration resonate within the film scenes of these three continents today."

"‘For peace, social progress, and the freedom of the peoples’, went the motto of the Tashkent Festival of Asian, African, and Latin American Cinema, which was held between 1968 and 1988 in Tashkent, the capital of Uzbekistan, formerly known as the Uzbek Soviet Socialist Republic. With this slogan, the festival’s organizers explicitly referenced the emancipatory promise of ‘Third World’ cinema."

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The photographer, the wanderer, glides softly in the crush of the everyday, stepping out onto awkwardly paved sidewalks, weaving through crowds, seeking out moments of quiet serendipity. It’s in happenstance, coincidence, that the magic becomes immanent, the constantly weaving, liminal threads taking shape, becoming momentarily visible, forming into occurrences that vibrate, are.

—Akinbode Akinbiyi

We are running into a great danger, my brothers, if we are not careful, this precious and cultural instrument of information, enjoyment, struggle represented by the cinema is slipping through our fingers forever.