Richmond to Ferguson: A Meditation on Solidarity and Being an Ally

On Nov. 25, protesters rallying against the Ferguson grand jury’s decision gathered outside of John Marshall courthouse in downtown Richmond. Signs in their hands and chants on their lips, the crowd buzzed with somber energy, but quieted just enough to allow the organizers and speakers to be heard. As speakers addressed the crowd, the overarching themes of the uphill struggle for racial justice were highlighted — sometimes accidentally, but accurately nonetheless. The crowd encompassed every age group, but college students from Virginia Commonwealth University and Virginia Union University, among others, were the biggest demographic. Jackie Robinson, a social work major from VCU, took to the mic and started with a shout-out to her college…

On Nov. 25, protesters rallying against the Ferguson grand jury’s decision gathered outside of John Marshall courthouse in downtown Richmond. Signs in their hands and chants on their lips, the crowd buzzed with somber energy, but quieted just enough to allow the organizers and speakers to be heard. As speakers addressed the crowd, the overarching themes of the uphill struggle for racial justice were highlighted — sometimes accidentally, but accurately nonetheless.

The crowd encompassed every age group, but college students from Virginia Commonwealth University and Virginia Union University, among others, were the biggest demographic. Jackie Robinson, a social work major from VCU, took to the mic and started with a shout-out to her college peers. “You know, our generation, they think that we’re the lazy generation,” she said. “That we’re sitting behind computers and we talk about the issues, but we’re not really out here to fight. And this shows that no, we’re about the movement… Mike Brown, he got killed in August, and we haven’t forgotten.”

As the ensuing applause proved, Robinson’s message hit home for the students in the crowd. Faced with adulthood in an America that demands more of us than we are equipped to provide, millennials have been the object of criticism from our older counterparts from the beginning. A quick Google search on the term “millennials” reveals that lazy, narcissistic, and spoiled are some of the more popular descriptors that have been attached to us. However, even with the constant smartphone stimulation, the internet addiction, and the desire for instant gratification — or perhaps because of these factors — the current generation is an angry one. With all the information in the world at our fingertips and the power to organize with the creation of Facebook events, the millennial reaction to injustice is instant.

Just the night before the rally at John Marshall courthouse, VCU students gathered on campus to protest the freshly-issued Grand Jury decision to not indict Darren Wilson. Maheen Shahid, president of the university’s Feminist Student Organization, had been with a group of like-minded friends when the decision was announced. In an act of defiance against the injustice, Shahid and her friends immediately went to the library to “recruit troops”. A few recruitment trips and some social networking later, a student demonstration was in full swing in Monroe Park.

Still, there is always the question of sincerity in this new generation of activists. Shahid summed it up well, saying, “This isn’t just a hashtag, or something that you wear. You don’t do it so you can say, ‘cool, I went to three rallies, can I get my Bell Hooks water bottle now?'”

Internet activism has a variety of unique strengths: it is quick, it is accessible, and it is easy. Anyone can organize for a cause, and anyone can have a platform to disseminate information and their own personal beliefs. Even those who are too busy with work or school, have disabilities hindering their mobility, do not have transportation to events, or otherwise can not engage in “real life” activism gets a chance to be heard through the internet.

The problem is when activism becomes a sort of badge, worn as a fashion statement and then discarded when it is no longer a trending tag on Twitter. It makes one wonder how many people are really trying to support the Ferguson protesters, compared to how many are only showing up for rallies so that they have something to add to their Snapchat stories. Furthermore, there are plenty of demonstrators who are a bit too eager to add other issues to the Ferguson discussion. Though all people of color experience racism, that is not an excuse to co-opt discourse on police brutality and anti-black racism for the purpose of furthering other goals, no matter how legitimate.

Solidarity between people of color is a warm, hope-affirming concept, but the illusion of fully-realized solidarity cannot be allowed to distract any kind of social justice movement from the realities of oppression. Anti-black racism runs rampant in all ethnic and racial communities, whether we want to admit it or not. Even with white and brown people uniting to take a stand against police brutality and the desolate state of race relations in the United States, one has to wonder why black voices continue to be drowned out by the rest; how many people are just looking for a pat on the back when they acknowledge the oppression of black Americans?

The rally on Nov. 25 highlighted this issue in a bizarre, dramatic episode. In the line of demonstrators waiting to speak their minds on the microphone was an impassioned young white woman who took the opportunity to break down in front of the crowd, announcing the guilt she felt for being born white. After causing great discomfort among the entire audience by repeating several variations of “I have more privilege than you,” she was asked to step down.

