SOJO Museum Art in Placemaking AARP

Kwanzaa Celebrations Begin in Sacramento

Kwanzaa is an annual holiday that affirms African family and social values and is celebrated primarily in the United States from December 26 to January 1. The name and the celebration were devised in 1966 by Maulana Karenga, a professor of Africana studies at California State University in Long Beach and an important Afrocentric figure. Karenga borrowed the word kwanza, meaning “first,” from the Swahili phrase matunda ya kwanza, adding the seventh letter, an extra a, to make the word long enough to accommodate one letter for each of the seven children present at an early celebration. (The name Kwanzaa is not itself a Swahili word.) The concept of Kwanzaa draws on Southern African first-fruits celebrations.

FLORIN ROAD ART WALK

"Art is Business"florinroadcommunitybeautificationproject.org

Welcome to the Florin Road Art Walk!

Discover a community of art, culture, and holiday cheer on December 21st, 2024.

Kick off the day with a Dedication Ceremony from 10–12 p.m. at the Florin Transit Station, 3001 Florin. See four incredible new sculptures, meet the artists, and hear from local leaders who helped make the Florin Road Community Beautification Project possible.

Next, visit Florin Square at 2251 Florin from 12 to 6 p.m. for the December African Market Place. Florin Square and the surrounding properties are now home to 16 massive sculptures and more than 1500 square feet of murals, made possible by the Florin Road Community Beautification Project.

Lastly, visit the artworks at 3860 Florin Road and stay for the 2024 Winterfest, hosted by FRCBP partner Florin Road Partnership. From 11 a.m. to 8:00 p.m., enjoy ice skating, music, and more.

Take advantage of this exciting opportunity to discover new artwork, connect with fellow art lovers, and enjoy a day of winter cheer. See you there!

Learn More about the Florin Road Community Beautification Project at 

  

EAC BIPOC Curatorial Fellowship

"Art is Business" https://www.evanstonartcenter.org/callforcurators

Inspiring art education, exhibitions, and expression for all.

❄️ Fellowship and Exhibition Opportunities! ❄️

At the Art Center this Week...

We have upcoming Exhibition Opportunities! Look at our Curatorial Fellowship Application and Student Biennial Call for Artists below.

The EAC is excited to be collecting applications for our 6th BIPOC Annual Curatorial Fellowship. The EAC is seeking a Black, Indigenous, or Person of Color (BIPOC) curator with ties to communities of color in Evanston and the Chicago Metro area to create an exhibition and related materials. The curator will choose the exhibition's subject, theme, and content, with the EAC acting as a facilitator. The EAC intends that such an exhibit will build new ties to historically underrepresented groups and introduce Evanston and the greater Chicago area to new curatorial and artistic perspectives.

That's all for now, see you at the Center!

The Evanston Art Center is a 501(c)(3) non-profit organization which is generously supported by the following: 

The Evanston Arts Council, a city agency supported by the City of Evanston; the Illinois Arts Council, a state agency; the National Endowment for the Arts, a Federal agency; Phillip and Edith Leonian Foundation, and the Grainger Foundation

Exhibitions are partially supported by a grant from the Illinois Arts Council through federal funds provided by the National Endowment for the Arts.

Sandy Holman- The SPIRIT of JUSTICE

"Art is Business"

Sandy Holman, Executive Director 

Tuesday Truth: Good morning, Beloved. Peace, Hope, and determination to all of you. In times like the ones we are in, several things can happen. We, understandably, can shrink back in fear since we know there are consequences to standing on the side of love, truth, justice, equality, and equity and doing what we know needs to be done.  We also can begin to normalize abhorrent behaviors to justify not doing the right thing and find the courage we need to take a stand against crimes against humanity. 

We may go completely silent, blend in with the status quo, even when it is wrong, and justify horrible things being done to others to feel ok about our inaction. Some will act as if all is well because of the overwhelming nature of what is facing us. Others will justify the harm to others by saying, "Well, they must have done something wrong for that to happen to them," when we know that much more is happening in a given situation. 

Of course, some want to let others take the lead and fight against oppressive acts so that they can personally stay safe, even if they benefit from someone who is persecuted since they are on the front lines. 

