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"title": "Photos: The Black Joy Parade Returns as ‘A Love Letter to the Bay’",
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"content": "\u003cp>Black is for the people, red is for the blood shed, and green is for the wealth of the Motherland.\u003c/p>\n\u003cp>These colors adorned countless Pan-African flags that proudly flew at the fifth annual \u003ca href=\"https://www.blackjoyparade.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a> in Oakland on Sunday afternoon. For those uninitiated with the idea of Pan-Africanism, it is a school of thought that aims to unite and create solidarity among Black folks of different cultures around the world.\u003c/p>\n\u003cp>The parade participants represented the diversity of the Black diaspora. There were uniquely American aspects to the parade, like the group of Black cowboys who wore 10-gallon hats while majestically riding their horses down Broadway in downtown Oakland (a favorite among the children in the crowd). Meanwhile, every member of the Divine Nine, made up of the nine historically Black fraternities and sororities (of which I’m a proud brother of Alpha Phi Alpha Fraternity), stepped and strolled their way past an adoring public.\u003c/p>\n\u003cp>There were samba dancers representing Black Brazilian culture; loads of Caribbean food vendors selling oxtails and rum punch; an abundance of people wearing West African-inspired patterns and prints; and even some folks looking to the future while draped in outfits reminiscent of the great Afrofuturist composer, Sun Ra.\u003c/p>\n\u003cfigure id=\"attachment_13909867\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-05.jpg\" alt=\"A person with short hair, wire jewelry on their face and green lipstick poses\" width=\"1053\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-768x576.jpg 768w\" sizes=\"(max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Treajané Brown takes a pause from dancing and poses for a portrait during the Black Joy Parade on Feb. 27, 2022. “I feel like I’ve been struggling recently and I needed some energy to propel me into this next chapter and I knew I could get it from the Black Joy Parade, so I’m so glad it’s back,” Brown said. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Black joy in its many forms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I honestly think that Black joy is not definable,” Elycia Thomas Knight, BJP’s parade manager, told KQED. “We’re not telling you what Black joy is. We’re just asking you to show up with whatever that specialized Black joy is–unique Black joy is–that you have in you, and just show up and set it out.”\u003c/p>\n\u003cp>But the joy didn’t end with parade participants, it was also present among those in the crowd. The sun was out and accentuating the melanated skin of Black people of all shades, genders and sizes, gloriously dressed in whatever “Sunday best” looked like to them. As paraders passed by, affirmations of “Go ahead, sista” or “Okay, king!” could be heard. No one knows how to hype you up better than Black folks.\u003c/p>\n\u003cp>Thomas Knight called this year’s parade a “love letter to the Bay” following its 2021 hiatus due to COVID concerns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mia Meredith, a USF student from San Francisco, said BJP perfectly represents the term “strength in numbers,” popularized by the Golden State Warriors in the Bay Area. “I’ve honestly never seen this many Black people in one sitting before,” Meredith said. “I love to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13909871\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909871\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-23.jpg\" alt='Two people smile in \"black joy\" sweatshirts' width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Elycia Thomas Knight, Black Joy Parade manager, poses for a portrait with her sister at the entrance of the celebration site at 20th and Broadway. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909868\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-08.jpg\" alt=\"A group poses with their scraper bikes\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Scraper Bike Mob pose for a portrait during the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909872\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-27.jpg\" alt=\"A dance group in matching blue dashiki outfits\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">A sorority dances in the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909875\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-33.jpg\" alt=\"Two people in letterman jackets wave Pan-African flags from a convertible\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Fo’Fifteen Car Club ride in the parade in their classic car on Feb. 27, 2022. SF Black Wall Street and the Fo’Fifteen Car Club collaborated with the Black Millionaire Development Entrepreneurs, who also walked in the parade. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909866\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-01.jpg\" alt=\"A group of eight, children and adults, smile\" width=\"1200\" height=\"839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-768x537.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Priscilla Dodoo poses for a portrait with her family during the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909874\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-31.jpg\" alt=\"A dance group in green and white smiles \" width=\"1224\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-768x499.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">A dancer with Estralas do Samba smiles at the crowds watching the Black Joy Parade in Oakland on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909873\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-30.jpg\" alt='A dance group in white, one woman has \"BLM\" written on their back' width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Parade participants covered in white body paint dance down Broadway in Oakland on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909869\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-20.jpg\" alt=\"A young person roller skates\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">A young girl roller skates in the Liberation Park rolling rink pop-up. Attendees of the Black Joy Parade could get skates at the event to use. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909876\" class=\"wp-caption aligncenter\" style=\"max-width: 1238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-36.jpg\" alt=\"A young person in a cow-patterned Western shirt holds the brim of her cowboy hat\" width=\"1238\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-768x497.jpg 768w\" sizes=\"(max-width: 1238px) 100vw, 1238px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait during the Black Joy Parade on Feb. 27, 2022. For Brinson, being able to represent Black women who ride horses competitively was an important part of being at the parade. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909877\" class=\"wp-caption aligncenter\" style=\"max-width: 1236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-38.jpg\" alt=\"A person in a vest smiles next to a black and white horse\" width=\"1236\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38.jpg 1236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-768x532.jpg 768w\" sizes=\"(max-width: 1236px) 100vw, 1236px\">\u003cfigcaption class=\"wp-caption-text\">Dan Smith, of the Brotherhood Riders, poses with his horse Suga Mama. The organization trains youth in order to provide them with a positive space. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909885\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-49.jpg\" alt=\"Five women in green shirts smile from a float\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Women smile and sing while on a float right before the parade starts on Feb. 27, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909879\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-44.jpg\" alt=\"A person in a flower-covered space helmet makes the Vulcan hand sign and smiles\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Afatasi the Artist, born and raised in San Francisco, poses in her handmade designs on Feb. 27, 2022 in Oakland. “Everything that has to do with like our erasure … it’s like now you can’t deny when you see us. You can’t not see us and that’s what my designs are about,” Afatasi said. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909878\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-43.jpg\" alt=\"Two young people wear brightly colored, futuristic outfits\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Kolo and Pharyll show off their fashion before they walk in the Black Joy Parade on Feb 27, 2022. Afatasi the Artist welded the frames and outfitted them with textiles along with sewing each of the outfits. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909880\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-46.jpg\" alt=\"A person wears a white fro, antennae and a silver outfit\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Honey Brown, a model and cosplayer, poses before she walks in the Black Joy Parade with the Afrocomicon float. Brown expressed her pride in being able to represent herself, pointing out that there are so many different “accents when it comes to African-American culture.” \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The participants in the fifth annual Oakland celebration represented the diversity of the Black diaspora.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black is for the people, red is for the blood shed, and green is for the wealth of the Motherland.\u003c/p>\n\u003cp>These colors adorned countless Pan-African flags that proudly flew at the fifth annual \u003ca href=\"https://www.blackjoyparade.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a> in Oakland on Sunday afternoon. For those uninitiated with the idea of Pan-Africanism, it is a school of thought that aims to unite and create solidarity among Black folks of different cultures around the world.\u003c/p>\n\u003cp>The parade participants represented the diversity of the Black diaspora. There were uniquely American aspects to the parade, like the group of Black cowboys who wore 10-gallon hats while majestically riding their horses down Broadway in downtown Oakland (a favorite among the children in the crowd). Meanwhile, every member of the Divine Nine, made up of the nine historically Black fraternities and sororities (of which I’m a proud brother of Alpha Phi Alpha Fraternity), stepped and strolled their way past an adoring public.\u003c/p>\n\u003cp>There were samba dancers representing Black Brazilian culture; loads of Caribbean food vendors selling oxtails and rum punch; an abundance of people wearing West African-inspired patterns and prints; and even some folks looking to the future while draped in outfits reminiscent of the great Afrofuturist composer, Sun Ra.\u003c/p>\n\u003cfigure id=\"attachment_13909867\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-05.jpg\" alt=\"A person with short hair, wire jewelry on their face and green lipstick poses\" width=\"1053\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-05-768x576.jpg 768w\" sizes=\"(max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Treajané Brown takes a pause from dancing and poses for a portrait during the Black Joy Parade on Feb. 27, 2022. “I feel like I’ve been struggling recently and I needed some energy to propel me into this next chapter and I knew I could get it from the Black Joy Parade, so I’m so glad it’s back,” Brown said. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Black joy in its many forms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I honestly think that Black joy is not definable,” Elycia Thomas Knight, BJP’s parade manager, told KQED. “We’re not telling you what Black joy is. We’re just asking you to show up with whatever that specialized Black joy is–unique Black joy is–that you have in you, and just show up and set it out.”\u003c/p>\n\u003cp>But the joy didn’t end with parade participants, it was also present among those in the crowd. The sun was out and accentuating the melanated skin of Black people of all shades, genders and sizes, gloriously dressed in whatever “Sunday best” looked like to them. As paraders passed by, affirmations of “Go ahead, sista” or “Okay, king!” could be heard. No one knows how to hype you up better than Black folks.\u003c/p>\n\u003cp>Thomas Knight called this year’s parade a “love letter to the Bay” following its 2021 hiatus due to COVID concerns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mia Meredith, a USF student from San Francisco, said BJP perfectly represents the term “strength in numbers,” popularized by the Golden State Warriors in the Bay Area. “I’ve honestly never seen this many Black people in one sitting before,” Meredith said. “I love to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13909871\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909871\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-23.jpg\" alt='Two people smile in \"black joy\" sweatshirts' width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-23-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Elycia Thomas Knight, Black Joy Parade manager, poses for a portrait with her sister at the entrance of the celebration site at 20th and Broadway. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909868\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-08.jpg\" alt=\"A group poses with their scraper bikes\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-08-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Scraper Bike Mob pose for a portrait during the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909872\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-27.jpg\" alt=\"A dance group in matching blue dashiki outfits\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-27-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">A sorority dances in the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909875\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-33.jpg\" alt=\"Two people in letterman jackets wave Pan-African flags from a convertible\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-33-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Fo’Fifteen Car Club ride in the parade in their classic car on Feb. 27, 2022. SF Black Wall Street and the Fo’Fifteen Car Club collaborated with the Black Millionaire Development Entrepreneurs, who also walked in the parade. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909866\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-01.jpg\" alt=\"A group of eight, children and adults, smile\" width=\"1200\" height=\"839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-01-768x537.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Priscilla Dodoo poses for a portrait with her family during the Black Joy Parade on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909874\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909874\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-31.jpg\" alt=\"A dance group in green and white smiles \" width=\"1224\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-31-768x499.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">A dancer with Estralas do Samba smiles at the crowds watching the Black Joy Parade in Oakland on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909873\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909873\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-30.jpg\" alt='A dance group in white, one woman has \"BLM\" written on their back' width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-30-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Parade participants covered in white body paint dance down Broadway in Oakland on Feb. 27, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909869\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-20.jpg\" alt=\"A young person roller skates\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-20-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">A young girl roller skates in the Liberation Park rolling rink pop-up. Attendees of the Black Joy Parade could get skates at the event to use. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909876\" class=\"wp-caption aligncenter\" style=\"max-width: 1238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-36.jpg\" alt=\"A young person in a cow-patterned Western shirt holds the brim of her cowboy hat\" width=\"1238\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-36-768x497.jpg 768w\" sizes=\"(max-width: 1238px) 100vw, 1238px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait during the Black Joy Parade on Feb. 27, 2022. For Brinson, being able to represent Black women who ride horses competitively was an important part of being at the parade. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909877\" class=\"wp-caption aligncenter\" style=\"max-width: 1236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-38.jpg\" alt=\"A person in a vest smiles next to a black and white horse\" width=\"1236\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38.jpg 1236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-38-768x532.jpg 768w\" sizes=\"(max-width: 1236px) 100vw, 1236px\">\u003cfigcaption class=\"wp-caption-text\">Dan Smith, of the Brotherhood Riders, poses with his horse Suga Mama. The organization trains youth in order to provide them with a positive space. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909885\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-49.jpg\" alt=\"Five women in green shirts smile from a float\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-49-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Women smile and sing while on a float right before the parade starts on Feb. 27, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909879\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-44.jpg\" alt=\"A person in a flower-covered space helmet makes the Vulcan hand sign and smiles\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-44-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Afatasi the Artist, born and raised in San Francisco, poses in her handmade designs on Feb. 27, 2022 in Oakland. “Everything that has to do with like our erasure … it’s like now you can’t deny when you see us. You can’t not see us and that’s what my designs are about,” Afatasi said. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909878\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-43.jpg\" alt=\"Two young people wear brightly colored, futuristic outfits\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-43-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Kolo and Pharyll show off their fashion before they walk in the Black Joy Parade on Feb 27, 2022. Afatasi the Artist welded the frames and outfitted them with textiles along with sewing each of the outfits. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909880\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/BlackJoyParade-46.jpg\" alt=\"A person wears a white fro, antennae and a silver outfit\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/BlackJoyParade-46-768x512.jpg 768w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Honey Brown, a model and cosplayer, poses before she walks in the Black Joy Parade with the Afrocomicon float. Brown expressed her pride in being able to represent herself, pointing out that there are so many different “accents when it comes to African-American culture.” \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Three Oakland Events Honor Black Goddesses and Psychedelics",
