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MY'STORY

The MOVE Fire

This is a personal recollection on the Move fire on May 13, 1985 Philadelphia police fired thousands of rounds at the MOVE house, city officials approved dropping an explosive device on the roof, the resulting fire was allowed to burn, 11 people—including five children—died, and 61 homes were destroyed. Philadelphia City Council later called it a “brutal attack carried out by the City of Philadelphia on its own citizens” and acknowledged that no individual faced criminal consequences for the bombing. One timeline correction worth preserving for the BHP record: the major previous MOVE-police confrontation was August 8, 1978, about seven years before the bombing, not a year or two earlier. Officer James Ramp was killed, other police and firefighters were wounded, nine MOVE members were later convicted, and television cameras recorded police beating Delbert Africa during his arrest. The 1985 MOVE Commission later specifically criticized city planners for failing to adequately use lessons from that 1978 confrontation. And that actually strengthens the point you’re making: 1985 did not happen without precedent or institutional memory. There had already been a deadly confrontation with MOVE, years of conflict, negotiations and police involvement before Osage Avenue.

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BLACK FACTS
The Truths They Never Taught You...

Katherine Johnson — Mathematics to the Moon

Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.

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NMAAHC

Contos dos Orixás Artbook Vol. 01

Date
February 2019
Description
An artbook of Contos dos Orixás by Hugo Canuto printed in color on paper with 28 pages.The contents of the book contain the 16 art pieces of the Orishas collection, plus sketches and concepts of Tales of Orishas comic book.
The title of the art book is printed in white text within a red textbox at the top of the cover, [CONTOS DOS / ORIXÁS]. To the left of the title in the same red textbox is a stamp-like emblem with a white background and underneath is a small blue textbox with black text [14 / NOV]. There is a small, vertical box to the left; it depicts three figures and at the bottom in yellow text it reads [ÉBÓRÁ / COMICS].
The front cover depicts an image of four figures, one whose back is to the viewer and three facing forward, against a white backdrop and purple ground. The back-turned figure is wearing a red helmet with white horns and a red bracelet. Only their head, right shoulder, and right hand are visible. The three facing forwards are Orixás,the Portuguese word for deities/ancestors of the Afro-Brazilian religions Candomblé and Umbanda, in a defensive stance. From left to right, they are Ògún (Ogun or Ogum), dressed only in presumably a yellow straw skirt wrapped in a blue cloth and red buckle around his waist and blue arm bands while handling two different swords on each hand. In the middle is Iansã (Oy) in a red dress and orange wrist cuffs, wielding a machete in her left hand. On the right is Xangô (Shango) dressed in red attire and cuffs while wielding a short handled, double-sided ax on his right hand, which is summoning his power and surrounding him in yellow; his eyes are glowing yellow. At the bottom left corner is a red textbox with white text [ARTBOOK / VOLUME 01 / HUGO CANUTO].
Opening the cover, the title page has red text at the centered on the top [CONTOS DOS / ORIXÁS / ARTBOOK – VOLUME 01]. Underneath this text, a lightning bolt is hand drawn in a black pen and signed below by the author [Hugo Canuto]. Printed in the center is a circular, colorful emblem, with an orange outer ring with various symbols in black; in the center is a variety of blue hues with a yellow and black gourd in the center.
At the very bottom of the title page is black text [Em um tempo antigo, deuses e heróis caminharam entre os homens. Travaram batalhas com furor, / ensinaram a curar e lidar com a terra, o ferro e o fogo, reinaram e amaram com a mesma intensidade. / Alguns desceram do luminoso Orum para realizar seus destinos, outros nasceram no Aiyê e por seus / feitos foram elevados a Orixás. E assim, marcaram para sempre a história de dois continentes.” / Contos dos Orixás, o Machado e o Trovão] or in English, “In an ancient time, deities and heroes walked among men. They fought battles with fury, taught how to deal with ashe, the energy of creation, the land, the iron and the fire. They reigned and loved with great intensity. Some descended from the luminous Orun, to fulfill their destiny, others were born in the Aiye and through their deeds became Orishas. And so, they marked forever the history of two continents. / Tales of the Orishas, the Ax and the Thunder.” This is followed by the introductory page.
The back cover of the artbook is divided into three horizontal panels. The top panel has a black background with white text, [A ideia de produzir o Artbook surgiu durante nossa campanha de / financiemento coletivo no site Catarse, como recompense adicional para / celebrar o alcance do projeto, apoiado por cerca de 850 pessoas. Esse livro / representa um gesto de gratidão ao público, que entendeu nossos objetivos de / buscar, através dos mitos e lendas ligados aos Orixás, apresentar um aspect / dessa cultura, dentro da linguagem e estética das histórias em Quadrinhos. / Obrigado!] or in English “The idea to produce an Artbook came during our collecting funding campaign on the Catarse website, as an additional reward to celebrate the project’s reach, supported by nearly 850 people. This book represents a gesture of gratitude to the public, who understood our objectives of seeing, through the myths and legends linked to the Orishas, to present an aspect of this culture, within the language and aesthetics of comic books. Thank you!.”
The middle panel depicts a colorful printed drawing of Olodumarê (Olorum, Olórun or Olorun) amid creating the material and spiritual world. Olodumarê is standing off center with their hands raised up as various bright colors clash together. The bottom panel has a black background with white [WWW.CONTOSDOSORIXAS.COM / FACEBOOK – CONTOS DOS ORIXÁS].
There are no inscriptions on the front cover or back cover.
See more items in
National Museum of African American History and Culture Collection
Classification
Books and Published Materials
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture purchased with funds provided by the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Data Source
National Museum of African American History and Culture
Object number
2021.45.3.1
Type
comic books
Restrictions & Rights
© 2019 Hugo Canuto
Permission required for use. Proper usage is the responsibility of the user.
Medium
ink on paper
Dimensions
H x W: 10 1/4 × 6 11/16 in. (26 × 17 cm)
Title
Title • Contos dos Orixás Artbook Vol. 01
Record ID
nmaahc_2021.45.3.1
Museum
NMAAHC
Title Sort
CONTOS DOS ORIXÁS ARTBOOK VOL. 01
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s
Geo Location
Country • Brazil • Region • Latin America • Continent • South America • Region • West Africa • Continent • Africa
Online Media Type
Images
Online Media Rights
Use Restricted

Source: National Museum of African American History and Culture, Smithsonian Institution. Rights and restrictions shown above are supplied by the Smithsonian record.

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NMAAHC

Photograph of Frank N. D. Buchman, Jerry Palaypay, and Walter Alves dos Santos

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NMAAHC

Todos Santos Cuchumatan: Report from a Guatemalan Village

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NMAAHC

Contos dos Orixás Artbook Vol. 01

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Description

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NMAAHC

Sale agreement and convent transfer of power in colonial New Spain

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Description

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TOPIC OF THE DAY

Greenwood / Black Wall Street

Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.

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TRIVIA QUESTION OF THE DAY

Which Black woman became the first elected to the United States Congress?

Shirley Chisholm, elected in 1968.