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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11989196/heavy-classical-how-composer-jens-ibsen-is-shaking-up-the-classical-music-world\">Jens Ibsen\u003c/a> can still remember the day he learned he’d won the Emerging Black Composers Project in 2022.\u003c/p>\n\u003cp>It was his second year trying; Ibsen, a software trainer, freelance vocalist and composer, says it was one of the things he applied for and then tried to forget about.\u003c/p>\n\u003cp>That day, he got a message from Daniel Bartholomew-Poyser, a conductor and panel judge for the project, saying they needed to talk about his application. When Bartholomew-Poyser called him and broke the news, Ibsen says, the experience felt surreal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s not every day you get a phone call where you find out that you’ve just won $15,000 and a commission for the San Francisco Symphony,” Ibsen says. “That was pretty magical.”\u003c/p>\n\u003cp>This year, though, the Emerging Black Composers Project’s activities came to a grinding halt in March. The San Francisco Symphony and San Francisco Conservatory of Music, which had facilitated the program, cited a memo from the Department of Education’s Office for Civil Rights that instructed schools to eliminate diversity, equity and inclusion efforts or face the possibility of losing their federal funding.\u003c/p>\n\u003cfigure id=\"attachment_13977162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut.jpg\" alt=\"A young Black man in a blue shirt and black slacks sits on a wooden chair against a concrete wall, looking into the camera and smiling\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen poses for a portrait at the First Unitarian Church in San Francisco on Feb. 7, 2024. Ibsen was the 2022 recipient of $15,000 and a commission from the San Francisco Symphony as part of the Emerging Black Composers Project, a program now on hold as the Trump administration targets DEI programs nationwide. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Symphony and Conservatory \u003ca href=\"https://symphony.org/san-francisco-symphony-and-sf-conservatory-pause-emerging-black-composers-project-under-trump-policies/\">confirmed\u003c/a> that their 2024 winner, Tyler Taylor, will still see his work come to fruition, but the program’s future remains uncertain.\u003c/p>\n\u003cp>The sudden pause is a direct result of the Trump administration’s attempts to eliminate both the National Endowment for the Arts and the National Endowment for the Humanities, which has forced a major step back from DEI in the arts community.\u003c/p>\n\u003cp>Five years after the murder of George Floyd and the subsequent bloom of arts-related DEI initiatives, arts organizations have been abandoning their DEI programming and reconfiguring or erasing their websites’ DEI commitments.\u003c/p>\n\u003cfigure id=\"attachment_13977163\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977163\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument.png\" alt='An illustration of a empty trash can with the header \"This item was deleted\"' width=\"1896\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-1536x969.png 1536w\" sizes=\"auto, (max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Many links to DEI statements from organizations and companies now yield file-not-found messages, such as this one from Dropbox.\u003c/figcaption>\u003c/figure>\n\u003cp>The full result of this retreat — a widespread quiet-quitting of DEI — remains to be seen. But some arts leaders are already raising concerns.\u003c/p>\n\u003cp>“This isn’t just about money, it’s about controlling narrative, visibility and power,” says Eric Garcia, co-director of Detour Productions in San Francisco and producer of the monthly queer performance cabaret Clutch The Pearls. “We’re witnessing a deliberate effort to police not only what stories are told, but who is allowed to tell them.”\u003c/p>\n\u003ch2>Page not found: An online disappearing act\u003c/h2>\n\u003cp>Five years ago, a flurry of equity-inspired energy arose after the murder of George Floyd and the massive Black Lives Matter protests.\u003c/p>\n\u003cp>In the Bay Area, people rallied, marched and painted murals and streets. Seemingly every company and organization released statements, held panels and workshops, centered DEI in mission statements and hiring practices and commissioned BIPOC artists and consultants.\u003c/p>\n\u003cp>“Some of it was meaningful,” Garcia says, “But a lot of it was reactive, short-lived and ultimately self-serving.”\u003c/p>\n\u003cfigure id=\"attachment_13977290\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric Garcia, who performs as Churro Nomi, co-director of Detour Productions and producer of the monthly queer cabaret Clutch The Pearls, at the Make Out Room in San Francisco on June 6, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years on, that feeling of urgency has faded, and so have many of the DEI initiatives spawned by the country’s moment of racial reckoning. One example of quiet-quitting DEI can be found in the form of a joint curatorial position that the San Francisco Museum of Modern Art and Museum of the African Diaspora \u003ca href=\"https://d1hhug17qm51in.cloudfront.net/www-media/2023/02/28111516/SFMOMA-x-MoAD-Partnership-Press-Release_02-28-23.pdf\">announced\u003c/a> in 2023.\u003c/p>\n\u003cp>The role called for advancing “the pipeline of BIPOC curators within the museum field,” and was meant to uplift Black Bay Area artists and usher in new exhibitions, arts projects and public programming.\u003c/p>\n\u003cp>Fifteen months later, the role has still not been filled. The job posting disappeared, then reemerged after KQED reached out to both museums to learn more about its status. Neither museum responded.[aside postID=news_12039221 hero='https://ww2.kqed.org/app/uploads/sites/10/2016/05/4.-The-new-SFMOMA-view-from-Yerba-Buena-Gardens-photo-Jon-McNeal-%C2%A9-Sn%C3%B8hetta-1920x1313-1920x1313.jpg']Other arts organizations that once openly touted DEI commitments on their websites have quietly removed or obscured them, altering language to avoid words that the DEI-hostile Trump administration could flag. An infamous list of targeted words, which includes terms like “transgender,” “racial justice” and “woman,” has expanded to more than 350 since news outlets and free speech watchdogs like PEN America began \u003ca href=\"https://pen.org/banned-words-list/\">compiling them\u003c/a> earlier this year. (The White House \u003ca href=\"https://www.reuters.com/business/healthcare-pharmaceuticals/fda-staffers-told-that-woman-disabled-among-banned-words-white-house-says-its-an-2025-02-20/\">denied\u003c/a> creating a list, while claiming that prohibiting certain words was necessary to comply with the executive order.)\u003c/p>\n\u003cp>In KQED’s audit of 70 Bay Area arts organizations, only 30% have DEI commitments on their websites as of June 2025. Some of those are incomplete; the California Symphony Orchestra’s website still boasts a \u003ca href=\"https://www.californiasymphony.org/meet-our-people/about-us/\">commitment to diversity\u003c/a>, but the link to the DEI statement is broken.\u003c/p>\n\u003cp>Other sites show signs of institutional neglect: West Edge Opera’s website still has its DEI plan posted online, but the plan, created in 2020, appears to have \u003ca href=\"https://www.westedgeopera.org/diversity\">expired\u003c/a> — it’s referred to as a “three-year strategic plan.”\u003c/p>\n\u003cp>SFFILM’s DEI page is intact, but it’s not linked on the homepage, and typing “DEI” into the search bar won’t reveal it, either. Instead, it’s shrouded behind an “About SFFILM” page and a “Learn More” section containing the \u003ca href=\"https://sffilm.org/about/diversity-equity-inclusion/\">link\u003c/a>.\u003c/p>\n\u003cp>Some organizations clearly rooted in equity don’t use the red-flagged term “DEI” as their chosen acronym. The American Conservatory Theater, for example, has opted for \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/ACT-Mission-and-Values-Spring-2025.pdf\">EDI\u003c/a>. \u003ca href=\"https://www.broadwaysf.com/about-us/\">BroadwaySF\u003c/a> uses the IDEA acronym (inclusion, diversity, equity and access), while \u003ca href=\"https://counterpulse.org/deal/\">CounterPulse\u003c/a> uses DEAL (diversity, equity, accessibility and liberation). Others have traded acronyms like “DEI” for words like “belonging” or other coded language.\u003c/p>\n\u003cfigure id=\"attachment_13843679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg\" alt=\""Stories in Light" includes "Reepicheep's Wave," on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-520x347.jpg 520w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Munro’s ‘Reepicheep’s Wave,’ pictured in the Garden Theatre at Montalvo Arts Center in 2018. \u003ccite>(Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montalvo Arts Center, for example, lists its values as access, belonging, diversity, community, excellence and stewardship. Aunt Lute Books has a \u003ca href=\"https://www.auntlute.com/single-post/2020/06/03/black-lives-matter\">link\u003c/a> to a statement released in 2020 acknowledging their positionality and calling for a more equitable society, along with a \u003ca href=\"https://www.auntlute.com/about-us\">mission page\u003c/a> with phrases like “structural power imbalances” and “prejudiced and gendered systems” to signal where the organization stands — without actually mentioning diversity, equity and inclusion.\u003c/p>\n\u003cp>KQED, too, is reflective of how these changes are being made and what they look like in real time. As recently as Jan. 29, 2025, KQED’s website had an active, dedicated \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQED-DEI-Page-January-29-2025.pdf\">DEI page\u003c/a>. Between March and April of this year, KQED changed the page to a “\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQED-DEI-Now-Community-Representation-Page-April-1-2025.pdf\">community representation statement\u003c/a>.”\u003c/p>\n\u003cp>Eric Abrams, KQED’s Chief Diversity Equity and Inclusion Officer, says that KQED remains committed to “building a culture centered on human dignity, equity and belonging,” and says the website changes came in response to the Corporation for Public Broadcasting updating its reporting requirements for stations.\u003c/p>\n\u003cp>“We have since conducted further review to ensure that our language more clearly reflects our station’s similar commitment to full legal compliance. But the mission and initiatives this office leads, as well as the programming, journalism, and content we serve has and will not change,” Abrams says. \u003c/p>\n\u003cp>In perhaps the most telling sign of DEI evasion, even arts organizations visibly staying the course with DEI — like the San José Museum of Art, which boasts an \u003ca href=\"https://sjmusart.org/about/mission-and-values\">equity task force\u003c/a> and a DEI commitment — did not respond to KQED’s inquiries for this story.\u003c/p>\n\u003ch2>Internal quandaries over funding and representation\u003c/h2>\n\u003cp>The irony is that in the near future, arts organizations will need to have uncomfortable, internal conversations at the intersection of race, class and gender and quickly. Not only have DEI initiatives fallen off, but DEI staff roles have, too.\u003c/p>\n\u003cp>Out of the 70 arts organizations assessed by KQED, only four (American Conservatory Theatre, Berkeley Repertory Theatre, KQED and the San José Museum of Art) still have dedicated, DEI-specific staff members listed on their websites. This decline in DEI staff roles goes beyond the Bay Area: over the past two years, more than 2,600 DEI jobs nationwide have been \u003ca href=\"https://www.npr.org/2025/05/27/nx-s1-5307319/dei-jobs-trump\">eliminated\u003c/a>.\u003c/p>\n\u003cp>If this is a strategy to avoid cuts to federal funding, it isn’t working. \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">Nearly every Bay Area recipient of an NEA grant had their funding canceled in May\u003c/a>. Meanwhile, rejecting DEI in 2025 risks damaging relationships with the communities these arts organizations repeatedly say they want to serve and uplift.\u003c/p>\n\u003cfigure id=\"attachment_13977246\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Russell at his home in Berkeley on June 6, 2025. \u003ccite>(Martin do Nasicmento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some arts organizations have looked to foundations to make up for lost public funding. But Ted Russell, program consultant lead with California for the Arts, says that while foundations like his are doing their best to help fill funding gaps, private philanthropies are now also under threat from the Trump administration.\u003c/p>\n\u003cp>Russell cited \u003ca href=\"https://www.justice.gov/opa/pr/eeoc-and-justice-department-warn-against-unlawful-dei-related-discrimination\">guidance released in March\u003c/a> by the Equal Employment Opportunity Commission and Department of Justice, in which both the EEOC and DOJ refer to DEI in the workplace as “unlawful.” The result is that private funders who hire people with protected characteristics, have DEI trainings or even simply promote diversity within their own workplace are now under scrutiny from the federal government.\u003c/p>\n\u003cp>“It’s a really rough time right now to see philanthropies also essentially have to lawyer up,” Russell says.\u003c/p>\n\u003cp>Private funding or not, no arts organization will be able to press-release or TikTok-trend their way out of the current DEI-related turmoil. Even reinstating previous DEI initiatives or continuing existing ones may not be enough.\u003c/p>\n\u003cp>“You don’t just, like, have a nice shiny arts initiative and then we fix racism,” composer Jens Ibsen says. “Even if we weren’t going through the political moment that we’re going through, these initiatives on their own are insufficient.”\u003c/p>\n\u003cp>Ibsen says what’s needed is an expansion of programs, funding and action from everyone in the arts — funders, artists and appreciators alike.\u003c/p>\n\u003cp>“Of course, having big opportunities like the Emerging Black Composers Project is super important, but we need way more of them,” Ibsen says. “We need people to be brave, and that includes the donor class. What is the next generation of art gonna look like?”\u003c/p>\n\u003cp>Artists, Detour Productions’ Eric Garcia says, are constantly told to dream big and innovate. So why can’t the systems they adhere to match that energy? Arts organizations, Garcia says, need to ask themselves what they’re willing to risk.\u003c/p>\n\u003cp>“If we’re not funding the work that challenges us, builds us and reflects all of us,” Garcia says, “then we’re just preserving institutions, not culture.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "The Great Quiet-Quitting of DEI in Bay Area Arts | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/11989196/heavy-classical-how-composer-jens-ibsen-is-shaking-up-the-classical-music-world\">Jens Ibsen\u003c/a> can still remember the day he learned he’d won the Emerging Black Composers Project in 2022.\u003c/p>\n\u003cp>It was his second year trying; Ibsen, a software trainer, freelance vocalist and composer, says it was one of the things he applied for and then tried to forget about.\u003c/p>\n\u003cp>That day, he got a message from Daniel Bartholomew-Poyser, a conductor and panel judge for the project, saying they needed to talk about his application. When Bartholomew-Poyser called him and broke the news, Ibsen says, the experience felt surreal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not every day you get a phone call where you find out that you’ve just won $15,000 and a commission for the San Francisco Symphony,” Ibsen says. “That was pretty magical.”\u003c/p>\n\u003cp>This year, though, the Emerging Black Composers Project’s activities came to a grinding halt in March. The San Francisco Symphony and San Francisco Conservatory of Music, which had facilitated the program, cited a memo from the Department of Education’s Office for Civil Rights that instructed schools to eliminate diversity, equity and inclusion efforts or face the possibility of losing their federal funding.\u003c/p>\n\u003cfigure id=\"attachment_13977162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut.jpg\" alt=\"A young Black man in a blue shirt and black slacks sits on a wooden chair against a concrete wall, looking into the camera and smiling\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/240207-JensIbsen-42-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen poses for a portrait at the First Unitarian Church in San Francisco on Feb. 7, 2024. Ibsen was the 2022 recipient of $15,000 and a commission from the San Francisco Symphony as part of the Emerging Black Composers Project, a program now on hold as the Trump administration targets DEI programs nationwide. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Symphony and Conservatory \u003ca href=\"https://symphony.org/san-francisco-symphony-and-sf-conservatory-pause-emerging-black-composers-project-under-trump-policies/\">confirmed\u003c/a> that their 2024 winner, Tyler Taylor, will still see his work come to fruition, but the program’s future remains uncertain.\u003c/p>\n\u003cp>The sudden pause is a direct result of the Trump administration’s attempts to eliminate both the National Endowment for the Arts and the National Endowment for the Humanities, which has forced a major step back from DEI in the arts community.\u003c/p>\n\u003cp>Five years after the murder of George Floyd and the subsequent bloom of arts-related DEI initiatives, arts organizations have been abandoning their DEI programming and reconfiguring or erasing their websites’ DEI commitments.\u003c/p>\n\u003cfigure id=\"attachment_13977163\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977163\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument.png\" alt='An illustration of a empty trash can with the header \"This item was deleted\"' width=\"1896\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dropbox.DeletedDocument-1536x969.png 1536w\" sizes=\"auto, (max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Many links to DEI statements from organizations and companies now yield file-not-found messages, such as this one from Dropbox.\u003c/figcaption>\u003c/figure>\n\u003cp>The full result of this retreat — a widespread quiet-quitting of DEI — remains to be seen. But some arts leaders are already raising concerns.\u003c/p>\n\u003cp>“This isn’t just about money, it’s about controlling narrative, visibility and power,” says Eric Garcia, co-director of Detour Productions in San Francisco and producer of the monthly queer performance cabaret Clutch The Pearls. “We’re witnessing a deliberate effort to police not only what stories are told, but who is allowed to tell them.”\u003c/p>\n\u003ch2>Page not found: An online disappearing act\u003c/h2>\n\u003cp>Five years ago, a flurry of equity-inspired energy arose after the murder of George Floyd and the massive Black Lives Matter protests.\u003c/p>\n\u003cp>In the Bay Area, people rallied, marched and painted murals and streets. Seemingly every company and organization released statements, held panels and workshops, centered DEI in mission statements and hiring practices and commissioned BIPOC artists and consultants.\u003c/p>\n\u003cp>“Some of it was meaningful,” Garcia says, “But a lot of it was reactive, short-lived and ultimately self-serving.”\u003c/p>\n\u003cfigure id=\"attachment_13977290\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEIandArts-03-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric Garcia, who performs as Churro Nomi, co-director of Detour Productions and producer of the monthly queer cabaret Clutch The Pearls, at the Make Out Room in San Francisco on June 6, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years on, that feeling of urgency has faded, and so have many of the DEI initiatives spawned by the country’s moment of racial reckoning. One example of quiet-quitting DEI can be found in the form of a joint curatorial position that the San Francisco Museum of Modern Art and Museum of the African Diaspora \u003ca href=\"https://d1hhug17qm51in.cloudfront.net/www-media/2023/02/28111516/SFMOMA-x-MoAD-Partnership-Press-Release_02-28-23.pdf\">announced\u003c/a> in 2023.\u003c/p>\n\u003cp>The role called for advancing “the pipeline of BIPOC curators within the museum field,” and was meant to uplift Black Bay Area artists and usher in new exhibitions, arts projects and public programming.\u003c/p>\n\u003cp>Fifteen months later, the role has still not been filled. The job posting disappeared, then reemerged after KQED reached out to both museums to learn more about its status. Neither museum responded.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other arts organizations that once openly touted DEI commitments on their websites have quietly removed or obscured them, altering language to avoid words that the DEI-hostile Trump administration could flag. An infamous list of targeted words, which includes terms like “transgender,” “racial justice” and “woman,” has expanded to more than 350 since news outlets and free speech watchdogs like PEN America began \u003ca href=\"https://pen.org/banned-words-list/\">compiling them\u003c/a> earlier this year. (The White House \u003ca href=\"https://www.reuters.com/business/healthcare-pharmaceuticals/fda-staffers-told-that-woman-disabled-among-banned-words-white-house-says-its-an-2025-02-20/\">denied\u003c/a> creating a list, while claiming that prohibiting certain words was necessary to comply with the executive order.)\u003c/p>\n\u003cp>In KQED’s audit of 70 Bay Area arts organizations, only 30% have DEI commitments on their websites as of June 2025. Some of those are incomplete; the California Symphony Orchestra’s website still boasts a \u003ca href=\"https://www.californiasymphony.org/meet-our-people/about-us/\">commitment to diversity\u003c/a>, but the link to the DEI statement is broken.\u003c/p>\n\u003cp>Other sites show signs of institutional neglect: West Edge Opera’s website still has its DEI plan posted online, but the plan, created in 2020, appears to have \u003ca href=\"https://www.westedgeopera.org/diversity\">expired\u003c/a> — it’s referred to as a “three-year strategic plan.”\u003c/p>\n\u003cp>SFFILM’s DEI page is intact, but it’s not linked on the homepage, and typing “DEI” into the search bar won’t reveal it, either. Instead, it’s shrouded behind an “About SFFILM” page and a “Learn More” section containing the \u003ca href=\"https://sffilm.org/about/diversity-equity-inclusion/\">link\u003c/a>.\u003c/p>\n\u003cp>Some organizations clearly rooted in equity don’t use the red-flagged term “DEI” as their chosen acronym. The American Conservatory Theater, for example, has opted for \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/ACT-Mission-and-Values-Spring-2025.pdf\">EDI\u003c/a>. \u003ca href=\"https://www.broadwaysf.com/about-us/\">BroadwaySF\u003c/a> uses the IDEA acronym (inclusion, diversity, equity and access), while \u003ca href=\"https://counterpulse.org/deal/\">CounterPulse\u003c/a> uses DEAL (diversity, equity, accessibility and liberation). Others have traded acronyms like “DEI” for words like “belonging” or other coded language.\u003c/p>\n\u003cfigure id=\"attachment_13843679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg\" alt=\""Stories in Light" includes "Reepicheep's Wave," on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-520x347.jpg 520w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Munro’s ‘Reepicheep’s Wave,’ pictured in the Garden Theatre at Montalvo Arts Center in 2018. \u003ccite>(Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montalvo Arts Center, for example, lists its values as access, belonging, diversity, community, excellence and stewardship. Aunt Lute Books has a \u003ca href=\"https://www.auntlute.com/single-post/2020/06/03/black-lives-matter\">link\u003c/a> to a statement released in 2020 acknowledging their positionality and calling for a more equitable society, along with a \u003ca href=\"https://www.auntlute.com/about-us\">mission page\u003c/a> with phrases like “structural power imbalances” and “prejudiced and gendered systems” to signal where the organization stands — without actually mentioning diversity, equity and inclusion.\u003c/p>\n\u003cp>KQED, too, is reflective of how these changes are being made and what they look like in real time. As recently as Jan. 29, 2025, KQED’s website had an active, dedicated \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQED-DEI-Page-January-29-2025.pdf\">DEI page\u003c/a>. Between March and April of this year, KQED changed the page to a “\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/KQED-DEI-Now-Community-Representation-Page-April-1-2025.pdf\">community representation statement\u003c/a>.”\u003c/p>\n\u003cp>Eric Abrams, KQED’s Chief Diversity Equity and Inclusion Officer, says that KQED remains committed to “building a culture centered on human dignity, equity and belonging,” and says the website changes came in response to the Corporation for Public Broadcasting updating its reporting requirements for stations.\u003c/p>\n\u003cp>“We have since conducted further review to ensure that our language more clearly reflects our station’s similar commitment to full legal compliance. But the mission and initiatives this office leads, as well as the programming, journalism, and content we serve has and will not change,” Abrams says. \u003c/p>\n\u003cp>In perhaps the most telling sign of DEI evasion, even arts organizations visibly staying the course with DEI — like the San José Museum of Art, which boasts an \u003ca href=\"https://sjmusart.org/about/mission-and-values\">equity task force\u003c/a> and a DEI commitment — did not respond to KQED’s inquiries for this story.\u003c/p>\n\u003ch2>Internal quandaries over funding and representation\u003c/h2>\n\u003cp>The irony is that in the near future, arts organizations will need to have uncomfortable, internal conversations at the intersection of race, class and gender and quickly. Not only have DEI initiatives fallen off, but DEI staff roles have, too.\u003c/p>\n\u003cp>Out of the 70 arts organizations assessed by KQED, only four (American Conservatory Theatre, Berkeley Repertory Theatre, KQED and the San José Museum of Art) still have dedicated, DEI-specific staff members listed on their websites. This decline in DEI staff roles goes beyond the Bay Area: over the past two years, more than 2,600 DEI jobs nationwide have been \u003ca href=\"https://www.npr.org/2025/05/27/nx-s1-5307319/dei-jobs-trump\">eliminated\u003c/a>.\u003c/p>\n\u003cp>If this is a strategy to avoid cuts to federal funding, it isn’t working. \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">Nearly every Bay Area recipient of an NEA grant had their funding canceled in May\u003c/a>. Meanwhile, rejecting DEI in 2025 risks damaging relationships with the communities these arts organizations repeatedly say they want to serve and uplift.\u003c/p>\n\u003cfigure id=\"attachment_13977246\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250606-DEI-AND-ARTS-ORGANIZATION-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Russell at his home in Berkeley on June 6, 2025. \u003ccite>(Martin do Nasicmento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some arts organizations have looked to foundations to make up for lost public funding. But Ted Russell, program consultant lead with California for the Arts, says that while foundations like his are doing their best to help fill funding gaps, private philanthropies are now also under threat from the Trump administration.\u003c/p>\n\u003cp>Russell cited \u003ca href=\"https://www.justice.gov/opa/pr/eeoc-and-justice-department-warn-against-unlawful-dei-related-discrimination\">guidance released in March\u003c/a> by the Equal Employment Opportunity Commission and Department of Justice, in which both the EEOC and DOJ refer to DEI in the workplace as “unlawful.” The result is that private funders who hire people with protected characteristics, have DEI trainings or even simply promote diversity within their own workplace are now under scrutiny from the federal government.\u003c/p>\n\u003cp>“It’s a really rough time right now to see philanthropies also essentially have to lawyer up,” Russell says.\u003c/p>\n\u003cp>Private funding or not, no arts organization will be able to press-release or TikTok-trend their way out of the current DEI-related turmoil. Even reinstating previous DEI initiatives or continuing existing ones may not be enough.\u003c/p>\n\u003cp>“You don’t just, like, have a nice shiny arts initiative and then we fix racism,” composer Jens Ibsen says. “Even if we weren’t going through the political moment that we’re going through, these initiatives on their own are insufficient.”\u003c/p>\n\u003cp>Ibsen says what’s needed is an expansion of programs, funding and action from everyone in the arts — funders, artists and appreciators alike.\u003c/p>\n\u003cp>“Of course, having big opportunities like the Emerging Black Composers Project is super important, but we need way more of them,” Ibsen says. “We need people to be brave, and that includes the donor class. What is the next generation of art gonna look like?”\u003c/p>\n\u003cp>Artists, Detour Productions’ Eric Garcia says, are constantly told to dream big and innovate. So why can’t the systems they adhere to match that energy? Arts organizations, Garcia says, need to ask themselves what they’re willing to risk.\u003c/p>\n\u003cp>“If we’re not funding the work that challenges us, builds us and reflects all of us,” Garcia says, “then we’re just preserving institutions, not culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oaklanders Demand Justice for Sonya Massey with Protest, Poetry and Prayer",
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"content": "\u003cp>People across the country are demanding justice for \u003ca href=\"https://apnews.com/article/sheriff-sonya-massey-shooting-911-f5bdfb0c37b4c5334718fcd4461787a7\">Sonya Massey\u003c/a>, a 36-year-old Black woman killed by police in her own Springfield, Illinois home after calling them for help on July 6. In Oakland this week, Black women and queer people have been leading protests and vigils; giving tight hugs through tears; and mustering uplifting prayers, poems and rallying cries that draw upon centuries-long legacies of resistance against white violence and oppression.\u003c/p>\n\u003cp>At a vigil and open mic at Lake Merritt on July 29, young organizers hauled out amplifiers and passed out candles for an altar that bore the names of Massey and dozens of other Black victims of state violence. Four years after the uprisings that followed George Floyd’s murder in 2020, and 15 years after Oakland protesters demanded justice for Oscar Grant, the mood was a mixture of defiance, tenderness, exhaustion and frustration.\u003c/p>\n\u003cp>Organizers hoped to put the spotlight back on police killings of Black Americans, which have \u003ca href=\"https://policeviolencereport.org/\">increased year by year since 2020\u003c/a>. Though that year was heralded as one of national racial reckoning, federal reforms like the George Floyd Justice in Policing Act \u003ca href=\"https://apnews.com/article/george-floyd-death-anniversary-police-reform-protests-506efdec8275364db1b652cb6436339b\">failed to pass Congress\u003c/a>. Amid \u003ca href=\"https://www.vox.com/policy/351106/backlash-politics-2020-george-floyd-race\">conservative backlash\u003c/a>, many companies and institutions \u003ca href=\"https://www.washingtonpost.com/business/2024/02/20/corporate-diversity-job-cuts/\">rolled back the diversity efforts they promised\u003c/a>, and headlines moved on.\u003c/p>\n\u003cp>“I’m tired of never being able to fully live because I’m fearful of death,” Oakland resident Joli Zahra Drevitch said on Monday, reading from a spoken word piece before a crowd of about 150 people. “I’m tired of being a blueprint for America in everything, yet when your sisters are murdered, only Black women say their names.”\u003c/p>\n\u003cfigure id=\"attachment_13961788\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1920x1255.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joli Zahra Drevitch speaks during an open mic in honor of Sonya Massey. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people passed around the megaphone, strangers and friends alike comforted those sharing raw grief and anger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If anybody out here is not a Black woman, not a Black femme, and you’re like, ‘Well, what can I do? How can I make this better?’” said one speaker who didn’t share her name. “The system is built against us. … What you can do right now is just make shit easier for Black women and Black femmes in your life.”\u003c/p>\n\u003cp>“Make room for Black women to heal and be healed. To be nurtured. To be prioritized,” echoed another speaker.\u003c/p>\n\u003cfigure id=\"attachment_13961762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Dorelus puts flowers on an altar for Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview, several of the activists who put together the event said that it’s important for people to get to know their community and build networks of support. “We need to abolish the prison-police state, and we need to completely start re-envisioning a new, radical future,” said co-organizer Lois Williams.