"headTitle": "Three Oakland Events Honor Black Goddesses and Psychedelics | KQED",
"content": "\u003cfigure id=\"attachment_13909629\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909629\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/download-1-1-e1645217882107.jpg\" alt=\"Chef Empress Xia Nei\" width=\"720\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-1-1-e1645217882107.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-1-1-e1645217882107-160x165.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Chef Empress Xia Nei, showing only one eye as her hair covers her face and she rests her tattooed right hand on her chin. \u003ccite>(Chef Empress Xia Nei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark goddesses don’t typically get highlighted,” says \u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> during a recent interview. She says in many cultures and religions, Black deities, who often represent birth or change, are often overlooked. So \u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> is working with a group of scholars to hold space and honor the powers of Black goddesses.\u003c/p>\n\u003cp>This Sunday, Feb. 20, the \u003ca href=\"https://www.eventbrite.com/e/the-dark-goddess-event-honoring-the-black-womb-oakland-edition-tickets-222815165157\" target=\"_blank\" rel=\"noopener noreferrer\">Psychedelic Supper Club\u003c/a> kicks off an event series dedicated to holistic healing, reproductive health and further understanding psychedelics.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei, \u003c/a>an ancestral chef and owner of the \u003ca href=\"https://www.instagram.com/thirdeyesoulkitchen/\" target=\"_blank\" rel=\"noopener noreferrer\">Third Eye Soul Kitchen\u003c/a>, is collaborating with a third-generation metaphysical practitioner from Detroit, Baba Moudou Baqui. They’ll be joined by England-based educator \u003ca href=\"https://www.darrenlebaron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Darren Le Baron \u003c/a>and Oakland’s own reproductive health expert and CEO of \u003ca href=\"https://www.instagram.com/sumistouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi’s Touch\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13880448/catching-babies-with-a-go-to-doula-for-black-parents\" target=\"_blank\" rel=\"noopener noreferrer\">Sumayyah Monét Franklin.\u003c/a>\u003c/p>\n\u003cp>Their first event is called \u003ca href=\"https://www.eventbrite.com/e/the-dark-goddess-event-honoring-the-black-womb-oakland-edition-tickets-222815165157?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">The Dark Goddess Honoring the Black Womb\u003c/a>. At Oakland’s Humanist Hall, Freedom Community Clinic will offer acupuncture and Reiki. There will be nourishment in the form of food. And there will be workshops all afternoon, covering topics such as women and warfare and midwifery. The evening will conclude with a fire ceremony, which includes a fire dance.\u003c/p>\n\u003cp>On Tuesday, Feb. 22, the event series continues with \u003ca href=\"https://www.eventbrite.com/e/the-art-of-sacred-rites-with-moudou-baquai-tickets-238131546867?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">The Art of Sacred Rites\u003c/a> workshop at en event space at 3047 Martin Luther King Jr. Way. During this session, Moudou Baqui will lead folks through a lesson on the art of micro-, macro- and mega-dosing psychedelics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The final happening takes place on Wednesday the 23rd at the same event space, where Darren Le Baron is scheduled to lead the \u003ca href=\"https://www.eventbrite.com/e/shroomshop-beginners-mushroom-cultivation-tickets-230774240967?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Shroomshop\u003c/a> event, which is all about educating beginners on mushroom cultivation\u003cspan style=\"font-weight: 400\">—\u003c/span>both psychedelic mushrooms and the non-psychedelic type.\u003c/p>\n\u003cfigure id=\"attachment_13909630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/download-2-800x531.jpg\" alt=\"Darren Le Baron\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darren Le Baron smiles as he poses for a photo. \u003ccite>(Via Darren Le Baron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> says all of the workshops and events are open to all, and there is a sliding scale entry fee. “The goal is to make sure people are empowered,” she says. “We want people to have an elevated mind, and a wealth of knowledge.”\u003c/p>\n\n",
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"excerpt": "Express Xia Nei and a group of psychedelic practitioners and healers are organizing a week of workshops and celebrations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13909629\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909629\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/download-1-1-e1645217882107.jpg\" alt=\"Chef Empress Xia Nei\" width=\"720\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-1-1-e1645217882107.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-1-1-e1645217882107-160x165.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Chef Empress Xia Nei, showing only one eye as her hair covers her face and she rests her tattooed right hand on her chin. \u003ccite>(Chef Empress Xia Nei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark goddesses don’t typically get highlighted,” says \u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> during a recent interview. She says in many cultures and religions, Black deities, who often represent birth or change, are often overlooked. So \u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> is working with a group of scholars to hold space and honor the powers of Black goddesses.\u003c/p>\n\u003cp>This Sunday, Feb. 20, the \u003ca href=\"https://www.eventbrite.com/e/the-dark-goddess-event-honoring-the-black-womb-oakland-edition-tickets-222815165157\" target=\"_blank\" rel=\"noopener noreferrer\">Psychedelic Supper Club\u003c/a> kicks off an event series dedicated to holistic healing, reproductive health and further understanding psychedelics.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei, \u003c/a>an ancestral chef and owner of the \u003ca href=\"https://www.instagram.com/thirdeyesoulkitchen/\" target=\"_blank\" rel=\"noopener noreferrer\">Third Eye Soul Kitchen\u003c/a>, is collaborating with a third-generation metaphysical practitioner from Detroit, Baba Moudou Baqui. They’ll be joined by England-based educator \u003ca href=\"https://www.darrenlebaron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Darren Le Baron \u003c/a>and Oakland’s own reproductive health expert and CEO of \u003ca href=\"https://www.instagram.com/sumistouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi’s Touch\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13880448/catching-babies-with-a-go-to-doula-for-black-parents\" target=\"_blank\" rel=\"noopener noreferrer\">Sumayyah Monét Franklin.\u003c/a>\u003c/p>\n\u003cp>Their first event is called \u003ca href=\"https://www.eventbrite.com/e/the-dark-goddess-event-honoring-the-black-womb-oakland-edition-tickets-222815165157?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">The Dark Goddess Honoring the Black Womb\u003c/a>. At Oakland’s Humanist Hall, Freedom Community Clinic will offer acupuncture and Reiki. There will be nourishment in the form of food. And there will be workshops all afternoon, covering topics such as women and warfare and midwifery. The evening will conclude with a fire ceremony, which includes a fire dance.\u003c/p>\n\u003cp>On Tuesday, Feb. 22, the event series continues with \u003ca href=\"https://www.eventbrite.com/e/the-art-of-sacred-rites-with-moudou-baquai-tickets-238131546867?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">The Art of Sacred Rites\u003c/a> workshop at en event space at 3047 Martin Luther King Jr. Way. During this session, Moudou Baqui will lead folks through a lesson on the art of micro-, macro- and mega-dosing psychedelics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The final happening takes place on Wednesday the 23rd at the same event space, where Darren Le Baron is scheduled to lead the \u003ca href=\"https://www.eventbrite.com/e/shroomshop-beginners-mushroom-cultivation-tickets-230774240967?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Shroomshop\u003c/a> event, which is all about educating beginners on mushroom cultivation\u003cspan style=\"font-weight: 400\">—\u003c/span>both psychedelic mushrooms and the non-psychedelic type.\u003c/p>\n\u003cfigure id=\"attachment_13909630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/download-2-800x531.jpg\" alt=\"Darren Le Baron\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/download-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darren Le Baron smiles as he poses for a photo. \u003ccite>(Via Darren Le Baron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/empress_xianei/\" target=\"_blank\" rel=\"noopener noreferrer\">Empress Xia Nei\u003c/a> says all of the workshops and events are open to all, and there is a sliding scale entry fee. “The goal is to make sure people are empowered,” she says. “We want people to have an elevated mind, and a wealth of knowledge.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Baking a Cake for the Afrofuturism Potluck",
"headTitle": "Baking a Cake for the Afrofuturism Potluck | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A crash course on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13901009/omca-afrofuturism-mothership-review\">\u003cspan style=\"font-weight: 400\">Afrofuturism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> might include \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther’s \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">portrayal of a utopian, techno-centric Wakanda, the science fiction novels of Octavia Butler and a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\">\u003cspan style=\"font-weight: 400\">Missy Elliott music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—all visions of a liberated future seen through a Black lens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what will Black people be eating in this thriving, revolutionary future? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the question that \u003c/span>\u003ca href=\"https://eattheculture.com/about/\">\u003cspan style=\"font-weight: 400\">Eat the Culture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a collective of Black food bloggers, explores this month through a series of Afrofuturism-themed \u003c/span>\u003ca href=\"https://www.instagram.com/eattheculture/\">\u003cspan style=\"font-weight: 400\">social media posts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and online gatherings, including a Feb. 24 collaboration with the magazine \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cuisine Noir\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Framed as a “Virtual Potluck,” the series celebrates Black History Month by remixing traditional dishes of the African diaspora to create new recipes that are artful and, at times, deeply political: A plate of \u003c/span>\u003ca href=\"https://senseandedibility.com/salmorejo-jueyes-coconut-grits-cakes/\">\u003cspan style=\"font-weight: 400\">stewed crab and grits\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> fuses together African and Puerto Rican traditions. A \u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">coconut rice pudding\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> doubles as a commentary on gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s this intersection of technology, culture, innovation and politics,” co-organizer Stefani Renée, of the Bay Area–based blog \u003c/span>\u003ca href=\"https://savorandsage.com/\">\u003cspan style=\"font-weight: 400\">Savor and Sage\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says of Afrofuturism. “How do we explore that through food?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event stems from a similar virtual potluck that a\u003c/span>\u003cspan style=\"font-weight: 400\"> handful of prominent Black food bloggers—including Aaron Hutcherson (of the blog \u003c/span>\u003ca href=\"https://www.thehungryhutch.com/\">\u003cspan style=\"font-weight: 400\">The Hungry Hutch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) and Meiko Temple (of \u003c/span>\u003ca href=\"https://meikoandthedish.com/\">\u003cspan style=\"font-weight: 400\">Mieko and the Dish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">)—put together each year for Black History Month \u003c/span>\u003ca href=\"https://www.tastingtable.com/693332/black-history-month-african-american-food-blog-2017/\">\u003cspan style=\"font-weight: 400\">starting in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Renée, a relative newcomer to food blogging, joined in the past two years and started talking to other participants about expanding the group’s efforts beyond just one or two virtual events each year. In particular, the group wanted to create a support system for Black food bloggers, given the unique set of challenges that they face.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13909336\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909336\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes.jpg\" alt=\"Overhead view of a plate of tempura-fried okra served over a bright orange pool of confit tomatoes\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1920x1536.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food blogger Kenneth Temple’s riff on stewed okra includes fine dining touches like confit tomatoes and smoked sausage “dust.” \u003ccite>(Kenneth Temple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Folks don’t know that we’re here,” Renée says. “When we start looking at who gets the most exposure, it’s usually white female food bloggers—and they’re getting attention for foods that aren’t necessarily authentic or native to them.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Stefani Renée\"]“Black food isn’t a monolith. There are so many different aspects to Black food that people don’t know.”[/pullquote]Meanwhile, Renée says, Black and other BIPOC food bloggers struggle to get that same level of recognition and, just as importantly, to land the kind of lucrative sponsorship deals that make food blogging a viable full-time career. \u003c/span>\u003ca href=\"https://eattheculture.com/\">\u003cspan style=\"font-weight: 400\">Eat the Culture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> was created as a platform for Black food bloggers to share that kind of information with one another—a place where they could access tutorials on shooting food videos and get tips about search engine optimization. As Renée puts it, “How do we break these barriers and create our own space?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s Afrofuturism-themed potluck is one of the collective’s first signature events. Renée sees it as an extension of the work of \u003ca href=\"https://savorandsage.com/\">her own blog\u003c/a>, which focuses on updating and expanding people’s definition of “soul food” to include things other than just fried chicken and macaroni and cheese. “\u003c/span>\u003cspan style=\"font-weight: 400\">Black food isn’t a monolith,” she says. “There are so many different aspects to Black food that people don’t know.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In presenting a vision for the future of Black food, several of the dishes that Eat the Culture members created for the virtual potluck explicitly challenge the idea that food with African origins isn’t “refined.” There’s a modern take on \u003c/span>\u003ca href=\"http://thefooddisciple.com/yam-gnocchi-served-w-oxtail-pepper-soup/\">\u003cspan style=\"font-weight: 400\">West African oxtail pepper soup\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made with yam gnocchi, for instance, and a version of \u003c/span>\u003ca href=\"https://kennethtemple.com/smothered-okra-and-tomatoes-recipe/\">\u003cspan style=\"font-weight: 400\">smothered okra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that features fine dining elements like confit tomatoes and smoked sausage “dust.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13909337\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L.jpg\" alt=\"Three portions of rice pudding served inside coconut shells, arranged on a wooden cutting board.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Meiko and the Dish’s modern take on sombi, the Senegalese coconut rice pudding, is a commentary on gentrification. \u003ccite>(Meiko and the Dish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Several of the recipes veganize dishes traditionally made with meat—a rebuttal, Renée says, to the notion that “Black people don’t really eat vegetables.” Others offer pointed political commentary: \u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">Meiko and the Dish’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> aforementioned coconut rice pudding adds a crème brûlée–style burnt sugar topping to a traditional Senegalese dish, thereby mirroring “\u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">the concept of gentrification, the process whereby the character of a poor urban area is changed by wealthier people moving in and typically displacing current inhabitants in the process.