Some say, "It's not going to be as bad as you think," or "God is in control," forgetting that the first statement is often based on the perception that no harm is going to come to them, personally, and the second one forgets that it's Faith and Works that go together. All of the above starts out in small steps. We don't do that event, training, community gathering, supporting target groups, participating in proactive interventions, and many other things that represent hope, solidarity, and determination to "follow the long-term arc towards justice." We can all relate to all the above or at least one or two things. 

No judgment here, just a reminder to be careful about these things. Doing the above has us where we are today. Doing the above leads to massive chaos and increased danger to everyone. Doing the above has put whole countries in extreme turmoil and has even led to horrific happenings on our watch. We cannot stand idle and act only when something terrible happens to us personally. We are each other’s hope. I hope this book encourages you. 

Hopefully, God and Our Ancestors will too. We all have fears. I know I do. Though I am not surprised by what I see in our country and world, my heart is extremely impacted by it. I especially feel for our young people. However, if we do our small part, " we can help someone, or at least keep from hurting them." Peace and Purple Love

Relational Moves | Theaster Gates: Young Lords and Their Traces

2,560 views  Jan 11, 2023

In "Theaster Gates: Young Lords and Their Traces," artist Theaster Gates honors the radical thinkers who have influenced his practice by sharing objects, letters, and archives that hold the spirit and memory of his dearly departed. From Bell Hook's Bell to Russian scholar Robert Byrd's archive of literature and academia to Arthur Jafa's eulogy for Virgil Abloh, Gates's personal museum shapes his grief.

Theaster Gates (b. 1973) is an American sculptor and mixed media artist. Gates's sculptural practice uses salvaged materials and archived found objects. Gates has won numerous awards and honors including the Frederick Kiesler Prize for Architecture and the Arts (2021); the Kurt Schwitters Prize (2018); the Nasher Sculpture Prize (2018); Artes Mundi 6; and the New School Vera List Center Prize for Art and Politics (2012).

Subscribe to the New Museum: https://newmu.org/XLVLbx.

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Relational Moves | Theaster Gates: Young Lords and Their Traces 

On view from November 10, 2022 to February 5, 2023

TChaka Muhammed Honoring Our Ancestor: Passing Of The Torch

"Art is Business" 

The family of T'Chaka Muhammed invites his beloved community to celebrate the life of our recent ancestors. Let us come together to share a meal, share cherished memories, honor our culture, and strengthen his legacy with our love for one another. We kindly ask for your help extending this invitation to others who want to participate in this celebration.

Honoring the Memory of Dr. TChaka Muhammed, Saturday, Nov. 9, 2024, 11-4PM at 9586 Sunflower Rd., Wilton, CA 95693

Let’s break bread, share memories, lift up culture, and charge his legacy with our love for each other.

Please extend our reach by inviting those you know would want to participate.

Honoring Our Ancestors: Passing Of The Torch

The Council Of Elders Metro Sacramento Strives To Create Lifelong Relationships That Will Strengthen The Community For Generations

Dr. Tchaka Muhammed, the Founding Father of the Sacramento Birthing Project, grew into Birthing Project USA and has now welcomed over 15,000 babies globally.

Tchaka Muhammed's birthday is 02/28/1942. He was 82 years old and lived in Sacramento, CA. You never know when the last time we can speak with an elder will be. I talked to Tchaka in August 2024 when visiting Sacramento for the 13th Annual Banana Festival. I went by his House Museum, which held so many artifacts that he had collected over the years. We asked him to represent the Sojourner Truth African Heritage Museum at the City of Altars held in 2023.  

City of Altars | A Documentary of Día de los Muertos en Sacramento | Shot on Sony FX6

T'Chaka on YouTube—City of Altars is a documentary that follows the narratives of five arts organizations: The Latino Center, Sol Collective, Taller Arte del Nuevo Amanecer, Sojourner Truth African Heritage Museum, and the Washington Neighborhood Center, as they offer free altar-making workshops to the community. The core of this documentary explores the celebration of Día de los Muertos, what it means to Sacramento and neighboring communities, and how people can learn more about celebrating Día de los Muertos.

Created with funding from the California Arts Council Capital Region Creative Corps and the City of Sacramento.