\u003c/p>\n\u003cp>Another organizer who goes by Trilla the Pharaoh emphasized the importance of mutual aid groups. They work with \u003ca href=\"https://www.instagram.com/wsta_sfern/\">West Side Tenants Association\u003c/a> and said the volunteer coalition has redistributed $55,000 in donations this year to people struggling with housing and food insecurity. “If it’s urgent, if it’s a mother, a family, they’re top priority,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13961759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for an open mic in honor of Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That spirit of community building was present at several gatherings that took place on Sunday, July 28. Around midday, \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a> (APTP) held a rally that drew a crowd of hundreds to Frank Ogawa Plaza, known as Oscar Grant Plaza to many. Among the speakers were Oscar Grant’s parents, Wanda Johnson and Oscar Grant Sr; his Uncle Cephus “Bobby” Johnson; and artists, poets and community organizers.\u003c/p>\n\u003cp>Audibly fighting back tears at times, APTP co-founder Cat Brooks emphasized that \u003ca href=\"https://www.americanprogress.org/article/understanding-policing-black-disabled-bodies/\">half of people killed by police have disabilities\u003c/a>, including those with mental health challenges like Sonya Massey. Systemic inequality and racism only exacerbate those issues in the Black community, she underscored.\u003c/p>\n\u003cfigure id=\"attachment_13961758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omnira Institute’s Awon Ohun Omnira (Voices of Freedom) drummers and singers lead a ritual honoring Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We hold all of that trauma in our bodies and there’s nowhere to express it because if we did, we could not function,” said Brooks. “But then we turn around and we don’t understand why the woman with four kids and six jobs who still can’t pay her bills, why that Black queen is screaming on a corner in East Oakland in broad daylight. And the answer is to continuously criminalize and kill us for it. We say, ‘No more!’”\u003c/p>\n\u003cp>At their Oakland headquarters, APTP offers free massage therapy, acupuncture and other \u003ca href=\"https://www.instagram.com/p/C-BUM2SSDA2/\">healing services for victims of state violence\u003c/a>. They also run a program called Mental Health First in Oakland and Sacramento that sends trained volunteers to assist people in crisis. Brooks implored people to get involved, beyond attending one-off protests, and join APTP’s volunteer efforts.\u003c/p>\n\u003cfigure id=\"attachment_13961760\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An altar honoring people that have been killed by police officers this year at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s your turn,” echoed poet and musician RyanNicole at the July 28 event. “No more sitting down. No more being small in your purpose. If you wake up with breath. If you have a voice. If you have any ability in your body, it is your rightful service to act up.”\u003c/p>\n\u003cp>Later that night at a separate vigil at the plant shop and community space \u003ca href=\"https://www.instagram.com/blkgirls_greenhouse/\">Blk Girls Green House\u003c/a>, a similarly solution-oriented discussion followed a round of vulnerable sharing of sadness, fear and rage. In the store’s palm leaf-lined back patio, an intergenerational crowd of about 20 people, mostly Black women and nonbinary people (including a couple of laughing babies), brainstormed about self-defense classes and community gardens.\u003c/p>\n\u003cfigure id=\"attachment_13961756\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An altar for Sonya Massey at Oakland’s Lake Merritt on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writer Isis Miller led the group in a prayer, and poet Christell Victoria Roach shared verses that celebrated the beauty of Black families, communities and healing spaces. “As much as I feel dismayed, hurt, targeted — all the things that one might feel when you face what’s happening in the news — I still find a gift in it that I know I’m not the only one feeling that way,” she said. “I know that for centuries, we’ve survived because we didn’t feel it alone.”\u003c/p>\n\u003cp>Blk Girls Green House co-owner Kalkidan Gebreyohannes said community members are welcome back to the shop to continue the discussion and strategize around actionable steps. Stepping away from the crowd, she added that she was disappointed the vigil didn’t attract more people after it got a massive response on the shop’s Instagram. Throughout the weekend, many expressed frustration that Sonya Massey’s killing wasn’t generating as big an outcry as that of male victims of police violence.\u003c/p>\n\u003cp>Yet the small gathering at Blk Girls Green House allowed for people to make warm, personal connections and exchange contact information to keep the conversation going. “Everyone who was meant to be here was here,” Miller reassured her.\u003c/p>\n\u003cp>The next day at the Lake Merritt open mic, Miller said they had left the vigil a bit more hopeful than they arrived. “So much of the violence that happens is meant to disempower us and to separate us,” they said. “I know we have a long road ahead. But I know that we’re going to make strides as long as we’re strategic and as long as we continue to rely on each other and understand that no one is coming to save us.”\u003c/p>\n\u003cp>“I still have a heavy heart, but I believe a better world is possible,” they added, “and I don’t think anyone can take that belief away from me.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A community altar build for Sonya Massey will take place Tuesday, July 30, 5–7 p.m. at Temple of Earth Apothecary (536 Grand Ave., Oakland) across from Lake Merritt. \u003c/em>\u003c/p>\n\n",
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"headline": "Oaklanders Demand Justice for Sonya Massey with Protest, Poetry and Prayer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People across the country are demanding justice for \u003ca href=\"https://apnews.com/article/sheriff-sonya-massey-shooting-911-f5bdfb0c37b4c5334718fcd4461787a7\">Sonya Massey\u003c/a>, a 36-year-old Black woman killed by police in her own Springfield, Illinois home after calling them for help on July 6. In Oakland this week, Black women and queer people have been leading protests and vigils; giving tight hugs through tears; and mustering uplifting prayers, poems and rallying cries that draw upon centuries-long legacies of resistance against white violence and oppression.\u003c/p>\n\u003cp>At a vigil and open mic at Lake Merritt on July 29, young organizers hauled out amplifiers and passed out candles for an altar that bore the names of Massey and dozens of other Black victims of state violence. Four years after the uprisings that followed George Floyd’s murder in 2020, and 15 years after Oakland protesters demanded justice for Oscar Grant, the mood was a mixture of defiance, tenderness, exhaustion and frustration.\u003c/p>\n\u003cp>Organizers hoped to put the spotlight back on police killings of Black Americans, which have \u003ca href=\"https://policeviolencereport.org/\">increased year by year since 2020\u003c/a>. Though that year was heralded as one of national racial reckoning, federal reforms like the George Floyd Justice in Policing Act \u003ca href=\"https://apnews.com/article/george-floyd-death-anniversary-police-reform-protests-506efdec8275364db1b652cb6436339b\">failed to pass Congress\u003c/a>. Amid \u003ca href=\"https://www.vox.com/policy/351106/backlash-politics-2020-george-floyd-race\">conservative backlash\u003c/a>, many companies and institutions \u003ca href=\"https://www.washingtonpost.com/business/2024/02/20/corporate-diversity-job-cuts/\">rolled back the diversity efforts they promised\u003c/a>, and headlines moved on.\u003c/p>\n\u003cp>“I’m tired of never being able to fully live because I’m fearful of death,” Oakland resident Joli Zahra Drevitch said on Monday, reading from a spoken word piece before a crowd of about 150 people. “I’m tired of being a blueprint for America in everything, yet when your sisters are murdered, only Black women say their names.”\u003c/p>\n\u003cfigure id=\"attachment_13961788\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SonyaMassey_GC-14_qed-1920x1255.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joli Zahra Drevitch speaks during an open mic in honor of Sonya Massey. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people passed around the megaphone, strangers and friends alike comforted those sharing raw grief and anger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If anybody out here is not a Black woman, not a Black femme, and you’re like, ‘Well, what can I do? How can I make this better?’” said one speaker who didn’t share her name. “The system is built against us. … What you can do right now is just make shit easier for Black women and Black femmes in your life.”\u003c/p>\n\u003cp>“Make room for Black women to heal and be healed. To be nurtured. To be prioritized,” echoed another speaker.\u003c/p>\n\u003cfigure id=\"attachment_13961762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-21-KQED-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Dorelus puts flowers on an altar for Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview, several of the activists who put together the event said that it’s important for people to get to know their community and build networks of support. “We need to abolish the prison-police state, and we need to completely start re-envisioning a new, radical future,” said co-organizer Lois Williams.\u003c/p>\n\u003cp>Another organizer who goes by Trilla the Pharaoh emphasized the importance of mutual aid groups. They work with \u003ca href=\"https://www.instagram.com/wsta_sfern/\">West Side Tenants Association\u003c/a> and said the volunteer coalition has redistributed $55,000 in donations this year to people struggling with housing and food insecurity. “If it’s urgent, if it’s a mother, a family, they’re top priority,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13961759\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-18-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for an open mic in honor of Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That spirit of community building was present at several gatherings that took place on Sunday, July 28. Around midday, \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a> (APTP) held a rally that drew a crowd of hundreds to Frank Ogawa Plaza, known as Oscar Grant Plaza to many. Among the speakers were Oscar Grant’s parents, Wanda Johnson and Oscar Grant Sr; his Uncle Cephus “Bobby” Johnson; and artists, poets and community organizers.\u003c/p>\n\u003cp>Audibly fighting back tears at times, APTP co-founder Cat Brooks emphasized that \u003ca href=\"https://www.americanprogress.org/article/understanding-policing-black-disabled-bodies/\">half of people killed by police have disabilities\u003c/a>, including those with mental health challenges like Sonya Massey. Systemic inequality and racism only exacerbate those issues in the Black community, she underscored.\u003c/p>\n\u003cfigure id=\"attachment_13961758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omnira Institute’s Awon Ohun Omnira (Voices of Freedom) drummers and singers lead a ritual honoring Sonya Massey at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We hold all of that trauma in our bodies and there’s nowhere to express it because if we did, we could not function,” said Brooks. “But then we turn around and we don’t understand why the woman with four kids and six jobs who still can’t pay her bills, why that Black queen is screaming on a corner in East Oakland in broad daylight. And the answer is to continuously criminalize and kill us for it. We say, ‘No more!’”\u003c/p>\n\u003cp>At their Oakland headquarters, APTP offers free massage therapy, acupuncture and other \u003ca href=\"https://www.instagram.com/p/C-BUM2SSDA2/\">healing services for victims of state violence\u003c/a>. They also run a program called Mental Health First in Oakland and Sacramento that sends trained volunteers to assist people in crisis. Brooks implored people to get involved, beyond attending one-off protests, and join APTP’s volunteer efforts.\u003c/p>\n\u003cfigure id=\"attachment_13961760\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An altar honoring people that have been killed by police officers this year at Lake Merritt in Oakland on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s your turn,” echoed poet and musician RyanNicole at the July 28 event. “No more sitting down. No more being small in your purpose. If you wake up with breath. If you have a voice. If you have any ability in your body, it is your rightful service to act up.”\u003c/p>\n\u003cp>Later that night at a separate vigil at the plant shop and community space \u003ca href=\"https://www.instagram.com/blkgirls_greenhouse/\">Blk Girls Green House\u003c/a>, a similarly solution-oriented discussion followed a round of vulnerable sharing of sadness, fear and rage. In the store’s palm leaf-lined back patio, an intergenerational crowd of about 20 people, mostly Black women and nonbinary people (including a couple of laughing babies), brainstormed about self-defense classes and community gardens.\u003c/p>\n\u003cfigure id=\"attachment_13961756\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240729_SONYAMASSEY_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An altar for Sonya Massey at Oakland’s Lake Merritt on July 29, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Writer Isis Miller led the group in a prayer, and poet Christell Victoria Roach shared verses that celebrated the beauty of Black families, communities and healing spaces. “As much as I feel dismayed, hurt, targeted — all the things that one might feel when you face what’s happening in the news — I still find a gift in it that I know I’m not the only one feeling that way,” she said. “I know that for centuries, we’ve survived because we didn’t feel it alone.”\u003c/p>\n\u003cp>Blk Girls Green House co-owner Kalkidan Gebreyohannes said community members are welcome back to the shop to continue the discussion and strategize around actionable steps. Stepping away from the crowd, she added that she was disappointed the vigil didn’t attract more people after it got a massive response on the shop’s Instagram. Throughout the weekend, many expressed frustration that Sonya Massey’s killing wasn’t generating as big an outcry as that of male victims of police violence.\u003c/p>\n\u003cp>Yet the small gathering at Blk Girls Green House allowed for people to make warm, personal connections and exchange contact information to keep the conversation going. “Everyone who was meant to be here was here,” Miller reassured her.\u003c/p>\n\u003cp>The next day at the Lake Merritt open mic, Miller said they had left the vigil a bit more hopeful than they arrived. “So much of the violence that happens is meant to disempower us and to separate us,” they said. “I know we have a long road ahead. But I know that we’re going to make strides as long as we’re strategic and as long as we continue to rely on each other and understand that no one is coming to save us.”\u003c/p>\n\u003cp>“I still have a heavy heart, but I believe a better world is possible,” they added, “and I don’t think anyone can take that belief away from me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A community altar build for Sonya Massey will take place Tuesday, July 30, 5–7 p.m. at Temple of Earth Apothecary (536 Grand Ave., Oakland) across from Lake Merritt. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism",
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"headTitle": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism | KQED",
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"content": "\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\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/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges",
"headTitle": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED",
"content": "\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>[aside postID='arts_13920198']But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"excerpt": "More than two years after the artist's death at a Berkeley hospital, his family and community are demanding answers. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n\u003c/div>\u003c/p>",
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"title": "Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion",
