All week long, African Americans have been celebrating Kwanzaa across the U.S.
Perhaps you may attend a Kwanzaa celebration at your church or even participate in Kwanzaa in the comforts of your own home, but do you really know why? What is Kwanzaa and why do so many African Americans choose to celebrate the holiday?
Dr. Maulana Ron Karenga created and developed Kwanzaa in 1966. Dr. Karenga is an author, professor, and scholar-activist who is passionate about sustaining Pan-African culture in America with an emphasis on celebrating the family and the community.
There are three main ideas that are foundational to sustaining Kwanzaa tradition. The first idea is to reinstate rootedness in African culture. The second is to serve as a consistent, annual, public celebration to strengthen and confirm the bonds between people of the African diaspora. And finally, Kwanzaa is to familiarize and support the “Nguzo Saba,” also known as the “Seven Principles,” which are each celebrated during the seven days following Christmas.
These seven principles represent the values of African communication. They include the following:
Umoja or Unity
Kujichagulia or Self-Determination
Ujima or Collective Work and Responsibility
Ujamaa or Cooperative Economics
Nia or Purpose
Kuumba or Creativity
Imani or Faith.
People celebrate Kwanzaa in numerous ways and have different practices that have been incorporated into their celebrations.
Symbolic Decor
Are you unsure as to how you and your family can participate in a Kwanzaa celebration? A good way to start is to decorate your home or living quarters with the symbols of Kwanzaa.
First start by putting a green tablecloth over a table that is centrally based in the space in the space you intend to decorate. Then, place the Mkeka, a woven mat or straw that represents the factual cornerstone of African descent, on top of the tablecloth.
Place the Mazao, the fruit or crops placed in a bowl, on top of the Mkeka symbolizing the culture’s productivity. Next, place the Kinara, a seven-pronged candle holder, on the tablecloth. The Kinara should include the Mishumaa Saba, seven candles that represent the seven central principles of Kwanzaa.
The three candles placed on the left are red, symbolizing struggle, the three candles to the right are green, symbolizing hope, and one candle placed in the center is black, symbolizing those who draw their heritage from Africa or simply just the African American people. The candles are lit each day in a certain order, and the black candle is always first.
Next, include the Muhindi, or ears of corn, used to symbolize each child. However, if there are no children present, place two ears to represent the children within the community.
Also, include Zawadi, gifts for the children, on the table. And finally, don’t forget the Kikombe cha Umoja, a cup to symbolize family and unity within the community.
Pan-African Creativity
You may also choose to decorate the rest of your home with Kwanzaa flags, called Bendera, and posters focusing on the seven principles of Kwanzaa. Some children usually take pleasure in making these flags or they may be purchased instead. African national and tribal flags can also be created to symbolize the seven principles.
Other ways to celebrate may include learning Kwanzaa greetings, such as “Habari Gani,” which is a traditional Swahili greeting for “What is the news?”
Other activities for celebrating Kwanzaa is to have a ceremony, which may include lighting the candles, musical selections played on the drums, readings of the African Pledge and the Principles of Blackness, reflections on the Pan-African colors, discussing African principles for that day and/or reciting chapters in African heritage. Be creative!
Have you and your family been participating in your own Kwanzaa traditions? Share them below.
In Invisible Generals: Rediscovering Family Legacy, and a Quest to Honor America’s First Black Generals, author Doug Melville tells the incredible true story of the 1st and 2nd Black Generals in the United States, Benjamin O. Davis Sr. & Benjamin O. Davis Jr. They were his extended family and were a father and son who changed our country and yet their history has rarely been told. Ben Sr. established the Tuskegee Airmen, integrated the Armed Services, and served in the Air Force for decades. Ben Jr. was the first Black 4 star General, established the TSA, and shaped the Transportation Administration. As we honor our former soldiers this Veterans Day, let us learn about these Invisible Generals who changed our nation. The edited interview is above, more about the book is below.
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In Invisible Generals, Melville shares his quest to rediscover his family’s story across five generations, from post-Civil War America to modern day Asia and Europe. In life, the Davises were denied the recognition and compensation they’d earned, but through his journey, Melville uncovers something greater: that dedication and self-sacrifice can move proverbial mountains—even in a world determined to make you invisible.