Dr. T’Chaka Muhammed addressing the children at Kwanzaa 1993

Dr. T Chaka Muhammad - SacTownYouthNights 12/16/22

Dr. T'Chaka Muhammad- City of Altars SOJO Kwanzaa Celebration 2023

The Northshore Black Artist Group (NBAG) is dedicated to connecting, promoting, and supporting artists.

"Art is Business" https://www.evanstonartcenter.org/exhibitions/northshore-black-artist-group-exhibition

"Alexis Lombre is a Pianist, Ain't No Chitlin Circuit," 3o" x 4o" x 2", Acyclic on canvas, mixed media collage, 2024

Organizing the NBAG can expose, educate, and engage audiences by presenting and supporting the art and artists of African descent. Both curators and artists joining this group are committed to continuing the legacy of providing stellar artistic and educational programs across various visual art disciplines.

CURATORIAL TEAM:

We are in the process of establishing a North Shore Black Artists Group. After the BP exhibit at the Chicago Mercantile Exchange in February, I realized that many Black artists did not know each other. Angela Williams, a designer at the Museum of Science and Industry and a current member of the Evanston Arts Council, and I are organizing the group's initial setup. 

 

There will be an opportunity to introduce the group through a small exhibition in the second-floor hallways of the Evanston Art Center. 

Fran Joy, Artist/Curator/Life Coach, Exhibitions and Board Member, Evanston Art Center

Angela Williams, a designer at the Museum of Science and Industry who serves on the Evanston Arts Council

On View:  October 19- November 3, 2024
Opening Reception: Sunday October 27th, 1-4 pm

The Northshore Black Artist Group (NBAG) is dedicated to connecting, promoting, and supporting artists. The organization includes visual, performing, literary, and media arts. Our mission is to create platforms for artists to showcase their work, encouraging creative expression and innovation. NBAG will serve as a community hub, bringing people together for shared experiences and fostering a sense of belonging.

OUR MISSION STATEMENT:

The Northshore Black Artist Group (NBAG) is dedicated to connecting, promoting, and supporting artists. The organization includes visual, performing, literary, and media arts. Our mission is to create platforms for artists to showcase their work and encourage creative expression and innovation. NBAG will serve as a community hub, bringing people together for shared experiences and fostering a sense of belonging.

NORTHSHORE BLACK ARTIST GROUP SHOW EXHIBITION STATEMENT

The 2024 Northshore Black Artist Group show is our first exhibition featuring the work of multiple artists, showcasing a diverse range of styles, mediums, and themes. This premier exhibition, generously hosted by the Evanston Arts Center, provides NBAG an opportunity to introduce the group to the Evanston, Chicagoland, and North Shore communities.

We are excited to exhibit this group of artists and look forward to creating a stepping stone for emerging and established artists to gain visibility. We believe that the arts offer something for everyone. The Northshore Black Artist Group hopes to spark conversation, offer diverse artistic expressions, support cultural heritage, and enrich lives.

GALLERY HOURS & VISITOR INFORMATION

This exhibition will be held in the Evanston Art Center (EAC) 's second-floor hallway galleries. Masks are optional but strongly recommended for students, visitors, and staff.

Gallery Hours

Monday–Thursday: 9am–6pm

Friday: 9am–5pm

Saturday–Sunday: 9am–4pm

HOW TO PURCHASE ARTWORK

The proceeds from artwork sales benefit both the artist and the Evanston Art Center. If you want to purchase artwork on display, please contact Emma Rose Gudewicz, Director of Development and Exhibitions, at egudewicz@evanstonartcenter.org or (847) 475-5300 x 102.

This program is partially supported by a grant from the Illinois Arts Council, which is funded through federal funds provided by the National Endowment for the Arts.

Date

Sat, 10/19/2024 - 09:00 - Sun, 11/03/2024 - 16:00

BACKGROUND AND MY INSPIRATION WHY I CREATED THIS COMPOSITION.

I selected this composition because I captured Alexis through my camera lens as she performed on piano at the Chicago Cultural Center during the 2024 Jazz Summit with Earnest Dawkins. 

Ernest's vision for this cross-cultural exchange is to explore the differences and similarities in the aesthetics of black music.