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"content": "\u003cp>The only Black designer belonging to Italy’s fashion council is withdrawing from this month’s Milan Fashion Week citing a lack of commitment to diversity and inclusion, and on Wednesday announced a hunger strike out of concern that other minority designers associated with her will suffer a backlash.\u003c/p>\n\u003cp>Stella Jean told The Associated Press that the Italian National Fashion Chamber had significantly cut back support for the We Are Made in Italy collective of young designers of color working in Italy after she made an impassioned speech about the personal price she had paid for highlighting racial injustice in Italy during a runway show last September.\u003c/p>\n\u003cp>[aside postid='arts_13920956']Along with Stella Jean, the WAMI collective is withdrawing from fashion week, which they were to open with a digital presentation.\u003c/p>\n\u003cp>Italian Fashion Chamber President Carlo Capasa told the AP that he regretted Stella Jean’s decision, adding that the final fashion week calendar being presented Wednesday is “full of diversity.”\u003c/p>\n\u003cp>“In the calendar that we are presenting today, you will see all that we are doing for people of color who are working in Italy,″ Capasa told the AP. A news conference was scheduled for later Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jean sent a letter to Capasa informing him of her hunger strike, which she said would be revoked only with his written assurance that no professional harm would come to the WAMI designers and supports “as a result of our history of misunderstanding.”\u003c/p>\n\u003cp>“This admittedly extreme measure of mine stems from having heard several voices from the collective worried about ‘soft’ or ‘hard’ repercussions, including difficulty in securing funding and services from sponsors and partners, given the power wielded by you as president of the chamber in the industry,” she wrote in a letter obtained by the AP.\u003c/p>\n\u003cp>[aside postid='arts_13916547']Capasa said he hadn’t yet read the letter and was unaware of the hunger strike and WAMI’s withdrawal. Both Stella Jean and WAMI appeared on a draft of the Milan Fashion Week calendar of mostly womenswear previews for next winter released last month.\u003c/p>\n\u003cp>WAMI was launched on the heels of the Black Lives Matters movement in 2020 by Jean, African-American designer Edward Buchanan and the head of Afro Fashion Week Milano, Michelle Ngonmo, to draw attention to the lack of minority representation in the Italian fashion world. It followed some racial gaffes by major fashion houses that made global headlines.\u003c/p>\n\u003cp>Ngonmo told the AP that financial support for the project from the chamber had dwindled over the three years it has run so far, and that Afro Fashion Week Milano wasn’t able to come up with the 20,000 euros ($21,000) it would have cost to support the five young designers in making solid looks to present, plus a video.\u003c/p>\n\u003cp>The Italian fashion chamber fully supported the collections for the two WAMI classes, each with five designers, but that the third generation hasn’t received any funding from the chamber, Ngonmo and Jean said. The September show featuring Jean, Buchanan and WAMI was financed through other allies and their own contributions.\u003c/p>\n\u003cp>“Maybe the message is the whole industry needs to open their eyes and say what can we do to make that happen?” Ngonmo told the AP.\u003c/p>\n\u003cp>[aside postid='arts_13905720']A WAMI designer, Joy Meribe, opened Milan Fashion Week previews for spring-summer 2022, in a major milestone for the movement.\u003c/p>\n\u003cp>But Jean said that such moves had turned out to be “performative.”\u003c/p>\n\u003cp>“They used WAMI as a free pass of safe conduct for diversity,” Jean told the AP. She said she was withdrawing out of fatigue with the “continual fight” for recognition for designers of color in Italy.\u003c/p>\n\u003cp>“I am a fighter by nature, but I cannot be this way all the time,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only Black designer belonging to Italy’s fashion council is withdrawing from this month’s Milan Fashion Week citing a lack of commitment to diversity and inclusion, and on Wednesday announced a hunger strike out of concern that other minority designers associated with her will suffer a backlash.\u003c/p>\n\u003cp>Stella Jean told The Associated Press that the Italian National Fashion Chamber had significantly cut back support for the We Are Made in Italy collective of young designers of color working in Italy after she made an impassioned speech about the personal price she had paid for highlighting racial injustice in Italy during a runway show last September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along with Stella Jean, the WAMI collective is withdrawing from fashion week, which they were to open with a digital presentation.\u003c/p>\n\u003cp>Italian Fashion Chamber President Carlo Capasa told the AP that he regretted Stella Jean’s decision, adding that the final fashion week calendar being presented Wednesday is “full of diversity.”\u003c/p>\n\u003cp>“In the calendar that we are presenting today, you will see all that we are doing for people of color who are working in Italy,″ Capasa told the AP. A news conference was scheduled for later Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jean sent a letter to Capasa informing him of her hunger strike, which she said would be revoked only with his written assurance that no professional harm would come to the WAMI designers and supports “as a result of our history of misunderstanding.”\u003c/p>\n\u003cp>“This admittedly extreme measure of mine stems from having heard several voices from the collective worried about ‘soft’ or ‘hard’ repercussions, including difficulty in securing funding and services from sponsors and partners, given the power wielded by you as president of the chamber in the industry,” she wrote in a letter obtained by the AP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Capasa said he hadn’t yet read the letter and was unaware of the hunger strike and WAMI’s withdrawal. Both Stella Jean and WAMI appeared on a draft of the Milan Fashion Week calendar of mostly womenswear previews for next winter released last month.\u003c/p>\n\u003cp>WAMI was launched on the heels of the Black Lives Matters movement in 2020 by Jean, African-American designer Edward Buchanan and the head of Afro Fashion Week Milano, Michelle Ngonmo, to draw attention to the lack of minority representation in the Italian fashion world. It followed some racial gaffes by major fashion houses that made global headlines.\u003c/p>\n\u003cp>Ngonmo told the AP that financial support for the project from the chamber had dwindled over the three years it has run so far, and that Afro Fashion Week Milano wasn’t able to come up with the 20,000 euros ($21,000) it would have cost to support the five young designers in making solid looks to present, plus a video.\u003c/p>\n\u003cp>The Italian fashion chamber fully supported the collections for the two WAMI classes, each with five designers, but that the third generation hasn’t received any funding from the chamber, Ngonmo and Jean said. The September show featuring Jean, Buchanan and WAMI was financed through other allies and their own contributions.\u003c/p>\n\u003cp>“Maybe the message is the whole industry needs to open their eyes and say what can we do to make that happen?” Ngonmo told the AP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A WAMI designer, Joy Meribe, opened Milan Fashion Week previews for spring-summer 2022, in a major milestone for the movement.\u003c/p>\n\u003cp>But Jean said that such moves had turned out to be “performative.”\u003c/p>\n\u003cp>“They used WAMI as a free pass of safe conduct for diversity,” Jean told the AP. She said she was withdrawing out of fatigue with the “continual fight” for recognition for designers of color in Italy.\u003c/p>\n\u003cp>“I am a fighter by nature, but I cannot be this way all the time,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension",
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"content": "\u003cp>These lines appear on the first page of Daniel Black’s \u003cem>Black on Black: On Our Resilience and Brilliance in America:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I write because we hurt. I write because some pain can’t be described. It can only be felt in the marrow of a story or the lyrics of a song.\u003c/p>\u003c/blockquote>\n\u003cp>Black’s new collection of essays digs deep into Blackness, history and racial tension in this country, while simultaneously serving as a powerful call to action and a celebration of Black culture.\u003c/p>\n\u003cp>[aside postid='arts_13924580']\u003cem>Black on Black\u003c/em> is not an easy read. Black’s voice is strong, informed, angry, and relentless — and that infuses his essays with the power to affect readers. Whether Black is discussing racism, the crooked justice system that leads to things like the Central Park Five case (also known as the Central Park jogger case), the public education system and its impact on HBCUS (Historically Black Colleges and Universities), or how different generations of gay Black men learned to navigate AIDS, Black’s writing carries the kind of righteous anger — and more than enough facts — to elicit a response in most readers with a pulse. Hopefully, that response leads to change.\u003c/p>\n\u003cp>There are no throwaway essays here and they all fit together in ways that give the collection a great sense of cohesion, but there are some standouts that merit a moment in the spotlight. “When I Was a Boy” is a heartfelt essay about growing up feeling like a “freak” that eventually morphs into a narrative about acceptance and a critique of the way young Black men are expected to perform a special brand of masculinity. Black always knew he was different, and different wasn’t good. He thought he was worse than everyone else even when he became obsessed with words — with reading and writing — and people told him he was “too smart” for his own good. The emotional and psychological scars that came from Black’s youth permeate the collection, and this essay, the second one in the book, is a perfect introduction that helps to contextualize what follows.\u003c/p>\n\u003cp>[aside postid='arts_13899186']“The Trial and Massacre of the Black Body” is a brilliant essay about George Floyd that asks the same question we still have to ask regularly: “…not whether a black person is dead, but whether the police we see committing the act will be held responsible.” Black, a keen observer as well as a scholar, exposes, time and again, the shield of cultural protection that surrounds white male patriarchy and power and the way this often leads to the murder of Black individuals going unpunished. Perhaps the most painful essay to read, this one is packed with examples that show the perpetuation of racial abuse and unfettered discrimination against Black people despite the outcome of the Floyd case. From the bodies of those aboard the \u003cem>Amistad\u003c/em> to Emmett Till to Rodney King to Trayvon Martin to Breonna Taylor, Black leads readers on a painful tour of the deadly consequences of unfettered racism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>[aside postid='arts_13883630']\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These lines appear on the first page of Daniel Black’s \u003cem>Black on Black: On Our Resilience and Brilliance in America:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I write because we hurt. I write because some pain can’t be described. It can only be felt in the marrow of a story or the lyrics of a song.\u003c/p>\u003c/blockquote>\n\u003cp>Black’s new collection of essays digs deep into Blackness, history and racial tension in this country, while simultaneously serving as a powerful call to action and a celebration of Black culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> is not an easy read. Black’s voice is strong, informed, angry, and relentless — and that infuses his essays with the power to affect readers. Whether Black is discussing racism, the crooked justice system that leads to things like the Central Park Five case (also known as the Central Park jogger case), the public education system and its impact on HBCUS (Historically Black Colleges and Universities), or how different generations of gay Black men learned to navigate AIDS, Black’s writing carries the kind of righteous anger — and more than enough facts — to elicit a response in most readers with a pulse. Hopefully, that response leads to change.\u003c/p>\n\u003cp>There are no throwaway essays here and they all fit together in ways that give the collection a great sense of cohesion, but there are some standouts that merit a moment in the spotlight. “When I Was a Boy” is a heartfelt essay about growing up feeling like a “freak” that eventually morphs into a narrative about acceptance and a critique of the way young Black men are expected to perform a special brand of masculinity. Black always knew he was different, and different wasn’t good. He thought he was worse than everyone else even when he became obsessed with words — with reading and writing — and people told him he was “too smart” for his own good. The emotional and psychological scars that came from Black’s youth permeate the collection, and this essay, the second one in the book, is a perfect introduction that helps to contextualize what follows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Trial and Massacre of the Black Body” is a brilliant essay about George Floyd that asks the same question we still have to ask regularly: “…not whether a black person is dead, but whether the police we see committing the act will be held responsible.” Black, a keen observer as well as a scholar, exposes, time and again, the shield of cultural protection that surrounds white male patriarchy and power and the way this often leads to the murder of Black individuals going unpunished. Perhaps the most painful essay to read, this one is packed with examples that show the perpetuation of racial abuse and unfettered discrimination against Black people despite the outcome of the Floyd case. From the bodies of those aboard the \u003cem>Amistad\u003c/em> to Emmett Till to Rodney King to Trayvon Martin to Breonna Taylor, Black leads readers on a painful tour of the deadly consequences of unfettered racism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-ballet-diversity-commitments",
"title": "As SF Ballet Enters a New Era, Calls for Diversity Reemerge",
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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\">O\u003c/span>n June 2, 2020, like many other institutions that Tuesday, San Francisco Ballet’s official Instagram \u003ca href=\"https://www.instagram.com/p/CA8DjqxjR_g/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> a black box, promising to use the time to reflect on “how to commit meaningful change.” For the next week, the Ballet posted various archival panel discussions, links to Black artists in the ballet world, and a \u003ca href=\"https://www.instagram.com/p/CBEMFUPjQu1/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from its leadership acknowledging Black contributions to ballet. It pledged to share “next steps and actions.”\u003c/p>\n\u003cp>But as protests in the wake of George Floyd’s murder continued all over the country, many employees felt the company hadn’t been doing enough. In their eyes, at San Francisco Ballet (SFB) and in the ballet world at large, an examination of racism was long overdue.\u003c/p>\n\u003cp>“We had not heard one word, and so just to see it on social media was extremely frustrating,” says former corps de ballet dancer Kimberly Olivier, who stepped away from SFB in 2021 after 12 years with the company. “It was very much so a performative act.”\u003c/p>\n\u003cp>This inaction brought internal discord, and a letter of demands circulated around the organization. A public Instagram account detailed dancers’ and staff members’ accounts of inequities. Amid the fallout, Executive Director Kelly Tweeddale, hired in 2019, stepped down in 2021.\u003c/p>\n\u003cp>Fast-forward to 2022, and the English National Ballet’s Tamara Rojo has been appointed to succeed longtime Artistic Director Helgi Tomasson. Rob Sánchez Nelson has been hired in a new role as the chief diversity officer, and an executive director hiring is imminent. And as the 89-year-old institution enters a new era, its leadership has an opportunity to make good on the promises it made during the racial justice uprisings of 2020.\u003c/p>\n\u003cfigure id=\"attachment_13909404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artistic Director Helgi Tomasson works with dancers on stage during a rehearsal for ‘A Midsummer Night’s Dream,’ at the War Memorial Opera House in San Francisco, on Wednesday, March 4, 2020. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I Felt Very Alone’\u003c/h2>\n\u003cp>As the momentum from 2020’s protests waned, Olivier felt frustrated with SFB leadership’s lack of initiative. The dancer decided to call a meeting in June 2020, which about half of the company’s dancers attended over Zoom. SFB leadership followed up with additional meetings open to all staff, which former Diversity Executive Toni Wilson, former Executive Director Kelly Tweeddale, and soon-to-be former Artistic Director Helgi Tomasson attended. (According to Olivier, Tomasson only came for one or two meetings.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As one of only three Black-identifying company members at the time, Olivier found herself shouldering the task of representation. “I felt very alone, and I felt like there was a huge burden for me to represent the dancers,” says Olivier. (In full disclosure, I trained with the San Francisco Ballet School 10 years ago, and as a Black-identifying person, I recognize the dynamic that Olivier describes, both in the classroom and on stage.)