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Rio's Carnival kicks off as mayor gives key to the city to King Momo

Rio's Carnival kicks off as mayor gives key to the city to King Momo

Yahoo28-02-2025

RIO DE JANEIRO (AP) — Rio de Janeiro's mayor handed over the key to the city to its Carnival monarch on Friday, opening King Momo's five-day reign over the festivities.
'Don't call me. Call King Momo until Ash Wednesday comes,' Mayor Eduardo Paes, wearing shorts and a Panama hat, told Carnival revelers as drummers and veteran members of local samba schools celebrated and sang traditional songs. 'You should come for this guy. He's going to be in charge of the whole thing.'
Momo's tenure is symbolic of society being turned upside down during Carnival. His role is inspired by Greek mythology. Momus is the personification of satire, mockery and irreverence.
This year's Momo is 28-year-old Kaio Mackenzie, from the working-class Mangueira community. Rio's Carnival queen and princesses joined him, dancing to samba music as they held the city key aloft and confetti poured down upon them.
Some street parties have already been sweeping through Rio's streets in the lead-up to Carnival, but the five-day celebrations will see almost city-authorized 500 bashes in the city. There are dozens more informal parties roving about.
On Friday afternoon, one of Rio's most traditional street parties, Carmelitas, took hold on the hilltop Santa Teresa neighborhood.
The city's 12 top-flight samba schools will present their Carnival parades at the city's Sambadrome between Sunday and Tuesday.
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Follow AP's coverage of Latin America and the Caribbean at https://apnews.com/hub/latin-america
Mauricio Savarese, The Associated Press

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The home of one of the largest catalogs of Black history turns 100 in New York
The home of one of the largest catalogs of Black history turns 100 in New York

Hamilton Spectator

time22 minutes ago

  • Hamilton Spectator

The home of one of the largest catalogs of Black history turns 100 in New York

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He was inspired to collect materials on Afro-Latin Americans and African American culture after a teacher told him that Black people lacked major figures and a noteworthy history. Schomburg moved to New York in 1891 and, during the height of the Harlem Renaissance in 1926, sold his collection of approximately 4,000 books and pamphlets to the New York Public Library. Selections from Schomburg's personal holdings, known as the seed library, are part of the centennial exhibition. Ernestine Rose, who was the head librarian at the 135th Street branch, and Catherine Latimer, the New York Public Library's first Black librarian, built on Schomburg's donation by documenting Black culture to reflect the neighborhoods around the library. Today, the library serves as a research archive of art, artifacts, manuscripts, rare books, photos, moving images, and recorded sound. Over the years, it has grown in size, from a reading room on the third floor to three buildings that include a small theater and an auditorium for public programs, performances and movie screenings. Tammi Lawson, who has been visiting the Schomburg Center for over 40 years, recently noticed the absence of Black women artists in the center's permanent collection. Now, as the curator of the arts and artifacts division, she is focused on acquiring works by Black women artists from around the world, adding to an already impressive catalog at the center. 'Preserving Black art and artifacts affirms our creativity and our cultural contributions to the world,' Lawson said. 'What makes the Schomburg Center's arts and artifacts division so unique and rare is that we started collecting 50 years before anyone else thought to do it. Therefore, we have the most comprehensive collection of Black art in a public institution.' Youth scholars seen as key to center's future For years, the Schomburg aimed to uplift New York's Black community through its Junior Scholars Program , a tuition-free program that awards dozens of youth from 6th through 12th grade. The scholars gain access to the center's repository and use it to create a multimedia showcase reflecting the richness, achievements, and struggles of today's Black experience. It's a lesser-known aspect of the Schomburg Center's legacy. That's in part because some in the Harlem community felt a divide between the institution and the neighborhood it purports to serve, said Damond Haynes, a former coordinator of interpretive programs at the center, who also worked with the Junior Scholars Program. But Harlem has changed since Haynes started working for the program about two decades ago. 'The Schomburg was like a castle,' Haynes said. 'It was like a church, you know what I mean? Only the members go in. You admire the building.' For those who are exposed to the center's collections, the impact on their sense of self is undeniable, Haynes said. Kids are learning about themselves like Black history scholars, and it's like many families are passing the torch in a right of passage, he said. 'A lot of the teens, the avenues that they pick during the program, media, dance, poetry, visual art, they end up going into those programs,' Haynes said. 'A lot the teens actually find their identity within the program.' Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .

‘Materialists' review: Dakota Johnson goes from ‘Madame Web' to meh matchmaker
‘Materialists' review: Dakota Johnson goes from ‘Madame Web' to meh matchmaker

New York Post

time4 hours ago

  • New York Post

‘Materialists' review: Dakota Johnson goes from ‘Madame Web' to meh matchmaker

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