The woman, whose name remains unknown to me (probably for the better), responded by screaming: “It’s called solidarity, you b—!”

The organizers of the rally subsequently decided to end this spoken portion of the rally and begin the march, even though there were several people of color waiting in line to speak. Watching this unfold in front of me was almost surreal; it struck me that with one outburst of white guilt, emotions in the crowd had run so high that the entire discussion had to be shut down. The black people present at the rally had literally been silenced because a white ally had not gotten a metaphorical gold star for doing the bare minimum in acknowledging her privilege.

Despite how inappropriate and disrespectful the outburst had been, it was still enlightening as a real-life perpetuation of a problem that is so present within solidarity movements — that problem being the people in power hijacking the struggle of the oppressed for their own gratification. Though usually an issue attributed to white allies, non-black people of color must also keep in mind that the struggles of the black community are not ours to co-opt for social justice brownie points.

There is hope for the current generation of activists, but we must watch out. We are angry, energized, and eager for change, but if we allow ourselves to be deluded by romanticized illusions of togetherness and a lack of seriousness in our intentions, then we will not get much done.

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Richmond to Ferguson: A Meditation on Solidarity and Being an Ally

Essence To Honor Jill Scott At Black Women In Music Event

Jill Scott will be the special honoree at Essence magazine’s annual Black Women in Music. The Feb. 5 invitation-only event, held during Grammy Week, will also be the official launch of the magazine’s year-long celebration of its 45th anniversary.

Jill Scott will be the special honoree at Essence magazine’s annual Black Women in Music. The Feb. 5 invitation-only event, held during Grammy Week, will also be the official launch of the magazine’s year-long celebration of its 45th anniversary.

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Essence To Honor Jill Scott At Black Women In Music Event

The Passing of Natural Hair Pioneer Titi Branch

Like I do most Mondays, I grabbed my morning herbal tea and sat down at my laptop to begin sifting through emails from the weekend, as my iPhone buzzed with a picture attachment and text message beaming. I picked up my phone, and within seconds my heart sank as I read the news from a fellow mental-health advocate that Titi Branch, the co-founder of Miss Jessie’s natural hair products, died by suicide. (Please note that it is most appropriate to use the terminology “died by suicide” as opposed to “committed suicide”; Terrie Williams, author of Black Pain: It Just Looks Like We’re Not Hurting, further discusses …

Like I do most Mondays, I grabbed my morning herbal tea and sat down at my laptop to begin sifting through emails from the weekend, as my iPhone buzzed with a picture attachment and text message beaming. I picked up my phone, and within seconds my heart sank as I read the news from a fellow mental-health advocate that Titi Branch, the co-founder of Miss Jessie’s natural hair products, died by suicide. (Please note that it is most appropriate to use the terminology “died by suicide” as opposed to “committed suicide”; Terrie Williams, author of Black Pain: It Just Looks Like We’re Not Hurting, further discusses the implications and differences between the two phrases here.)

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I fondly knew Titi as one half of the sister duo that was at the forefront of the black natural hair movement. With her beautiful, curly, blonde ‘fro, Titi and her sister Miko encouraged women to embrace their natural beauty, kinks and curls and all.

Traveling back a little bit, the Branch sisters grew up in Queens, New York, born to an African-American father and Japanese mother. Following her graduation from the University of Maryland with a B.A. in consumer economics and starting her own public relations firm, Icon Creative Artists, Titi joined her sister, a freelance hairstylist, to open their own hair salon, Curve Salon. Curve Salon quickly gained a reputation as the “go-to” salon for healthy and natural hair care. They began to cook up hair care products geared toward curly and natural hair, testing the majority of products on their clientele, and in 2004 the Branch sisters unveiled their first market hair product line geared toward natural curly hair, naming their now multimillion-dollar corporation after their grandmother, Jessie Branch. Their innovative products have continued to gain more and more traction over the years and are now sold in many large retail chains such as Walmart and CVS. The sisters also have their first book set for release in April 2015, Miss Jessie’s: Creating a Successful Business from Scratch — Naturally.

Despite all the accolades and success, Titi Branch sadly ended her own life on Dec. 4. Branch’s obituary was published on NV magazine‘s Facebook page this Sunday, Dec. 14.

As the facts emerge surrounding Titi’s passing, I hope that all, especially the black community, are moved to take action to significantly increase awareness and education surrounding mental health, illness and wellness so that we do not have to continue to mourn the passing of so many of our dynamic and extraordinary souls such as Titi Branch, Karyn Washington and Simone Battles (just to name a few most recently). By opening up the dialogue, more individuals will feel comfortable, supported and willing to seek assistance when necessary, in addition to their family and friends feeling more at ease to assist their loved one experiencing mental health difficulties.

I am deeply saddened by the passing of Titi but truly hope her passing and legacy will ignite a dull flame to birth into a full-on mental health awareness forest fire!

I end this post in the spirit in which my friend who informed me of Titi Branch’s passing reached out to me; it was extremely saddening to hear that another young, vibrant black woman had taken her own life. The work that is being done by so many mental health advocates, organizations and professionals for so many in regards to mental health education and awareness, especially organizations such as Black Girls Smile, are so necessary to this movement. We all have our piece of the puzzle that we need to stay committed to tackling so that texts and news such as that heard this week do not continue. Titi, her legacy and Miss Jessie’s continue to work on their piece to the puzzle by encouraging all women to embrace their most natural and authentic self. Now we must all join then in tackling our own pieces.

Need help? In the U.S., call 1-800-273-8255 for the National Suicide Prevention Lifeline.

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The Passing of Natural Hair Pioneer Titi Branch

The Best Books Of 2014, According To O Magazine And Oprah.com

The jury is in! Get ready to dive in and read these winsome books of the past 12 months, as picked by O magazine and Oprah.com editors. @media only screen and (min-width : 500px) .ethanmobile display: none; } Like Us On Facebook | Follow Us On Twitter

The jury is in! Get ready to dive in and read these winsome books of the past 12 months, as picked by O magazine and Oprah.com editors.

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The Best Books Of 2014, According To O Magazine And Oprah.com

The Incredible Christmas Oprah Will Never Forget (VIDEO)

In December 2002, Oprah and her team packed up their bags and flew to South Africa on an incredible mission: to hand-deliver gifts to 50,000 children. The journey took them across a hundred miles to see children from 63 different schools, many of whom had never received a present in their entire lives. Recently, Oprah took a moment on “Oprah: Where Are They Now?” to reflect back on the trip she now describes as “one of the greatest experiences of my life.” To pull off this massive gift exchange, more than 100 people were involved in a five-month planning process that began in Chicago. When …

In December 2002, Oprah and her team packed up their bags and flew to South Africa on an incredible mission: to hand-deliver gifts to 50,000 children. The journey took them across a hundred miles to see children from 63 different schools, many of whom had never received a present in their entire lives. Recently, Oprah took a moment on “Oprah: Where Are They Now?” to reflect back on the trip she now describes as “one of the greatest experiences of my life.”

To pull off this massive gift exchange, more than 100 people were involved in a five-month planning process that began in Chicago. When the team arrived in South Africa, Oprah said she felt connected to the children. “I could feel what they were feeling, and I have never known such joy,” she said.

Dubbed Christmas Kindness, their mission was to bring a little bit of holiday hope to a region hit devastatingly hard by the AIDS epidemic. “This is a place where orphan children are often left to fend for themselves,” Oprah said. “I knew that we couldn’t fix all that is wrong here – certainly not in one trip – but with Christmas approaching, I wanted the children of South Africa to know they are remembered.”

As seen in the above clip, beaming children lined up by the hundreds to take part in the Christmas celebration. School supplies, baby dolls, footballs, and clothes were given to every boy and girl. The team measured thousands upon thousands of tiny feet to give all the children a brand-new sneakers.

Oprah said it was be the best Christmas she’s ever known. “A moment that I will carry with me as long as I live,” she said. “The greatest gifts are those we pass along.”

Related: 16 years of Oprah’s Favorite Things in 190 seconds.

“Oprah: Where Are They Now?” airs Sundays at 9 p.m. ET on OWN.

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The Incredible Christmas Oprah Will Never Forget (VIDEO)

Upgrading Black Children From the Projects to Homelessness?

An episode of The PJs (1999-2001) is on my list of must-see Christmas specials. Eddie Murphy was a creator of this cartoon which is easily one of his most underappreciated works. The special is a hood version of The Grinch Who Stole Christmas and, like the other episodes in the series, is a hilarious take on life in a high-rise housing project during the 1980s/1990s era. For those of us who lived that life, the show is able to generate laughter and positive memories of community to coincide with depictions of the difficult circumstances that experts came to label as “failed housing policy”. For …

An episode of The PJs (1999-2001) is on my list of must-see Christmas specials. Eddie Murphy was a creator of this cartoon which is easily one of his most underappreciated works. The special is a hood version of The Grinch Who Stole Christmas and, like the other episodes in the series, is a hilarious take on life in a high-rise housing project during the 1980s/1990s era.

For those of us who lived that life, the show is able to generate laughter and positive memories of community to coincide with depictions of the difficult circumstances that experts came to label as “failed housing policy”. For me, and no doubt others, living in The PJs was my earliest lesson in how little black lives can matter in communities across America.

My family lived in San Francisco’s Geneva Towers, a high-rise low-income building similar to those in other cities including the infamous Pruitt-Igoe in St. Louis and Cabrini-Green and Robert Taylor Homes in Chicago. These complexes shared similar challenges rooted in failures to properly fund maintenance and upkeep–irregular access to basics like power and water, filthy common areas, frequently broken elevators with several flights of stairs to climb, diminished safety measures linked to elevated crime, and the isolation that comes from living in a part of town that most members of the larger community are too fearful to visit.

I, and possibly many of the other black children in urban high-rise projects, was left to make sense of the world and to ask the question of “why do I deserve to live this way?” My guess is that most didn’t have a nuanced answer to that question, just hurt. Scars were created that run deep and that may never fully heal.

But the nation eventually made a course correction. HUD took action–for example it foreclosed on the private owners who were receiving government subsidies to run Geneva Towers. And, in 1989, Congress created the National Commission on Severely Distressed Public Housing which led to important reforms. The federal Hope VI program helped tear down dilapidated housing with the goal of deconcentrating poverty and creating mixed-income properties. The good models that were created moved the dial in a positive direction. Bad public housing still exists in some communities but the housing world is drastically different than it was in the 1980s.

As these events unfolded, I pursued secondary and higher education and eventually became an advocate for the poor. At which point, I was bearing witness to an important new chapter in the urban housing story–black families with children being seven times more likely to live in homeless shelters than their white counterparts.

It was evident that the reforms designed to address the problems impacting my childhood had, by the 2000s, contributed to at least one new and significant challenge–increased family homelessness. The nation did not replace all the public housing units it tore down. The National Low-Income Housing Coalition has estimated that Hope VI resulted in a loss of more than 100,000 housing units.

Other factors have compounded this problem, including skyrocketing housing prices over the last couple decades. Increasing numbers of people were in need of affordable housing as the number of available units was on the decline. As a result, in 2012 there was a shortage of 7.1 million affordable rental units for extremely low-income households. The nation’s public schools enrolled 1.3 million identified homeless children and youth during the 2012-2013 school year.

Homelessness is the “new PJs” for this generation, or the new type of housing situation that is unacceptable for children. Young people live in homeless shelters, motels, or with an ever rotating list of family and friends. They are more likely to miss school, experience food insecurity, and have health problems. Frequently on the move, they worry about where they’re going to sleep tomorrow or the next day which leads to toxic stress and negative impacts on mental health and physical development.

My guess is that these children also wonder, “What did I do to deserve to live this way?” In short, homelessness is creating scars that run deep and that may never fully heal.

Creating housing policy that doesn’t traumatize small children should be a low bar to meet, but somehow it has been a struggle. Recent Obama Administration action will finally fund the National Housing Trust Fund (after six years of effort) via contributions from the reconstituted Fannie Mae and Freddie Mac. This is an extremely important step. But vigilance over its implementation, and other means of expanding the availability of affordable housing, must remain a priority if America truly believes that all its children matter.

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Upgrading Black Children From the Projects to Homelessness?

On the Connections Between Police Brutality, Torture, and Nuclear Weapons

On May 2, 1967, Bobby Seale, co-founder of the Black Panther Party for Self-Defense stood in front of the California state capitol and read Executive Mandate #1. Seale and others were protesting the state legislatures’ decision to pass a bill to disarm the Panthers. However, Seale did not view the treatment of the Black Panther Party as a singular issue. In fact, it was quite the opposite. In Executive Mandate #1 Seale was clear that what was happening to African Americans was connected to colonialism, the atomic bombings of Hiroshima and Nagasaki, and the war in Vietnam. Seale argued that collectively, these actions showed that the “racist power structure of America has but one policy: repression, genocide, terror, and the big stick…

On May 2, 1967, Bobby Seale, co-founder of the Black Panther Party for Self-Defense stood in front of the California state capitol and read Executive Mandate #1. Seale and others were protesting the state legislatures’ decision to pass a bill to disarm the Panthers. However, Seale did not view the treatment of the Black Panther Party as a singular issue. In fact, it was quite the opposite. In Executive Mandate #1 Seale was clear that what was happening to African Americans was connected to colonialism, the atomic bombings of Hiroshima and Nagasaki, and the war in Vietnam. Seale argued that collectively, these actions showed that the “racist power structure of America has but one policy: repression, genocide, terror, and the big stick.” The black community had “begged, prayed, petitioned, and demonstrated to get America to right the wrongs which had been perpetrated against black people.” But all of these efforts had been answered by “more repression, deceit, and hypocrisy,” Seale declared.