\u003c/p>\n\u003cp>In December 2020, an anonymous group of dancers and other employees wrote a letter to SFB leadership with a list of demands. They also created an Instagram account, \u003ca href=\"https://www.instagram.com/sfballet2021/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@sfballet2021\u003c/a>, to air their grievances and those of others. Posted without attribution, the grievances described a company that hadn’t valued the contributions of Black and brown staff, though it featured them prominently in marketing materials.\u003c/p>\n\u003cp>[aside postID='arts_13908667']Other posts accused SFB of failing to meaningfully engage with diverse choreographers, and took issue with the company selecting works that perpetuated racist and sexist tropes. Several posts charged that SFB’s leaders, most of them white, were treating DEI work as an afterthought. (The Instagram account has been inactive since February 2021, and messages to the account from KQED went unanswered. No current dancers with SFB who were contacted agreed to be interviewed.)\u003c/p>\n\u003cp>The @sfballet2021 Instagram page also publicly listed the internal letter’s demands. Those included SFB issuing a public apology to BIPOC employees, publishing an annual DEI report, requiring 13% of employees at all levels of the organization to be Black, releasing employees from nondisclosure agreements, hiring a Chief Diversity Officer, and creating safe spaces and funding for Employee Resource Groups (ERGs) to support employees of color.\u003c/p>\n\u003cp>(Talks of a proposed meeting between the employees behind the letter and SFB leadership broke down, \u003ca href=\"https://datebook.sfchronicle.com/dance/s-f-ballet-seeks-to-diversify-make-amends-for-racial-inequities\" target=\"_blank\" rel=\"noopener noreferrer\">as reported by\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>, when the employees wanted to preserve their anonymity by meeting through a mediator, and leadership wanted to meet face-to-face.)\u003c/p>\n\u003cp>The letter additionally called for the resignation of Executive Director Kelly Tweeddale. Upon Tommasson’s announcement that his tenure would end in 2022, the group also demanded transparency in the succession plan for the next artistic director.\u003c/p>\n\u003cfigure id=\"attachment_13909441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris.jpg\" alt=\"A Black woman in a black turtleneck in a black-and-white headshot pose.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris-768x668.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Ruth Howard is a former ballet dancer and diversity strategist. The New York Times calls her ‘one of the most vocal proponents for racial equity in ballet.’ \u003ccite>(Eva Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dismantling Ballet’s ‘Antiquated Culture’\u003c/h2>\n\u003cp>Tweeddale stepped down in June 2021, and Rojo, who was unavailable for an interview for this story, was appointed last month. But uncertainty remains about the lasting effects of these changes in leadership—partially because the diversity, equity and inclusion (DEI) process can often appear abstract.\u003c/p>\n\u003cp>For clarity, I spoke with Theresa Ruth Howard, a former ballet dancer and now an independent diversity strategist based in New York. As the founder of \u003ca href=\"https://protect-us.mimecast.com/s/18f_CKr6MvT83o5DiMdHfz?domain=mobballet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Memoirs of Blacks in Ballet (MoBBallet)\u003c/a>, a collective of artists that “preserves, presents, and promotes the contributions and stories of Black artists,” Howard has worked closely with numerous ballet companies, including SFB, to facilitate their DEI strategy and process. The \u003cem>New York Times\u003c/em> calls her “\u003ca href=\"https://www.nytimes.com/2020/08/06/arts/dance/theresa-ruth-howard.html\" target=\"_blank\" rel=\"noopener noreferrer\">one of the most vocal proponents for racial equity in ballet\u003c/a>.”\u003c/p>\n\u003cp>[aside postID='arts_13881257']Years of conversations with dancers, artistic and executive directors, and the boards of companies have given Howard insight into ballet companies’ slow pace of change. She encourages ballet companies to go beyond “difficult conversations” and take concrete steps to dismantle what she calls the “antiquated culture” of ballet.\u003c/p>\n\u003cp>Part of Howard’s work is bridging the gap between a company’s culture and its board of directors, who hold a great deal of power over company leadership and monetary donations—but are often disconnected from the daily work.\u003c/p>\n\u003cp>In order to reach the deepest levels of change, “you need to talk to the most vulnerable person in the organization to really understand the culture,” says Howard.\u003c/p>\n\u003cfigure id=\"attachment_13909402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo (center) as Frida Khalo with artists of the company in English National Ballet’s production of Annabelle Lopez Ochoa’s ‘Broken Wings’ at Sadlers Wells Theatre on April 12, 2016 in London, England. \u003ccite>(Robbie Jack/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Chief Diversity Officer\u003c/h2>\n\u003cp>Interim Executive Director Danielle St. Germaine-Gordon says that SFB is committed to the DEI process “for the long haul,” and cites Howard’s collaboration with the company as invaluable. Throughout late 2020 and early 2021, SFB created longer-term working groups as part of their Inclusivity, Diversity, Equity, and Access (IDEA) initiative, which included dancers and other employees of the organization.\u003c/p>\n\u003cp>As part of their commitment to DEI work, SFB has hired their first-ever Chief Diversity Officer Rob Sánchez Nelson in Oct. 2021, “and we have an intentional focus to bring more diversity into our leadership positions,” says St. Germaine-Gordon.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson has a background in LGBTQIA+, housing and disability rights advocacy—not ballet or the arts. But that also means they aren’t as entrenched in the art form’s norms and biases. \u003c/span>\u003cspan style=\"font-weight: 400\">“[SFB] really wanted a fresh approach,” they say.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson wants to expand and give more power to employee resource groups, and complete SFB’s first-ever annual diversity and equity report, which will include a full demographic survey. \u003c/span>\u003cspan style=\"font-weight: 400\">Acknowledging the lack of communication between the employees and the board, Nelson sees themself as the liaison between the two groups. They say staff wants to see more transparency in communication from leadership. \u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13909289']“There is a history of information being siloed,” they explain.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson participated in the interview process in Tamara Rojo’s hiring, and they anticipate being part of SFB’s search for a new executive director.\u003c/span>\u003c/p>\n\u003cp>Rojo, who is Spanish-Canadian, is the first woman to hold the position of artistic director at SFB. Nikisha Fogo’s recent appointment as principal dancer means there are two Black-identifying dancers in the company instead of one. SFB has also recently partnered with the San Francisco Conservatory of Music to develop a fellowship for Black musicians.\u003c/p>\n\u003cp>At the moment, the executive directorship is yet to be filled, which means there’s another opportunity to diversify leadership and implement lasting DEI policy. And there is much to be anticipated in terms of featured artists and choreographers for the 2023 season.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We can’t do anything externally until internally we are on solid foundation,” Sánchez Nelson cautions.\u003c/span>\u003c/p>\n\u003ch2>A Hope for More Representation\u003c/h2>\n\u003cp>As for Olivier, she felt that during her time at SFB, the organization never got beyond the “difficult conversations” phase of the DEI process. Additionally, Olivier says, “There was a huge separation between what the dancers could know and what you know, those in leadership executive positions knew.”\u003c/p>\n\u003cp>Olivier left SFB last year. And while she has not been invited back as a consultant for their DEI process, she does hope to see more Black and Brown representation on stage and for BIPOC voices to be heard.\u003c/p>\n\u003cp>“So much healing could happen by small gestures and invitations,” Olivier says, adding that ultimately, SFB left “a lot of voices unheard, including my own.”\u003c/p>\n\u003cp>[ad floatright]\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\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\">O\u003c/span>n June 2, 2020, like many other institutions that Tuesday, San Francisco Ballet’s official Instagram \u003ca href=\"https://www.instagram.com/p/CA8DjqxjR_g/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> a black box, promising to use the time to reflect on “how to commit meaningful change.” For the next week, the Ballet posted various archival panel discussions, links to Black artists in the ballet world, and a \u003ca href=\"https://www.instagram.com/p/CBEMFUPjQu1/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from its leadership acknowledging Black contributions to ballet. It pledged to share “next steps and actions.”\u003c/p>\n\u003cp>But as protests in the wake of George Floyd’s murder continued all over the country, many employees felt the company hadn’t been doing enough. In their eyes, at San Francisco Ballet (SFB) and in the ballet world at large, an examination of racism was long overdue.\u003c/p>\n\u003cp>“We had not heard one word, and so just to see it on social media was extremely frustrating,” says former corps de ballet dancer Kimberly Olivier, who stepped away from SFB in 2021 after 12 years with the company. “It was very much so a performative act.”\u003c/p>\n\u003cp>This inaction brought internal discord, and a letter of demands circulated around the organization. A public Instagram account detailed dancers’ and staff members’ accounts of inequities. Amid the fallout, Executive Director Kelly Tweeddale, hired in 2019, stepped down in 2021.\u003c/p>\n\u003cp>Fast-forward to 2022, and the English National Ballet’s Tamara Rojo has been appointed to succeed longtime Artistic Director Helgi Tomasson. Rob Sánchez Nelson has been hired in a new role as the chief diversity officer, and an executive director hiring is imminent. And as the 89-year-old institution enters a new era, its leadership has an opportunity to make good on the promises it made during the racial justice uprisings of 2020.\u003c/p>\n\u003cfigure id=\"attachment_13909404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/HelgiTomasson.CarlosAvilaGonzalez.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artistic Director Helgi Tomasson works with dancers on stage during a rehearsal for ‘A Midsummer Night’s Dream,’ at the War Memorial Opera House in San Francisco, on Wednesday, March 4, 2020. \u003ccite>(Carlos Avila Gonzalez/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I Felt Very Alone’\u003c/h2>\n\u003cp>As the momentum from 2020’s protests waned, Olivier felt frustrated with SFB leadership’s lack of initiative. The dancer decided to call a meeting in June 2020, which about half of the company’s dancers attended over Zoom. SFB leadership followed up with additional meetings open to all staff, which former Diversity Executive Toni Wilson, former Executive Director Kelly Tweeddale, and soon-to-be former Artistic Director Helgi Tomasson attended. (According to Olivier, Tomasson only came for one or two meetings.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As one of only three Black-identifying company members at the time, Olivier found herself shouldering the task of representation. “I felt very alone, and I felt like there was a huge burden for me to represent the dancers,” says Olivier. (In full disclosure, I trained with the San Francisco Ballet School 10 years ago, and as a Black-identifying person, I recognize the dynamic that Olivier describes, both in the classroom and on stage.)\u003c/p>\n\u003cp>In December 2020, an anonymous group of dancers and other employees wrote a letter to SFB leadership with a list of demands. They also created an Instagram account, \u003ca href=\"https://www.instagram.com/sfballet2021/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@sfballet2021\u003c/a>, to air their grievances and those of others. Posted without attribution, the grievances described a company that hadn’t valued the contributions of Black and brown staff, though it featured them prominently in marketing materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other posts accused SFB of failing to meaningfully engage with diverse choreographers, and took issue with the company selecting works that perpetuated racist and sexist tropes. Several posts charged that SFB’s leaders, most of them white, were treating DEI work as an afterthought. (The Instagram account has been inactive since February 2021, and messages to the account from KQED went unanswered. No current dancers with SFB who were contacted agreed to be interviewed.)\u003c/p>\n\u003cp>The @sfballet2021 Instagram page also publicly listed the internal letter’s demands. Those included SFB issuing a public apology to BIPOC employees, publishing an annual DEI report, requiring 13% of employees at all levels of the organization to be Black, releasing employees from nondisclosure agreements, hiring a Chief Diversity Officer, and creating safe spaces and funding for Employee Resource Groups (ERGs) to support employees of color.\u003c/p>\n\u003cp>(Talks of a proposed meeting between the employees behind the letter and SFB leadership broke down, \u003ca href=\"https://datebook.sfchronicle.com/dance/s-f-ballet-seeks-to-diversify-make-amends-for-racial-inequities\" target=\"_blank\" rel=\"noopener noreferrer\">as reported by\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>, when the employees wanted to preserve their anonymity by meeting through a mediator, and leadership wanted to meet face-to-face.)\u003c/p>\n\u003cp>The letter additionally called for the resignation of Executive Director Kelly Tweeddale. Upon Tommasson’s announcement that his tenure would end in 2022, the group also demanded transparency in the succession plan for the next artistic director.\u003c/p>\n\u003cfigure id=\"attachment_13909441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris.jpg\" alt=\"A Black woman in a black turtleneck in a black-and-white headshot pose.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TRHoward.CRED_.EvaHarris-768x668.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Ruth Howard is a former ballet dancer and diversity strategist. The New York Times calls her ‘one of the most vocal proponents for racial equity in ballet.’ \u003ccite>(Eva Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dismantling Ballet’s ‘Antiquated Culture’\u003c/h2>\n\u003cp>Tweeddale stepped down in June 2021, and Rojo, who was unavailable for an interview for this story, was appointed last month. But uncertainty remains about the lasting effects of these changes in leadership—partially because the diversity, equity and inclusion (DEI) process can often appear abstract.\u003c/p>\n\u003cp>For clarity, I spoke with Theresa Ruth Howard, a former ballet dancer and now an independent diversity strategist based in New York. As the founder of \u003ca href=\"https://protect-us.mimecast.com/s/18f_CKr6MvT83o5DiMdHfz?domain=mobballet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Memoirs of Blacks in Ballet (MoBBallet)\u003c/a>, a collective of artists that “preserves, presents, and promotes the contributions and stories of Black artists,” Howard has worked closely with numerous ballet companies, including SFB, to facilitate their DEI strategy and process. The \u003cem>New York Times\u003c/em> calls her “\u003ca href=\"https://www.nytimes.com/2020/08/06/arts/dance/theresa-ruth-howard.html\" target=\"_blank\" rel=\"noopener noreferrer\">one of the most vocal proponents for racial equity in ballet\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Years of conversations with dancers, artistic and executive directors, and the boards of companies have given Howard insight into ballet companies’ slow pace of change. She encourages ballet companies to go beyond “difficult conversations” and take concrete steps to dismantle what she calls the “antiquated culture” of ballet.\u003c/p>\n\u003cp>Part of Howard’s work is bridging the gap between a company’s culture and its board of directors, who hold a great deal of power over company leadership and monetary donations—but are often disconnected from the daily work.