Invisible Generals recounts the lives of a father and his son who always maintained their belief in the American dream. As the inheritor of their legacy, Melville retraces their steps, advocates for them to receive their long-overdue honors and unlocks the potential we all hold to retrieve powerful family stories lost to the past.
The Burial is a film inspired by the real life story of black Attorney Willie Gary known as “The Giant Killer” who takes the unexpected contract case of a white funeral home owner named Jeremiah O’Keefe in southern Mississippi. Mr. Gary is one of the most successful trial attorneys in American history who has won lawsuits against multibillion dollar corporations to protect and get justice for his clients. The inspiring story is filled with comedy and drama as what begins as a case about deal gone bad begins to expose corruption, injustice, and power that would change both men’s lives. Academy Award winner Jamie Foxx plays Willie Gary who alongside Academy Award winner Tommy Lee Jones and Jurnee Smollett deliver truly amazing performances. UrbanFaith sat down with Willie Gary, the man behind the legend to talk about the film and his hopes to inspire others. The full interview is above. The film is rated R for language, but it is a movie I will be fine watching with my kids. There is use of the n word in context which likely contributes to the rating, but this film is a cinematic take on important black history and American history. The film is in select theaters now and on Amazon Prime Video October 13!
Jane Elliott is one of the most impactful educators and social activists in US history who performed experiments as a teacher that showed convincingly how racism impacted children. Her blue eyes vs. brown eyes exercise in 1968 after the assassination of Dr. Martin Luther King Jr. and subsequent world wide publicity of the exercise changed how society viewed race. Her work is a major basis for scholarship on race as a social construct. UrbanFaith contributor Maina Mwaura sat down with this hilarious and brilliant woman to discuss faith, the impact of her work, and her hopes and concerns for relationships between people from different backgrounds today. The interview above has been edited for length, clarity, and content. The views and opinions of Ms. Elliott are her own, not necessarily those of urbanfaith.
In the nineteenth century, many American communities and cities celebrated Independence Day with a ceremonial reading of the Declaration of Independence, which was usually followed by an oral address or speech dedicated to the celebration of independence and the heritage of the American Revolution and the Founding Fathers. On July 5, 1852, the Ladies’ Anti-Slavery Society of Rochester, New York, invited the Black abolitionist and civil rights leader Frederick Douglass to be the keynote speaker for their Independence Day celebration. The Fourth of July Speech, scheduled for Rochester’s Corinthian Hall, attracted an audience of 600. The meeting opened with a prayer and was followed by a reading of the Declaration of Independence. When Douglass finally came to the platform to deliver his speech, the event took a jarring turn. Douglass told his audience, “This Fourth of July is yours, not mine. You may rejoice, I must mourn.” And he asked them, “Do you mean, citizens, to mock me, by asking me to speak today?”
Within Douglass’ now-legendary address is what historian Philip S. Foner has called “probably the most moving passage in all of Douglass’ speeches.”
What, to the American slave, is your 4th of July? I answer: a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciations of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade, and solemnity, are, to him, mere bombast, fraud, deception, impiety, and hypocrisy—a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices, more shocking and bloody, than are the people of these United States, at this very hour.
On this and every July 4th, Americans might do well to re-read and reflect on Douglass’ famous message. It challenges us to move beyond the biases and blind spots of our own cultural privileges and consider those around us for whom, as Langston Hughes said, “America has never been America.”
Read Douglass’ complete speech here, and watch actor Danny Glover recite an excerpt from the address below.
“Liminal” is defined as the space between. It is the no-longer before, and the not-yet other. It is the space where we find ourselves caught between the light of Juneteenth and the shadow of July 4th. We are caught in the space between. No longer enslaved on plantations, but not yet with a freedom fully realized. It’s an imaginative space; an emergent space; and a space for reflection.
