Sunday, February 22, 2009

2009 Langston Hughes African American Film Festival, April 18 - 26

· The Langston Hughes African American Film Festival (LHAAFF) is an annual event presented by the Langston Hughes Performing Arts Center in Central Seattle. The LHAAFF presents films from independent filmmakers from around the world. The LHAAFF features panel discussions, screenplay readings, matinĂ©e screenings for middle and high school youth and in-depth discussions with filmmakers, industry professionals and local community leaders.

· The 6th annual Langston Hughes African American Film Festival takes place April 18-26, 2009. All screenings take place at the Langston Hughes Performing Arts Center (LHPAC), 104 - 17th Avenue South, Seattle WA 98144 at the intersection of 17th Avenue South and Yesler Way (Metro bus route #27).

· Visit our website, http://www.langstonblackfilmfest.org or blog, http://lhaaffbside.blogspot.com/ for festival updates. Recorded updates are also available on our telephone Info Line: 206-326-1088.

· Program schedule and film screening show times will be made public in March; there are screenings each day of the festival. Matinees take place on Saturdays and Sundays. There are evening screenings each day of the week. Filmmaking workshops will take place on Saturday and Sunday afternoons. There will be one after-school youth film screening on a weekday afternoon. Late night screenings take place on Friday and Saturday nights.

· Tickets and festival passes will be available online via BrownpaperTickets.com, http://www.brownpapertickets.com/event/55821, or at the LHPAC box office after March 20, 2009.

· The address of the Langston Hughes Performing Arts Center is 104 - 17th Avenue South, Seattle WA 98144 at the intersection of 17th Avenue South and Yesler Way (Metro bus route #27).

· We are pleased to attract diverse audiences every year. All are welcome.

Friday, February 13, 2009

FEBRUARY ONE Civil Rights Era doc shows February 19th


FEBRUARY ONE
Documentary: 61 mins
Directors: Dr. Steven Channing & Rebecca Cerese

Date: Thursday, February 19, 2009
Location:MezzaLuna
2608 S Judkins St
Seattle, WA 98144
Time: 7:00 p.m.
Admission: $5 suggested donation
Langston Hughes African American Film Festival Info line: 206-326-1088

ABOUT THE FILM


Organization of American Historians Erik Barnouw Award Honorable Mention Recipient

In one remarkable day, four college freshmen changed the course of American history. February One tells the inspiring story surrounding the 1960 Greensboro lunch counter sit-ins that revitalized the Civil Rights Movement and set an example of student militancy for the coming decade. This moving film shows how a small group of determined individuals can galvanize a mass movement and focus a nation’s attention on injustice.

The Greensboro Four, Ezell Blair, Jr. (now Jibreel Khazan), David Richmond, Franklin McCain and Joseph McNeil, were close friends at North Carolina A&T University before they became political activists. Two of the four had grown up where segregation was not legal, while another’s father was active in the NAACP. They recount how the idea for the sit-in grew out of those late night “bull sessions” that make college years so rich. Prof. William Chafe helps set the historical context the four young men confronted: the Civil Rights Movement had stalled since the Brown decision and the Montgomery Bus Boycott. On the night of January 31, 1960 the four dared each other to do something that would change the South and their own lives forever. They decided to sit-in at the whites-only lunch counter at Woolworth’s in downtown Greensboro the next day.

On February 1st, dressed in their Sunday best, the four men sat down at the lunch counter. Frank McCain remembers that he knew then this would be the high point of his life, “I felt clean...I had gained my manhood by that simple act.” The four were refused service; when they did not leave the store the manager closed the lunch counter. In the days that followed they were joined by more students from local Black colleges and a few white students who also sat-in at other lunch counters in Greensboro. Prof. Vincent Harding reminds us that the Civil Rights Movement was the first major social movement to be covered by television news so word of the events in Greensboro spread across the nation like a prairie fire. Within just a few days students were sitting in at lunch counters in fifty-four cities around the South.

Greensboro’s civic leadership pressured the President of North Carolina A&T to halt the protests but he counseled the students to follow their own consciences. Finally after months of protests the Woolworth management quietly integrated its lunch counter. The wave of direct action started by the Greensboro Four coalesced in the formation of the Student Non-Violent Coordinating Committee (SNCC), the vanguard of the Civil Rights Movement of the 1960s. February One not only fills in one of the most important chapters in the Civil Rights Movement, it reminds us that this was a movement of ordinary people motivated to extraordinary deeds by the need to assert their basic human dignity. It provides an eloquent argument to today’s generation of students that involvement in the politics of our own time is a vital part of any college education.