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13901009,arts_13900311,arts_13900855']For her own contribution to the Afrofuturism potluck, Renée did a riff on cornbread soaked in buttermilk, a very traditional, “old-school” snack that she remembers eating in her Southern grandmother’s kitchen when she was a kid. Renée’s version reimagines the treat as a \u003c/span>\u003ca href=\"https://savorandsage.com/coconut-lime-cornmeal-tres-leches-cake/\">\u003cspan style=\"font-weight: 400\">tres leches cake\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, soaking the cornmeal cake in buttermilk, coconut milk and sweet condensed milk, then topping the whole thing with toasted coconut. The dessert is meant to feel new and modern, but it’s also a nod to the often forgotten history of \u003c/span>\u003ca href=\"https://www.theguardian.com/world/2020/mar/19/afro-mexicans-census-history-identity\">\u003cspan style=\"font-weight: 400\">Mexicans of African descent\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who have long fought for recognition in their home country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a combination of different cultures,” Renée says of the cake. “That’s what Afrofuturism means to me.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Throughout the month of February, Eat the Culture will highlight Afrofuturism-themed recipes on its \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/eattheculture/\">\u003ci>\u003cspan style=\"font-weight: 400\">Instagram page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. The page will also offer details about other virtual events once they’ve been finalized, including the Cuisine Noir collaboration.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "To celebrate Black History Month, food blogging collective Eat The Culture looks toward the future of Black food.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A crash course on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13901009/omca-afrofuturism-mothership-review\">\u003cspan style=\"font-weight: 400\">Afrofuturism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> might include \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther’s \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">portrayal of a utopian, techno-centric Wakanda, the science fiction novels of Octavia Butler and a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\">\u003cspan style=\"font-weight: 400\">Missy Elliott music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—all visions of a liberated future seen through a Black lens. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what will Black people be eating in this thriving, revolutionary future? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the question that \u003c/span>\u003ca href=\"https://eattheculture.com/about/\">\u003cspan style=\"font-weight: 400\">Eat the Culture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a collective of Black food bloggers, explores this month through a series of Afrofuturism-themed \u003c/span>\u003ca href=\"https://www.instagram.com/eattheculture/\">\u003cspan style=\"font-weight: 400\">social media posts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and online gatherings, including a Feb. 24 collaboration with the magazine \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cuisine Noir\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Framed as a “Virtual Potluck,” the series celebrates Black History Month by remixing traditional dishes of the African diaspora to create new recipes that are artful and, at times, deeply political: A plate of \u003c/span>\u003ca href=\"https://senseandedibility.com/salmorejo-jueyes-coconut-grits-cakes/\">\u003cspan style=\"font-weight: 400\">stewed crab and grits\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> fuses together African and Puerto Rican traditions. A \u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">coconut rice pudding\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> doubles as a commentary on gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s this intersection of technology, culture, innovation and politics,” co-organizer Stefani Renée, of the Bay Area–based blog \u003c/span>\u003ca href=\"https://savorandsage.com/\">\u003cspan style=\"font-weight: 400\">Savor and Sage\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says of Afrofuturism. “How do we explore that through food?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event stems from a similar virtual potluck that a\u003c/span>\u003cspan style=\"font-weight: 400\"> handful of prominent Black food bloggers—including Aaron Hutcherson (of the blog \u003c/span>\u003ca href=\"https://www.thehungryhutch.com/\">\u003cspan style=\"font-weight: 400\">The Hungry Hutch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) and Meiko Temple (of \u003c/span>\u003ca href=\"https://meikoandthedish.com/\">\u003cspan style=\"font-weight: 400\">Mieko and the Dish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">)—put together each year for Black History Month \u003c/span>\u003ca href=\"https://www.tastingtable.com/693332/black-history-month-african-american-food-blog-2017/\">\u003cspan style=\"font-weight: 400\">starting in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Renée, a relative newcomer to food blogging, joined in the past two years and started talking to other participants about expanding the group’s efforts beyond just one or two virtual events each year. In particular, the group wanted to create a support system for Black food bloggers, given the unique set of challenges that they face.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13909336\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909336\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes.jpg\" alt=\"Overhead view of a plate of tempura-fried okra served over a bright orange pool of confit tomatoes\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Kenneth-Temple_Smothered-Okra-and-Tomatoes-1920x1536.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food blogger Kenneth Temple’s riff on stewed okra includes fine dining touches like confit tomatoes and smoked sausage “dust.” \u003ccite>(Kenneth Temple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Folks don’t know that we’re here,” Renée says. “When we start looking at who gets the most exposure, it’s usually white female food bloggers—and they’re getting attention for foods that aren’t necessarily authentic or native to them.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Black food isn’t a monolith. There are so many different aspects to Black food that people don’t know.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Renée says, Black and other BIPOC food bloggers struggle to get that same level of recognition and, just as importantly, to land the kind of lucrative sponsorship deals that make food blogging a viable full-time career. \u003c/span>\u003ca href=\"https://eattheculture.com/\">\u003cspan style=\"font-weight: 400\">Eat the Culture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> was created as a platform for Black food bloggers to share that kind of information with one another—a place where they could access tutorials on shooting food videos and get tips about search engine optimization. As Renée puts it, “How do we break these barriers and create our own space?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s Afrofuturism-themed potluck is one of the collective’s first signature events. Renée sees it as an extension of the work of \u003ca href=\"https://savorandsage.com/\">her own blog\u003c/a>, which focuses on updating and expanding people’s definition of “soul food” to include things other than just fried chicken and macaroni and cheese. “\u003c/span>\u003cspan style=\"font-weight: 400\">Black food isn’t a monolith,” she says. “There are so many different aspects to Black food that people don’t know.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In presenting a vision for the future of Black food, several of the dishes that Eat the Culture members created for the virtual potluck explicitly challenge the idea that food with African origins isn’t “refined.” There’s a modern take on \u003c/span>\u003ca href=\"http://thefooddisciple.com/yam-gnocchi-served-w-oxtail-pepper-soup/\">\u003cspan style=\"font-weight: 400\">West African oxtail pepper soup\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made with yam gnocchi, for instance, and a version of \u003c/span>\u003ca href=\"https://kennethtemple.com/smothered-okra-and-tomatoes-recipe/\">\u003cspan style=\"font-weight: 400\">smothered okra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that features fine dining elements like confit tomatoes and smoked sausage “dust.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13909337\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L.jpg\" alt=\"Three portions of rice pudding served inside coconut shells, arranged on a wooden cutting board.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/meikoandthedish-sombi-brown-butter-rice-pudding-L-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Meiko and the Dish’s modern take on sombi, the Senegalese coconut rice pudding, is a commentary on gentrification. \u003ccite>(Meiko and the Dish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Several of the recipes veganize dishes traditionally made with meat—a rebuttal, Renée says, to the notion that “Black people don’t really eat vegetables.” Others offer pointed political commentary: \u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">Meiko and the Dish’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> aforementioned coconut rice pudding adds a crème brûlée–style burnt sugar topping to a traditional Senegalese dish, thereby mirroring “\u003c/span>\u003ca href=\"https://meikoandthedish.com/sombi-brown-butter-rice-pudding-brulee-black-history-month-virtual-potluck/\">\u003cspan style=\"font-weight: 400\">the concept of gentrification, the process whereby the character of a poor urban area is changed by wealthier people moving in and typically displacing current inhabitants in the process.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For her own contribution to the Afrofuturism potluck, Renée did a riff on cornbread soaked in buttermilk, a very traditional, “old-school” snack that she remembers eating in her Southern grandmother’s kitchen when she was a kid. Renée’s version reimagines the treat as a \u003c/span>\u003ca href=\"https://savorandsage.com/coconut-lime-cornmeal-tres-leches-cake/\">\u003cspan style=\"font-weight: 400\">tres leches cake\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, soaking the cornmeal cake in buttermilk, coconut milk and sweet condensed milk, then topping the whole thing with toasted coconut. The dessert is meant to feel new and modern, but it’s also a nod to the often forgotten history of \u003c/span>\u003ca href=\"https://www.theguardian.com/world/2020/mar/19/afro-mexicans-census-history-identity\">\u003cspan style=\"font-weight: 400\">Mexicans of African descent\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who have long fought for recognition in their home country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a combination of different cultures,” Renée says of the cake. “That’s what Afrofuturism means to me.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Throughout the month of February, Eat the Culture will highlight Afrofuturism-themed recipes on its \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/eattheculture/\">\u003ci>\u003cspan style=\"font-weight: 400\">Instagram page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. The page will also offer details about other virtual events once they’ve been finalized, including the Cuisine Noir collaboration.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Black Activists Used Lynching Souvenirs to Expose American Violence",
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"content": "\u003cp>Photos showing the lynchings of African Americans in the 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> century are some of the most troubling records of the racist history of the United States.\u003c/p>\n\u003cp>But these black-and-white photographs are what filmmaker Christine Turner chose to focus on for her new documentary, \u003cem>Lynching Postcards: ‘Token Of A Great Day’. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13891832']Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rWMZlQ281gM\u003c/p>\n\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>[aside postid='arts_13908852']And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13909111']Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Turner examined hundreds of these pictures and primarily focused on the ones that people who attended these lynchings sent as postcards to family and friends.\u003c/p>\n\u003cp>As the film opens, the first postcard people see is an image of a Black man hanging from a tree, but it’s zoomed in enough that all that can be seen of him are his dangling feet. The focus then becomes the white men standing behind him, looking directly at the camera, with some smiling.\u003c/p>\n\u003cp>Turner said she did this to train the audience’s eyes to focus on the participants and see their “sense of pride.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that for me, this story is so much about the participants of the lynching, more so than of the people who had been victimized,” Turner said. “I think oftentimes we think that lynchings are these spontaneous events, right? That a group of men in the woods decide to suddenly lynch someone. But these were planned events.”\u003c/p>\n\u003cfigure id=\"attachment_13909126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png\" alt=\"Hundreds of people gather in a field, some holding umbrellas, some sitting on horses. In the far distance, a ramshackle wooden platform with a few men standing on top.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-1020x725.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/lynching-postcards-still_custom-f59e41785174e57fb3e70fdff06f6bd7f40f1191.png 1533w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For her new documentary, Lynching Postcards: Token Of A Great Day, filmmaker Christine Turner examined hundreds of black-and-white photographs that show how organized these events were and included chilling messages that shared the experience with those who weren’t there. The postcard above shows the crowd at the lynching of Henry Smith in Paris, Texas, in 1893. \u003ccite>(Photo by J.L. Mertins/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These community events weren’t just the work of the infamous Ku Klux Klan, but of ordinary people from all social classes, Turner said.\u003c/p>\n\u003cp>In an interview with \u003cem>All Things Considered, \u003c/em>Turner spoke about the how photos from these events became postcards, how the postcards then became tools in anti-lynching campaigns, and the parallels with recent killings of Black men in America.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Adrian Florido: “Token Of A Great Day”—why that title?\u003c/strong>\u003c/p>\n\u003cp>Turner: “Token Of A Great Day” actually comes from a handwritten message on the back of one of these lynching postcards. And it speaks to the attitude and the viewpoint of many of the participants at these public spectacle lynchings. You know, these postcards were mementos. They were souvenirs from these events. And so for some, they were a token of a great day.\u003c/p>\n\u003cp>\u003cstrong>Something that surprised me watching your film was to learn that at the places where an upcoming lynching had been announced, photographers would strike deals with town officials to get a prime spot at the front of the crowd. These photographs and these postcards became a whole industry.\u003c/strong>\u003c/p>\n\u003cp>Exactly. And in the film, there’s one particular lynching that we focus in on. It’s the story of Jesse Washington, who was lynched in 1916 in Waco, Texas. And his lynching took place at city hall.\u003c/p>\n\u003cp>And the town photographer—his name was Fred Gildersleeve—actually worked with the local government to find a place to photograph the lynching that would take place. And these photographs that Gildersleeve took were later turned into postcards that were sold in the community.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rWMZlQ281gM'\n title='//www.youtube.com/embed/rWMZlQ281gM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why did these pictures get turned into postcards? Why were people clamoring for these souvenirs from these events?\u003c/strong>\u003c/p>\n\u003cp>Really, it was a way, I think, to sort of relive that experience of attending the lynching, right? And that sense of power and control, as historian Leigh Raiford talks about in the film. And it was also a way to disseminate that experience and to share that experience with friends and family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in one postcard that is featured in the film, in the message on the back, the young man is writing to his parents, and he says, “This is the barbecue that we had last night”. And I think, in a way, these messages on the back are just as chilling as the images on the front.\u003c/p>\n\u003cp>\u003cstrong>These postcards were clearly a celebration of white supremacy, right? But at some point, they did become a tool for people who decided to do something about lynching, to launch anti-lynching campaigns. How did these postcards become the tool that these activists used?\u003c/strong>\u003c/p>\n\u003cp>What anti-lynching activists such as the NAACP did is they really turned these postcards on their head, and they used them as evidence in their fight against lynching. So they laid them out there to really shame the country and the world and to make people aware of what was happening all over.\u003c/p>\n\u003cp>So in making this film, it was really important to me to make a film that wasn’t just going to be another story of victimization. But really, this is a story of Black resistance. And at its core, it’s about how these postcards were ultimately turned on their head and were subverted by these Black activists.\u003c/p>\n\u003cp>\u003cstrong>It reminded me of the way that images and films have become such an important part of today’s fights for racial justice. The global uprising over George Floyd’s killing under Derek Chauvin’s knee was sparked by a cellphone video. The white men who chased and killed Ahmaud Arbery in Georgia—they filmed it themselves.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Both of those cases have been called modern-day lynchings caught on tape. Were those parallels on your mind at all as you made your film?