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.
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.


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.  


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 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.
# # #



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?

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

In-Person Coop 101 workshop
Saturday, Oct 26
2:30pm – 4:00pm
Hosted by Artists Design the Future

Kiela Smith
Co-Founder & Project Managers

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

The Joy Ride - World Premiere (Official Trailer)




The Roots and Wings Project presents the World Premiere of
THE JOY RIDE: Through a reckoning comes the freedom journey...
Written and Directed by Jesse Bliss

Four dear friends gather to ride out together but quickly realize they each have much to reckon with. How do they dare to claim joy in a time of deep grief? Strong language and content, 18 & over only.

This touring production is delivered out of a vintage convertible.
PLEASE NOTE: This immersive experience begins punctually. Please plan to be in your seats 10 minutes before show time.
Starring (in alphabetical order):
Darian Dauchan*
Reginald P. Louis
Marlene Luna Castañeda
Ashlee Olivia

Produced by:

Jesse Bliss

Roger Q. Mason

Gabriela López de Dennis

Jennifer Andrea (YaYa) Porras

Franky Carillo

Production Team:
Stage Manager: Cristina M. Calderon
Technical Director: Max I. Brother
*Original Score: Audiopharmacy*
Dramaturgy: Leon Martell and Jennifer Andrea "Yaya" Porras
Key Art Design: Mer Young
Casting Director: Jami Rudofsky
Social Media Manager: Nastassia Cordeiro
Publicist: Steve Moyer Public Relations

THE JOY RIDE Performance Dates:

Los Angeles Tour: September 20-October 12, 2024
Graff Angeles Gallery (Arts District)
1100 E. 5th St., Los Angeles, CA 90013
Fri & Sat at 8pm; Sun at 5pm
Street parking is available.

Sacramento & Bay Area Tour: 

October 18-20, 2024

****Latino Center of Art & Culture (LCAC)****

 on October 18, 2024, at 8pm
2700 Front St.
Sacramento, CA 95818
Free parking is available on-site.

****Calle 24 Placita ****

on October 19, 2025, at 8pm
1 Lilac St.
San Francisco, CA 94110
Limited street parking is available. Bart is encouraged. Exit 24 St. & Mission, right across the street from Placita, or rideshare.


****La Peña Cultural Center****

 on October 20, 2024, at 6pm
3105 Shattuck Ave.
Berkeley, CA 94705
Residential street parking is available 1-2 blocks away. Rideshare is encouraged. Bart was encouraged to exit Ashby St. (a 6-minute walk).

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Note/ for a limited time Pre Sale Tickets for friends of our producers: Buy one get one free $15 for students, $20 for educators 

****Please contact Gaby to purchase via Venmo or Zelle directly from The Roots and Wings Project nonprofit. Contact Garbriella at  therootsandwingsproject@gmail.com

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Tickets: through Eventbrite
$25 General Admission
$20 Students & Seniors w/ID
$20 per ticket for groups of 10+ (To order group tickets or for more information, please email therootsandwingsproject@gmail.com)
Wheelchair accessible.
Performances will be outdoors.

THE JOY RIDE is supported, in part, by the California Arts Council and the Los Angeles County Department of Arts and Culture

Note; 
Free Special Engagement

Pre-Show Power Up at Medicine for Nightmares Bookstore & Galeria

October 19th, 2-5:30pm 

Featuring 

Jesse Bliss, Playwright, Director, and executive producer of The Joy Ride, along with Snowflake Calvert, Rocco, Cordova, & LaTour Soul family band

*event produced by movimiento yAyA*

--
yAyA healing movement improvisation with Whole Bison Mindset Sculpture; collaboration with Madboy & Celestial Coyote 
J. Andrea Amezcua Porras 
They/Them/Theirs
independent community/ art curator working at the intersection of cultural, spiritual, civic & social engagement
Artist/ CoFounder: MA Series Arts (Non-Profit) 2018
MA Series Arts Organization
IG Movimientoyaya
mobile: 916-228-9388

Pop Up Research Station ask the Question- Why Aren’t There More Black Librarians?

