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Five on the Black Hand Side is a project exploring gestural languages that were born in African American communities during the 1960s and 1970s, including the “the dap” and the black power handshake. When we see youths, athletes, or even President Obama giving a fist bump or dap, we think of these gestures as mere greetings and are not aware of the origins and historical significance of these languages.
Historically, the dap is both a symbol among African American men that expresses unity, strength, defiance, or resistance and a complex language for communicating information. The dap and the black power handshake, which evolved from the dap, were important symbols of black consciousness, identity, and cultural unity throughout black America.
The dap originated during the late 1960s among black G.I.s stationed in the Pacific during the Vietnam War. At a time when the Black Power movement was burgeoning, racial unrest was prominent in American cities, and draft reforms sent tens of thousands of young African Americans into combat, the dap became an important symbol of unity and survival in a racially turbulent atmosphere. Scholars on the Vietnam War and black Vietnam vets alike note that the dap derived from a pact black soldiers took in order to convey their commitment to looking after one another. Several unfortunate cases of black soldiers reportedly being shot by white soldiers during combat served as the impetus behind this physical act of solidarity.
Such events, combined with the racism and segregation faced by black G.I.s, created a pressing need for an act and symbol of unity. The dap, an acronym for “dignity and pride” whose movements translate to “I’m not above you, you’re not above me, we’re side by side, we’re together,” provided just this symbol of solidarity and served as a substitute for the Black Power salute prohibited by the military.
White soldiers and commanding officers deemed the handshake a threat under the misconception that the dap was a coded language of potential black insurrection. In fact the dap was also a coded form of communication between soldiers that conveyed necessary information for survival, such as what to expect at the battlefront or what had transpired during an operation. The dap was banned at all levels of the military, and thus many black soldiers were court-martialed, jailed, and even dishonorably discharged as a punishment for dapping. Military repression of the dap further cemented a desire for a symbol of solidarity and protection among black men.
Conversely, later in the war, the military saw the utility of using the dap in medical treatment of black combatants with post-traumatic stress disorder, creating a program of “dap therapy.” The military would bring in black G.I.s fluent in the dap to dap with these men to build their trust up to accept treatment from white doctors and staff.
In 2013, I began a series of photographs called Five on the Black Hand Side that image African American men performing the dap. I make these through identifying particular communities of men of different cultures and ages who participate in the culture of the dap, interviewing them, and photographing their handshakes. Through the research I have already conducted with these individuals, I have learned that there is a tremendous diversity of daps, evolving from the dramatically different movements and meanings of each military company.
At the Smithsonian, I have been researching oral and visual histories of the “Bloods” (black soldiers) of Vietnam, who coined the term “dap,” at the Soul Soldiers exhibition archives curated by Samuel L. Black of the Heinz History Center, the National Museum of African American History and Culture, and the Center for Folklife and Cultural Heritage. I have been using the Smithsonian’s archives at the African Art Museum, the Hirshhorn, and the National Museum of American History to look for the evolution of the dap in songs, artwork, films, literature, and posters to understand how it and other gestures of black solidarity disseminated in popular culture. I will continue to interview black Vietnam veterans, former gang members, and others and photograph their handshakes to construct further images for Five on the Black Hand Side.
LaMont Hamilton is a photographer and visual artist from Chicago who is conducting research at the Center for Folklife and Cultural Heritage through the Smithsonian Artist Research Fellowship program.
Related Posts: • The Will to Adorn and the Optics of Identity • Owning Identity: Sartorial Expressions at the Million Man March Anniversary • Continuity, Change, and Cultural Connections: African Diaspora at the Folklife Festival
Ghế Game Extreme Zero Black
Các mẫu ghế chơi game cao cấp như DXRacer hay AKRacing hiển nhiên là cực tốt, tuy nhiên bạn cần chi trả tối thiểu khoảng 5 triệu đồng cho một chiếc ghế mang thương hiệu cao cấp đó. Số tiền đó không phải game thủ nào cũng sẵn sàng móc hầu bao, chính vì vậy, các mẫu ghế chơi game chất lượng tốt và có mức giá rẻ hơn sẽ là những lựa chọn phù hợp cho các game thủ là học sinh – sinh viên.
