View allAll Photos Tagged afrocentric
😈F̷E̷A̷T̷U̷R̷E̷D̷ I̷N̷ T̷H̷I̷S̷ P̷O̷S̷T̷😈
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😈A̷V̷A̷T̷A̷R̷😈
× 🎮Head // LeLUTKA MAINSTORE // LeLUTKA Ford Head 3.1
× 🎮Body // THE ULTIMATE MESHBODY // [LEGACY] Meshbody (m) Athletic Edition (1.6)
× 🎮Hair // AFROCENTRIC MP // Afrocentric - Damian Twists Package - Hair by Afrocentric
× 🎮Face Skin // Verze MP // VERZE // TEVIN SKIN (unpacked)
× 🎮Body Skin // Verze MP // VERZE // "TROY" BODY APPLIERS (unpacked)
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😈A̷P̷P̷A̷R̷E̷L̷😈
× 🎮Top // Bakery x Cakery Mainstore // BxC - Flag Jeans & Jersey OUTFIT
× 🎮Bottom // Bakery x Cakery Mainstore // BxC - Flag Jeans & Jersey OUTFIT
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I felt many shots from this session had the look and lighting on point.
Model: Kayja www.instagram.com/kayja_n_t/
✨ “Streets of Resistance – Spray & Pray” ✨
Join me, Chioma Namiboo, and a fierce crew of international creators this Thursday, April 24th at the Banksy Museum and Gallery @ DecadencE for a next-level celebration of urban expression, rebellion, and soulful resistance.
🎨 I’ll be showcasing some of my own Afrocentric, emotion-charged works as part of this powerful art movement inside the haunting beauty of the Asylum Gallery.
💥 Come for the street art, stay for the message:
🕛 12 PM – 3 PM SLT
🎧 DJ set + 🎤 Live Gospel
📻 Underground sounds & protest vibes all day
TAXI ➡️ maps.secondlife.com/secondlife/DecadencE/128/128/25
This is more than art—this is a movement.
Let your spirit be stirred. Pull up and witness the resistance in color. 🎨✊
#StreetsOfResistance #SprayAndPray #ChiomaNamiboo #SecondLifeArt #AfrocentricVibes #patronthearts
Photo & Model: Kalyabreeaa Capelo
Outfit:
UC - Megie bikini_top
Thalia Heckroth - Dalia Sheer pants
Accessories:
Aurealis - Unproblematic Chain
YS&YS - Antibes Bracelet
Erratic - leather chained bracelet
VISUALPHA / antisocial kids / tag earrings / treason
Bindi - Afrocentric - Gold
BONDI - PM N1 Glasses
Rowne - Aliet Leather Belt
DIRAM - SHE Waist Belt - Gold
Shoes
UTOPIA Design "VANESSA"
Hair & Makeup:
CAMO - Perse Dreads
Tribal full body tattoo
'Emany by Su_G': design detail & close up (part-design only).
My entry in Spoonflower's African Art Memphis Brooks Museum of Art design challenge. Line art.
© Su Schaefer 2017
THANKS to everyone who voted &/or faved this design: so happy to report that it placed 38th out of 325 total entries (with 210 validated votes) in a great contest with many many fabulous entries. :-)
See 'Emany by Su_G' as fabric at Spoonflower
See more 'African inspired' designs by Su_G.
[Emany by Su_G_detail_part-design]
Available now on the marketplace for L$450:
marketplace.secondlife.com/p/Afrocentric-Damian-Twists/21...
Try demo first!
Also, follow AFROCENTRIC on here, Facebook and Instagram
for more updates!
FACEBOOK: www.facebook.com/afrocentric.sl
INSTAGRAM: www.instagram.com/afrocentric.sl
◊ Thank you all so much for 900 Followers! I love being able to create and share that creativity with you all, and vice versa, kisses ◊
Available now on the marketplace for L$450:
marketplace.secondlife.com/p/Afrocentric-Damian-Twists/21...