\u003c/p>\n\u003cp>In order to reach the deepest levels of change, “you need to talk to the most vulnerable person in the organization to really understand the culture,” says Howard.\u003c/p>\n\u003cfigure id=\"attachment_13909402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/TamaraRojo.2016.CRED_.RobbieJack.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo (center) as Frida Khalo with artists of the company in English National Ballet’s production of Annabelle Lopez Ochoa’s ‘Broken Wings’ at Sadlers Wells Theatre on April 12, 2016 in London, England. \u003ccite>(Robbie Jack/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Chief Diversity Officer\u003c/h2>\n\u003cp>Interim Executive Director Danielle St. Germaine-Gordon says that SFB is committed to the DEI process “for the long haul,” and cites Howard’s collaboration with the company as invaluable. Throughout late 2020 and early 2021, SFB created longer-term working groups as part of their Inclusivity, Diversity, Equity, and Access (IDEA) initiative, which included dancers and other employees of the organization.\u003c/p>\n\u003cp>As part of their commitment to DEI work, SFB has hired their first-ever Chief Diversity Officer Rob Sánchez Nelson in Oct. 2021, “and we have an intentional focus to bring more diversity into our leadership positions,” says St. Germaine-Gordon.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson has a background in LGBTQIA+, housing and disability rights advocacy—not ballet or the arts. But that also means they aren’t as entrenched in the art form’s norms and biases. \u003c/span>\u003cspan style=\"font-weight: 400\">“[SFB] really wanted a fresh approach,” they say.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson wants to expand and give more power to employee resource groups, and complete SFB’s first-ever annual diversity and equity report, which will include a full demographic survey. \u003c/span>\u003cspan style=\"font-weight: 400\">Acknowledging the lack of communication between the employees and the board, Nelson sees themself as the liaison between the two groups. They say staff wants to see more transparency in communication from leadership. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There is a history of information being siloed,” they explain.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sánchez Nelson participated in the interview process in Tamara Rojo’s hiring, and they anticipate being part of SFB’s search for a new executive director.\u003c/span>\u003c/p>\n\u003cp>Rojo, who is Spanish-Canadian, is the first woman to hold the position of artistic director at SFB. Nikisha Fogo’s recent appointment as principal dancer means there are two Black-identifying dancers in the company instead of one. SFB has also recently partnered with the San Francisco Conservatory of Music to develop a fellowship for Black musicians.\u003c/p>\n\u003cp>At the moment, the executive directorship is yet to be filled, which means there’s another opportunity to diversify leadership and implement lasting DEI policy. And there is much to be anticipated in terms of featured artists and choreographers for the 2023 season.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We can’t do anything externally until internally we are on solid foundation,” Sánchez Nelson cautions.\u003c/span>\u003c/p>\n\u003ch2>A Hope for More Representation\u003c/h2>\n\u003cp>As for Olivier, she felt that during her time at SFB, the organization never got beyond the “difficult conversations” phase of the DEI process. Additionally, Olivier says, “There was a huge separation between what the dancers could know and what you know, those in leadership executive positions knew.”\u003c/p>\n\u003cp>Olivier left SFB last year. And while she has not been invited back as a consultant for their DEI process, she does hope to see more Black and Brown representation on stage and for BIPOC voices to be heard.\u003c/p>\n\u003cp>“So much healing could happen by small gestures and invitations,” Olivier says, adding that ultimately, SFB left “a lot of voices unheard, including my own.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SFMOMA’s Getting a New Director: Christopher Bedford",
"headTitle": "SFMOMA’s Getting a New Director: Christopher Bedford | KQED",
"content": "\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>[aside postID='arts_13892466']The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Joy, Black Power: Dancing the Legacy of Katherine Dunham",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ICCD405_East_St_Louis_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On the banks of the wide, gray Mississippi River sit two cities. The better known St. Louis, Missouri boasts a tall, elegant national landmark: the Gateway Arch. And across the river is the Illinois city of East St. Louis, surrounded by silent traces of former industry, and nearly all-Black.\u003c/p>\n\u003cp>This is where, in the late 1960s, global dance legend Katherine Dunham put down roots and taught the arts of the African diaspora to local children and teenagers. The program she created runs to this day at the Katherine Dunham Centers for Arts and Humanities, revolutionizing lives with dance and culture. Classes are led by Ruby Streate, director of dance and education and artistic director of \u003ca href=\"http://kdcah.org/museum/\" target=\"_blank\" rel=\"noopener noreferrer\">the Katherine Dunham Children’s Workshop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13899188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N28543_0001-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N28543_0001-800x632.jpg\" alt=\"Katherine Dunham interacts with a visitor, who places a pot on her head, in her museum.\" width=\"800\" height=\"632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1536x1213.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-2048x1618.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1920x1517.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">International dance icon Katherine Dunham (right,) also an anthropologist, founded an art museum in East St. Louis, IL. \u003ccite>((Photographer unknown, Courtesy of Missouri History Museum Photograph and Prints collection. Dunham, Katherine Collection.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Streate started dancing herself in the Dunham program as a self-described “angry 17-year-old,” saddled with grown-up responsibilities and with few outlets to express herself. Then, she says, “I started to really change my attitude, because I was wanting to perform really bad. My instructors knew I was talented—that I could do whatever I needed to do on stage.”\u003c/p>\n\u003cp>Today, she’s a culture-keeper, as one of Dunham’s most trusted teachers (Dunham died in 2006). “I’m proud of all of my students because all of them have learned the fact that they can do anything that they want to do,” Streate says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Heather Beal is one of those students and recalls a choreography Streate put together based on \u003ca href=\"https://www.poetryfoundation.org/poems/48985/phenomenal-woman\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Angelous’ poem “Phenomenal Woman.”\u003c/a> “Imagine, every day we are rehearsing, saying those words, ‘Phenomenal woman, that’s me,’” says Beal, one of thousands of East St. Louis residents who came through the welcoming doors of Katherine Dunham’s Children’s Workshop.\u003c/p>\n\u003cp>“Imagine what that’s like for a 15-year-old girl every day to say––but also to embody it, because the choreography embodied that,” Beal says. “You don’t have any option but to be a phenomenal woman. So that foundation is priceless. And it’s the way that I teach children today.”\u003c/p>\n\u003cfigure id=\"attachment_13899191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-800x450.jpg\" alt=\"Ruby Streate and Heather Beal embrace one another and look into the distance\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC.jpg 1521w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heather Beal (right) was a student of Ruby Streate (left) at the Katherine Dunham Centers for Arts and Humanities in East St. Louis, IL. \u003ccite>(Christopher Phillips )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beal runs a dance collective called \u003ca href=\"https://www.theseventhfloor.org/choreography\" target=\"_blank\" rel=\"noopener noreferrer\">The Seventh Floor\u003c/a>, and like Dunham, brings a fierce sense of purpose to her dance. She also is director of audience services at the Black Repertory Theater in St. Louis. “I consider myself a truth teller,” says Beal. “The work I create is for Black folks. My movement is Black joy and Black activism. And I shine a mirror on what is happening in the world today.”\u003c/p>\n\u003cp>Beal is also a certified teacher of the Dunham Technique, a dance methodology created by Dunham in the late 1930s, which brings together elements of the dances she filmed over two years as a young anthropology student in Haiti, Jamaica, Martinique and Trinidad, as well as modern dance and ballet. The rigorous technique is credited for bringing Black dance to the classroom and to the stage, where it has mesmerized audiences globally and transformed the world of dance.\u003c/p>\n\u003cp>“She was Beyoncé before Beyoncé,” says Beal, describing Dunham’s extraordinary talent and widespread appeal, but also the savvy way she ran her own company, and her desire to connect to African diasporic culture. From the 1930s to the early 1960s, Dunham’s company toured over 60 countries. She also made a mark on Broadway and in Hollywood, appearing in films like the 1943 musicals Cabin in the Sky and Stormy Weather. Even as she aged out of her dancing years, Dunham was a well-connected cosmopolitan in high demand as a choreographer. She was also \u003ca href=\"https://pulitzercenter.org/stories/fighting-katherine-dunhams-dream-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">an outspoken activist\u003c/a> long before the height of the civil rights movement. When she encountered East St. Louis in 1967, something touched a nerve. “I view East St. Louis as an outpost in the world,” she told the St. Louis Post-Dispatch. It reminded her of Haiti. It felt like a place where she was needed.\u003c/p>\n\u003cfigure id=\"attachment_13899192\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-800x450.jpg\" alt=\"Three woman dancers on a grassy field, wearing matching off-white blouses and flowing white skirts, are in synchronized flying pose, against a backdrop of the St. Louis skyline and iconic St. Louis Gateway Arch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC.jpg 1651w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers perform an excerpt of Choreographer Keith Tyrone Williams’ work “The Ties That Bind” \u003ccite>(Jon Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Miss Dunham could have chosen anywhere in the world to settle down, yet she chose East St. Louis—a challenged, impoverished, but prideful city that she felt some kind of connection to,” says Keith Tyrone Williams, a renowned St. Louis performing artist and teacher who grew up in East St. Louis and was transformed by a Dunham class he encountered in his late teens. “She obviously [felt] some sort of spiritual, emotional and mental connection with the people.”\u003c/p>\n\u003cp>Difficult circumstances continue in East St. Louis; the city has a high murder rate and low rates of employment. \u003ca href=\"https://estl1917ccci.us\" target=\"_blank\" rel=\"noopener noreferrer\">A particularly horrific moment\u003c/a> in East St. Louis’ history is little known on the national stage. In 1917, after a labor dispute, a mob of white men rampaged through the city, driving Black families from their homes and businesses, and murdering over 100 Black people. The city paid some damages to the deeply traumatized Black community, but didn’t fully acknowledge what happened until 2017, when a commission examined the events and placed historical markers throughout the city—the start of a much-needed reckoning with the past.\u003c/p>\n\u003cfigure id=\"attachment_13899193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N33831_0001-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N33831_0001-800x623.jpg\" alt=\"Katherine Dunham sits at a press conference table beside Reverend Charles Koen, Poet Eugene Redmond, and two members of the Black Eqyptians street gang.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1536x1196.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-2048x1595.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1920x1495.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Katherine Dunham (center) participates in a press conference with Reverend Charles Koen, Poet Eugene Redmond, and two members of the Black Eqyptians street gang. Dunham recognized the need to build trusting relationships with local gangs, as well as Black Power leaders in order to improve young people’s lives. \u003ccite>(Courtesy Missouri Historical Society Photographs and Prints Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The East St. Louis that Dunham saw on that first visit was a shell of its former self: industry declined following World War II, and though white families fled for the suburbs, the city was still governed and policed largely by white folks, with very few jobs left for the remaining Black population.\u003c/p>\n\u003cp>Yet behind the tropes of a city in decline was a tightly held culture doing its best. Williams says, “Even in the midst of some challenges, growing up, it was a community that teachers, neighbors, elders and educators invested back into their community. East St. Louis has an incredible heart. And that’s what keeps me.”\u003c/p>\n\u003cp>Dunham wrote numerous proposals extolling the virtues of “socialization through the arts” and spent hours in meetings convincing funders that dance and culture could provide an alternative to gangs and violence. By 1972 her program became known as the Children’s Workshop. Dunham had enrolled over 1,000 students in her program, offered courses for college credit, founded a student dance company and opened a museum dedicated to African art. Her classes were free or affordable, giving all local kids the opportunity to attend—and she drew students in with martial arts and drumming courses in addition to dance. “Within a few years, Dunham had turned the troubled city… into an important hub of the Black Arts movement,” writes Joanna Dee Das in her book Katherine Dunham: Dance and the African Diaspora.\u003c/p>\n\u003cp>Dunham’s program opened doors into culture, pride and discipline that have been powerful forces for many, whether they’ve stayed with dance like Beal and Williams, or gone on to other professions. “Being part of the Dunham family is an honor,” says dancer Jared Belk, grandson of Ruby Streate and son of master drummer James Belk. The honor, he says, is “to be able to be part of this legacy, see it preserved and help teach other people.”\u003c/p>\n\u003cfigure id=\"attachment_13899194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East St. Louis dancers who participated in Dunham’s dance and education programs perform in front of the Katherine Dunham Museum. \u003ccite>(Jon Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And though Dunham’s Museum and Workshop struggle to raise adequate funds (\u003ca href=\"https://pulitzercenter.org/stories/fighting-katherine-dunhams-dream-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">according to reporting by Eric Berger\u003c/a>, they raised only $50,000 in 2018), Beal is confident Dunham’s legacy will continue in East St. Louis, whether recognized more broadly or not.\u003c/p>\n\u003cp>“I want to make sure that the work that I’m doing is for the people, and to give back and not to be worried about recognition. Because ain’t nobody—nobody—going to recognize us, but us,” Beal says. “So as long as I acknowledge the people who poured into me and I continue to take what they’ve poured into me and pour into the generations that are behind me … the legacy will never die.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch Beal and East St. Louis movement artists dance at the Mississippi River’s edge, in front of the Katherine Dunham Museum and in downtown East St. Louis. – \u003cem>Article written by Charlotte Buchen Khadra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ICCD405_East_St_Louis_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On the banks of the wide, gray Mississippi River sit two cities. The better known St. Louis, Missouri boasts a tall, elegant national landmark: the Gateway Arch. And across the river is the Illinois city of East St. Louis, surrounded by silent traces of former industry, and nearly all-Black.