Nắm bắt được nhu cầu đó, hôm nay, An Phát PC xin giới thiệu với các bạn mẫu ghế chơi game giá rẻ nhưng cực chất mang tên: GHẾ EXTREME ZERO
EXTREME ZERO là mẫu ghế chơi game xuất xứ Trung Quốc, được lấy mẫu thiết kế từ các phiên bản ghế cao cấp của DXRacer và AKRacing, vì vậy ghế EXTREME ZERO có hình dáng bên ngoài rất thể thao, rất đẳng cấp:
Ghế có phần khung xương được làm bằng thép, chân đế lõi thép và bọc nhựa bên ngoài đảm bảo chịu lực và độ bền lâu dài. Bánh xe được làm bằng nhựa PU giúp ghế di chuyển êm ái, bám sàn tốt và yên tĩnh. Trụ hơi chịu được trọng tải khoảng 150 Kg.
Toàn bộ phần thân ghế được bọc da PU cao cấp. Logo EXTREME phiên bản ZERO làm người ta nhớ tới chiếc ghế DXRacer King Zero có giá lên tới 9 triệu đồng:
Bên trong lớp da là phần foam dày và êm. Các chi tiết trên ghế được may chắc chắn với độ hoàn thiện tương đối tốt. Ghế EXTREME ZERO có đầy đủ gối lưng, gối đầu, hệ thống nâng hạ ghế, rocking và ngả 170 độ như AKRacing. Phần kê tay có thể nâng lên hạ xuống linh hoạt.
Kích cỡ ghế EXTREME ZERO được nghiên cứu vừa vặn với người châu Á, phù hợp với cả các bạn nữ nhỏ nhắn cho tới các game thủ cao trên 1m80.
Ghế có độ cân bằng tốt và chắc chắn, ngả lưng rất thoải mái:
Ghế EXTREME ZERO có giá chỉ 2.990.000 VNĐ – một mức giá rất dễ chịu (chỉ hơn nửa tiền so với mẫu ghế bọc vải giá rẻ nhất của DXRacer), ghế EXTREME ZERO chắc chắn là lựa chọn cực tốt cho game thủ mối tậu một chiếc ghế chất lượng, đẹp và đầy đủ tỉnh năng với mức giá phổ thông.
Origins 2022 Game Preview: Crowbar!: The Rangers At Pointe Du Hoc From Flying Pig Games
At Origins 2018 we got to sit down with Hermann Luttmann, designer of such games as At Any Cost: Metz 1870 and the illustrious Dawn of the Zeds series. You can head on over to YouTube and see a video interview we were lucky enough to do with him at Origins 2018 talking about Crowbar! coming to Kickstarter in 2018. But here’s a look at a pre-production copy of the game and what you can expect to get to the table. Remember – these are not final components and are subject to change at any time. But with that being said, they’re really nice and I’d expect them to not be too different.
Crowbar! is primarily a solitaire game that will be published by Flying Pig Games. With that in mind, as as you can see here, you know you’re going to get a very well made product. The game covers the Rangers landing at Pointe du Hoc on D-Day and their mission to find and put out of action artillery pieces that were covering Omaha Beach. You’ll go all the way through their mission, from riding in on landing craft and wading onto the beaches, firing grappling hooks, scaling the cliffs and then searching the fields and emplacements for the guns. Whilst the game covers not only D-Day but also D-Day plus one and two, you’ll pretty much need to get it done on the first day in order to succeed. It’s no good finding the guns after they’ve pounded the beaches all day and night.
The game can be played cooperatively as well, if you wanted, where you end up splitting the three companies between up to three players. When you do that it’s important to keep each of the companies in good supporting battle lines to gain bonuses. But let’s be honest, we’ll all be doing this one solo!
So, finding the artillery is the end goal, and atop the cliffs are an array of around 20 hidden counters, only a few of which actually house the guns you need to capture and destroy. The rest represent decoys, wasted resources and bad intel. This adds to the replay value, and also makes the task a little more daunting as well. Crowbar! is a push-your-luck style game as you throw units forward, risking wounds or getting pushed back. The hidden markers give a real edge to that risk as you might end up killing yourself to capture basically nothing. I’m excited for this dynamic, because I want my gambles to feel like real gambles.