Try demo first!
Also, follow AFROCENTRIC on here, Facebook and Instagram
for more updates!
FACEBOOK: www.facebook.com/afrocentric.sl
INSTAGRAM: www.instagram.com/afrocentric.sl
Exp. May 26, 2007 #385
Capoeira is an Afro-Brazilian art form that ritualized movement from martial arts, games, and dance. Participants form a roda or circle and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The game is marked by fluid acrobatic play, feints, and extensive use of sweeps, kicks, and headbutts. Less frequently used techniques include elbow-strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with the spectrum of argument ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.
Status in Brazil
For some time Capoeira was prohibited in Brazil. In 1890, Brazilian president Deodoro da Fonseca signed an act that prohibited the practice of Capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, caused also by police interference, were common[citation needed].
In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional, at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open today and supervised by his pupil, known as "Vermelho
Descendant of African slaves in Brazil fighting styles and those who believe it is a uniquely Brazilian dance form distilled from various African and Brazilian influences. The best working theory is that it's an African fighting style that was developed in Brazil. This theory is proven by a wise mestre named Salvano who once said "Capoeira cannot exist without black men".
Even the etymology of "Capoeira" is debated. The Portuguese word capão means "capon," or a castrated rooster, and could mean that the style appears similar to two roosters fighting. Kongo scholar K. Kia Bunseki Fu-Kiau also suggested "capoeira" could be derived from the Kikongo word kipura, which describes a rooster's movements in a fight.[citation needed]Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a "capa" commonly worn on the head by urban slaves.[citation needed] Others claim the term derives from the Tupi-Guarani words kaá (leaf, plant) and puéra (past aspect marker), meaning "formerly a forest." Or, given that "capoeira" in Portuguese means literally "chicken coop", it could simply be a derisive term used by slave owners to refer to the displays as chicken fights.
Secret martial arts training
Some proponents believe that Capoeira was first created and developed by slaves brought to Brazil from Angola, the Congo, the Gulf of Guinea and the Gold Coast, who used it as a way to practice their martial arts moves while making it appear to be a game or dance. Since the slave-masters forbade any kind of martial art, it was cloaked in the guise of an innocent-looking recreational dance. Others believe that Capoeira was practiced and used to fend off attacks by Portuguese slavers in Palmares, Brazil's most famous Quilombo maroon colony of escaped slaves.
Afro-Brazilian art form
There is no written historical evidence to support the notion that Capoeira is a battle-ready fighting form, and many other proponents see it as a folk dance form developed by African slaves from traditional African dances and rituals. While there is not much historical evidence about Capoeira in general, there is other information that supports this view. In his 1835 work "Voyage Pittoresque dans le Brésil" ("Picturesque Voyage to Brazil") ethnographic artist Johann Moritz Rugendas depicted "Capoeira or the Dance of War," lending historical credence to the idea that Capoeira originated as a dance, rather than a fighting form.
Outside Brazil
Capoeira is growing worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and capoeira. Both were practiced and developed by African-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of Afrocentric pride especially amongst poorer and darker-skinned Blacks. In the mid-1970s when masters of the art form -- mestre capoeiristas, began to emigrate and teach capoeira in the United States, it was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Capoeira has gained popularity among non-Brazilian and non-African practitioners for the fluidity of its movements.
Dedicated to Arisa, my daughter, wishing her love, happiness, health and abundance.
Thanks for your comments, faves, awards and goodwill. Have a great day and stay blessed:)
Please click on the photo to see it large in the light box. © All Rights Reserved
Exp. Aug 13, 2009 #76
Capoeira is an Afro-Brazilian art form that ritualized movement from martial arts, games, and dance. Participants form a roda or circle and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The game is marked by fluid acrobatic play, feints, and extensive use of sweeps, kicks, and headbutts. Less frequently used techniques include elbow-strikes, slaps, punches, and body throws. Its origins and purpose are a matter of debate, with the spectrum of argument ranging from views of Capoeira as a uniquely Brazilian folk dance with improvised fighting movements to claims that it is a battle-ready fighting form directly descended from ancient African techniques.
