Women with dark skin are sharing selfies on social media after decades of being underrepresented in the mainstream media. From what I have observed much of the dark skin adoration on social media appears to come from us - black women. We tend to use the appreciation hashtags with our own pictures of photographs of dark skin women whom we feel are stunning. While I am loving this fierceness.. There is just one sidetone to this revolution: I feel as if we are much more appreciated if we show more skin. The timelines are filled with absolutely beautiful dark-skinned women but most sadly most of the time they are all oiled up and showing their body parts in different angles.Now, I am definitely in to art and as a model I know that this comes with the territory. But we most not forget that we are Queens.. We need to stop degrading ourselves for likes on the gram. You don't have to be naked to show the world you're beautiful.You my sister are an African Queen.I feel as if black women are only appreciated if they wear very provocative clothes or if they do naked photoshoots. To me, it's degrading and reminds me of the time that we couldn't ride the bus because we were black. Women were seen as servants. The black women that weren't servants were sex slaves.We are not objects, we are not meat and people need to stop looking at us as sex objects. BUT we need to start respecting ourselves first! A black woman is a woman first and it should not even be necessary to specify the colour but this is the society we live in and I feel like I had to share this.
Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered.