‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism
At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges
Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion
‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension
As SF Ballet Enters a New Era, Calls for Diversity Reemerge
SFMOMA’s Getting a New Director: Christopher Bedford
Black Joy, Black Power: Dancing the Legacy of Katherine Dunham
Black Dancers Carry Joy Across the Diaspora
SFMOMA Director Neal Benezra Steps Down
Sponsored
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She grew up in the Bay Area.\u003cem> \u003c/em>","avatar":"https://secure.gravatar.com/avatar/94ab429312e9a676559e31d1894130df?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["contributor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Marlena Jackson-Retondo | KQED","description":"Engagement Producer","ogImgSrc":"https://secure.gravatar.com/avatar/94ab429312e9a676559e31d1894130df?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/94ab429312e9a676559e31d1894130df?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mjacksonretondo"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13938247":{"type":"posts","id":"arts_13938247","meta":{"index":"posts_1591205157","site":"arts","id":"13938247","score":null,"sort":[1700508077000]},"guestAuthors":[],"slug":"stamped-from-the-beginning-documentary-review-netflix-racism","title":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","publishDate":1700508077,"format":"standard","headTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism | KQED","labelTerm":{"term":140,"site":"arts"},"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","blocks":[],"excerpt":"Angela Davis is one of the academics tasked with answering a provocative question: What’s wrong with Black people?","status":"publish","parent":0,"modified":1705003079,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":883},"headData":{"title":"‘Stamped From the Beginning’ Review: A Stark History of Racism | KQED","description":"Angela Davis is one of the academics tasked with answering a provocative question: What’s wrong with Black people?","ogTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","ogDescription":"","ogImgId":"","twTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","twDescription":"","twImgId":"","socialTitle":"‘Stamped From the Beginning’ Review: A Stark History of Racism%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","datePublished":"2023-11-20T19:21:17.000Z","dateModified":"2024-01-11T19:57:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Eric Deggans","nprImageAgency":"Netflix","nprStoryId":"1212570869","nprApiLink":"http://api.npr.org/query?id=1212570869&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/11/20/1212570869/stamped-from-the-beginning-review-netflix-kendi?ft=nprml&f=1212570869","nprRetrievedStory":"1","nprPubDate":"Mon, 20 Nov 2023 05:00:00 -0500","nprStoryDate":"Mon, 20 Nov 2023 05:00:13 -0500","nprLastModifiedDate":"Mon, 20 Nov 2023 05:00:13 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938247/stamped-from-the-beginning-documentary-review-netflix-racism","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934736","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931196","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935208","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938247/stamped-from-the-beginning-documentary-review-netflix-racism","authors":["byline_arts_13938247"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_75","arts_990"],"tags":["arts_3156","arts_13672","arts_3652","arts_585"],"featImg":"arts_13938248","label":"arts_140"},"arts_13936095":{"type":"posts","id":"arts_13936095","meta":{"index":"posts_1591205157","site":"arts","id":"13936095","score":null,"sort":[1696893418000]},"guestAuthors":[],"slug":"zumbi-vigil-zion-i-alta-bates-criminal-charges","title":"At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges","publishDate":1696893418,"format":"standard","headTitle":"At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"More than two years after the artist's death at a Berkeley hospital, his family and community are demanding answers. ","status":"publish","parent":0,"modified":1705003259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":850},"headData":{"title":"At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED","description":"More than two years after the artist's death at a Berkeley hospital, his family and community are demanding answers. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges","datePublished":"2023-10-09T23:16:58.000Z","dateModified":"2024-01-11T20:00:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/973f645c-ed48-45ce-8e83-b096018851dd/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13936095/zumbi-vigil-zion-i-alta-bates-criminal-charges","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920198","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936095/zumbi-vigil-zion-i-alta-bates-criminal-charges","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_8505","arts_1270","arts_3156","arts_10278","arts_831","arts_15215"],"featImg":"arts_13936061","label":"arts"},"arts_13924879":{"type":"posts","id":"arts_13924879","meta":{"index":"posts_1591205157","site":"arts","id":"13924879","score":null,"sort":[1675884803000]},"guestAuthors":[],"slug":"black-designer-stella-jean-quits-milan-fashion-week-over-lack-of-inclusion","title":"Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion","publishDate":1675884803,"format":"standard","headTitle":"Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"Jean charges that Milan Fashion Week’s DEI efforts have so far amounted to performative gestures and tokenism.","status":"publish","parent":0,"modified":1705005869,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":670},"headData":{"title":"Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion | KQED","description":"Jean charges that Milan Fashion Week’s DEI efforts have so far amounted to performative gestures and tokenism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black Designer Stella Jean Quits Milan Fashion Week Over Lack of Inclusion","datePublished":"2023-02-08T19:33:23.000Z","dateModified":"2024-01-11T20:44:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Colleen Barry","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13924879/black-designer-stella-jean-quits-milan-fashion-week-over-lack-of-inclusion","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920956","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916547","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905720","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924879/black-designer-stella-jean-quits-milan-fashion-week-over-lack-of-inclusion","authors":["byline_arts_13924879"],"categories":["arts_1","arts_76"],"tags":["arts_3156","arts_11272"],"featImg":"arts_13924881","label":"arts"},"arts_13924723":{"type":"posts","id":"arts_13924723","meta":{"index":"posts_1591205157","site":"arts","id":"13924723","score":null,"sort":[1675458180000]},"guestAuthors":[],"slug":"black-on-black-celebrates-black-culture-while-exploring-history-and-racial-tension","title":"‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension","publishDate":1675458180,"format":"standard","headTitle":"‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension | KQED","labelTerm":{"term":137,"site":"arts"},"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","blocks":[],"excerpt":"Daniel Black's essays call for an overhaul of the U.S. criminal justice system, of the Black church, of the way Black people see themselves, and of the country itself — and do so with authority","status":"publish","parent":0,"modified":1705005882,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":885},"headData":{"title":"Book Review: ‘Black on Black’ by Daniel Black | KQED","description":"Daniel Black's essays call for an overhaul of the U.S. criminal justice system, of the Black church, of the way Black people see themselves, and of the country itself — and do so with authority","ogTitle":"‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension","ogDescription":"","ogImgId":"","twTitle":"‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Black on Black’ by Daniel Black %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension","datePublished":"2023-02-03T21:03:00.000Z","dateModified":"2024-01-11T20:44:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Gabino Iglesias","nprImageAgency":"Hanover Square Press","nprStoryId":"1153166092","nprApiLink":"http://api.npr.org/query?id=1153166092&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/02/02/1153166092/daniel-black-book-black-on-black-a-call-to-action?ft=nprml&f=1153166092","nprRetrievedStory":"1","nprPubDate":"Thu, 02 Feb 2023 13:51:00 -0500","nprStoryDate":"Thu, 02 Feb 2023 04:47:00 -0500","nprLastModifiedDate":"Thu, 02 Feb 2023 13:51:52 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13924723/black-on-black-celebrates-black-culture-while-exploring-history-and-racial-tension","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924580","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13899186","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883630","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924723/black-on-black-celebrates-black-culture-while-exploring-history-and-racial-tension","authors":["byline_arts_13924723"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_4096","arts_3156","arts_11272"],"affiliates":["arts_137"],"featImg":"arts_13924724","label":"arts_137"},"arts_13909322":{"type":"posts","id":"arts_13909322","meta":{"index":"posts_1591205157","site":"arts","id":"13909322","score":null,"sort":[1645031413000]},"guestAuthors":[],"slug":"sf-ballet-diversity-commitments","title":"As SF Ballet Enters a New Era, Calls for Diversity Reemerge","publishDate":1645031413,"format":"standard","headTitle":"As SF Ballet Enters a New Era, Calls for Diversity Reemerge | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"With new leadership, the Ballet has an opportunity to fulfill its commitments to diversity made in 2020.","status":"publish","parent":0,"modified":1705007186,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1680},"headData":{"title":"As SF Ballet Enters a New Era, Calls for Diversity Reemerge | KQED","description":"With new leadership, the Ballet has an opportunity to fulfill its commitments to diversity made in 2020.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"As SF Ballet Enters a New Era, Calls for Diversity Reemerge","datePublished":"2022-02-16T17:10:13.000Z","dateModified":"2024-01-11T21:06:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13909322/sf-ballet-diversity-commitments","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908667","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881257","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909289","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909322/sf-ballet-diversity-commitments","authors":["11759"],"categories":["arts_1","arts_835","arts_966"],"tags":["arts_3156","arts_879","arts_4027","arts_10342","arts_10278","arts_1643"],"featImg":"arts_13909439","label":"arts"},"arts_13909162":{"type":"posts","id":"arts_13909162","meta":{"index":"posts_1591205157","site":"arts","id":"13909162","score":null,"sort":[1644438718000]},"guestAuthors":[],"slug":"sfmoma-new-director-christopher-bedford","title":"SFMOMA’s Getting a New Director: Christopher Bedford","publishDate":1644438718,"format":"standard","headTitle":"SFMOMA’s Getting a New Director: Christopher Bedford | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"The new director comes to San Francisco from the Baltimore Museum of Art. ","status":"publish","parent":0,"modified":1705007217,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":347},"headData":{"title":"SFMOMA’s Getting a New Director: Christopher Bedford | KQED","description":"The new director comes to San Francisco from the Baltimore Museum of Art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA’s Getting a New Director: Christopher Bedford","datePublished":"2022-02-09T20:31:58.000Z","dateModified":"2024-01-11T21:06:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909162/sfmoma-new-director-christopher-bedford","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892466","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909162/sfmoma-new-director-christopher-bedford","authors":["61"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_3156","arts_3648","arts_5441","arts_1146","arts_1381"],"featImg":"arts_13909164","label":"arts"},"arts_13899186":{"type":"posts","id":"arts_13899186","meta":{"index":"posts_1591205157","site":"arts","id":"13899186","score":null,"sort":[1624487302000]},"guestAuthors":[],"slug":"if-cities-could-dance-east-st-louis","title":"Black