Status in Brazil
For some time Capoeira was prohibited in Brazil. In 1890, Brazilian president Deodoro da Fonseca signed an act that prohibited the practice of Capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, caused also by police interference, were common[citation needed].
In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional, at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open today and supervised by his pupil, known as "Vermelho
Descendant of African slaves in Brazil fighting styles and those who believe it is a uniquely Brazilian dance form distilled from various African and Brazilian influences. The best working theory is that it's an African fighting style that was developed in Brazil. This theory is proven by a wise mestre named Salvano who once said "Capoeira cannot exist without black men".
Even the etymology of "Capoeira" is debated. The Portuguese word capão means "capon," or a castrated rooster, and could mean that the style appears similar to two roosters fighting. Kongo scholar K. Kia Bunseki Fu-Kiau also suggested "capoeira" could be derived from the Kikongo word kipura, which describes a rooster's movements in a fight.[citation needed]Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a "capa" commonly worn on the head by urban slaves.[citation needed] Others claim the term derives from the Tupi-Guarani words kaá (leaf, plant) and puéra (past aspect marker), meaning "formerly a forest." Or, given that "capoeira" in Portuguese means literally "chicken coop", it could simply be a derisive term used by slave owners to refer to the displays as chicken fights.
Secret martial arts training
Some proponents believe that Capoeira was first created and developed by slaves brought to Brazil from Angola, the Congo, the Gulf of Guinea and the Gold Coast, who used it as a way to practice their martial arts moves while making it appear to be a game or dance. Since the slave-masters forbade any kind of martial art, it was cloaked in the guise of an innocent-looking recreational dance. Others believe that Capoeira was practiced and used to fend off attacks by Portuguese slavers in Palmares, Brazil's most famous Quilombo maroon colony of escaped slaves.
Afro-Brazilian art form
There is no written historical evidence to support the notion that Capoeira is a battle-ready fighting form, and many other proponents see it as a folk dance form developed by African slaves from traditional African dances and rituals. While there is not much historical evidence about Capoeira in general, there is other information that supports this view. In his 1835 work "Voyage Pittoresque dans le Brésil" ("Picturesque Voyage to Brazil") ethnographic artist Johann Moritz Rugendas depicted "Capoeira or the Dance of War," lending historical credence to the idea that Capoeira originated as a dance, rather than a fighting form.
Outside Brazil
Capoeira is growing worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and capoeira. Both were practiced and developed by African-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of Afrocentric pride especially amongst poorer and darker-skinned Blacks. In the mid-1970s when masters of the art form -- mestre capoeiristas, began to emigrate and teach capoeira in the United States, it was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Capoeira has gained popularity among non-Brazilian and non-African practitioners for the fluidity of its movements.
I noticed this gentleman's beautiful, colorful cultural outfits a few times. Then I noticed that he was selling sugar cane & green water coconuts. As I approached him for a photo--I noticed a resemblance to someone else I photographed in the past. Come to find out it was his brother "Royal King: www.flickr.com/photos/jaygeeoh/52426519706/in/album-72177...
same goods/different corner--both great smiles
spotted in Crown Heights
MY Stranger 53/100
Available now on the marketplace for L$450:
marketplace.secondlife.com/p/Afrocentric-Julian-Braids/21...
Try demo first!
Also, follow AFROCENTRIC on here, Facebook and Instagram
for more updates!