Wednesday, February 4, 2009

SPECIAL PARTNERSHIP FEBRUARY SAFE HOUSE SCREENING

Rebirth
REBIRTH OF A NATION
Experimental - 94min
Director-Paul Miller aka DJ Spooky
Date: Sunday, February 8
Time: 2PM
Location: Seattle Art Museum
Pletscheeff Auditorium

1300 First Avenue
Seattle, WA 98101-2003
FREE

In honor of Black History Month, the Langston Hughes African American Film Festival and the Seattle Art Museum are partners in presenting a special free screening of the film Rebirth of a Nation by Paul Miller (aka DJ Spooky That Subliminal Kid).

The film is a 'remix' of D.W. Griffith's 1915 "Birth of a Nation" that was highly controversial due to its graphic portrayal of racism in the post-Civil War south. Miller's remix deconstructs one of the most influential and inflammatory movies ever made, while drawing striking parallels to present socio-political conflicts in America. The film includes Paul's original score, performed by Kronos Quartet.

Community post-screening discussion facilitated by Sandra Jackson-Dumont, Seattle Art Museum Kayla Skinner Deputy Director of Education + Public Programs/Adjunct Curator

Tuesday, February 3, 2009

Underground Railroad Film Series continues Feb. 19


FEBRUARY ONE
Documentary: 61 mins
Directors: Dr. Steven Channing & Rebecca Cerese

Date: Thursday, February 19, 2009
Location:MezzaLuna
2608 S Judkins St
Seattle, WA 98144
Time: 7:00 p.m.
Admission: $5 suggested donation
Langston Hughes African American Film Festival Info line: 206-326-1088

ABOUT THE FILM


Organization of American Historians Erik Barnouw Award Honorable Mention Recipient

In one remarkable day, four college freshmen changed the course of American history. February One tells the inspiring story surrounding the 1960 Greensboro lunch counter sit-ins that revitalized the Civil Rights Movement and set an example of student militancy for the coming decade. This moving film shows how a small group of determined individuals can galvanize a mass movement and focus a nation’s attention on injustice.

The Greensboro Four, Ezell Blair, Jr. (now Jibreel Khazan), David Richmond, Franklin McCain and Joseph McNeil, were close friends at North Carolina A&T University before they became political activists. Two of the four had grown up where segregation was not legal, while another’s father was active in the NAACP. They recount how the idea for the sit-in grew out of those late night “bull sessions” that make college years so rich. Prof. William Chafe helps set the historical context the four young men confronted: the Civil Rights Movement had stalled since the Brown decision and the Montgomery Bus Boycott. On the night of January 31, 1960 the four dared each other to do something that would change the South and their own lives forever. They decided to sit-in at the whites-only lunch counter at Woolworth’s in downtown Greensboro the next day.

On February 1st, dressed in their Sunday best, the four men sat down at the lunch counter. Frank McCain remembers that he knew then this would be the high point of his life, “I felt clean...I had gained my manhood by that simple act.” The four were refused service; when they did not leave the store the manager closed the lunch counter. In the days that followed they were joined by more students from local Black colleges and a few white students who also sat-in at other lunch counters in Greensboro. Prof. Vincent Harding reminds us that the Civil Rights Movement was the first major social movement to be covered by television news so word of the events in Greensboro spread across the nation like a prairie fire. Within just a few days students were sitting in at lunch counters in fifty-four cities around the South.

Greensboro’s civic leadership pressured the President of North Carolina A&T to halt the protests but he counseled the students to follow their own consciences. Finally after months of protests the Woolworth management quietly integrated its lunch counter. The wave of direct action started by the Greensboro Four coalesced in the formation of the Student Non-Violent Coordinating Committee (SNCC), the vanguard of the Civil Rights Movement of the 1960s. February One not only fills in one of the most important chapters in the Civil Rights Movement, it reminds us that this was a movement of ordinary people motivated to extraordinary deeds by the need to assert their basic human dignity. It provides an eloquent argument to today’s generation of students that involvement in the politics of our own time is a vital part of any college education.

Friday, January 9, 2009

Afro-Peruvian Culture - HANDS OF GOD, January 15

Underground Railroad Film Series
CINEMA AND CONVERSATION

A new year, a new President and new ways to celebrate, nurture, present, preserve and share our heritage and culture through the arts! January brings us many stops on the Underground Railroad, with films from far and wide.