It is in this space that I am reminded of the Statue of Liberty, and the broken chains at her feet. I first learned about the chains in 2017, at a training in Chicago led by Dr. Joy DeGruy. She told the story of how the chains were part of the original vision of the statue, how American financiers insisted that the chains be removed, and how the sculptor still managed to sneak the chains in under Lady Liberty’s garments, lying broken at her feet. She told the story how the National Park Services didn’t talk about the chains unless someone happened to ask. The chains were not part of the Park Services’ narrative about the Statue. In the Statue’s 135-year history, information about the chains have only officially been included in the park service’s literature and website for about the past six years.
Yasmin Sabina Khan goes even deeper in her work, “Enlightening the World: The Creation of the Statue of Liberty.” Conceived in 1865 by Édouard de Laboulaye, sculpted by Frédéric-Auguste Bartholdi over the course of approximately 20 years, the Statue of Liberty was unveiled at New York’s Ellis Island as “Liberty Enlightening the World” in October of 1886. At the base of the Statue, out of view from anyone looking from ground level, lie the broken chains of slavery. Visible only from helicopter or drone, the chains weren’t spoken of. Laboulaye was an ardent abolitionist. With the end of the US Civil War in 1865, Laboulaye imagined a gift that would embody the significance of the liberation of those who were enslaved. Bartholdi’s original model placed the torch of liberty in one hand, and broken chains in the other. The Statue of Liberty’s entire visual and artistic vocabulary was meant to both celebrate and honor the freedom of those enslaved in America. But financiers balked at the idea of chains placed anywhere on the Statue, and after profuse opposition by Bartholdi, the chains were removed, replaced by a tablet emblazoned with the Roman numerals for July 4, 1776. Since they aren’t easily visible, and since there was no concerted public effort to connect the statue with the narrative of the abolition of chattel slavery, the memory of it’s connections faded. And for the past 135 years, barely anyone remembered the chains.
For Black people within this liminal march of history, the Statue has long sat as a symbol of hypocrisy—celebrating a freedom that became connected to a honoring of ideals that have yet to be realized. There’s much to unpack about our historical reactions to the unveiling of the Statue, but there’s also much to be said about the loss of memory. The obscuring and loss of communal memory around the presence, history, and meaning of the chains at the feet of the Statue of Liberty is important because it reminds us that memory is important. And not only is memory important, memory is crucial in this liminal space between freedom and freedom. Memory is what helps us imagine. Memory is what helps us create. It’s something we can use to construct and define a new world, a new freedom, a new way of being. We must tap into it.
In his book, “Something Torn and New: An African Renaissance” Ngugi wa Thiong’o writes, “creative imagination is one of the greatest of re-membering practices…” and that “memory is the link between the past and the present, between space and time, and it is the base of our dreams.” Harnessing memory is our work. These broken chains at our feet, the light of Juneteenth, the long shadow of July 4th—this liminal space—all of it is here to remind us that we have worlds to build. We have a freedom to define—to make clear and meaningful. It is within this creative tension where we have the possibility to gain a clear-eyed view of what a full realization of freedom could look like, both collectively as a community and a country, and particularly in the living out of our individual lives and individual situations. But understand, there can be no clear expression of freedom without integrating communal memory into the foundation of work.
If memory is the base of our dreams, what are our dreams of freedom? What if we could transform freedom in the same ways that we’ve always transformed culture? In this liminal space of history, we’ve seen Black creativity, Black genius, Black art, and Black joy shift and drive culture (and economies) around the world. Have we fired that same ingenuity in our definitions of freedom? What would the world look like, if we defined and constructed freedom based on our criteria, our imaginations, our memory? It might look something like a society built on the idea of thriving rather than destruction. It might look something like a society built around dignity—of humans, animals, and the earth. It might look something like systems built to nourish and sustain life rather than profit. Freedom could look like so many different visions of more and better. The dreaming is up to us.
We have work to do. We have worlds to build. We have a freedom to create. And as we go about protesting and advocating for our lives, here in this liminal space between freedom that was and freedom that might yet be, may we remember that the work we have to do, the worlds we are building, and the freedom we are creating, cannot reach their fullest expression without our communal memory.
Let us remember the chains broken at our feet, so that we may creatively continue in our generation’s leg of the journey toward the light of freedom fully realized.