"Art is Business"  Reposted by Alpha Bruton,  WordInBlack.com February 11, 2022


Photograph by Tima Miroshnichenko/Pexels

Why Aren’t There More Black Librarians?
Though they account for less than 10% of the industry, Black librarians are crucial in our society.

by WordInBlack.com
February 11, 2022
By Maya Pottiger | Word In Black

Librarians have superpowers. This was true in the late ’90s when Marvel’s original Spider-Woman was a Black librarian named Valerie, and it was true in 1905 when the son of two formerly enslaved Black people opened the first library in the United States that served and was fully staffed by Black Americans, bringing new resources and opportunities to the community.

And it’s true now, as Black librarians across the country go to work every day, either at public libraries or school libraries. Books that tell the truth about America’s history of racism — or that are written by Black folks — are being forced off the shelves.

The whole idea of limiting who has access to reading material is typically and particularly something that a Black librarian has to mobilize against.

TRACIE HALL, EXECUTIVE DIRECTOR OF THE AMERICAN LIBRARY ASSOCIATION
The restriction of literacy is a painful part of Black history in this country, and it’s a critical piece of history for Black librarians in understanding their roles, says Tracie Hall, the executive director of the American Library Association. Before Emancipation, Black people in most Southern states were severely punished (fingers or toes chopped off, for example) for reading or teaching others to read, and white people could be fined, whipped, or imprisoned for giving them books.

“The whole idea of limiting who has access to reading material is typically and particularly something that a Black librarian has to mobilize against. We have to,” Hall says. “That has to be part of our work in the field to protect the right to read.”

Why We Need Black Librarians

Representation matters, period. But civil rights icon Rep. John Lewis once said that internet access would be the civil rights issue of the 21st century. A 2016 Pew Research Center survey on library usage found that “library users who take advantage of libraries’ computers and internet connections are more likely to be young, black, female, and lower income,” with 42% of Black library users accessing those resources. 

As a librarian, Hall believes Lewis was “really honing in on” information access in general. 

It’s about sharing power. It’s about the positive information to create shared power. I think that’s what our role is as Black librarians.



TRACIE HALL, EXECUTIVE DIRECTOR OF THE AMERICAN LIBRARY ASSOCIATION

A key part of the job for Black librarians is to open “lots of gates” to information. During the pandemic, Hall says, we’ve learned that libraries and digital access are critical for three reasons: access to education, access to employment, and access to public health.

“What we have seen, and I think what’s so important, is that information access is going to be one of the main doors that is going to open lifetime opportunities for people,” Hall says. “It’s about sharing power. It’s about the positive information to create shared power. I think that’s what our role is as Black librarians.”

While reinforcing that idea of the role may seem like a heavy lift to some, Hall says she’s noticed that younger Black people are “finding a break from this idea of the librarian as the shushing, quiet, retreating person who just loves, loves books.” Instead, they’re already understanding the role as a way to convert information access into application “to support and provide opportunities for Black lives in this country.”

Librarians Are — Still — Mostly White

As of 2021, only 7.1% of librarians are Black, according to the Bureau of Labor Statistics. This is just below the 10-year average, which is 7.4%. In 2021, roughly 87% of librarians were white people, which has been the average since 2013. In fact, Black, Asian, and Hispanic people have only ever crossed the 10% line twice — Black librarians accounted for 10.1% of the industry in 2011, and Hispanic librarians made up 10.4% in 2017.

“We are still in an era where upwards of 80% of the professional public librarians are white. In order to remain relevant as a field, let alone relevant with the information needs of our community, we have to become much more diverse,” Hall says. “That’s not an altruistic argument or effort. That is necessary in terms of the preservation of libraries and the sustainability of libraries.

While white representation in the librarian field has been very consistent, the rate of Black librarians has varied over the years. There were huge spikes in 2015 and 2020, which were both followed by sharp drops. Interestingly, both of those years were high profile for the Black Lives Matter movement, following the killings of Freddie Gray and George Floyd.

However, it’s unlikely the two increases are directly correlated with the highly publicized deaths. In order to be a librarian, you need to get a master’s degree in library and information science from an ALA-accredited school, which can take a year or two to earn, Hall says.