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Absolutely. I mean, I was thinking a lot about Ahmaud Arbery’s murder and the way in which it was captured on video by the murderers and then how that video was later used against them. And I think, for me, I was hoping that this film could help sort of lay out this lineage and this history and give us a better understanding of what might be occurring today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR has compiled a list of stories, performances and other content that chronicles the Black American experience for Black History Month. \u003c/em>\u003ca href=\"https://www.npr.org/series/1075788889/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>See the whole collection here.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Black+activists+used+lynching+souvenirs+to+expose+American+violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We live in two Americas. This is a long-established fact in the United States, and it’s at the core of Adrian L. Burrell’s new film, \u003cem>The Game God(S)\u003c/em>, which \u003ca href=\"https://www.newyorker.com/culture/the-new-yorker-documentary/shaking-the-foundations-of-the-american-dream\" rel=\"noopener noreferrer\" target=\"_blank\">premiered today via the \u003cem>New Yorker\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Across the film’s 17 minutes, Burrell, raised in Oakland, doesn’t dissect the myth of the American Dream so much as impart the visceral feeling of its central lie to the viewer. Throughout, Oakland poet laureate Ayodele Nzinga delivers a vivid monologue, as Burrell’s camera visits people who’ve made lives both in and out of the game—hustling, pimping, dealing—and navigating an alternate economy made necessary by American capitalism’s 400-year-old churn against Black people. \u003c/p>\n\u003cp>[aside postID=arts_13852433,arts_13894843]Burrell is no stranger to the ways the cards are stacked. In 2019, his footage of a Vallejo police officer assaulting him on his front porch showed how, as he told the \u003cem>New Yorker\u003c/em>, “at any given moment you can be snatched back to 1942.” \u003c/p>\n\u003cp>Watch \u003cem>The Game God(S)\u003c/em> above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in two Americas. This is a long-established fact in the United States, and it’s at the core of Adrian L. Burrell’s new film, \u003cem>The Game God(S)\u003c/em>, which \u003ca href=\"https://www.newyorker.com/culture/the-new-yorker-documentary/shaking-the-foundations-of-the-american-dream\" rel=\"noopener noreferrer\" target=\"_blank\">premiered today via the \u003cem>New Yorker\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Across the film’s 17 minutes, Burrell, raised in Oakland, doesn’t dissect the myth of the American Dream so much as impart the visceral feeling of its central lie to the viewer. Throughout, Oakland poet laureate Ayodele Nzinga delivers a vivid monologue, as Burrell’s camera visits people who’ve made lives both in and out of the game—hustling, pimping, dealing—and navigating an alternate economy made necessary by American capitalism’s 400-year-old churn against Black people. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Here's the Story Behind Black History Month—and Why it's Celebrated in February",
"headTitle": "Here’s the Story Behind Black History Month—and Why it’s Celebrated in February | KQED",
"content": "\u003cp>Every February, the U.S. honors the contributions and sacrifices of African Americans who have helped shape the nation. Black History Month celebrates the rich cultural heritage, triumphs and adversities that are an indelible part of our country’s history.\u003c/p>\n\u003cp>[aside postid='arts_13825847']This year’s theme, \u003ca href=\"https://asalh.org/wp-content/uploads/2021/10/2022-Black-History-Theme-Executive-Summary.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Black Health and Wellness\u003c/a>, pays homage to medical scholars and health care providers. The theme is especially timely as we enter the third year of the COVID-19 pandemic, which has disproportionately affected minority communities and placed \u003ca href=\"https://www.usnews.com/news/health-news/articles/2021-02-01/black-doctors-covid-burden-patients-social-ills-and-workplace-bigotry\" target=\"_blank\" rel=\"noopener noreferrer\">unique burdens\u003c/a> on Black health care professionals.\u003c/p>\n\u003cp>“There is no American history without African American history,” said Sara Clarke Kaplan, executive director of the \u003ca href=\"https://www.american.edu/centers/antiracism/\" target=\"_blank\" rel=\"noopener noreferrer\">Antiracist Research & Policy Center\u003c/a> at American University in Washington, D.C. The Black experience, she said, is embedded in “everything we think of as ‘American history.’ ”\u003c/p>\n\u003ch3>First, there was Negro History Week\u003c/h3>\n\u003cfigure id=\"attachment_13908786\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17.jpg\" alt=\"A black and white portrait of a young Black man wearing a smart suit jacket, tie and starched white shirt.\" width=\"200\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17-160x214.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Carter G. Woodson (1875-1950) was an American historian, a scholar and the founder of the Association for the Study of Negro Life and History. Woodson was instrumental in launching Negro History Week in 1926. \u003ccite>(Bettmann Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics have long argued that Black history should be taught and celebrated year-round, not just during one month each year.\u003c/p>\n\u003cp>It was \u003ca href=\"https://www.britannica.com/biography/Carter-G-Woodson\" target=\"_blank\" rel=\"noopener noreferrer\">Carter G. Woodson\u003c/a>, the “father of Black history,” who first set out in 1926 to designate a time to promote and educate people about Black history and culture, according to W. Marvin Dulaney. He is a historian and the president of the Association for the Study of African American Life and History (\u003ca href=\"https://asalh.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ASALH\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Woodson envisioned a weeklong celebration to encourage the coordinated teaching of Black history in public schools. He designated the second week of February as Negro History Week and galvanized fellow historians through the Association for the Study of Negro Life and History, which he founded in 1915. (ASNLH later became ASALH.)\u003c/p>\n\u003cp>The idea wasn’t to place limitations but really to focus and broaden the nation’s consciousness.\u003c/p>\n\u003cp>“Woodson’s goal from the very beginning was to make the celebration of Black history in the field of history a ‘serious area of study,’ ” said Albert Broussard, a professor of Afro-American history at Texas A&M University.\u003c/p>\n\u003cp>The idea eventually grew in acceptance, and by the late 1960s, Negro History Week had evolved into what is now known as Black History Month. Protests around racial injustice, inequality and anti-imperialism that were occurring in many parts of the U.S. were pivotal to the change.\u003c/p>\n\u003cp>Colleges and universities also began to hold commemorations, with \u003ca href=\"https://www.kent.edu/cas/did-you-know#:~:text=In%20February%201970%2C%20Kent%20State,which%20was%20established%20in%201976.&text=Since%201976%2C%20each%20president%20has,Month%20and%20endorsed%20a%20theme.\" target=\"_blank\" rel=\"noopener noreferrer\">Kent State University\u003c/a> being one of the first, according to Kaplan.\u003c/p>\n\u003cp>Fifty years after the first celebrations, President Gerald R. Ford officially recognized Black History Month during the country’s 1976 bicentennial. Ford called upon Americans to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history,” History.com\u003ca href=\"https://www.history.com/topics/black-history/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\"> reports\u003c/a>.\u003c/p>\n\u003ch3>Why February was chosen as Black History Month\u003c/h3>\n\u003cp>[aside postid='arts_13874566']February was chosen primarily because the second week of the month coincides with the birthdays of both Abraham Lincoln and Frederick Douglass. Lincoln was influential in the \u003ca href=\"https://www.biography.com/us-president/abraham-lincoln\" target=\"_blank\" rel=\"noopener noreferrer\">emancipation of slaves\u003c/a>, and Douglass, a former slave, was a prominent leader in the \u003ca href=\"https://www.history.com/topics/black-history/frederick-douglass\" target=\"_blank\" rel=\"noopener noreferrer\">abolitionist movement\u003c/a>, which fought to end slavery.\u003c/p>\n\u003cp>Lincoln and Douglass were each born in the second week of February, so it was traditionally a time when African Americans would hold celebrations in honor of emancipation, Kaplan said. (Douglass’ exact date of birth wasn’t recorded, but he came to celebrate it on Feb. 14.)\u003c/p>\n\u003cp>Thus, Woodson created Negro History Week around the two birthdays as a way of “commemorating the black past,” according to \u003ca href=\"https://asalh.org/about-us/origins-of-black-history-month/\" target=\"_blank\" rel=\"noopener noreferrer\">ASALH\u003c/a>.\u003c/p>\n\u003cp>Forty years after Ford formally recognized Black History Month, it was Barack Obama, the nation’s first Black president, who \u003ca href=\"https://obamawhitehouse.archives.gov/the-press-office/2016/02/18/remarks-president-black-history-month-reception\" target=\"_blank\" rel=\"noopener noreferrer\">delivered a message\u003c/a> of his own from the White House, a place built by slaves.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13908790\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908790\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-800x443.png\" alt=\"Barack and Michelle Obama stand on stage in front of a golden yellow curtain and American flag, while a packed audience holds up cell phones to take their photo.\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-800x443.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1020x565.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1536x851.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM.png 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President Barack Obama and first lady Michelle Obama host the annual reception for Black History Month at the White House on Feb. 18, 2016. \u003ccite>(Mike Theiler/Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black History Month shouldn’t be treated as though it is somehow separate from our collective American history or somehow just boiled down to a compilation of greatest hits from the March on Washington or from some of our sports heroes,” Obama said.\u003c/p>\n\u003cp>“It’s about the lived, shared experience of all African Americans, high and low, famous and obscure, and how those experiences have shaped and challenged and ultimately strengthened America,” he continued.\u003c/p>\n\u003cp>(Canada also commemorates Black History Month in February, while the U.K. and \u003ca href=\"https://www.irishcentral.com/news/how-ireland-is-celebrating-national-black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">Ireland\u003c/a> celebrate it in October.)\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>ASALH designates a \u003ca href=\"https://asalh.org/black-history-themes/\" target=\"_blank\" rel=\"noopener noreferrer\">new theme\u003c/a> for Black History Month each year, in keeping with the practice Woodson established for Negro History Week.\u003c/p>\n\u003cp>[aside postid='arts_13875319']This year’s Black Health and Wellness theme is particularly appropriate, Dulaney said, as the U.S. continues to fight the coronavirus pandemic.\u003c/p>\n\u003cp>“As [Black people], we have terrible health outcomes, and even the coronavirus has been affecting us disproportionately in terms of those of us who are catching it,” Dulaney said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s never been a time where Black people and others should not celebrate Black history,” Broussard said. “Given the current racial climate, the racial reckoning that began in wake of George Floyd’s murder … this is an opportunity to learn.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+the+story+behind+Black+History+Month+%E2%80%94+and+why+it%27s+celebrated+in+February&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s theme, \u003ca href=\"https://asalh.org/wp-content/uploads/2021/10/2022-Black-History-Theme-Executive-Summary.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Black Health and Wellness\u003c/a>, pays homage to medical scholars and health care providers. The theme is especially timely as we enter the third year of the COVID-19 pandemic, which has disproportionately affected minority communities and placed \u003ca href=\"https://www.usnews.com/news/health-news/articles/2021-02-01/black-doctors-covid-burden-patients-social-ills-and-workplace-bigotry\" target=\"_blank\" rel=\"noopener noreferrer\">unique burdens\u003c/a> on Black health care professionals.\u003c/p>\n\u003cp>“There is no American history without African American history,” said Sara Clarke Kaplan, executive director of the \u003ca href=\"https://www.american.edu/centers/antiracism/\" target=\"_blank\" rel=\"noopener noreferrer\">Antiracist Research & Policy Center\u003c/a> at American University in Washington, D.C. The Black experience, she said, is embedded in “everything we think of as ‘American history.’ ”\u003c/p>\n\u003ch3>First, there was Negro History Week\u003c/h3>\n\u003cfigure id=\"attachment_13908786\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17.jpg\" alt=\"A black and white portrait of a young Black man wearing a smart suit jacket, tie and starched white shirt.\" width=\"200\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/CarterGWoodson_custom-d5d1457f0e2a1e5ffb5c73df29901e26f8aade17-160x214.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Carter G. Woodson (1875-1950) was an American historian, a scholar and the founder of the Association for the Study of Negro Life and History. Woodson was instrumental in launching Negro History Week in 1926. \u003ccite>(Bettmann Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics have long argued that Black history should be taught and celebrated year-round, not just during one month each year.\u003c/p>\n\u003cp>It was \u003ca href=\"https://www.britannica.com/biography/Carter-G-Woodson\" target=\"_blank\" rel=\"noopener noreferrer\">Carter G. Woodson\u003c/a>, the “father of Black history,” who first set out in 1926 to designate a time to promote and educate people about Black history and culture, according to W. Marvin Dulaney. He is a historian and the president of the Association for the Study of African American Life and History (\u003ca href=\"https://asalh.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ASALH\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Woodson envisioned a weeklong celebration to encourage the coordinated teaching of Black history in public schools. He designated the second week of February as Negro History Week and galvanized fellow historians through the Association for the Study of Negro Life and History, which he founded in 1915. (ASNLH later became ASALH.)\u003c/p>\n\u003cp>The idea wasn’t to place limitations but really to focus and broaden the nation’s consciousness.\u003c/p>\n\u003cp>“Woodson’s goal from the very beginning was to make the celebration of Black history in the field of history a ‘serious area of study,’ ” said Albert Broussard, a professor of Afro-American history at Texas A&M University.\u003c/p>\n\u003cp>The idea eventually grew in acceptance, and by the late 1960s, Negro History Week had evolved into what is now known as Black History Month. Protests around racial injustice, inequality and anti-imperialism that were occurring in many parts of the U.S. were pivotal to the change.\u003c/p>\n\u003cp>Colleges and universities also began to hold commemorations, with \u003ca href=\"https://www.kent.edu/cas/did-you-know#:~:text=In%20February%201970%2C%20Kent%20State,which%20was%20established%20in%201976.&text=Since%201976%2C%20each%20president%20has,Month%20and%20endorsed%20a%20theme.\" target=\"_blank\" rel=\"noopener noreferrer\">Kent State University\u003c/a> being one of the first, according to Kaplan.\u003c/p>\n\u003cp>Fifty years after the first celebrations, President Gerald R. Ford officially recognized Black History Month during the country’s 1976 bicentennial. Ford called upon Americans to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history,” History.com\u003ca href=\"https://www.history.com/topics/black-history/black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\"> reports\u003c/a>.\u003c/p>\n\u003ch3>Why February was chosen as Black History Month\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>February was chosen primarily because the second week of the month coincides with the birthdays of both Abraham Lincoln and Frederick Douglass. Lincoln was influential in the \u003ca href=\"https://www.biography.com/us-president/abraham-lincoln\" target=\"_blank\" rel=\"noopener noreferrer\">emancipation of slaves\u003c/a>, and Douglass, a former slave, was a prominent leader in the \u003ca href=\"https://www.history.com/topics/black-history/frederick-douglass\" target=\"_blank\" rel=\"noopener noreferrer\">abolitionist movement\u003c/a>, which fought to end slavery.\u003c/p>\n\u003cp>Lincoln and Douglass were each born in the second week of February, so it was traditionally a time when African Americans would hold celebrations in honor of emancipation, Kaplan said. (Douglass’ exact date of birth wasn’t recorded, but he came to celebrate it on Feb. 14.)\u003c/p>\n\u003cp>Thus, Woodson created Negro History Week around the two birthdays as a way of “commemorating the black past,” according to \u003ca href=\"https://asalh.org/about-us/origins-of-black-history-month/\" target=\"_blank\" rel=\"noopener noreferrer\">ASALH\u003c/a>.\u003c/p>\n\u003cp>Forty years after Ford formally recognized Black History Month, it was Barack Obama, the nation’s first Black president, who \u003ca href=\"https://obamawhitehouse.archives.gov/the-press-office/2016/02/18/remarks-president-black-history-month-reception\" target=\"_blank\" rel=\"noopener noreferrer\">delivered a message\u003c/a> of his own from the White House, a place built by slaves.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13908790\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908790\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-800x443.png\" alt=\"Barack and Michelle Obama stand on stage in front of a golden yellow curtain and American flag, while a packed audience holds up cell phones to take their photo.\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-800x443.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1020x565.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1536x851.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-672x372.png 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-01-at-12.18.45-PM.png 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President Barack Obama and first lady Michelle Obama host the annual reception for Black History Month at the White House on Feb. 18, 2016. \u003ccite>(Mike Theiler/Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black History Month shouldn’t be treated as though it is somehow separate from our collective American history or somehow just boiled down to a compilation of greatest hits from the March on Washington or from some of our sports heroes,” Obama said.\u003c/p>\n\u003cp>“It’s about the lived, shared experience of all African Americans, high and low, famous and obscure, and how those experiences have shaped and challenged and ultimately strengthened America,” he continued.\u003c/p>\n\u003cp>(Canada also commemorates Black History Month in February, while the U.K. and \u003ca href=\"https://www.irishcentral.com/news/how-ireland-is-celebrating-national-black-history-month\" target=\"_blank\" rel=\"noopener noreferrer\">Ireland\u003c/a> celebrate it in October.)\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>ASALH designates a \u003ca href=\"https://asalh.org/black-history-themes/\" target=\"_blank\" rel=\"noopener noreferrer\">new theme\u003c/a> for Black History Month each year, in keeping with the practice Woodson established for Negro History Week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s Black Health and Wellness theme is particularly appropriate, Dulaney said, as the U.S. continues to fight the coronavirus pandemic.\u003c/p>\n\u003cp>“As [Black people], we have terrible health outcomes, and even the coronavirus has been affecting us disproportionately in terms of those of us who are catching it,” Dulaney said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s never been a time where Black people and others should not celebrate Black history,” Broussard said. “Given the current racial climate, the racial reckoning that began in wake of George Floyd’s murder … this is an opportunity to learn.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+the+story+behind+Black+History+Month+%E2%80%94+and+why+it%27s+celebrated+in+February&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Black Dancers Carry Joy Across the Diaspora",