"The Englewood Soweto Exchange" evolved from a jazz workshop and cultural exchange that encouraged young musicians from two backgrounds bound by history to find each other.  Ernest deliberately selected musicians who had no prior exposure to travels into either continent to pursue the raw emotive quality he wanted to expose.

"We Want Our Land Back" is the debut single produced by this collaborative project between the U.S. and South Africa and was released officially across music streaming platforms on 25 February 2021.

Alexis Lombre is a Chicago pianist, vocalist, composer, and producer.

She discovered early that the true essence of music is not just about what you hear but how it makes you feel. Her mission is to keep the 'Soul' in music alive. Her latest single, "Boundaries," a powerful anthem about standing up for oneself and taking ownership of personal space, was initially released in June as part of Apple Music's Juneteenth Freedom 2024 Jazz playlist for Black Music Month and became available on all music platforms as of September.

Lombre's other releases include the single "Come Find Me," which she describes as "lyrically, a gospel song; harmonically, a jazz song; and rhythmically, a hip-hop/R&B song. I didn't create the song with any borders." As JazzTimes notes, "Lombre realized early on that by refusing to be constrained by convention—whether so-called 'jazz' or otherwise—she'd be honoring, rather than defiling, the rich heritage she'd come to embrace."

In addition to composing, producing, and performing her own music, she has toured the United States, Canada, Cuba, Brazil, France, and South Africa with artists such as Jon Batiste, Terrace Martin, Terri Lyne Carrington, Ledisi, Lizz Wright, STOUT, Keyon Harrold, Georgia Anne Muldrow, Marcus Miller, Nicole Mitchell, Jamila Woods, DJ D-Nice, and the Miles Davis Electric Band. Lombre was awarded the inaugural 2022 New Music Next Jazz Legacy Award and the 2023 Luminarts Award.

DEAR JAZZ 2024- ART EXHIBITION and JAZZ CONCERT

"Art is Business." Get your tickets at JazzInChicago.org/dear-jazz

I am thrilled to have my artwork in the Dear Jazz 2024. This art exhibition with live music is on November 8 and 9 at Fulton Street Collective at 1821 W. Hubbard. The Jazz Institute of Chicago produced the show curated by Raymond A. Thomas. I'll be one of over 25 important Chicago artists presenting. 

STATEMENT BY RAYMOND A. THOMAS

Dear Jazz is a vibrant and immersive art exhibition and concert that pays tribute to the soulful legacy of jazz music. Through a dynamic collection of visual works by some of Chicago's top artists, this exhibition captures the rhythm, improvisation, and emotional depth that have defined jazz throughout history. These works act as a heartfelt "love letter" to the genre, interpreting the essence of jazz's sound, spirit, and cultural significance. Drawing inspiration from the greats like Miles  Davis, John Coltrane, Billie Holiday, and many more, these chosen artists explore jazz's themes of freedom and innovation,  reflecting its role as a musical and cultural force. 

Dear Jazz invites all on a multisensory journey through jazz's history, present, and future. It celebrates how jazz transcends sound to become a universal language of expression, spontaneity, and joy.

If I Could Change Back the Hand of Time, 24" X 26" x 2", Mixed Media, Acrylic Collage, 2024

"Turn Back The Hands Of Time" by Tyrone Davis was on my mind as I named this composition. Remembering the lyrics and what he is singing about in the ℗ 1970's. It's an R&B song recorded by various artists, like Eddie Fisher's Orchestra in 1951 and 1970s, and even R. Kelly, Cher, and David Ruffin have a version. But the lyrics resonate with me, "Turn Back the Hands of Time" is based on relationship problems Moore was having at the time. Daniels co-wrote Davis's 1968 hit "Can I Change My Mind," and the recording session for "Turn Back the Hands of Time" included some of the same musicians from that session.

DEAR JAZZ- I didn't abandon you in the 1970s disco age, didn't abandon you to R&B, didn't abandon you to Reggae, nor did I turn my back on you as I listened to techno. I loved you through it all. My first Jazz Concert was the Monterey Jazz Festival in 1975. Growing up on the West Coast, jazz profoundly influenced my playlist.