FACEBOOK: www.facebook.com/afrocentric.sl
INSTAGRAM: www.instagram.com/afrocentric.sl
An image from the sidewalk series. I love sun flares and rainbow-prism effects in the photo. Some don’t care for them, but it’s like catching a bit of magic to me.
grexsys.myportfolio.com/sidewalk-series
I posted this on my simblr.. So might as well drop it here too. =) haven't did sims2 art in awhile so it's not my best. Failed at the hair.. 😔
Carleen is an amazing award winning artist who I met recently at this years Urban Festival at the Royal Festival Halls London. After doing some more research on Carleen I found out she is widely regarded as one of London’s most skilled and diverse airbrush artists. Hailing from London this gritty artist has found a place on the London art scene with her highly appealing Afrocentric airbrushed pieces and her off beat ganja smoking character Ms SIN. Again this project introduces me to more interesting people that I would never have generally accessed.
Model: Janae Fulton
Photographer: Justin Bonaparte
This album has been in my ipod for a long time now and I really tried to get my head around the music. It was really hard because the music has so many aspects of it and it was hard to capture it. I think that this pretty much sum's it up to me. It feels mysterious, dark, deep, unconscious and afrocentric.
The most impressive aspect to me is it feels like an album in a day where most lps lack in continuity and fluidity.
when you see a creator use SL as it is meant to be used. Acknowledge, the fantasy is real.
THIS is the ad for Tempo hairstyle at Puft. Gargoyles do not have to sit on drafty rooftops looking like they have no fashion sense. Notice the demon-eyed gaze from the lady? And do NOT let the paleness on the right fool you. The undead are not all hanging out in crypts. Try your latest all night coffee shop. They might want a little more caffeine in their liquid diet too!
Did not even try on a demo before snapping this pic, I am THAT impressed! Why?: Fantasy colors, detailed textures, wisps of flyaway frizz, Ads I want to frame & Hairpic Gacha! Stay H&H !
Nina Simone was born Eunice Waymon in Tryon, NC. She displayed musical talent early on when she started playing the piano by ear at 3. Her mother cleaned houses for a woman who would become her benefactor providing formal piano lessons which introduced her to Johann Sebastian Bach and other classical masters. Despite her undeniable talent, she was not selected for a scholarship at the Curtis Institute of Music in Philadelphia. To support herself, she began to teach students and play other people’s songs in nightclubs. Her brilliant improvisations and vocal stylings started getting her noticed. The song “Mississippi Goddam” came about as a result of her anger over the assassination of Medgar Evers and the church bombing in Birmingham that killed four little girls and began the sharp departure she would take from popular music. She mingled with all the great Black minds of her time James Baldwin, Stokley Carmichael but it was her friendship with playwright Lorraine Hansbery led to the creation of the anthem “ To Be Young, Gifted and Black”. Dubbed “The High Priestess of Soul”, she put out 40 albums in her lifetime.
Her performances drew on a lot of musical genres like blues, gospel and folk to create a new type of American classical music. On stage, she presented herself as the epitome Afrocentric regality which challenged and continue to challenge predominant standards of beauty. She was not afraid to call on her contemporaries and her audiences to act. Her legacy continues to inspire. Most recently, singer John Legend started his Oscar acceptance speech with a quote by Simone stating, “It’s an artist’s duty to reflect the times in which we live.” #theheroinesproject
Model: Janae Fulton
Photographer: Justin Bonaparte
Ottomanbrim's design Samaki-African available at Spoonflower.
Pattern available at Sprout Patterns:
sproutpatterns.com/christine-haynes/lottie-maxi-dress
Thank you so much Sprout Patterns for making this wonderful Lottie Maxi Dress with my design!
Black Woman
1). Female human being of African descent 2). Subject to abuse and oppression based upon the inaccurate (racist) perception of inferiority of the oppressor 3). Scientific mother of civilization: one of whom all life comes fourth 4). One who subscribes and practices thoughts and deeds to unify people of colour. Synonymous 5). Wife, mother, sister, teacher, warrior. Adjectives: Strong, Intelligent beautiful, compassionate, tireless.
Model: Janae Fulton
Photographer: Justin Bonaparte
Model: Janae Fulton
Photographer: Justin Bonaparte