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"headTitle": "Black Dancers Carry Joy Across the Diaspora | KQED",
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"content": "\u003cp>Black Joy is revolutionary, and it shows up in all these small, simple but emphatic ways—like dance. Whether it’s a shoulder bop or a fully choreographed routine, the joy in dance is about freely owning your movements, and it’s an integral part of the Black experience. Black dances are always evolving. Across the country, each region has its own signature style, but each style stays true to the instinctual need to be expressive and jubilant. This Black History Month, \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> celebrates a few dance traditions and styles of the Black diaspora in this mixtape video (embedded above). From the bateys in Puerto Rico to train cars in the Bay Area, if the spirit moves, Black dance happens anywhere and everywhere.\u003c/p>\n\u003cp>We also created this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhUX2blSApVB_aqILHiPB6R\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Black History playlist \u003c/a>with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13900185/if-cities-could-dance-philadelphia-house\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>\u003c/h3>\n\u003cp>A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">Katherine Dunham and the Dances of the African Diaspora Changing Lives\u003c/a>\u003c/h3>\n\u003cp>The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Katherine Dunham and Dance from the African Diaspora Change Lives | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13896487/if-cities-could-dance-jam-skating\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>\u003c/h3>\n\u003cp>Today’s jam skaters draw from a community built over generations at Venice Beach and rinks across the city.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Black Roller Skaters Are Carrying Forward LA's Iconic Scene | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WSnfuU_80iE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13885940/if-cities-could-dance-atlanta\" target=\"_blank\" rel=\"noopener noreferrer\">J-Setting: The Acrobatic Dance That Traveled From Southern HBCUs to the Clubs of Atlanta\u003c/a>\u003c/h3>\n\u003cp>The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J-Setting: The Acrobatic Dance Energizing Atlanta's Dance Floors and Beyond | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13883253/if-cities-could-dance-houston-zydeco\" target=\"_blank\" rel=\"noopener noreferrer\">Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots\u003c/a>\u003c/h3>\n\u003cp>Waves of migration brought southwest Louisiana’s Creole culture to Houston’s Frenchtown, where zydeco now draws crowds of dancers young and old.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/mgv8tQ-15MA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture\u003c/a>\u003c/h3>\n\u003cp>Originators of the 1970s art form are passing its funk-driven, freestyle moves to a new generation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Boogaloo: The Funk Freestyle Dance that Defined the Town’s Culture | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13879679/dont-mute-dc-how-go-go-music-inspires-the-beat-ya-feet-dance-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement\u003c/a>\u003c/h3>\n\u003cp>A new generation of dancers are bringing Beat Ya Feet back to the streets of D.C. in celebration of the city’s rich black history. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Once marginalized and near-forgotten, bomba is experiencing a resurgence in popularity and relevance with younger dancers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13856811/if-cities-could-dance-memphis\" target=\"_blank\" rel=\"noopener noreferrer\">Memphis Jookin: A Ballet for the Streets\u003c/a>\u003c/h3>\n\u003cp>Watch jookin legends and emerging stars in the scene slide, ankle break and spin through their city. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Memphis Jookin: A Ballet for the Streets\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago Footwork: A Lightning-Fast Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet some of Chicago’s footworkers who challenge the city’s legacy of segregation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicago Footwork: A Lightning-Fast Dance of Resistance | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black Joy is revolutionary, and it shows up in all these small, simple but emphatic ways—like dance. Whether it’s a shoulder bop or a fully choreographed routine, the joy in dance is about freely owning your movements, and it’s an integral part of the Black experience. Black dances are always evolving. Across the country, each region has its own signature style, but each style stays true to the instinctual need to be expressive and jubilant. This Black History Month, \u003ca href=\"https://www.kqed.org/if-cities-could-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> celebrates a few dance traditions and styles of the Black diaspora in this mixtape video (embedded above). From the bateys in Puerto Rico to train cars in the Bay Area, if the spirit moves, Black dance happens anywhere and everywhere.\u003c/p>\n\u003cp>We also created this \u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhUX2blSApVB_aqILHiPB6R\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance Black History playlist \u003c/a>with videos from four seasons of the award-winning series. Below are a few of our fans’ favorite episodes.\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13900185/if-cities-could-dance-philadelphia-house\" target=\"_blank\" rel=\"noopener noreferrer\">Philadelphia’s House Dancers Preserve the Soul of the Scene\u003c/a>\u003c/h3>\n\u003cp>A tight-knit, intergenerational community revives Philly’s soulful and inclusive house scene.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">Katherine Dunham and the Dances of the African Diaspora Changing Lives\u003c/a>\u003c/h3>\n\u003cp>The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Katherine Dunham and Dance from the African Diaspora Change Lives | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13896487/if-cities-could-dance-jam-skating\" target=\"_blank\" rel=\"noopener noreferrer\">How Black Roller Skaters Are Carrying Forward LA’s Iconic Scene\u003c/a>\u003c/h3>\n\u003cp>Today’s jam skaters draw from a community built over generations at Venice Beach and rinks across the city.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How Black Roller Skaters Are Carrying Forward LA's Iconic Scene | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WSnfuU_80iE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13885940/if-cities-could-dance-atlanta\" target=\"_blank\" rel=\"noopener noreferrer\">J-Setting: The Acrobatic Dance That Traveled From Southern HBCUs to the Clubs of Atlanta\u003c/a>\u003c/h3>\n\u003cp>The Dance Champz of Atlanta are evolving this dance beyond its roots in HBCUs and LGBTQ+ club battles.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J-Setting: The Acrobatic Dance Energizing Atlanta's Dance Floors and Beyond | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13883253/if-cities-could-dance-houston-zydeco\" target=\"_blank\" rel=\"noopener noreferrer\">Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots\u003c/a>\u003c/h3>\n\u003cp>Waves of migration brought southwest Louisiana’s Creole culture to Houston’s Frenchtown, where zydeco now draws crowds of dancers young and old.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Zydeco Dance in Houston: Black Cowboys, Trail Rides and Creole Roots | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/mgv8tQ-15MA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13891300/reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture\" target=\"_blank\" rel=\"noopener noreferrer\">Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture\u003c/a>\u003c/h3>\n\u003cp>Originators of the 1970s art form are passing its funk-driven, freestyle moves to a new generation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Boogaloo: The Funk Freestyle Dance that Defined the Town’s Culture | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13879679/dont-mute-dc-how-go-go-music-inspires-the-beat-ya-feet-dance-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Mute DC: How Go-Go Music Inspires the Beat Ya Feet Dance Movement\u003c/a>\u003c/h3>\n\u003cp>A new generation of dancers are bringing Beat Ya Feet back to the streets of D.C. in celebration of the city’s rich black history. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why Go-Go Music and Beat Ya Feet are 100% Washington, DC\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">For the Ancestors: Bomba is Puerto Rico’s Afro-Latino Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Once marginalized and near-forgotten, bomba is experiencing a resurgence in popularity and relevance with younger dancers.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13856811/if-cities-could-dance-memphis\" target=\"_blank\" rel=\"noopener noreferrer\">Memphis Jookin: A Ballet for the Streets\u003c/a>\u003c/h3>\n\u003cp>Watch jookin legends and emerging stars in the scene slide, ankle break and spin through their city. Now streaming on \u003ca href=\"https://www.youtube.com/c/pbsvoices/featured\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Voices\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Memphis Jookin: A Ballet for the Streets\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/arts/13854195/if-cities-could-dance-chicago\" target=\"_blank\" rel=\"noopener noreferrer\">Chicago Footwork: A Lightning-Fast Dance of Resistance\u003c/a>\u003c/h3>\n\u003cp>Meet some of Chicago’s footworkers who challenge the city’s legacy of segregation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicago Footwork: A Lightning-Fast Dance of Resistance | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You can’t talk about Black history without mentioning the Black Panther Party. Their advocacy and activism laid the foundation for the contemporary Black Lives Matter movement, and shaped the current free school meal programs and community clinics serving Oakland throughout the COVID crisis.\u003c/p>\n\u003cp>Today kicked off a series of events in Oakland to celebrate the Black Panthers. Beginning with a \u003ca href=\"https://www.eventbrite.com/e/save-the-hampton-house-virtual-fundraising-gala-tickets-137374708451\" target=\"_blank\" rel=\"noopener noreferrer\">virtual fundraiser\u003c/a> to restore the late party chairman \u003ca href=\"https://www.gofundme.com/f/SaveTheHamptonHouse51\" target=\"_blank\" rel=\"noopener noreferrer\">Fred Hampton Sr.’s childhood home\u003c/a>, the programming will honor the party’s contributions through art, film, discussion and more.\u003c/p>\n\u003cp>On Feb. 14, a new mural honoring Ericka Huggins, Rev. Cheryl Dawson and the women of the Black Panther Party will become available for viewing on Jilchristina Vest’s private home in West Oakland, and there will be a \u003ca href=\"https://www.wbppmural.com/the-mural-project/the-unveiling\" target=\"_blank\" rel=\"noopener noreferrer\">virtual celebration and unveiling\u003c/a>. [aside postid='news_11858928']\u003c/p>\n\u003cp>Next Tuesday, Feb. 16, images of Dr. Huey P. Newton and the Black Panther Party will be displayed through light projections at the Alameda County Courthouse, where the Free Huey Movement began in 1968, starting at 5:30pm.\u003c/p>\n\u003cp>On the 17th, community members and elected officials will join Newton’s widow, Fredrika Newton—who is also president of the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a>—for the unveiling of the newly designated Dr. Huey P. Newton Way at 9am. Dr. Huey P. Newton Way is the new name of a three-block section of 9th Street near Mandela Parkway. [aside postid='arts_13874735']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, Feb. 19, the festivities continue with a free drive-in movie screening of \u003ca href=\"https://participant.com/campaigns/live-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>\u003c/a> at Oakland’s Liberation Park at 5pm. The new film was produced by Oakland’s own Ryan Coogler as well as Charles D. King and Shaka King. Those who are interested can sign up on the \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation’s Instagram\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sSjtGqRXQ9Y&ab_channel=WarnerBros.Pictures\u003c/p>\n\u003cp>The events conclude with a virtual program on Feb. 24 featuring Black Panther Party alumni and Bay Area artists, activists and professional athletes in a conversation about the impacts of the Black Panther Party’s 10 Point Program, history and leadership. The conversation will be available to view online at 12pm via Instagram, YouTube and Facebook Live.\u003c/p>\n\u003cp>The Dr. Huey P. Newton Foundation will also unveil a bronze bust of Newton later this year, created by Bay Area sculptor Dana King. The bust will be placed on Dr. Huey P. Newton Way near Mandela Parkway.\u003c/p>\n\u003cp>“This Black History Month, I will reflect back on the beginnings of the Black Panther Party nearly 55 years ago, as well as on the countless tragedies against Black men and women just last year alone,” said Fredrika Newton in a statement. “With that in mind, I will move through 2021 with a renewed sense of empowerment and ask that we all find a way to stand on the shoulders of those who fought for Black Power in the past and successfully deliver it now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, follow the Huey P. Newton Foundation on \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t talk about Black history without mentioning the Black Panther Party. Their advocacy and activism laid the foundation for the contemporary Black Lives Matter movement, and shaped the current free school meal programs and community clinics serving Oakland throughout the COVID crisis.\u003c/p>\n\u003cp>Today kicked off a series of events in Oakland to celebrate the Black Panthers. Beginning with a \u003ca href=\"https://www.eventbrite.com/e/save-the-hampton-house-virtual-fundraising-gala-tickets-137374708451\" target=\"_blank\" rel=\"noopener noreferrer\">virtual fundraiser\u003c/a> to restore the late party chairman \u003ca href=\"https://www.gofundme.com/f/SaveTheHamptonHouse51\" target=\"_blank\" rel=\"noopener noreferrer\">Fred Hampton Sr.’s childhood home\u003c/a>, the programming will honor the party’s contributions through art, film, discussion and more.\u003c/p>\n\u003cp>On Feb. 14, a new mural honoring Ericka Huggins, Rev. Cheryl Dawson and the women of the Black Panther Party will become available for viewing on Jilchristina Vest’s private home in West Oakland, and there will be a \u003ca href=\"https://www.wbppmural.com/the-mural-project/the-unveiling\" target=\"_blank\" rel=\"noopener noreferrer\">virtual celebration and unveiling\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, Feb. 19, the festivities continue with a free drive-in movie screening of \u003ca href=\"https://participant.com/campaigns/live-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judas and the Black Messiah\u003c/em>\u003c/a> at Oakland’s Liberation Park at 5pm. The new film was produced by Oakland’s own Ryan Coogler as well as Charles D. King and Shaka King. Those who are interested can sign up on the \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation’s Instagram\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sSjtGqRXQ9Y'\n title='//www.youtube.com/embed/sSjtGqRXQ9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The events conclude with a virtual program on Feb. 24 featuring Black Panther Party alumni and Bay Area artists, activists and professional athletes in a conversation about the impacts of the Black Panther Party’s 10 Point Program, history and leadership. The conversation will be available to view online at 12pm via Instagram, YouTube and Facebook Live.\u003c/p>\n\u003cp>The Dr. Huey P. Newton Foundation will also unveil a bronze bust of Newton later this year, created by Bay Area sculptor Dana King. The bust will be placed on Dr. Huey P. Newton Way near Mandela Parkway.