"West Coast jazz refers to styles of jazz that developed in Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a subgenre of cool jazz, which consisted of a calmer style than bebop or hard bop. The music relied relatively more on composition and arrangement than on the individually improvised playing of other jazz styles. Although this style dominated, it was not the only form of jazz heard on the American West Coast."

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries. Its roots are in blues, ragtime, European harmony, and African rhythmic rituals. Since the 1920s Jazz Age, it has been recognized as a significant expression in traditional and popular music. 

Dear Jazz, the genres highlighted in Bold Black are my favorites:

• Acid jazz combined elements of soul music, funk, and disco, including looping beats and modal harmony the 1980s–1990s
• Afro-Cuban jazz mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. 1940s.
• Avant-garde jazz is a music and improvisation style combining avant-garde art music and composition with jazz. It originated in the 1950s and developed through the 1960s. 
• 1950s Bebop or bop is a jazz style characterized by a fast tempo, instrumental virtuosity, and improvisation based on a combination of harmonic structure and occasional references to the melody.
• 1940s—A big band is a type of musical ensemble, in essence, a jazz orchestra, that typically consists of at least ten musicians and four sections.
• 1910s -British dance band is a popular jazz and dance music genre that developed in British dance halls and hotel ballrooms during the 1920s and 1930s. 1920s 
• Cape Jazz (more often written as Cape Jazz) is a jazz genre performed in the southernmost part of Africa, the name being a reference to Cape Town, South Africa. 1990s 
• Chamber jazz Chamber jazz is a genre of jazz involving small, acoustic-based ensembles where group interplay is important. 1960s 
• Continental jazz Early jazz dance bands of Europe in the swing medium, to the exclusion of Great Britain.
• Cool jazz Contrasts with the hard, fast sound of bebop. A more relaxed, subdued style, with more formal arrangements and elements, such as swingswing and classical. 1940s–1960s
• Crossover jazz artists mix different styles of music into jazz. 1970s 
• Dixieland music or New Orleans jazz, sometimes referred to as hot jazz or early jazz, is a style of jazz music that developed in New Orleans at the start of the 20th century. Stylistically, it is essentially a form of Ragtime typically transposed for brass band, banjo, or clarinet. 1900s 
• Electro Swing is a modern interpretatioSwingSwing that merges with EDM. Performances typically include both a live band and a DJ. 1990s 
• Ethio-jazz is a specific form of jazz that evolved in Ethiopia in the music of Mulatu Astatke, also referred to as the King of Ethio-jazz.1950s 
• Ethno jazz, a form of ethnic music, is sometimes equated to world music or is regarded as its successor, particularly before the 1990s. An independent meaning of "ethno-jazz" emerged around 1990. 1990s
•  European free jazz is a part of the global free jazz scene and has its own development and characteristics from the 1960s 
• Flamenco jazz is a style mixing flamenco and jazz, typified by artists such as Paco de Lucia and Camarón de la Isla. 1960s 
• Free funk: A combination of avant-garde jazz with funk music in the 1970s 
• Free jazz Free improvisation is improvised music without any specific rules. By itself, free improvisation can be any genre; it isn't necessarily jazz. Free jazz musicians use free improvisation to alter, extend, or break down jazz conventions, often by discarding fixed chord changes, tempos, melodies, or phrases. Ornette Coleman was an early and noted advocate of this style. 1950s 
• Gypsy jazz style of jazz music is often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. The style was originally called "hot club" or "hot jazz" and served an acoustic European interpretation. The term "gypsy jazz" didn't appear until after the 1970s, when Sinti people adapted their folk music to emulate that of Django. 1930s/1970s->
• Hard bop Incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing. 1950s 
• Indo jazz Fusion of jazz with Indian music (see also Sitar in jazz and Jazz in India). 1950s ->
• Jazz blues Although not a distinct style, jazz blues is typically used to refer to songs that include idiomatic "jazz" embellishments to the standard form, such as extended harmony and chord substitutions. At a minimum, jazz blues usually include a ii–V progression in place of the simple V chord and an I–VI/vi–ii–V turnaround at the end of the form.