“We can’t say that one spike in a year is any trend,” Hall says. “What I do know is that there has been a history, and it’s growing, especially in terms of digital assets, of communities, especially Black people, seeing themselves as activists, or scholars, or creatives — being able to see very legibly the cultural intellectual productions of Black libraries and its occupants.”

Recruitment is a huge part of building the pipeline for Black librarians, and Hall says the ALA is doing the work to create it. Since it first began in 1998, ALA’s Spectrum Scholarship has helped more than 1,300 people of color achieve the required schooling. There are other national organizations helping to build pipelines of Black librarians, like the Black Caucus of the American Library Association’s national forum.

Networks Are Key for Black Librarians

As Black people see themselves more in this role, building connections and networks with fellow Black librarians is essential. Enter Black Librarians, an Instagram account with more than 33,000 followers that started in early 2018 to highlight Black librarians and the work they do.
On Facebook, Black Librarians have 1.8K likes • 1.9K followers.

Shannon Bland, who created the page, is the branch manager of a public library in Charles County, Maryland. After scrolling through the accounts she followed — profiles that focus on Black hair, Black love, Black swimmers, and Black gardeners — she wanted to create a digital space to highlight her passion: Black librarians. 

The page quickly gained traction and helped form a community. Bland says she started with meetups and games over Instagram Live, and then people began asking about mentorships. Since April 2019, Bland has helped cultivate around 10 mentor/mentee relationships. 

“It’s all about building community,” Bland says.

In addition to supporting one another, Bland says the community shares resources. As books are being challenged and banned, it can be difficult to speak up, especially if you’re the only Black person in the room. 

“The other thing that we don’t discuss as much are the microaggressions,” Hall says. “The fear of reprisal that many library professionals face when advocating either for certain materials or for the community that are sometimes left out or locked outside of information assets.”

In some cases, people have directly messaged Bland on Instagram about the joy of seeing other Black librarians because they’re the only ones in their library system.

“Whether that community is online or offline or in real life, it’s all about building communities so that we can support each other and encourage each other so that everybody knows they’re not out there alone.”

Join us on Pop Up Research CAFE- Weekly on Tuesday, 11am - 1pm PST. 




Chocolate and Wine Fundraiser for SOJO Museum

"Art is Business"  Big Day of Giving Fundraiser Page





Shonna McDaniel, Executive Director of the Sojourner Truth Heritage Museum and catalyst for many robust programs that impact families and the community, needs your support. Please make a donation to their organization and/or support their incredible event on September 28th. The flyers are attached. 
Here is their GoFundMe page.

The Sojourner Truth Museum has served the Sacramento community for over 30 years. As a nonprofit organization, we rely heavily on funding grants. Unfortunately, we received no grant funding last year, risking the museum's future. We're contacting the Northern California community and beyond for your support. Please consider donating and sharing our donation page to help keep the museum open. Thank you!!!

Chocolate & Wine
Sacramento 175th Anniversary
Celebrating the Contributions of Sacramento’s Historical Icons

Despite the limited size and political power of Black Sacramento in the early twentieth century, this community drew upon the strengths of its religious and social institutions and the talents of its leaders to organize and advocate for its community’s survival in an era of increased racial tension. Decades later, following the Second World War, a new generation of Black leaders rekindled this spirit among a growing Black population and a national civil rights movement. In the meantime, this community did its best to ensure a safe and secure place among the ever-increasing and diverse West End.

Purchasing a table keeps the museum operational at a basic level for about a week using only
volunteer labor. Still, we depend on additional funding to indeed be able to carry out the museum's
mission. Your sponsorship allows us to maintain the facility, rotate exhibits, and offer various educational programs to the community.

Gold Sponsorships - $5,000

● Two tables of 6 at the banquet
● 15 Museum passes
● Full-page ad and recognition in the banquet program
● Placement on donor plaque at the museum

Silver Sponsorships - $2,500

● Table of 6 at the banquet
● 10 Museum Passes
● Half-page ad and recognition in the banquet program

Bronze Sponsorships - $1,500

● Table of 6 at the banquet
● 5 Museum Passes
● Recognition in the banquet program

Phantom Gallery CHI

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...