Joy, Black Power: Dancing the Legacy of Katherine Dunham","publishDate":1624487302,"format":"video","headTitle":"Black Joy, Black Power: Dancing the Legacy of Katherine Dunham | KQED","labelTerm":{"term":1725,"site":"arts"},"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","blocks":[],"excerpt":"The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.","status":"publish","parent":0,"modified":1705008168,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1576},"headData":{"title":"Black Joy, Black Power: Dancing the Legacy of Katherine Dunham | KQED","description":"The international dance icon brought dances from the African diaspora to stages around the world, then made a home in East St. Louis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black Joy, Black Power: Dancing the Legacy of Katherine Dunham","datePublished":"2021-06-23T22:28:22.000Z","dateModified":"2024-01-11T21:22:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/7k7SLEaTh7U","pbsMediaId":"3060189318","sticky":false,"nprByline":"Charlotte Buchen Khadra, Jon Alexander","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13899186/if-cities-could-dance-east-st-louis","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13899186/if-cities-could-dance-east-st-louis","authors":["byline_arts_13899186"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_2438","arts_11374","arts_2944","arts_3156","arts_879","arts_11238","arts_1118","arts_10278","arts_4522","arts_4524","arts_7408","arts_596","arts_4204","arts_1007"],"featImg":"arts_13899195","label":"arts_1725"},"arts_13892820":{"type":"posts","id":"arts_13892820","meta":{"index":"posts_1591205157","site":"arts","id":"13892820","score":null,"sort":[1613527634000]},"guestAuthors":[],"slug":"black-joy-dance","title":"Black Dancers Carry Joy Across the Diaspora","publishDate":1613527634,"format":"video","headTitle":"Black Dancers Carry Joy Across the Diaspora | KQED","labelTerm":{"term":1725,"site":"arts"},"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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" 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\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" 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\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Dancers from If Cities Could Dance series remind us that Black dance happens anywhere and everywhere.","status":"publish","parent":0,"modified":1705019466,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":481},"headData":{"title":"A Dance Through Black History Across the African Diaspora | KQED","description":"Dancers from If Cities Could Dance series remind us that Black dance happens anywhere and everywhere.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"A Dance Through Black History Across the African Diaspora %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black Dancers Carry Joy Across the Diaspora","datePublished":"2021-02-17T02:07:14.000Z","dateModified":"2024-01-12T00:31:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/47klTakg6Ho","sticky":false,"nprByline":"Chinwe Oniah ","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13892820/black-joy-dance","audioTrackLength":null,"parsedContent":[{"type":"contentString","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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7k7SLEaTh7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" 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\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/sc8DeElgwGw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" 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\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IUdS6kxw2aI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/m14kt5Nj9XQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/KmDbwZWmU7o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" 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=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0iQYF7QvAdY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892820/black-joy-dance","authors":["byline_arts_13892820"],"programs":["arts_1725"],"series":["arts_4422"],"categories":["arts_1"],"tags":["arts_888","arts_7875","arts_11374","arts_2944","arts_4096","arts_3156","arts_11239","arts_7409","arts_879","arts_11238","arts_10278","arts_7083","arts_4522","arts_4524","arts_4681","arts_1694","arts_596","arts_7679","arts_4204","arts_1007"],"featImg":"arts_13892980","label":"arts_1725"},"arts_13892466":{"type":"posts","id":"arts_13892466","meta":{"index":"posts_1591205157","site":"arts","id":"13892466","score":null,"sort":[1612905852000]},"guestAuthors":[],"slug":"sfmoma-director-neal-benezra-steps-down","title":"SFMOMA Director Neal Benezra Steps Down","publishDate":1612905852,"format":"standard","headTitle":"SFMOMA Director Neal Benezra Steps Down | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"The museum will launch an international search for his replacement amid budget shortfalls, staff furloughs and DEI concerns.","status":"publish","parent":0,"modified":1705019509,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":925},"headData":{"title":"SFMOMA Director Neal Benezra Steps Down | KQED","description":"The museum will launch an international search for his replacement amid budget shortfalls, staff furloughs and DEI concerns.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Director Neal Benezra Steps Down","datePublished":"2021-02-09T21:24:12.000Z","dateModified":"2024-01-12T00:31:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892466/sfmoma-director-neal-benezra-steps-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892466/sfmoma-director-neal-benezra-steps-down","authors":["61"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_3156","arts_10342","arts_10278","arts_5441","arts_1434","arts_1381"],"featImg":"arts_13892465","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","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.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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