\u003c/p>\n\u003cp>This is where, in the late 1960s, global dance legend Katherine Dunham put down roots and taught the arts of the African diaspora to local children and teenagers. The program she created runs to this day at the Katherine Dunham Centers for Arts and Humanities, revolutionizing lives with dance and culture. Classes are led by Ruby Streate, director of dance and education and artistic director of \u003ca href=\"http://kdcah.org/museum/\" target=\"_blank\" rel=\"noopener noreferrer\">the Katherine Dunham Children’s Workshop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13899188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N28543_0001-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N28543_0001-800x632.jpg\" alt=\"Katherine Dunham interacts with a visitor, who places a pot on her head, in her museum.\" width=\"800\" height=\"632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1536x1213.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-2048x1618.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N28543_0001-1920x1517.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">International dance icon Katherine Dunham (right,) also an anthropologist, founded an art museum in East St. Louis, IL. \u003ccite>((Photographer unknown, Courtesy of Missouri History Museum Photograph and Prints collection. Dunham, Katherine Collection.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Streate started dancing herself in the Dunham program as a self-described “angry 17-year-old,” saddled with grown-up responsibilities and with few outlets to express herself. Then, she says, “I started to really change my attitude, because I was wanting to perform really bad. My instructors knew I was talented—that I could do whatever I needed to do on stage.”\u003c/p>\n\u003cp>Today, she’s a culture-keeper, as one of Dunham’s most trusted teachers (Dunham died in 2006). “I’m proud of all of my students because all of them have learned the fact that they can do anything that they want to do,” Streate says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Heather Beal is one of those students and recalls a choreography Streate put together based on \u003ca href=\"https://www.poetryfoundation.org/poems/48985/phenomenal-woman\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Angelous’ poem “Phenomenal Woman.”\u003c/a> “Imagine, every day we are rehearsing, saying those words, ‘Phenomenal woman, that’s me,’” says Beal, one of thousands of East St. Louis residents who came through the welcoming doors of Katherine Dunham’s Children’s Workshop.\u003c/p>\n\u003cp>“Imagine what that’s like for a 15-year-old girl every day to say––but also to embody it, because the choreography embodied that,” Beal says. “You don’t have any option but to be a phenomenal woman. So that foundation is priceless. And it’s the way that I teach children today.”\u003c/p>\n\u003cfigure id=\"attachment_13899191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-800x450.jpg\" alt=\"Ruby Streate and Heather Beal embrace one another and look into the distance\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_04_35_06.Still01_CC.jpg 1521w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heather Beal (right) was a student of Ruby Streate (left) at the Katherine Dunham Centers for Arts and Humanities in East St. Louis, IL. \u003ccite>(Christopher Phillips )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beal runs a dance collective called \u003ca href=\"https://www.theseventhfloor.org/choreography\" target=\"_blank\" rel=\"noopener noreferrer\">The Seventh Floor\u003c/a>, and like Dunham, brings a fierce sense of purpose to her dance. She also is director of audience services at the Black Repertory Theater in St. Louis. “I consider myself a truth teller,” says Beal. “The work I create is for Black folks. My movement is Black joy and Black activism. And I shine a mirror on what is happening in the world today.”\u003c/p>\n\u003cp>Beal is also a certified teacher of the Dunham Technique, a dance methodology created by Dunham in the late 1930s, which brings together elements of the dances she filmed over two years as a young anthropology student in Haiti, Jamaica, Martinique and Trinidad, as well as modern dance and ballet. The rigorous technique is credited for bringing Black dance to the classroom and to the stage, where it has mesmerized audiences globally and transformed the world of dance.\u003c/p>\n\u003cp>“She was Beyoncé before Beyoncé,” says Beal, describing Dunham’s extraordinary talent and widespread appeal, but also the savvy way she ran her own company, and her desire to connect to African diasporic culture. From the 1930s to the early 1960s, Dunham’s company toured over 60 countries. She also made a mark on Broadway and in Hollywood, appearing in films like the 1943 musicals Cabin in the Sky and Stormy Weather. Even as she aged out of her dancing years, Dunham was a well-connected cosmopolitan in high demand as a choreographer. She was also \u003ca href=\"https://pulitzercenter.org/stories/fighting-katherine-dunhams-dream-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">an outspoken activist\u003c/a> long before the height of the civil rights movement. When she encountered East St. Louis in 1967, something touched a nerve. “I view East St. Louis as an outpost in the world,” she told the St. Louis Post-Dispatch. It reminded her of Haiti. It felt like a place where she was needed.\u003c/p>\n\u003cfigure id=\"attachment_13899192\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-800x450.jpg\" alt=\"Three woman dancers on a grassy field, wearing matching off-white blouses and flowing white skirts, are in synchronized flying pose, against a backdrop of the St. Louis skyline and iconic St. Louis Gateway Arch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_03_56_21.Still010_CC.jpg 1651w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers perform an excerpt of Choreographer Keith Tyrone Williams’ work “The Ties That Bind” \u003ccite>(Jon Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Miss Dunham could have chosen anywhere in the world to settle down, yet she chose East St. Louis—a challenged, impoverished, but prideful city that she felt some kind of connection to,” says Keith Tyrone Williams, a renowned St. Louis performing artist and teacher who grew up in East St. Louis and was transformed by a Dunham class he encountered in his late teens. “She obviously [felt] some sort of spiritual, emotional and mental connection with the people.”\u003c/p>\n\u003cp>Difficult circumstances continue in East St. Louis; the city has a high murder rate and low rates of employment. \u003ca href=\"https://estl1917ccci.us\" target=\"_blank\" rel=\"noopener noreferrer\">A particularly horrific moment\u003c/a> in East St. Louis’ history is little known on the national stage. In 1917, after a labor dispute, a mob of white men rampaged through the city, driving Black families from their homes and businesses, and murdering over 100 Black people. The city paid some damages to the deeply traumatized Black community, but didn’t fully acknowledge what happened until 2017, when a commission examined the events and placed historical markers throughout the city—the start of a much-needed reckoning with the past.\u003c/p>\n\u003cfigure id=\"attachment_13899193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N33831_0001-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/N33831_0001-800x623.jpg\" alt=\"Katherine Dunham sits at a press conference table beside Reverend Charles Koen, Poet Eugene Redmond, and two members of the Black Eqyptians street gang.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1536x1196.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-2048x1595.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/N33831_0001-1920x1495.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Katherine Dunham (center) participates in a press conference with Reverend Charles Koen, Poet Eugene Redmond, and two members of the Black Eqyptians street gang. Dunham recognized the need to build trusting relationships with local gangs, as well as Black Power leaders in order to improve young people’s lives. \u003ccite>(Courtesy Missouri Historical Society Photographs and Prints Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The East St. Louis that Dunham saw on that first visit was a shell of its former self: industry declined following World War II, and though white families fled for the suburbs, the city was still governed and policed largely by white folks, with very few jobs left for the remaining Black population.\u003c/p>\n\u003cp>Yet behind the tropes of a city in decline was a tightly held culture doing its best. Williams says, “Even in the midst of some challenges, growing up, it was a community that teachers, neighbors, elders and educators invested back into their community. East St. Louis has an incredible heart. And that’s what keeps me.”\u003c/p>\n\u003cp>Dunham wrote numerous proposals extolling the virtues of “socialization through the arts” and spent hours in meetings convincing funders that dance and culture could provide an alternative to gangs and violence. By 1972 her program became known as the Children’s Workshop. Dunham had enrolled over 1,000 students in her program, offered courses for college credit, founded a student dance company and opened a museum dedicated to African art. Her classes were free or affordable, giving all local kids the opportunity to attend—and she drew students in with martial arts and drumming courses in addition to dance. “Within a few years, Dunham had turned the troubled city… into an important hub of the Black Arts movement,” writes Joanna Dee Das in her book Katherine Dunham: Dance and the African Diaspora.\u003c/p>\n\u003cp>Dunham’s program opened doors into culture, pride and discipline that have been powerful forces for many, whether they’ve stayed with dance like Beal and Williams, or gone on to other professions. “Being part of the Dunham family is an honor,” says dancer Jared Belk, grandson of Ruby Streate and son of master drummer James Belk. The honor, he says, is “to be able to be part of this legacy, see it preserved and help teach other people.”\u003c/p>\n\u003cfigure id=\"attachment_13899194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Fine_v1-SocialMedia.00_06_33_12.Still017-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East St. Louis dancers who participated in Dunham’s dance and education programs perform in front of the Katherine Dunham Museum. \u003ccite>(Jon Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And though Dunham’s Museum and Workshop struggle to raise adequate funds (\u003ca href=\"https://pulitzercenter.org/stories/fighting-katherine-dunhams-dream-east-st-louis\" target=\"_blank\" rel=\"noopener noreferrer\">according to reporting by Eric Berger\u003c/a>, they raised only $50,000 in 2018), Beal is confident Dunham’s legacy will continue in East St. Louis, whether recognized more broadly or not.\u003c/p>\n\u003cp>“I want to make sure that the work that I’m doing is for the people, and to give back and not to be worried about recognition. Because ain’t nobody—nobody—going to recognize us, but us,” Beal says. “So as long as I acknowledge the people who poured into me and I continue to take what they’ve poured into me and pour into the generations that are behind me … the legacy will never die.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch Beal and East St. Louis movement artists dance at the Mississippi River’s edge, in front of the Katherine Dunham Museum and in downtown East St. Louis. – \u003cem>Article written by Charlotte Buchen Khadra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-joy-dance",
"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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"excerpt": "Dancers from If Cities Could Dance series remind us that Black dance happens anywhere and everywhere.",
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"title": "A Dance Through Black History Across the African Diaspora | KQED",
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"headline": "Black Dancers Carry Joy Across the Diaspora",
"datePublished": "2021-02-16T18:07:14-08:00",
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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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"slug": "sfmoma-director-neal-benezra-steps-down",
"title": "SFMOMA Director Neal Benezra Steps Down",
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"content": "\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture",
"title": "Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture",
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"headTitle": "Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture | KQED",
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"content": "\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ICCD401_Oakland_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Will Randolph was just eight years old when he witnessed something that would change his life forever.\u003c/p>\n\u003cp>The young East Oakland resident was at a New Years’ Eve party thrown by the Pointer Sisters, his neighbors at the time, marveling at two teenagers moving in an animated fashion, craning their necks and striking poses. Randolph remembers thinking to himself: “What in the world is that?”\u003c/p>\n\u003cp>That night launched a six decade-long love affair with boogaloo, a dance form invented by African American youth in Oakland. Taking inspiration from James Brown, the Temptations, Charlie Chaplin, cartoon characters, and sci-fi robots, boogaloo innovators created a repertoire of original moves like the “Dime Stop,” the “Hit,” the “Mack Pose,” and the “Ditallion.” San Francisco and Richmond soon developed variants of boogaloo, respectively known as strutting and robottin’.\u003c/p>\n\u003cfigure id=\"attachment_13891301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891301 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg\" alt=\"The Black Resurgents form a semi circle around TV host Jay Patton and post for a photo\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1020x1210.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-768x911.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1295x1536.jpg 1295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1726x2048.jpg 1726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg 1888w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents back stage on the Jay Payton Show, a music and dance variety \u003ccite>(Courtesy William Randolph, The Black Resurgents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, these techniques are collectively known in the world of hip-hop dance as “the funk styles,” owing to their development during the funk era. As dance historian Traci Bartlow notes, boogaloo preceded the emergence of hip-hop culture, whose name “was not even thought of for another 10 years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But despite its pioneering status, boogaloo’s cultural contributions are little-known outside of Bay Area dance circles. That’s why, for the past 20 years, Randolph and other veteran boogaloos have spread the word in an attempt to revive boogaloo, maintain its cultural traditions, and pass them on to a new generation–bridging the gap between boogaloo, pop-locking and contemporary dance forms like turf dancing.\u003c/p>\n\u003cp>“Turfing in the millennium,” Randolph says, “is what boogaloo was in the ’70s.”\u003c/p>\n\u003cp>Randolph’s stories of boogaloo’s evolution and development have a folkloric, even legendary, quality. In 1971, while urban renewal and white flight were underway and East Oakland’s population rapidly became predominantly African American, he and a handful of his classmates at Elmhurst Junior High began entering talent show competitions. Inspired by the Black Panthers and the social justice movements of the post-civil rights era, they named themselves the Black Resurgents.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3KXUkne9GxQi43KSpN3Lo5\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Throughout the 1970s, boogaloo became the preeminent form of African American youth culture in Oakland. Numerous boogaloo groups formed in the East, including the Black Resurgents and their chief rivals, the Black Messengers. Castlemont High School and Arroyo Park became centers for group competitions. Boogaloo culture also spread to West Oakland, where groups like S.S. Enterprise and Derrick and Company held forth at McClymonds High School and Mosswood Park. (Talent shows at the Oakland Auditorium, centrally situated near Lake Merritt, became a place where dancers from both East and West Oakland converged.)\u003c/p>\n\u003cp>Bartlow, Randolph’s former neighbor, recalls watching the Black Resurgents practice at his home on 96th Ave. and Sunnyside—a formative experience which inspired her to become a dance student and cultural historian. Boogaloo’s concurrent evolution with funk music, she says, resulted in an explosion of youthful expression that reverberated across the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13891302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg\" alt=\"Traci Bartlow, wearing a beaded tank with the words "Boogaloo, Robbottin', Struttin'," poses for the camera. Her arms are linked with dancers on both sides, their backs turned to show the backs of their shirts that read "TURF Inc" on one and "1971" on the other\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-2048x1150.