JANUARY SAFE HOUSE SCREENING

HANDS OF GOD
Documentary - PERU 2004; 54 min

Director- Delia Ackerman

Date: Thursday, January 15
Time: 7PM
New Location: Langston Hughes Performing Arts Center, 104 - 17th Avenue South at Yesler Way
Central District, Seattle (Metro bus #27
Suggested donation: $5 at the door

The stunning dexterity and mastery of famous Afro-Peruvian percussionist Julio "Chocolate" Algendones are on display in this affectionate documentary about the great master. Afro-Peruvian music is rooted in multiples rhythms coming from Africa. Mixing the traditional and the contemporary, from cajĂ³n to Jazz, Chocolate composed and played many music styles, taught all over the world and contributed to the creative development of numerous artists including the dance group Peru Negro.

Post Screening Discussion with Rose Cano, Director "Callejon: The Alley", a bi-lingual musical co-production of North South Conexions and Langston Hughes Performing Arts Center.

Thursday, December 18, 2008

12/18 FILM RESCHEDULED FOR DECEMBER 29

Due to the current heavy snowfall and uncertain travel conditions in Central Seattle, tonight's 7:00 p.m. screening of the film TROUBLE THE WATER has been postponed.

The film will be shown at the Langston Hughes Performing Arts Center, 104 - 17th Avenue South, on Monday December 29th at 7:00 p.m. Admission is a sliding scale if $5-$7.

Please inform any friends who may have been planning to attend that there is a new show date. The LHAAFF looks forward to showing the film and we hope that everyone will be able to join us on December 29th!

Wednesday, November 26, 2008

Underground Railroad Cinema & Conversation Series continues Dec. 18 with TROUBLE THE WATER


Dec. 18 – TROUBLE THE WATER

Documentary – USA 2008, 96mins

Dir: Tia Lessin, Carl Deal

Trouble the Water is the award winning film that goes inside Hurricane Katrina through the lens of unlikely heroes, Kim and Scott Roberts. A powerful and moving tale of grace and humanity.


Time: 7PM

Location: Langston Hughes Performing Arts Center, 104 17th Avenue South, Seattle (corner of 17th Avenue South & Yesler Way; the #27 Metro bus stops in front)

Admission: Suggested donation of $5-$7

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Winner of the Grand Jury Prize at the 2008 Sundance Film Festival, Trouble the Water is directed and produced by Fahrenheit 9/11 and Bowling for Columbine producers Tia Lessin and Carl Deal. The film tells the story of an aspiring rap artist and her streetwise husband, trapped in New Orleans by deadly floodwaters, who survive the storm and then seize a chance for a new beginning. It’s a redemptive tale of self-described street hustlers who become heroes that takes you inside Hurricane Katrina in a way never before seen on screen.

Trouble the Water opens the day before Katrina makes landfall, just blocks away from the French Quarter but far from the New Orleans that tourists know. Kimberly Rivers Roberts is turning her video camera on herself and her 9th Ward neighbors trapped in the city. “It’s going to be a day to remember,” Kim says excitedly into her new camera as the storm is brewing. It’s her first time shooting video and it’s rough, jumpy but dense with reality. Kim’s playful home-grown newscast tone grinds against the audience’s knowledge that hell is just hours away. There is no way for the audience to warn her. And for New Orleans’ poor, there is nowhere to run.

As the hurricane begins to rage and the floodwaters fill their world and the screen, Kim and her husband Scott continue to film, documenting their harrowing voyage to higher ground and dramatic rescues of friends and neighbors.

Intertwining Kim and Scott’s insider’s view of Katrina and powerful video with a mix of verite and in-your-face filmmaking, Deal and Lessin follow their story through the storm and its aftermath, and into a new life. Along the way, they discover Kim’s musical talent as rap artist Black Kold Madina when she finds the only existing copy of her recorded music survived the storm with a relative in Memphis. Kim’s performance in that moment reveals not only devastating skills as a musician, but compacts her life story into explosive poetry that paints a devastating picture of poverty.

Directed and produced by Tia Lessin and Carl Deal and Executive Produced by Joslyn Barnes and Danny Glover of Louverture Films, edited and co-produced by T. Woody Richman, with additonal editing by Mary Lampson, Trouble the Water features an original musical score by Neil Davidge and Robert Del Naja of Massive Attack, and the music of Dr. John, Mary Mary, Citizen Cope, TK Soul, John Lee Hooker, and the Free Agents Brass Band and introduces the music of Black Kold Madina.

Trouble the Water has been supported by grants from the Sundance Institute,the Open Society Institute, and is a project of Creative Capital.