\u003c/p>\n\u003cp>“This Black History Month, I will reflect back on the beginnings of the Black Panther Party nearly 55 years ago, as well as on the countless tragedies against Black men and women just last year alone,” said Fredrika Newton in a statement. “With that in mind, I will move through 2021 with a renewed sense of empowerment and ask that we all find a way to stand on the shoulders of those who fought for Black Power in the past and successfully deliver it now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, follow the Huey P. Newton Foundation on \u003ca href=\"https://www.instagram.com/hueypnewtonfoundation/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.cauleensmith.com/\">Cauleen Smith\u003c/a>’s work is both Afrofuturistic and deeply historical, deriving inspiration from previous generations of Black women whose activism and art offer a gateway to spiritual enlightenment and liberation. Both poetic and political, Smith’s films weave in and out of real-life utopian universes, and show how these radically generous communities can offer a model for the rest of society. \u003c/p>\n\u003cp>One of Smith’s films, the 2018 short \u003cem>Sojourner\u003c/em>, explores communal settings across California, including Alice Coltrane’s ashram in the Santa Monica hills and Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree.\u003c/p>\n\u003cp>\u003cem>Sojourner\u003c/em> is currently on display in immersive installations—complete with a shag rug, disco ball, and custom wallpaper—at the \u003ca href=\"https://www.sfmoma.org/watch/cauleen-smith-imagines-a-black-feminist-utopia-2/\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"https://www.lacma.org/art/exhibition/cauleen-smith-give-it-or-leave-it\">Los Angeles County Museum of Art\u003c/a>. (Due to the spread of COVID-19, both museums have been closed for much of the past year.)\u003c/p>\n\u003cp>Smith joined \u003ca href=\"https://www.kqed.org/californiareportmagazine\">California Report Magazine\u003c/a> host Sasha Khokha from her home in Boyle Heights to discuss her inspiration for \u003cem>Sojourner\u003c/em> and how her work responds to this current moment in history. Her answers have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13892110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sojourner’ examines the concept of utopia by featuring Black activists from Chicago to Los Angeles. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Concept of Utopia\u003c/h3>\n\u003cp>I’ve grown accustomed to having people dismiss utopia as impossible, fantastical, escapist, or a naive notion. But in reality, people make utopias happen all the time. To me, this film [Sojourner] was about looking very pointedly at individuals, groups of people, and their actions that produced utopian ethics and manifestations in the world.\u003c/p>\n\u003ch3>On the Watts Towers, an Unexpected Manifestation of Utopia\u003c/h3>\n\u003cp>Simon Rodia built the Watts Towers over the span of 25 years in the community of Watts. When he started building, Watts was a predominantly African-American neighborhood. He built the towers after work in a strangely collective manner. There are anecdotes about his neighbors saying, ‘It’s fine if you build these towers, but can you just stop working on them past 10 o’clock? Because we all have to get up to work in the morning.’\u003c/p>\n\u003cp>Now, the Watts Towers function as a kind of artery and cultural currency and leverage. And the fact that Simon Rodia built these towers and then literally gave them away to the community is an act of radical generosity.\u003c/p>\n\u003cfigure id=\"attachment_13892116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/watts-1-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Ray’s photo of a group of young men holding a transistor radio at the Watts Tower inspired Cauleen Smith to recreate the photo in her film, ‘Sojourner.’ \u003ccite>(Bill Ray/LIFE/Time Inc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Watts Towers Influence on ‘Sojourner’\u003c/h3>\n\u003cp>I stumbled on this image by Time-Life photographer Bill Ray while doing research on the Watts Towers. It felt like a fantastical image, of young men holding transistor radios and languidly hanging out in the Watts Towers. Beautiful contrast, beautiful color—almost like a fashion shoot. But as I dug deeper into the context for these photos, I learned that the angle of his story was supposed to be the angry, seething aftermath of the Watts Rebellion in 1965.\u003c/p>\n\u003cp>One of the things that Bill Ray’s photograph provoked in me was that when we talk about activism, change, politics, and power, the thing that is always pictured is a male image. But in fact, the actual manifestation of change has always been the work of women. I wanted to make it really visible that Black women have been imagining a better world—and not only imagining it, but making it so.\u003c/p>\n\u003cp>This photo became a talisman in terms of my research. So I decided that I wanted to reenact that photo somehow, but with women instead of the gorgeous young men in the photo he took.\u003c/p>\n\u003cfigure id=\"attachment_13892115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith weaves the motif of the transistor radio throughout ‘Sojourner,’ using it to tune in and out of different historical reflections on Black women’s lives. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>‘We would like to affirm that we find our origins in the historical reality of Afro-American women’s continuous life, and the struggle for survival and liberation. As Angela Davis points out in ‘Reflections on the Black Woman’s Role in the Community of Slaves,’ Black women have always embodied, if only in their physical manifestation, an adversary stance to white male rule. And have actively resisted its inroads upon them and in communities in both dramatic and subtle ways.’ – Combahee River Collective, 1977\u003c/p>\u003c/blockquote>\n\u003ch3>On the Combahee River Collective, the Black Lesbian Feminist Organization\u003c/h3>\n\u003cp>Throughout \u003cem>Sojourner\u003c/em> you hear voices being transmitted to me, like, right when I needed them somehow. Some are words from the \u003ca href=\"https://en.wikipedia.org/wiki/Combahee_River_Collective\" rel=\"noopener noreferrer\" target=\"_blank\">Combahee River Collective\u003c/a>, which wrote this astounding \u003ca href=\"https://www.blackpast.org/african-american-history/combahee-river-collective-statement-1977/\">statement\u003c/a> published in 1977. It discusses the conditions of being a Black woman and it’s still a document of great use and value. It’s very contemporary in terms of the stakes it’s describing.\u003c/p>\n\u003cp>The part [of the statement] that is so crucial to remember is that if we start building a world based on the position of the least powerful and least empowered in society, we will be building a better world for everyone. The statement is from the perspective of Black women, and their political position actually enables a kind of liberatory ethic for the entire society. I think that is a really important principle and why the document is so vital right now.\u003c/p>\n\u003cfigure id=\"attachment_13892118\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg\" alt=\"Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA.\" width=\"720\" height=\"1260\" class=\"size-full wp-image-13892118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi-160x280.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA. \u003ccite>(Courtesy of Harry Gamboa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Alice Coltrane, Whose Music Became the Soundtrack for ‘Sojourner’\u003c/h3>\n\u003cp>Sojourner opens with “\u003ca href=\"https://www.youtube.com/watch?v=Z-xR7sEoNlo&ab_channel=AliceColtrane-Topic\" rel=\"noopener noreferrer\" target=\"_blank\">Om Supreme\u003c/a>,” a song where \u003ca href=\"https://www.kqed.org/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected\">Alice Coltrane\u003c/a> repeats the word “California” over and over again in this ecstatic fashion. The song basically says that God told her to move to California.\u003c/p>\n\u003cp>I have never heard anything like the music she made. She really is bringing in bebop, gospel, and the raga form all into one sound. It just blows my mind. I find it totally intoxicating.\u003c/p>\n\u003cp>After John Coltrane [Alice Coltrane’s husband] died, she and her four children moved to Calabasas County. She bought this gorgeous piece of land and started an ashram that attracted all kinds of people from all over the country—especially Black people interested in vedic spirituality—to practice religion and music with her.\u003c/p>\n\u003cp>Alice Coltrane had already passed away when I finally had the opportunity to visit. I was stricken with this world that she’d built and how her students were still there practicing with the same kind of ethic and generosity that she generated there.\u003c/p>\n\u003ch3>On California’s Landscape: Alice Coltrane’s ashram, Antelope Valley Poppy Reserve, Vasquez Rocks, Watts Towers\u003c/h3>\n\u003cp>There’s something about the land in California: those rolling poppies in Southern California, and in particular, the place where Alice Coltrane settled so close to the ocean. In those rolling hills, it feels as if anything is possible.\u003c/p>\n\u003cp>The main glue of the film is the women carrying neon orange banners through the landscape. They carry them from the Watts Towers to Dockweiler Beach, and all the way out to the desert. The phrases on these banners are a quote, the last four lines of Alice Coltrane’s book \u003cem>A Monument Eternal\u003c/em>: “At dawn, sit at the feet of action. At noon, be at the hand of might. At eventide be so big that sky will learn sky.” I just thought that was the most beautiful thing anyone could say to anyone else. It’s like a prayer or a wish, a blessing. A gift.\u003c/p>\n\u003cfigure id=\"attachment_13892114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Sojourner, a group of women walk out in the desert at sunrise, showcasing Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Film’s Closing Scene, at Sunrise in Joshua Tree\u003c/h3>\n\u003cp>I knew sunrises are always gorgeous. That’s a given. But the way that light, once it raked across the desert, the second it crossed over the mountains…wow. It was truly profound. I didn’t have to give a lot of directions. I didn’t have to set a tone. The landscape and that sunrise did everything.\u003c/p>\n\u003cp>A lot of times people [believe the closing scene includes] 12 Black women in the desert, but it doesn’t. It’s a really diverse group of women. But they are, I believe, practicing Black culture. Those women are holding each other’s hands, grieving together, and walking together. I wanted to simply allow these women to be visible, to be pictured, and to be present in themselves, for themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>On the Closure of California Museums\u003c/h3>\n\u003cp>I’m hoping that we can get a handle on COVID soon so people can see my work. It really is about this moment. It’s about what’s possible now and in the future. It’s been hard to have a show installed at my favorite art institution in the city, the L.A. County Museum of Art, and not be able to share it with people. But I think relative to the piles of bodies stacking up all around, that’s nothing. It’s just not even something to complain about. It’s simply a signifier of the conditions. I would rather no one see the show and no one die. I just wish that could be the case.\u003c/p>\n\u003cp>https://youtu.be/AUmBgxrcDWk\u003c/p>\n\u003ch3>On Her Work Responding to This Moment in History\u003c/h3>\n\u003cp>I feel like my work has always spoken to this moment, and will continue to do so. The fact that people are finally paying attention to state-sanctioned violence against Black people is great, but we’ve been living with it for generations.\u003c/p>\n\u003cp>Now, this is actually work for white people to do. We’ve seen the face of white supremacy in our neighbors, our coworkers, and strangers on the street. For people who are shocked by what they saw at the Capitol, it’s time to think about the ways in which they themselves are connected to that kind of violence in their own lives, in their own families, in their own workplaces, and think about what they want to do about it.\u003c/p>\n\u003ch3>On Finding Micro-Moments of Joy and Hope\u003c/h3>\n\u003cp>I’m very fortunate to live in Boyle Heights in a little bungalow with a big backyard. I go back there and dig holes and plant plants and watch them grow. What I’ve learned is more than how plants grow, but what they bring: hummingbirds, butterflies, goldfinches, and crows. I just really love watching our backyard become a place for other creatures to live in. And having a closer attachment to the land has been really nice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.cauleensmith.com/\">Cauleen Smith\u003c/a>’s work is both Afrofuturistic and deeply historical, deriving inspiration from previous generations of Black women whose activism and art offer a gateway to spiritual enlightenment and liberation. Both poetic and political, Smith’s films weave in and out of real-life utopian universes, and show how these radically generous communities can offer a model for the rest of society. \u003c/p>\n\u003cp>One of Smith’s films, the 2018 short \u003cem>Sojourner\u003c/em>, explores communal settings across California, including Alice Coltrane’s ashram in the Santa Monica hills and Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree.\u003c/p>\n\u003cp>\u003cem>Sojourner\u003c/em> is currently on display in immersive installations—complete with a shag rug, disco ball, and custom wallpaper—at the \u003ca href=\"https://www.sfmoma.org/watch/cauleen-smith-imagines-a-black-feminist-utopia-2/\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"https://www.lacma.org/art/exhibition/cauleen-smith-give-it-or-leave-it\">Los Angeles County Museum of Art\u003c/a>. (Due to the spread of COVID-19, both museums have been closed for much of the past year.)\u003c/p>\n\u003cp>Smith joined \u003ca href=\"https://www.kqed.org/californiareportmagazine\">California Report Magazine\u003c/a> host Sasha Khokha from her home in Boyle Heights to discuss her inspiration for \u003cem>Sojourner\u003c/em> and how her work responds to this current moment in history. Her answers have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13892110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sojourner’ examines the concept of utopia by featuring Black activists from Chicago to Los Angeles. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Concept of Utopia\u003c/h3>\n\u003cp>I’ve grown accustomed to having people dismiss utopia as impossible, fantastical, escapist, or a naive notion. But in reality, people make utopias happen all the time. To me, this film [Sojourner] was about looking very pointedly at individuals, groups of people, and their actions that produced utopian ethics and manifestations in the world.\u003c/p>\n\u003ch3>On the Watts Towers, an Unexpected Manifestation of Utopia\u003c/h3>\n\u003cp>Simon Rodia built the Watts Towers over the span of 25 years in the community of Watts. When he started building, Watts was a predominantly African-American neighborhood. He built the towers after work in a strangely collective manner. There are anecdotes about his neighbors saying, ‘It’s fine if you build these towers, but can you just stop working on them past 10 o’clock? Because we all have to get up to work in the morning.’\u003c/p>\n\u003cp>Now, the Watts Towers function as a kind of artery and cultural currency and leverage. And the fact that Simon Rodia built these towers and then literally gave them away to the community is an act of radical generosity.\u003c/p>\n\u003cfigure id=\"attachment_13892116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/watts-1-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Ray’s photo of a group of young men holding a transistor radio at the Watts Tower inspired Cauleen Smith to recreate the photo in her film, ‘Sojourner.’ \u003ccite>(Bill Ray/LIFE/Time Inc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Watts Towers Influence on ‘Sojourner’\u003c/h3>\n\u003cp>I stumbled on this image by Time-Life photographer Bill Ray while doing research on the Watts Towers. It felt like a fantastical image, of young men holding transistor radios and languidly hanging out in the Watts Towers. Beautiful contrast, beautiful color—almost like a fashion shoot. But as I dug deeper into the context for these photos, I learned that the angle of his story was supposed to be the angry, seething aftermath of the Watts Rebellion in 1965.\u003c/p>\n\u003cp>One of the things that Bill Ray’s photograph provoked in me was that when we talk about activism, change, politics, and power, the thing that is always pictured is a male image. But in fact, the actual manifestation of change has always been the work of women. I wanted to make it really visible that Black women have been imagining a better world—and not only imagining it, but making it so.\u003c/p>\n\u003cp>This photo became a talisman in terms of my research. So I decided that I wanted to reenact that photo somehow, but with women instead of the gorgeous young men in the photo he took.\u003c/p>\n\u003cfigure id=\"attachment_13892115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith weaves the motif of the transistor radio throughout ‘Sojourner,’ using it to tune in and out of different historical reflections on Black women’s lives. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>‘We would like to affirm that we find our origins in the historical reality of Afro-American women’s continuous life, and the struggle for survival and liberation. As Angela Davis points out in ‘Reflections on the Black Woman’s Role in the Community of Slaves,’ Black women have always embodied, if only in their physical manifestation, an adversary stance to white male rule. And have actively resisted its inroads upon them and in communities in both dramatic and subtle ways.’ – Combahee River Collective, 1977\u003c/p>\u003c/blockquote>\n\u003ch3>On the Combahee River Collective, the Black Lesbian Feminist Organization\u003c/h3>\n\u003cp>Throughout \u003cem>Sojourner\u003c/em> you hear voices being transmitted to me, like, right when I needed them somehow. Some are words from the \u003ca href=\"https://en.wikipedia.org/wiki/Combahee_River_Collective\" rel=\"noopener noreferrer\" target=\"_blank\">Combahee River Collective\u003c/a>, which wrote this astounding \u003ca href=\"https://www.blackpast.org/african-american-history/combahee-river-collective-statement-1977/\">statement\u003c/a> published in 1977. It discusses the conditions of being a Black woman and it’s still a document of great use and value. It’s very contemporary in terms of the stakes it’s describing.