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#black lesbians
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a very happy lesbian visibility week indeed 💘
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This year's Black Lesbians United Retreat was everything. These clips capture some of the joy, dancing, and horniness of the weekend.
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xxconnection · 6 months
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This Lesbian Poem by Akhaji Zakiya from Lisa C Moore's Does Your Mama Know?: An Anthology of Black Lesbian Coming Out Stories
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divine-noire · 8 months
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Skin like the sun ✨
Heart like the moon 🌙
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her-stars · 4 months
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I NEED a black lesbian romcom movie with no fucking trauma. I want a regular cute and fun corny ass romcom. brown and darkskin leading women 👏🏾👏🏾
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limeade-l3sbian · 17 days
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older black lesbians 💜
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pussyvanpussy · 3 months
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lavanderdykes · 8 months
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Set It Off (1996)
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thottybrucewayne · 5 months
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I'm on every bitch wishlist, shout out to Santa
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flowers-poetry-poc · 2 years
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Say what you want about first kill, but the fact that we have a Black Lesbian in the mainstream is big. And this one’s particularly important because she is co-main character. She has a close knit black family that doesn’t care she is gay and who are pretty well written. Yeah this show isn’t perfect. But for a 15 year old black girl who is used to girls who look like her be the comic relief, the side character, the one that dies or only used to seeing white lesbians or light skinned lesbians, this is great. Let her enjoy it. Because I know that I would have.
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gotturnedout · 11 months
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thenatureofbutch · 11 months
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Screengrab taken from the YouTube series ‘studs world’
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scorpiuscomplex · 1 year
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my daily dose of sweetness
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genderoutlaws · 2 years
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Storme Webber, a Black Sugpiaq/Choctaw Two-Spirit Lesbian artist and poet, photographed by Diné artist Will Wilson for his ongoing Critical Indigenous Photographic Exchange project. | 2018
Wilson employs a wet-plate collodion photographic technique, based on the nineteenth-century method that involves exposing and then developing a plate that has been coated in light-sensitive chemicals. He explores identity, the photographic medium as both art and science, and community. Wilson collaborates with his sitters, who determine their pose, clothing, props, and how they are presented. As a gesture of reciprocity, Wilson gives the sitters the original photograph, while retaining the right to print and use scans for artistic purposes. Originally, CIPX was Wilson’s way to work toward a re-imagined vision of Native people in response to historic photographers such as Edward Curtis and his The North American Indian (1907-1930).
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