• Jazz-funk is a subgenre of jazz music characterized by a strong backbeat (groove), electrified sounds, and an early prevalence of analog synthesizers.1970s 
• Jazz fusion combines elements of jazz and rock. Characterized by electronic instruments, riffs, and extended solos. 1970s 
• Jazz poetry1920s 
• Jazz pop
• Jazz rap is a fusion subgenre of hip-hop and jazz, developed in the late 1980s and early 1990s. The lyrics are often based on political consciousness, Afrocentrism, and general positivism. 1980s 
• Jazz-rock The term "jazz-rock" (or "jazz/rock") is often used as a synonym for the term "jazz fusion." 1960s 
• Jump blues 1930s 
• Kansas City jazz is a style of jazz that developed in Kansas City, Missouri, and the surrounding Kansas City Metropolitan Area during the 1930s.
• Latin jazz draws heavily on salsa and merengue influences. Heavy use of percussion, including congas, timbales, bongos, guiros, and others. 1930s
• M-Base 1980s 
• Marabi 1920s–1930s
• Mainstream jazz is A genre of jazz music that was first used about the playing styles around the 1950s 1950s ->
• Modal jazz, as pioneered by Miles Davis, among others, is characterized by using modes, such as dorian modes, as the primary organizing element.
• Neo-bop jazz, notably associated with Wynton Marsalis, is a comparatively accessible, "retro" genre that emerged in the 1980s as a stylistic reaction against free jazz and jazz fusion. 1980s 
• Neo-swing: The name was given to the renewed interest in swing music from the 1930s and 40s. Many neo-swing bands practiced contemporary fusionSwingswing, jazz, and jump blues with rock, punk rock, ska, and ska-punk music or had roots in punk, ska, ska punk, and alternative rock music.1990s 
• Jazz noir is a form of slow or erratic contemporary jazz. Jazz noir (also known as "doom jazz" or "dark jazz") is noted for its often somber, mysterious, or even sinister tone. It takes inspiration from film noir soundtracks and dark ambient music. 1990s 
• Nu jazz music blends jazz elements with other musical styles, such as funk, soul, electronic dance music, and free improvisation.1990s 
• Orchestral jazz, Also known as "Symphonic Jazz" in the 1920s 
• Post-bop: A genre of small-combo jazz that assimilates hard bop, modal jazz, avant-garde, and free jazz without necessarily being immediately identifiable as any of those forms in the 1960s 
• Punk jazz is the amalgamation of elements of the jazz tradition (usually free jazz and jazz fusion of the 1960s and 1970s) with the instrumentation or conceptual heritage of punk rock 1970s and 
• Ragtime 1890s 
• Samba-jazz 1950s 
• Ska jazz music was derived by fusing the melodic content of jazz with the rhythmic and harmonic content of early Jamaican Music introduced by the "Fathers of Ska" in the late 1950s. It is sometimes considered a subgenre of Third-Wave Ska. 1960s 
• Skiffle 1950s ->
• Smooth jazz In general, a smooth jazz track is downtempo (the most widely played tracks are in the 90–105 BPM range), layering a lead, melody-playing instrument (saxophones – especially soprano and tenor – are the most popular, with guitars a close second) over a backdrop that typically consists of programmed rhythms and various synth pads or samples. 1960s 
• Soul jazz Draws heavy influences from hard bop, blues, gospel, and rhythm and blues. It is often characterized by organ trios. 1950s 
• Spiritual jazz 1960s 
• Straight-ahead jazz is A form of Jazz created in the 1960s with roots from the previous two decades. It omits elements from rock music and free jazz that began to appear in this period, instead emphasizing acoustic instruments and a more conventional sound. 1960s 
• Stride jazz A style of jazz piano which incorporates left hand techniques from ragtime music, except the left hand spans a greater distance on the keyboard. 1920s 
• Swing Big band arrangements, always swung. Pioneered by Duke Ellington, Count Basie, and Benny Goodman. 1930s–1950s
• Third stream: The fusion of the jazz stream and classical stream. 1950s
• Trad jazz, Short for "traditional jazz," refers to the Dixieland and ragtime jazz styles of the early 20th century.
• West Coast jazz is a style of jazz that emerged in Los Angeles and San Francisco during the 1950s. It is often considered a subgenre of cool jazz, characterized by a smoother and calmer sound compared to bebop or hard bop. This style emphasizes composition and arrangement more than individual improvisation, which is more prominent in other jazz genres. While West Coast jazz was a dominant style in the region, it wasn't the only type performed on the American West Coast.