\u003c/p>\n\u003cp>The part [of the statement] that is so crucial to remember is that if we start building a world based on the position of the least powerful and least empowered in society, we will be building a better world for everyone. The statement is from the perspective of Black women, and their political position actually enables a kind of liberatory ethic for the entire society. I think that is a really important principle and why the document is so vital right now.\u003c/p>\n\u003cfigure id=\"attachment_13892118\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg\" alt=\"Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA.\" width=\"720\" height=\"1260\" class=\"size-full wp-image-13892118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi-160x280.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA. \u003ccite>(Courtesy of Harry Gamboa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Alice Coltrane, Whose Music Became the Soundtrack for ‘Sojourner’\u003c/h3>\n\u003cp>Sojourner opens with “\u003ca href=\"https://www.youtube.com/watch?v=Z-xR7sEoNlo&ab_channel=AliceColtrane-Topic\" rel=\"noopener noreferrer\" target=\"_blank\">Om Supreme\u003c/a>,” a song where \u003ca href=\"https://www.kqed.org/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected\">Alice Coltrane\u003c/a> repeats the word “California” over and over again in this ecstatic fashion. The song basically says that God told her to move to California.\u003c/p>\n\u003cp>I have never heard anything like the music she made. She really is bringing in bebop, gospel, and the raga form all into one sound. It just blows my mind. I find it totally intoxicating.\u003c/p>\n\u003cp>After John Coltrane [Alice Coltrane’s husband] died, she and her four children moved to Calabasas County. She bought this gorgeous piece of land and started an ashram that attracted all kinds of people from all over the country—especially Black people interested in vedic spirituality—to practice religion and music with her.\u003c/p>\n\u003cp>Alice Coltrane had already passed away when I finally had the opportunity to visit. I was stricken with this world that she’d built and how her students were still there practicing with the same kind of ethic and generosity that she generated there.\u003c/p>\n\u003ch3>On California’s Landscape: Alice Coltrane’s ashram, Antelope Valley Poppy Reserve, Vasquez Rocks, Watts Towers\u003c/h3>\n\u003cp>There’s something about the land in California: those rolling poppies in Southern California, and in particular, the place where Alice Coltrane settled so close to the ocean. In those rolling hills, it feels as if anything is possible.\u003c/p>\n\u003cp>The main glue of the film is the women carrying neon orange banners through the landscape. They carry them from the Watts Towers to Dockweiler Beach, and all the way out to the desert. The phrases on these banners are a quote, the last four lines of Alice Coltrane’s book \u003cem>A Monument Eternal\u003c/em>: “At dawn, sit at the feet of action. At noon, be at the hand of might. At eventide be so big that sky will learn sky.” I just thought that was the most beautiful thing anyone could say to anyone else. It’s like a prayer or a wish, a blessing. A gift.\u003c/p>\n\u003cfigure id=\"attachment_13892114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Sojourner, a group of women walk out in the desert at sunrise, showcasing Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Film’s Closing Scene, at Sunrise in Joshua Tree\u003c/h3>\n\u003cp>I knew sunrises are always gorgeous. That’s a given. But the way that light, once it raked across the desert, the second it crossed over the mountains…wow. It was truly profound. I didn’t have to give a lot of directions. I didn’t have to set a tone. The landscape and that sunrise did everything.\u003c/p>\n\u003cp>A lot of times people [believe the closing scene includes] 12 Black women in the desert, but it doesn’t. It’s a really diverse group of women. But they are, I believe, practicing Black culture. Those women are holding each other’s hands, grieving together, and walking together. I wanted to simply allow these women to be visible, to be pictured, and to be present in themselves, for themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>On the Closure of California Museums\u003c/h3>\n\u003cp>I’m hoping that we can get a handle on COVID soon so people can see my work. It really is about this moment. It’s about what’s possible now and in the future. It’s been hard to have a show installed at my favorite art institution in the city, the L.A. County Museum of Art, and not be able to share it with people. But I think relative to the piles of bodies stacking up all around, that’s nothing. It’s just not even something to complain about. It’s simply a signifier of the conditions. I would rather no one see the show and no one die. I just wish that could be the case.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AUmBgxrcDWk'\n title='//www.youtube.com/embed/AUmBgxrcDWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On Her Work Responding to This Moment in History\u003c/h3>\n\u003cp>I feel like my work has always spoken to this moment, and will continue to do so. The fact that people are finally paying attention to state-sanctioned violence against Black people is great, but we’ve been living with it for generations.\u003c/p>\n\u003cp>Now, this is actually work for white people to do. We’ve seen the face of white supremacy in our neighbors, our coworkers, and strangers on the street. For people who are shocked by what they saw at the Capitol, it’s time to think about the ways in which they themselves are connected to that kind of violence in their own lives, in their own families, in their own workplaces, and think about what they want to do about it.\u003c/p>\n\u003ch3>On Finding Micro-Moments of Joy and Hope\u003c/h3>\n\u003cp>I’m very fortunate to live in Boyle Heights in a little bungalow with a big backyard. I go back there and dig holes and plant plants and watch them grow. What I’ve learned is more than how plants grow, but what they bring: hummingbirds, butterflies, goldfinches, and crows. I just really love watching our backyard become a place for other creatures to live in. And having a closer attachment to the land has been really nice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts",
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"content": "\u003cp>\u003ca href=\"https://www.fayecarol.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Dynamic Miss Faye Carol\u003c/a> believes that she was put here to sing. And it’s this conviction that’s propelled an independent music career that’s spanned more than six decades.\u003c/p>\n\u003cp>She’s seen enormous triumphs, like when the City of Oakland tapped her to perform for Nelson Mandela after his release from prison. And she’s also had her share of hurdles. In the 1960s, for instance, various government infrastructure projects decimated the Black-owned jazz and blues clubs that were Carol’s bread and butter. She nonetheless found a way forward and became a sought-after live performer who toured with Marvin Gaye.\u003c/p>\n\u003cp>In the ’70s and ’80s, Carol found an audience in the Castro’s cabaret scene, but in the ensuing years the community was hit hard by the AIDS epidemic. She found new ways to thrive again in the ’90s, 2000s and 2010s, performing with the likes of Pharoah Sanders and Ray Charles, recording an album and launching her own music school. Then, in 2020, just as she launched a new concert series at Geoffrey’s Inner Circle, COVID-19 shut everything down. [aside postid='arts_13876143']\u003c/p>\n\u003cp>Still, Carol remains undeterred. She and her pianist, Joe Warner, have kept busy all year with virtual concerts at venues like Piedmont Piano Company and Freight & Salvage, and, thanks to a grant from the Zellerbach Family Foundation, even created their own livestreaming studio complete with a professional camera and sound set-up, Chez Carol.\u003c/p>\n\u003cp>“It’s all just a new frontier, and I’m up for it, and we’ve been having fun doing it,” she says. “As James Brown would say, I have to stay on the good foot. Because other than that, it’s too depressing. If you look at really what’s going on in the world, it’s pretty depressing knowing how many people don’t have their life, and how many families don’t have their loved ones. And art—being such a healer of people—is so away from people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though she misses interacting in person with her fans—or, as she calls them warmly, her babies—Carol and Warner’s livestreams have been attracting viewers from all over the country and the world, some of whom have even commissioned them to do private virtual concerts in lieu of in-person private parties. In celebration of Black History Month, Carol has an upcoming online concert program that showcases one of the things she does best: connecting the threads between various forms of Black music and celebrating the diaspora’s diverse forms of creativity.\u003c/p>\n\u003cp>“This is one thing that’s dear to me because I think all of the music should be united. In our world, everything is really polarized,” she says. “You have young people’s music, you have the old people’s music. You have cool jazz, soul jazz, hip-hop, R&B, country—labels. And to me, it’s all music. And one time in Black music history it was just like that, it was one big thing.”\u003c/p>\n\u003cp>On Feb. 4, Carol and Warner are doing a livestream from Geoffrey’s Inner Circle for Oakland public school students with Mistah F.A.B., the rapper, philanthropist, Dope Era Clothing owner, author and “\u003ca href=\"https://www.youtube.com/watch?v=J377tHOtrW4&ab_channel=MistahF.A.B.-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">freestyle king of the O\u003c/a>” who has an uncanny ability to rhyme from off the top of his head for miles. They’ll be joined by drummer Aaron Green and bassist James Wiley; the project is backed by the City of Oakland’s Cultural Funding Program. Carol and Warner perform for Berkeley public school students on Feb. 25 with a concert titled Black Music Through the Ages. The show with Mistah F.A.B. will stream again for the general public on Carol’s \u003ca href=\"https://www.facebook.com/TheDynamicMiss\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on Feb. 27. [aside postid='arts_13891939']\u003c/p>\n\u003cp>On Valentine’s Day, Carol and Warner will be streaming from Chez Carol as the Dynamic Duo. “I like to say, for lovers and others. Valentine’s Day is just an excuse to sing some more good songs. And if you have somebody to cuddle up with, all the better,” Carol says.\u003c/p>\n\u003cp>As much as all of us miss in-person concerts right now, Carol looks at the bright side, and says that her busy schedule of livestreaming is challenging her to stay creative and keep developing new material.\u003c/p>\n\u003cp>“I don’t see nothin’ short of you burying me that’s going to keep me from doing this,” she says with a twinkle in her eye. “So, hey, let the good times roll—we’re doing it. If it’s streaming that’s happening, let the streaming begin.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol’s complete upcoming concert schedule can be found \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.fayecarol.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Dynamic Miss Faye Carol\u003c/a> believes that she was put here to sing. And it’s this conviction that’s propelled an independent music career that’s spanned more than six decades.\u003c/p>\n\u003cp>She’s seen enormous triumphs, like when the City of Oakland tapped her to perform for Nelson Mandela after his release from prison. And she’s also had her share of hurdles. In the 1960s, for instance, various government infrastructure projects decimated the Black-owned jazz and blues clubs that were Carol’s bread and butter. She nonetheless found a way forward and became a sought-after live performer who toured with Marvin Gaye.\u003c/p>\n\u003cp>In the ’70s and ’80s, Carol found an audience in the Castro’s cabaret scene, but in the ensuing years the community was hit hard by the AIDS epidemic. She found new ways to thrive again in the ’90s, 2000s and 2010s, performing with the likes of Pharoah Sanders and Ray Charles, recording an album and launching her own music school. Then, in 2020, just as she launched a new concert series at Geoffrey’s Inner Circle, COVID-19 shut everything down. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Carol remains undeterred. She and her pianist, Joe Warner, have kept busy all year with virtual concerts at venues like Piedmont Piano Company and Freight & Salvage, and, thanks to a grant from the Zellerbach Family Foundation, even created their own livestreaming studio complete with a professional camera and sound set-up, Chez Carol.\u003c/p>\n\u003cp>“It’s all just a new frontier, and I’m up for it, and we’ve been having fun doing it,” she says. “As James Brown would say, I have to stay on the good foot. Because other than that, it’s too depressing. If you look at really what’s going on in the world, it’s pretty depressing knowing how many people don’t have their life, and how many families don’t have their loved ones. And art—being such a healer of people—is so away from people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she misses interacting in person with her fans—or, as she calls them warmly, her babies—Carol and Warner’s livestreams have been attracting viewers from all over the country and the world, some of whom have even commissioned them to do private virtual concerts in lieu of in-person private parties. In celebration of Black History Month, Carol has an upcoming online concert program that showcases one of the things she does best: connecting the threads between various forms of Black music and celebrating the diaspora’s diverse forms of creativity.\u003c/p>\n\u003cp>“This is one thing that’s dear to me because I think all of the music should be united. In our world, everything is really polarized,” she says. “You have young people’s music, you have the old people’s music. You have cool jazz, soul jazz, hip-hop, R&B, country—labels. And to me, it’s all music. And one time in Black music history it was just like that, it was one big thing.”\u003c/p>\n\u003cp>On Feb. 4, Carol and Warner are doing a livestream from Geoffrey’s Inner Circle for Oakland public school students with Mistah F.A.B., the rapper, philanthropist, Dope Era Clothing owner, author and “\u003ca href=\"https://www.youtube.com/watch?v=J377tHOtrW4&ab_channel=MistahF.A.B.-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">freestyle king of the O\u003c/a>” who has an uncanny ability to rhyme from off the top of his head for miles. They’ll be joined by drummer Aaron Green and bassist James Wiley; the project is backed by the City of Oakland’s Cultural Funding Program. Carol and Warner perform for Berkeley public school students on Feb. 25 with a concert titled Black Music Through the Ages. The show with Mistah F.A.B. will stream again for the general public on Carol’s \u003ca href=\"https://www.facebook.com/TheDynamicMiss\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on Feb. 27. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Valentine’s Day, Carol and Warner will be streaming from Chez Carol as the Dynamic Duo. “I like to say, for lovers and others. Valentine’s Day is just an excuse to sing some more good songs. And if you have somebody to cuddle up with, all the better,” Carol says.\u003c/p>\n\u003cp>As much as all of us miss in-person concerts right now, Carol looks at the bright side, and says that her busy schedule of livestreaming is challenging her to stay creative and keep developing new material.\u003c/p>\n\u003cp>“I don’t see nothin’ short of you burying me that’s going to keep me from doing this,” she says with a twinkle in her eye. “So, hey, let the good times roll—we’re doing it. If it’s streaming that’s happening, let the streaming begin.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol’s complete upcoming concert schedule can be found \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’m one of many lifelong students of Harriet Tubman University. I mean, she doesn’t have an actual college named in her honor, but why the hell not?\u003c/p>\n\u003cp>Tubman is one of the most important figures in the history of this country. She was enslaved, illiterate, and suffered from trauma—specifically brain damage, at the hands of her slave master. Despite that, she lived 90 years, full of achievements. She freed herself. She freed others. As a spy for the Union army, she was the first woman in U.S. history to lead a military expedition. She was buried with military honors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The concept behind Tubman University is all about finding freedom for oneself, and then assisting others. It’s a philosophy many ascribe to. Some even rock \u003ca href=\"https://www.phillymag.com/shoppist/2016/01/05/collegiate-sweatshirts-honoring-black-leaders/\">sweatshirts that bear the name\u003c/a>; evidence that I’m far from the only student in this school of thought.\u003c/p>\n\u003cp>At the head of this class is Nancy Whittle. She’s played the role of Harriet Tubman in Civil War reenactments throughout California for the past 30 years. I found out about her through \u003ca href=\"http://www.brandontauszik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Tauszik\u003c/a>, a friend and photographer, who showed me some images from \u003ca href=\"https://www.facebook.com/events/236169397547523/\">his upcoming exhibit\u003c/a>.\u003c/p>\n\u003cp>The photo of Whittle caught my eye. That stern face, the outfit from the antebellum era, a woman holding a walking stick that looks like the one Moses used. I thought: Who \u003cem>is\u003c/em> she?\u003c/p>\n\u003cp>The answer is that Nancy Whittle is a medical social worker, who lives in Fresno, California. And, sometimes, she’s Harriet Tubman.\u003c/p>\n\u003cp>She’s one of the few African Americans who participate in Civil War reenactments; sometimes flanked by reenactors playing the roles of \u003ca href=\"https://www.whitehousehistory.org/elizabeth-keckley\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Keckley\u003c/a> (seamstress, author and assistant to First Lady Mary Todd Lincoln) and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.womenshistory.org/education-resources/biographies/sojourner-truth\" target=\"_blank\" rel=\"noopener noreferrer\"> Sojourner Truth\u003c/a> (famed abolitionist, orator and activist). Elsewhere on the reenactment field, men often play the roles of African American soldiers and slaves.\u003c/span>\u003c/p>\n\u003cp>But these reenactments, which have been going on for decades, seem to have slightly changed as of late. And while Whittle isn’t one to place blame, she does note that it started happening sometime around the election of America’s current president.