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow poses with dancers of The Black Resurgents and TURFinc \u003ccite>(Elie Khadra, KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bass stirred something deep in the souls of Bay Area youth. Talent shows with dances were common all over San Francisco, Oakland and of course, the legendary Richmond Auditorium.”\u003c/p>\n\u003cp>Boogaloo, she says, was seemingly everywhere: “On the blocks, in the recreation centers, the courtyard at public schools. Or even in living rooms with the furniture pushed back. Dancers were blasting funk music and working out free-form body movements that had complex rhythms, visual illusions and robotic moves.”\u003c/p>\n\u003cp>“We were just a bunch of poor kids that didn’t have a lot of money but had massive imaginations,” explains William “Boogaloo Bill” Bilal, a founding member of S.S. Enterprise and a practitioner of the West Oakland style of boogaloo.\u003c/p>\n\u003cp>Boogaloo’s popularity declined in the mid-’80s, when hip-hop emerged and breakdancing briefly became a national trend. The Bay Area’s boogaloo dancers had begun to age out, and with limited career opportunities compared to their counterparts in New York and Los Angeles, the artform became obscured. “It was all but left for dead on the road,” says Bilal.\u003c/p>\n\u003cfigure id=\"attachment_13891344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891344 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg\" alt=\"William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg 1703w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But boogaloo never truly died. Its movement vocabulary was adopted—some say appropriated—into the Southern California dance known as locking, eventually widely recognized as pop-locking, which itself became part of hip-hop dance’s canon. Then, in the late ’90s and early 2000s, turf dancing emerged from the same Oakland streets which had birthed the funk boogaloo 30 years earlier.\u003c/p>\n\u003cp>Turfing shares much in common with boogaloo: it’s highly interpretive and improvisational, and varies stylistically from neighborhood to neighborhood. Unknowingly, turfers adapted many boogaloo movements without being aware of their origin.\u003cbr>\n“People need to know where the foundation comes from,” says Johnny “Johnny 5” Lopez, founder of TURFinc. “I just feel like boogaloo started almost everything there is about dancing.”\u003c/p>\n\u003cp>In recent years, turfing and boogaloo have occasionally shared the same stage at TURFinc’s “all styles” events (which have also incorporated breaking and freestyle dance) and at the Oakland Museum of California. Randolph and fellow veterans like “OG Mike” Predovic of the Boogaloo Conservatory have become mentors to turfers like Lopez and Levi “iDummy” Allen.\u003c/p>\n\u003cp>In 2000, Randolph founded the BRS Alliance (the acronym stands for Boogaloo, Robottin’, Strutting) with Richmond’s Ralph “Plik Plok” Montejo and San Francisco’s Lonnie “Pop Tart” Green. Together with Bilal’s Original Boogaloo Movement and numerous Facebook groups, they’ve created a growing online presence and produce an annual “Original Boogaloo Reunion Barbeque” at Oakland’s Shoreline Middle Harbor Park since 2011.\u003c/p>\n\u003cfigure id=\"attachment_13891315\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry-800x450.jpg\" alt=\"Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The boogaloo BBQ has not only become a place where veteran dancers interact and relive their glory years, but also a stomping ground for turfers and young dance students who have developed an interest in learning one of the original styles of street dance. Although 2020’s event was cancelled due to COVID, prior years have been graced by legendary boogaloos like Larry Thompson of Pirate and the Easy Walkers; Fayzo and Boogaloo Dana of Demons of the Mind; Darrin “Dub” Hodges of Gentlemen of Production; Kerney Myers, John Murphy, and Chuck Powell of the Black Messengers; and Money B of Playboyz Inc.—along with dance enthusiasts like Agatha “Agatron” Rupniewski of Mix’d Elements.\u003c/p>\n\u003cp>For his part, Randolph is hoping that the upcoming 50th anniversary of the Black Resurgents in November 2021 will be a flashpoint for the culture.\u003c/p>\n\u003cp>But the pandemic and painful loss have thrown the future of live events into question, and the culture is beginning to lose many of its OGs. Randolph’s brother, E. Vic Randolph “The Crowd Pleaser,” passed away not long after he was filmed for this \u003cem>If Cities Could Dance\u003c/em> episode, and other recent deaths of veteran dancers “Boogaloo Dan” Hodges, Harry Berry, and Dan “Reo Robot” Moore have shaken the boogaloo community to its core.\u003c/p>\n\u003cp>Even more chillingly, the name boogaloo has been co-opted by a violent extremist group called the “Boogaloo Bois” who have been linked to murders in Oakland and Santa Cruz and riots in Minneapolis. “We all started hearing about the so-called boogaloo bois creating chaos right here in the Town,” says the Resurgents’ Ricky Wilson Gantt. “I had a gamut of emotions when I heard that,” says Bilal, adding “if [the boogaloo bois] really and truly understood what the definition of boogaloo is, they never would have chosen it as a name in the first place.” He notes that the word ‘boogaloo’ has been part of the African American vernacular for decades, and traces its roots back to slavery.\u003c/p>\n\u003cp>Though national media has overlooked the boogaloo dancers and their history, the true boogaloo believers remain committed to their cause.\u003c/p>\n\u003cp>”There is a notion in our community,” Randolph concludes,” that we have to protect the art form’s name, that we have to protect the culture. This culture did not destroy lives. It saves lives.” \u003cem>— Text by Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-oakland/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>In a previous post we incorrectly introduced E. Vic Randolph “The Crowd Pleaser.” His family informed us that Vic passed away due to heart failure caused by hypertension, not COVID-19 as previously stated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ICCD401_Oakland_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Will Randolph was just eight years old when he witnessed something that would change his life forever.\u003c/p>\n\u003cp>The young East Oakland resident was at a New Years’ Eve party thrown by the Pointer Sisters, his neighbors at the time, marveling at two teenagers moving in an animated fashion, craning their necks and striking poses. Randolph remembers thinking to himself: “What in the world is that?”\u003c/p>\n\u003cp>That night launched a six decade-long love affair with boogaloo, a dance form invented by African American youth in Oakland. Taking inspiration from James Brown, the Temptations, Charlie Chaplin, cartoon characters, and sci-fi robots, boogaloo innovators created a repertoire of original moves like the “Dime Stop,” the “Hit,” the “Mack Pose,” and the “Ditallion.” San Francisco and Richmond soon developed variants of boogaloo, respectively known as strutting and robottin’.\u003c/p>\n\u003cfigure id=\"attachment_13891301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891301 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg\" alt=\"The Black Resurgents form a semi circle around TV host Jay Patton and post for a photo\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1020x1210.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-768x911.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1295x1536.jpg 1295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1726x2048.jpg 1726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg 1888w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents back stage on the Jay Payton Show, a music and dance variety \u003ccite>(Courtesy William Randolph, The Black Resurgents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, these techniques are collectively known in the world of hip-hop dance as “the funk styles,” owing to their development during the funk era. As dance historian Traci Bartlow notes, boogaloo preceded the emergence of hip-hop culture, whose name “was not even thought of for another 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But despite its pioneering status, boogaloo’s cultural contributions are little-known outside of Bay Area dance circles. That’s why, for the past 20 years, Randolph and other veteran boogaloos have spread the word in an attempt to revive boogaloo, maintain its cultural traditions, and pass them on to a new generation–bridging the gap between boogaloo, pop-locking and contemporary dance forms like turf dancing.\u003c/p>\n\u003cp>“Turfing in the millennium,” Randolph says, “is what boogaloo was in the ’70s.”\u003c/p>\n\u003cp>Randolph’s stories of boogaloo’s evolution and development have a folkloric, even legendary, quality. In 1971, while urban renewal and white flight were underway and East Oakland’s population rapidly became predominantly African American, he and a handful of his classmates at Elmhurst Junior High began entering talent show competitions. Inspired by the Black Panthers and the social justice movements of the post-civil rights era, they named themselves the Black Resurgents.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3KXUkne9GxQi43KSpN3Lo5\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Throughout the 1970s, boogaloo became the preeminent form of African American youth culture in Oakland. Numerous boogaloo groups formed in the East, including the Black Resurgents and their chief rivals, the Black Messengers. Castlemont High School and Arroyo Park became centers for group competitions. Boogaloo culture also spread to West Oakland, where groups like S.S. Enterprise and Derrick and Company held forth at McClymonds High School and Mosswood Park. (Talent shows at the Oakland Auditorium, centrally situated near Lake Merritt, became a place where dancers from both East and West Oakland converged.)\u003c/p>\n\u003cp>Bartlow, Randolph’s former neighbor, recalls watching the Black Resurgents practice at his home on 96th Ave. and Sunnyside—a formative experience which inspired her to become a dance student and cultural historian. Boogaloo’s concurrent evolution with funk music, she says, resulted in an explosion of youthful expression that reverberated across the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13891302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg\" alt=\"Traci Bartlow, wearing a beaded tank with the words "Boogaloo, Robbottin', Struttin'," poses for the camera. Her arms are linked with dancers on both sides, their backs turned to show the backs of their shirts that read "TURF Inc" on one and "1971" on the other\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-2048x1150.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow poses with dancers of The Black Resurgents and TURFinc \u003ccite>(Elie Khadra, KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bass stirred something deep in the souls of Bay Area youth. Talent shows with dances were common all over San Francisco, Oakland and of course, the legendary Richmond Auditorium.”\u003c/p>\n\u003cp>Boogaloo, she says, was seemingly everywhere: “On the blocks, in the recreation centers, the courtyard at public schools. Or even in living rooms with the furniture pushed back. Dancers were blasting funk music and working out free-form body movements that had complex rhythms, visual illusions and robotic moves.”\u003c/p>\n\u003cp>“We were just a bunch of poor kids that didn’t have a lot of money but had massive imaginations,” explains William “Boogaloo Bill” Bilal, a founding member of S.S. Enterprise and a practitioner of the West Oakland style of boogaloo.\u003c/p>\n\u003cp>Boogaloo’s popularity declined in the mid-’80s, when hip-hop emerged and breakdancing briefly became a national trend. The Bay Area’s boogaloo dancers had begun to age out, and with limited career opportunities compared to their counterparts in New York and Los Angeles, the artform became obscured. “It was all but left for dead on the road,” says Bilal.\u003c/p>\n\u003cfigure id=\"attachment_13891344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891344 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg\" alt=\"William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg 1703w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But boogaloo never truly died. Its movement vocabulary was adopted—some say appropriated—into the Southern California dance known as locking, eventually widely recognized as pop-locking, which itself became part of hip-hop dance’s canon. Then, in the late ’90s and early 2000s, turf dancing emerged from the same Oakland streets which had birthed the funk boogaloo 30 years earlier.\u003c/p>\n\u003cp>Turfing shares much in common with boogaloo: it’s highly interpretive and improvisational, and varies stylistically from neighborhood to neighborhood. Unknowingly, turfers adapted many boogaloo movements without being aware of their origin.\u003cbr>\n“People need to know where the foundation comes from,” says Johnny “Johnny 5” Lopez, founder of TURFinc. “I just feel like boogaloo started almost everything there is about dancing.”\u003c/p>\n\u003cp>In recent years, turfing and boogaloo have occasionally shared the same stage at TURFinc’s “all styles” events (which have also incorporated breaking and freestyle dance) and at the Oakland Museum of California. Randolph and fellow veterans like “OG Mike” Predovic of the Boogaloo Conservatory have become mentors to turfers like Lopez and Levi “iDummy” Allen.\u003c/p>\n\u003cp>In 2000, Randolph founded the BRS Alliance (the acronym stands for Boogaloo, Robottin’, Strutting) with Richmond’s Ralph “Plik Plok” Montejo and San Francisco’s Lonnie “Pop Tart” Green. Together with Bilal’s Original Boogaloo Movement and numerous Facebook groups, they’ve created a growing online presence and produce an annual “Original Boogaloo Reunion Barbeque” at Oakland’s Shoreline Middle Harbor Park since 2011.\u003c/p>\n\u003cfigure id=\"attachment_13891315\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry-800x450.jpg\" alt=\"Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The boogaloo BBQ has not only become a place where veteran dancers interact and relive their glory years, but also a stomping ground for turfers and young dance students who have developed an interest in learning one of the original styles of street dance. Although 2020’s event was cancelled due to COVID, prior years have been graced by legendary boogaloos like Larry Thompson of Pirate and the Easy Walkers; Fayzo and Boogaloo Dana of Demons of the Mind; Darrin “Dub” Hodges of Gentlemen of Production; Kerney Myers, John Murphy, and Chuck Powell of the Black Messengers; and Money B of Playboyz Inc.—along with dance enthusiasts like Agatha “Agatron” Rupniewski of Mix’d Elements.\u003c/p>\n\u003cp>For his part, Randolph is hoping that the upcoming 50th anniversary of the Black Resurgents in November 2021 will be a flashpoint for the culture.\u003c/p>\n\u003cp>But the pandemic and painful loss have thrown the future of live events into question, and the culture is beginning to lose many of its OGs. Randolph’s brother, E. Vic Randolph “The Crowd Pleaser,” passed away not long after he was filmed for this \u003cem>If Cities Could Dance\u003c/em> episode, and other recent deaths of veteran dancers “Boogaloo Dan” Hodges, Harry Berry, and Dan “Reo Robot” Moore have shaken the boogaloo community to its core.\u003c/p>\n\u003cp>Even more chillingly, the name boogaloo has been co-opted by a violent extremist group called the “Boogaloo Bois” who have been linked to murders in Oakland and Santa Cruz and riots in Minneapolis. “We all started hearing about the so-called boogaloo bois creating chaos right here in the Town,” says the Resurgents’ Ricky Wilson Gantt. “I had a gamut of emotions when I heard that,” says Bilal, adding “if [the boogaloo bois] really and truly understood what the definition of boogaloo is, they never would have chosen it as a name in the first place.” He notes that the word ‘boogaloo’ has been part of the African American vernacular for decades, and traces its roots back to slavery.\u003c/p>\n\u003cp>Though national media has overlooked the boogaloo dancers and their history, the true boogaloo believers remain committed to their cause.\u003c/p>\n\u003cp>”There is a notion in our community,” Randolph concludes,” that we have to protect the art form’s name, that we have to protect the culture. This culture did not destroy lives. It saves lives.” \u003cem>— Text by Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-oakland/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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