Crowbar! uses a dice mechanism for movement. And before you groan at “roll-and-move” games, there’s more to it than that. There are three different dice, each with different odds on them. The green dice, is nice and safe. You’re less likely to take hits, but you won’t move nearly as much. Remember, time is of the essence in this one. So you might pick up that yellow, or red dice and risk taking much heavier fire but being able to bound forward toward the cliffs and the eventual gun emplacements. The other thing you need to remember is that you have rally points, which move up the beaches as your units do. It is from these rally points that you will move your units out. And to which they will fall back if necessary. So the game ends up as this cool simulation of trying to bring up proper battle lines, but doing it quickly and effectively. As with all of Hermann Luttmann’s designs, you can rest assured that with the dice rolling and hidden objective markers there is plenty of battlefield chaos to be had, which makes for a game that is highly replayable.
I’m very excited to play this one, and it’s coming to Kickstarter soon. Again, these aren’t the final components, but I think they’re quite close. Look for more on the game from Flying Pig Games coming soon!
-Alexander
Five On The Black Hand Side: Origins And Evolutions Of The Dap
Five on the Black Hand Side is a project exploring gestural languages that were born in African American communities during the 1960s and 1970s, including the “the dap” and the black power handshake. When we see youths, athletes, or even President Obama giving a fist bump or dap, we think of these gestures as mere greetings and are not aware of the origins and historical significance of these languages.
Historically, the dap is both a symbol among African American men that expresses unity, strength, defiance, or resistance and a complex language for communicating information. The dap and the black power handshake, which evolved from the dap, were important symbols of black consciousness, identity, and cultural unity throughout black America.
The dap originated during the late 1960s among black G.I.s stationed in the Pacific during the Vietnam War. At a time when the Black Power movement was burgeoning, racial unrest was prominent in American cities, and draft reforms sent tens of thousands of young African Americans into combat, the dap became an important symbol of unity and survival in a racially turbulent atmosphere. Scholars on the Vietnam War and black Vietnam vets alike note that the dap derived from a pact black soldiers took in order to convey their commitment to looking after one another. Several unfortunate cases of black soldiers reportedly being shot by white soldiers during combat served as the impetus behind this physical act of solidarity.
Such events, combined with the racism and segregation faced by black G.I.s, created a pressing need for an act and symbol of unity. The dap, an acronym for “dignity and pride” whose movements translate to “I’m not above you, you’re not above me, we’re side by side, we’re together,” provided just this symbol of solidarity and served as a substitute for the Black Power salute prohibited by the military.
White soldiers and commanding officers deemed the handshake a threat under the misconception that the dap was a coded language of potential black insurrection. In fact the dap was also a coded form of communication between soldiers that conveyed necessary information for survival, such as what to expect at the battlefront or what had transpired during an operation. The dap was banned at all levels of the military, and thus many black soldiers were court-martialed, jailed, and even dishonorably discharged as a punishment for dapping. Military repression of the dap further cemented a desire for a symbol of solidarity and protection among black men.
Conversely, later in the war, the military saw the utility of using the dap in medical treatment of black combatants with post-traumatic stress disorder, creating a program of “dap therapy.” The military would bring in black G.I.s fluent in the dap to dap with these men to build their trust up to accept treatment from white doctors and staff.
In 2013, I began a series of photographs called Five on the Black Hand Side that image African American men performing the dap. I make these through identifying particular communities of men of different cultures and ages who participate in the culture of the dap, interviewing them, and photographing their handshakes. Through the research I have already conducted with these individuals, I have learned that there is a tremendous diversity of daps, evolving from the dramatically different movements and meanings of each military company.
At the Smithsonian, I have been researching oral and visual histories of the “Bloods” (black soldiers) of Vietnam, who coined the term “dap,” at the Soul Soldiers exhibition archives curated by Samuel L. Black of the Heinz History Center, the National Museum of African American History and Culture, and the Center for Folklife and Cultural Heritage. I have been using the Smithsonian’s archives at the African Art Museum, the Hirshhorn, and the National Museum of American History to look for the evolution of the dap in songs, artwork, films, literature, and posters to understand how it and other gestures of black solidarity disseminated in popular culture. I will continue to interview black Vietnam veterans, former gang members, and others and photograph their handshakes to construct further images for Five on the Black Hand Side.
LaMont Hamilton is a photographer and visual artist from Chicago who is conducting research at the Center for Folklife and Cultural Heritage through the Smithsonian Artist Research Fellowship program.
Related Posts: • The Will to Adorn and the Optics of Identity • Owning Identity: Sartorial Expressions at the Million Man March Anniversary • Continuity, Change, and Cultural Connections: African Diaspora at the Folklife Festival
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