Reference:

https://en.wikipedia.org/wiki/West_Coast_jazz

en.wikipedia.org › wiki › List_of_jazz_genresList of jazz genres - Wikipedia

Sacramento’s Sojourner Truth Museum Fundraiser Honors Black Icons

"Art is Business" REPOSTED: OBSERVER Posted in Arts & Culture 

by Williamena Kwapo

October 9, 2024

Shonna McDaniels, founder of Sojourner Truth Heritage Museum, and her brother William McDaniels hold a certificate of recognition from Assemblymember Stephanie Nguyen. Russell Stiger Jr., 

The Sojourner Truth African Heritage Museum celebrated Sacramento’s 175th anniversary "In Style" on Sept. 28 with its “Chocolate and Wine” fundraiser, honoring some of the city’s Black historical icons. Held at the Sam and Bonnie Pannell Community Center, the event was a vibrant gathering of community members, filled with food, wine, and performances that spotlighted Sacramento’s rich Black history.

Three trailblazers who have left a lasting impact on Sacramento were honored. Doris Alkebulan, the city’s first Black engineer, was recognized for breaking barriers in a field where few women and even fewer people of color were present. Michael Benjamin, a pioneer in local Black theater, was celebrated for creating a space where Black stories could be told and appreciated on stage. Pastor Larry Meeks of the First Church of God and Christ was acknowledged for his long-standing leadership and service to the community, offering guidance and support to generations of Sacramentans.

Alkebulan spoke about her journey as Sacramento’s first Black engineer, highlighting the challenges and triumphs of African Americans in STEM during the 1970s. Her story echoed the importance of community support, mentorship, and education, particularly through HBCUs, in overcoming discrimination and leaving a lasting impact on society.

“Whatever doors I opened and opportunities I created during those isolated times, I did it knowing it’s important who we are and what we can do,” Alkebulan said. I know it’s better now than it was then and that there’s hope in the future.”

Keynote speaker Marianna Sousa, a social wellness leader, kept the audience engaged and delivered a moving speech about the importance of preserving and celebrating Black history.

“Events like this are important for Black Sacramento to help us to understand the power of carrying legacy, and if we don’t do the work, studying, and praying necessary to maintain that, we will lose the value of what our elders and ancestors have given us and poured into our communities,” Sousa said.

Honoree Michael Benjamin speaks at Sacramento’s 175th anniversary commemoration, which celebrated Black historical figures in Sacramento. Russell Stiger Jr., OBSERVER

The event also featured live performances that brought to life the stories of Black figures from Sacramento and across California. Naimah Moon performed a captivating reenactment of Annie Louise Dunlap, who opened Sacramento’s first soul food restaurant with her husband, George Dunlap, offering the city a taste of Southern cuisine and culture. The story of Elizabeth Thorn Scott Flood, another prominent Black figure, was illustrated through powerful stage performances, highlighting her contributions to the local community.

The event highlighted the achievements of Sacramento’s Black community and emphasized the ongoing importance of the Sojourner Truth African Heritage Museum as a space for preserving and sharing these stories. The museum continues to play a key role in ensuring that future generations understand the significant contributions of Black Sacramentans.

Attendees left with a deeper appreciation for the city’s history and the vital role that Black Sacramentans have played in shaping its identity. The night served as a reminder of the importance of remembering the past while looking toward the future, ensuring that these stories continue to be told.

Ashley Gets Sneak Peek at Mural You Can Help Paint!