\u003c/p>\n\u003cfigure id=\"attachment_13875293\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg\" alt=\"Nancy Whittle in her home in Fresno\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Whittle in her home in Fresno \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hittle never planned on getting this deep into Civil War reenactments. She went to school to be a journalist, and always enjoyed history and museums. But then Rose Caglia, former president of the Fresno Historical Society, asked if she wanted to be someone in the Civil War.\u003c/p>\n\u003cp>She started out playing a slave, and fittingly, the next year she was Harriet Tubman.\u003c/p>\n\u003cp>Suddenly she found herself part of a huge community. “It’s grown so big that they have people from Ireland coming, from France, from Spain,” says Whittle of the reenactments, during a phone call. “I mean, American history… it’s almost like an addiction, actually.”\u003c/p>\n\u003cp>She’s done reenactments in churches and at grade schools, in parks and at Stanford University. A quick look at upcoming events for the \u003ca href=\"https://ncwa1863.org/event-calendar/\">National Civil War Association\u003c/a> and the \u003ca href=\"https://www.acwa.org/events-1\">American Civil War Association\u003c/a> shows that there are reenactments scheduled throughout the year, and all over California.\u003c/p>\n\u003cp>Whittle, who works with the aforementioned groups as well as the the newer \u003ca href=\"http://www.bsmcu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Buffalo Soldier Mounted Calvary Unit\u003c/a>, says people take the reenactments seriously. Some ride horseback and play the role of well-known generals. Others have smaller roles, but still know not to break character. “You can have up to 2,000 people participating—soldiers, women, kids, all of that,” says Whittle.\u003c/p>\n\u003cp>With that comes the financial investment: the uniforms, the guns and the coordination of the events. “It costs a lot of money to be in it… making sure your character comes alive, it’ll cost,” says Whittle, who says she sometimes receives stipends for reenactments, but for the most part does the work as a volunteer.\u003c/p>\n\u003cfigure id=\"attachment_13875292\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg\" alt=\"Civil War Reenactment\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Civil War reenactment. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whittle says her role is to mostly represent Tubman and tell her story. Others involved tell similar accounts of African Americans involved in the Civil War, including \u003ca href=\"https://prologue.blogs.archives.gov/2011/02/11/confederate-dirty-laundry-spies-and-slaves/\" target=\"_blank\" rel=\"noopener noreferrer\">Mrs. Dabney\u003c/a>, one of the first African American spies.\u003c/p>\n\u003cp>Children have had birthday parties on the reenactment field. And as volunteers get older, people die. (“One of the most popular and favored Lincolns died in the past two years,” says Whittle.)\u003c/p>\n\u003cp>Whittle says she enjoys it; not just the acting, but the sense of family. “The Confederate side, behind the scenes, because the soldiers like to cook—they’ll have a bakeoff and invite me,” says Whittle.\u003c/p>\n\u003cp>But as of late, Whittle says, “We noticed a change in the last—oh, I’d say, the last four years. Yeah, four years,” adding that “I think the political climate has a lot to do with it.”\u003c/p>\n\u003cp>She says there’s a different tone to some of the reenactments. “There are folks who say things that aren’t politically correct,” says Whittle, mentioning that it’s the 30- to 45–year-old group that gets “a little weird.”\u003c/p>\n\u003cp>She says that she’s even seen people selling confederate bumperstickers at the events. She’s had to fight to carry a gun from the 1800s, which is historically accurate for Tubman’s character. She’s also been cussed out after asking someone to not smoke at an event.\u003c/p>\n\u003cp>When asked if she checks them on their behavior, Whittle is stoic. “No,” she says, “I just use historical facts and stay in character.”\u003c/p>\n\u003cfigure id=\"attachment_13875294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg\" alt=\"Union Soldiers, ready for war.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soldiers, ready for war. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hittle says Harriet Tubman isn’t some Walt Disney character. I agree. She’s more than that. She’s more than an image \u003ca href=\"https://thehill.com/homenews/news/483183-banks-black-history-month-debit-card-featuring-harriet-tubman-draws-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">on the cover of debit card\u003c/a> striking the ‘Wakanda Forever’ pose, more than a face rumored to be on the new \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/13/406452142/harriet-tubman-wins-unofficial-contest-to-be-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">$20 bill\u003c/a>, and more than a character in \u003ca href=\"https://www.npr.org/2019/10/31/773403263/in-earnest-contrived-biopic-harriet-tubman-is-an-action-hero\" target=\"_blank\" rel=\"noopener noreferrer\">a Hollywood movie\u003c/a>.\u003c/p>\n\u003cp>Tubman was a force; a warrior who survived oppression and abuse. And, to this day, there are lessons to be absorbed from her tale.\u003c/p>\n\u003cp>“When I share about what Harriet Tubman went through, not only helping those slaves escape, but the whippings and the humiliation that she went through, and how she stuttered. It always amazes me how in schools, I have kids—young girls—who come up to me and share about the abuse they’re going through at home,” says Whittle.\u003c/p>\n\u003cp>Inspired by Whittle’s act, people share stories of neglect from their parents and how they got into gangs, Whittle says. “Even now her life affects people who have faced dire circumstances in their life, and they want to come out about it, but they need to know that there was somebody before them that did that. And that’s the goal: to empower people to think ‘just because I’m here now doesn’t mean I can’t go for my dreams.’”\u003c/p>\n\u003cp>With that in mind, Whittle says she tells young students to think about how much more they can do because they can read and write. “And you should see the little shoulders go back, and heads get lifted,” says Whittle. “That’s what it’s all about: empowering people who feel as though they’re second-class citizens. It doesn’t matter what their ethnicity is—I have so many stories, so many letters from school-aged children, teenagers, about how they felt empowered.”\u003c/p>\n\u003cp>When asked if she feels as if she’s channeling Tubman’s spirit, Whittle recalls her mom, who was from North Carolina, and the child of enslaved parents. Whittle says she learned the songs Harriet sang from her mom, “And I never stopped and asked how she learned that,” says Whittle.\u003c/p>\n\u003cp>“When I’m singing her songs, I feel like I’m not Nancy anymore—I’m really Harriet Tubman.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Photographer Brandon Tauszik’s exhibition ‘Pale Blue Dress’ opens Thursday, March 5, at the Book & Job Gallery in San Francisco. \u003ca href=\"https://www.facebook.com/events/236169397547523/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’m one of many lifelong students of Harriet Tubman University. I mean, she doesn’t have an actual college named in her honor, but why the hell not?\u003c/p>\n\u003cp>Tubman is one of the most important figures in the history of this country. She was enslaved, illiterate, and suffered from trauma—specifically brain damage, at the hands of her slave master. Despite that, she lived 90 years, full of achievements. She freed herself. She freed others. As a spy for the Union army, she was the first woman in U.S. history to lead a military expedition. She was buried with military honors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The concept behind Tubman University is all about finding freedom for oneself, and then assisting others. It’s a philosophy many ascribe to. Some even rock \u003ca href=\"https://www.phillymag.com/shoppist/2016/01/05/collegiate-sweatshirts-honoring-black-leaders/\">sweatshirts that bear the name\u003c/a>; evidence that I’m far from the only student in this school of thought.\u003c/p>\n\u003cp>At the head of this class is Nancy Whittle. She’s played the role of Harriet Tubman in Civil War reenactments throughout California for the past 30 years. I found out about her through \u003ca href=\"http://www.brandontauszik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Tauszik\u003c/a>, a friend and photographer, who showed me some images from \u003ca href=\"https://www.facebook.com/events/236169397547523/\">his upcoming exhibit\u003c/a>.\u003c/p>\n\u003cp>The photo of Whittle caught my eye. That stern face, the outfit from the antebellum era, a woman holding a walking stick that looks like the one Moses used. I thought: Who \u003cem>is\u003c/em> she?\u003c/p>\n\u003cp>The answer is that Nancy Whittle is a medical social worker, who lives in Fresno, California. And, sometimes, she’s Harriet Tubman.\u003c/p>\n\u003cp>She’s one of the few African Americans who participate in Civil War reenactments; sometimes flanked by reenactors playing the roles of \u003ca href=\"https://www.whitehousehistory.org/elizabeth-keckley\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Keckley\u003c/a> (seamstress, author and assistant to First Lady Mary Todd Lincoln) and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.womenshistory.org/education-resources/biographies/sojourner-truth\" target=\"_blank\" rel=\"noopener noreferrer\"> Sojourner Truth\u003c/a> (famed abolitionist, orator and activist). Elsewhere on the reenactment field, men often play the roles of African American soldiers and slaves.\u003c/span>\u003c/p>\n\u003cp>But these reenactments, which have been going on for decades, seem to have slightly changed as of late. And while Whittle isn’t one to place blame, she does note that it started happening sometime around the election of America’s current president.\u003c/p>\n\u003cfigure id=\"attachment_13875293\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg\" alt=\"Nancy Whittle in her home in Fresno\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Whittle in her home in Fresno \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hittle never planned on getting this deep into Civil War reenactments. She went to school to be a journalist, and always enjoyed history and museums. But then Rose Caglia, former president of the Fresno Historical Society, asked if she wanted to be someone in the Civil War.\u003c/p>\n\u003cp>She started out playing a slave, and fittingly, the next year she was Harriet Tubman.\u003c/p>\n\u003cp>Suddenly she found herself part of a huge community. “It’s grown so big that they have people from Ireland coming, from France, from Spain,” says Whittle of the reenactments, during a phone call. “I mean, American history… it’s almost like an addiction, actually.”\u003c/p>\n\u003cp>She’s done reenactments in churches and at grade schools, in parks and at Stanford University. A quick look at upcoming events for the \u003ca href=\"https://ncwa1863.org/event-calendar/\">National Civil War Association\u003c/a> and the \u003ca href=\"https://www.acwa.org/events-1\">American Civil War Association\u003c/a> shows that there are reenactments scheduled throughout the year, and all over California.\u003c/p>\n\u003cp>Whittle, who works with the aforementioned groups as well as the the newer \u003ca href=\"http://www.bsmcu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Buffalo Soldier Mounted Calvary Unit\u003c/a>, says people take the reenactments seriously. Some ride horseback and play the role of well-known generals. Others have smaller roles, but still know not to break character. “You can have up to 2,000 people participating—soldiers, women, kids, all of that,” says Whittle.\u003c/p>\n\u003cp>With that comes the financial investment: the uniforms, the guns and the coordination of the events. “It costs a lot of money to be in it… making sure your character comes alive, it’ll cost,” says Whittle, who says she sometimes receives stipends for reenactments, but for the most part does the work as a volunteer.\u003c/p>\n\u003cfigure id=\"attachment_13875292\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg\" alt=\"Civil War Reenactment\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Civil War reenactment. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whittle says her role is to mostly represent Tubman and tell her story. Others involved tell similar accounts of African Americans involved in the Civil War, including \u003ca href=\"https://prologue.blogs.archives.gov/2011/02/11/confederate-dirty-laundry-spies-and-slaves/\" target=\"_blank\" rel=\"noopener noreferrer\">Mrs. Dabney\u003c/a>, one of the first African American spies.\u003c/p>\n\u003cp>Children have had birthday parties on the reenactment field. And as volunteers get older, people die. (“One of the most popular and favored Lincolns died in the past two years,” says Whittle.)\u003c/p>\n\u003cp>Whittle says she enjoys it; not just the acting, but the sense of family. “The Confederate side, behind the scenes, because the soldiers like to cook—they’ll have a bakeoff and invite me,” says Whittle.\u003c/p>\n\u003cp>But as of late, Whittle says, “We noticed a change in the last—oh, I’d say, the last four years. Yeah, four years,” adding that “I think the political climate has a lot to do with it.”\u003c/p>\n\u003cp>She says there’s a different tone to some of the reenactments. “There are folks who say things that aren’t politically correct,” says Whittle, mentioning that it’s the 30- to 45–year-old group that gets “a little weird.”\u003c/p>\n\u003cp>She says that she’s even seen people selling confederate bumperstickers at the events. She’s had to fight to carry a gun from the 1800s, which is historically accurate for Tubman’s character. She’s also been cussed out after asking someone to not smoke at an event.\u003c/p>\n\u003cp>When asked if she checks them on their behavior, Whittle is stoic. “No,” she says, “I just use historical facts and stay in character.”\u003c/p>\n\u003cfigure id=\"attachment_13875294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg\" alt=\"Union Soldiers, ready for war.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soldiers, ready for war. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hittle says Harriet Tubman isn’t some Walt Disney character. I agree. She’s more than that. She’s more than an image \u003ca href=\"https://thehill.com/homenews/news/483183-banks-black-history-month-debit-card-featuring-harriet-tubman-draws-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">on the cover of debit card\u003c/a> striking the ‘Wakanda Forever’ pose, more than a face rumored to be on the new \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/13/406452142/harriet-tubman-wins-unofficial-contest-to-be-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">$20 bill\u003c/a>, and more than a character in \u003ca href=\"https://www.npr.org/2019/10/31/773403263/in-earnest-contrived-biopic-harriet-tubman-is-an-action-hero\" target=\"_blank\" rel=\"noopener noreferrer\">a Hollywood movie\u003c/a>.\u003c/p>\n\u003cp>Tubman was a force; a warrior who survived oppression and abuse. And, to this day, there are lessons to be absorbed from her tale.\u003c/p>\n\u003cp>“When I share about what Harriet Tubman went through, not only helping those slaves escape, but the whippings and the humiliation that she went through, and how she stuttered. It always amazes me how in schools, I have kids—young girls—who come up to me and share about the abuse they’re going through at home,” says Whittle.\u003c/p>\n\u003cp>Inspired by Whittle’s act, people share stories of neglect from their parents and how they got into gangs, Whittle says. “Even now her life affects people who have faced dire circumstances in their life, and they want to come out about it, but they need to know that there was somebody before them that did that. And that’s the goal: to empower people to think ‘just because I’m here now doesn’t mean I can’t go for my dreams.’”\u003c/p>\n\u003cp>With that in mind, Whittle says she tells young students to think about how much more they can do because they can read and write. “And you should see the little shoulders go back, and heads get lifted,” says Whittle. “That’s what it’s all about: empowering people who feel as though they’re second-class citizens. It doesn’t matter what their ethnicity is—I have so many stories, so many letters from school-aged children, teenagers, about how they felt empowered.”\u003c/p>\n\u003cp>When asked if she feels as if she’s channeling Tubman’s spirit, Whittle recalls her mom, who was from North Carolina, and the child of enslaved parents. Whittle says she learned the songs Harriet sang from her mom, “And I never stopped and asked how she learned that,” says Whittle.\u003c/p>\n\u003cp>“When I’m singing her songs, I feel like I’m not Nancy anymore—I’m really Harriet Tubman.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Photographer Brandon Tauszik’s exhibition ‘Pale Blue Dress’ opens Thursday, March 5, at the Book & Job Gallery in San Francisco. \u003ca href=\"https://www.facebook.com/events/236169397547523/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As Black History Month winds down, we’re proud to bring you a clip from the KQED archives of Dr. Maya Angelou reciting Countee Cullen’s poem “Heritage.” \u003c/p>\n\u003cp>The clip comes from \u003cem>\u003ca href=\"https://www.kqed.org/news/10431582/from-the-archive-maya-angelou-hosts-1968-series-blacks-blues-black\" rel=\"noopener noreferrer\" target=\"_blank\">Blacks, Blues, Black!\u003c/a>\u003c/em>, a 10-part series that Angelou wrote and produced for KQED in 1968. In episodes featuring interviews, historical segments and more, Angelou explored African-American culture and its place in American society—and she often opened or closed each episode with a poem.\u003c/p>\n\u003cp>With limited time for the TV cameras, Angelou reads a condensed version of Cullen’s work, drawing upon the poem’s opening and closing. Find the full poem \u003ca href=\"https://liberal-arts.wright.edu/sites/liberal-arts.wright.edu/files/page/attachments/Heritage_CounteeCullen.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and watch full episodes of \u003cem>Blacks, Blues, Black!\u003c/em> at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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