California State Railroad Museum Foundation and Partners Launch

“Community Mural Engagement,” Project Managers, and mural team: Shonna McDaniel's, Alpha Bruton,  Markos Egure, Henry "Fisko" Fisk, Judah X. Pimentel.  Aisha L. Abdul Rahman, MLIS, Ph.D. Archivist & VR Curator

Carly Starr (she/her) │ Special Projects Manager, California State Railroad Museum Foundation

Kim Whitfield,  Chief of Interpretation at The California State Railroad Museum

Sacramento, CA (Wednesday, October 9, 2024)

Sojourner Truth African Heritage  Museum proudly announces our participation in the California State Railroad Museum Foundation and the California State Railroad Museum's Community Engagement project. The Sojourner Truth African Heritage Museum facilitated two "Community Mural Input Sessions" on Saturday, July 20th, at 10 am and Friday, July 26th, at 5:30 pm at the Stanford Gallery at 111 I Street in Old Sacramento.

We gathered input from the community that reflects the oral stories and images of the California Railroad. The project will conclude with an installation that includes 2D and 3D art, land/earth art, and technology-centered art through community engagement activities. This will be held at the California State Railroad Museum.

The California State Railroad Museum — your museum — is the keeper of stories. Together, we collect them, we preserve them, and we tell them. Share your railroad stories and connections.

https://www.californiarailroad.museum/my-story

ABOUT 

California State Railroad Museum Foundation

The California State Railroad Museum Foundation (CSRMF) is an official cooperating association with California State Parks and a 501(c)(3) organization. It provides funding for ongoing support of numerous programs at the California State Railroad Museum in Old Sacramento and Railtown 1897 State Historic Park in Jamestown. The CSRMF's mission is to generate revenue and awareness on behalf of its destinations while supporting the preservation, interpretation, and promotion of our railroad heritage.

Sojourner Truth African Heritage Museum 

Sojourner Truth African Heritage Museum (SOJO) offers programs and services that educate youth, families, and the community about diversity, inclusion, and history by engaging them in hands-on art-making, cultural opportunities, and educational experiences. Our mission is to open minds and change lives by exploring and celebrating African American history, experiences, and culture through art and wellness education and outreach.

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Final Approved Draft for Mural "Past/Present/Future of Innovation & Invention"

 RA West and Markos Egure of Artners

The Team: Shonna, Juda, Fisko, Aisha, and Markos

Fisko with volunteer 

Shonna and Juda in front of the line work outlines of the mural.

Activities took place in the Hardware Store.

Collaborations with partnering Sacramento History Museums. 

Youth from the Rose Foundation, Cross-Sector partner.

Markos giving instructions Cross-Sector partner ARTNERS

 Aisha L. Abdul Rahman, MLIS, Ph.D. Archivist & VR Curator

Director Legacy Design Studio Concept for AR/VR 

Cooperative Principles 101

"Art is Business"

Please attend &/or share as appropriate:

Interested to be a future owner of a South Shore Arts & Culture mixed-use building?

REGISTRATION REQUIRED BELOW

Southside Chicago Artists, Creatives, People with Disabilities, and Business Owners + Organizations (ACPWD) are invited.

Chicago Public Library South Shore Branch

2505 E. 73rd Street

Chicago IL 60649

Get Directions

Phone: (312) 747-5281

The future of Chicago’s Southside is bright….

In-Person Coop 101 workshop

Saturday, Oct 26

2:30pm – 4:00pm

Hosted by Artists Design the Future

Kiela Smith

Co-Founder & Project Managers

RSVP to see the location

IN Person workshop (Doors open at 2:15pm)

Artists, Creatives, People with Disabilities, business owners + organizations are invited to learn cooperative principles.

Show your interest in participating in the planning, development, and ownership of a Chicago Southside Work/Live or Commercial space in a mixed-use limited equity cooperative building in a South Shore Cultural Hub. Affordable. Intergenerational. Family friendly. ADA

JOIN US Sat Oct. 26 @2:30pm:

- Learn and discuss coop principles

- Status update on this Shared ownership project: Commercial & Work / Live spaces

- Share your ideas

Tsehaye Hebert

Co-Founder & Project Managers

Laura Weathered 

Artists Design the Future

Co-Founder & Project Managers

RSVP - LINK TO ATTEND

https://chipublib.bibliocommons.com/events/66fc2a107da7e037008afa3d?fbclid=IwZXh0bgNhZW0CMTEAAR1vcJ5brijjf3wDCT-lD6J8QCXVs6hTC-1WhMq4_cfEWzDfajdakP_gBVs_aem_WImMELVQN8rCaJriLnyqHA