Bobby Seale consistently argued that these issues were inextricably linked. He knew racism played a role in the atomic bombings, war in Vietnam, and of course the treatment of African Americans at home. Now almost fifty years later, all of these issues are again at the forefront. With the grand jury decisions in the Michael Brown and Eric Garner cases, the country has exploded in protests and acts of civil disobedience. At the same time, the world found out just how bad the U.S. tortured people during the Bush years and remains at war. And as these events unfolded, over 800 delegates from approximately 160 nations gathered in Vienna for the third Conference on the Humanitarian Impact of Nuclear Weapons with strong support from Africa and Latin America. Of course the common denominator in the use of nuclear weapons, torture, and police brutality is the victims were nonwhite.

Bobby Seale understood how these issues were connected. Of course he was not alone. Since 1945, many inside the black community have consistently argued that the black freedom movement, peace, and nuclear weapons were part of the same fight. Sadly, one cannot possibly be shocked that the police, who are agents of the state, would shoot unarmed black men and then describe them as “it” and “demons” when one reads the grotesque ways in which the U.S. tortured nonwhite people abroad, and have repeatedly threatened to use nuclear weapons on nonwhite people around the world.

What recent events show is that now, just like in the 1960s, activists need to fight on multiple fronts. While President Obama banned torture his second day in office, activists need to make sure in his last two years Obama eliminates nuclear weapons, ends military engagements in the Middle East, and creates a division in the Justice Department to investigate police shootings and misconduct.

Like many, I am not sure how these things will play out. I don’t know if these protests will evolve into a new movement or when these wars will end. However, what I am sure of, and what has become increasingly clear over the last few months is that Malcolm X was right: “it’s not an issue of civil rights, but human rights.” And however activists proceed in 2015, Malcolm’s words should be the guiding principle for all actions to come.

Vincent Intondi is an Associate Professor of History at Montgomery College and Director of Research for American University’s Nuclear Studies Institute. His forthcoming book, African Americans Against the Bomb examines the role of black antinuclear activists.

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On the Connections Between Police Brutality, Torture, and Nuclear Weapons

America’s Oldest Black College, Cheyney University, Could Face Financial Collapse

HARRISBURG, Penn., Dec 17 (Reuters) – The nation’s oldest black college, Cheyney University, one of Pennsylvania’s 14 state-run universities, is on the verge of a financial meltdown that threatens its ability to continue operating, a state official said on Wednesday. Cheyney’s student body has shrunk by two-thirds, to about 1,000, since its 1983 peak, and its four-year graduation rate is just 9 percent. A quarter of students never receive a degree, and student loan defaults are high. “Cheyney is in dire, dire, dire straits,” the state’s auditor general, Eugene DePasquale, said. The university has had a deficit for four of the last five years, growing to a cumulative $12.3 million shortfall as of June 30, 2013. Cheyney’s fiscal problems – students who are…

HARRISBURG, Penn., Dec 17 (Reuters) – The nation’s oldest black college, Cheyney University, one of Pennsylvania’s 14 state-run universities, is on the verge of a financial meltdown that threatens its ability to continue operating, a state official said on Wednesday.

Cheyney’s student body has shrunk by two-thirds, to about 1,000, since its 1983 peak, and its four-year graduation rate is just 9 percent. A quarter of students never receive a degree, and student loan defaults are high.

“Cheyney is in dire, dire, dire straits,” the state’s auditor general, Eugene DePasquale, said. The university has had a deficit for four of the last five years, growing to a cumulative $12.3 million shortfall as of June 30, 2013.

Cheyney’s fiscal problems – students who are unable to repay debt and increasing pension costs – were exacerbated by cutbacks in state higher education funding.

DePasquale called upon the State System of Higher Education – the governing body for the state-owned universities – and the legislature to help Cheyney find a way out of “a vicious, destructive cycle” in which declining enrollment and state funding leads to less money for investments that could attract much-needed students.

Cheyney, located in the Philadelphia suburb of the same name, was founded in 1837 after Quaker philanthropist Richard Humphreys bequeathed part of his estate to build a school to educate descendents of the African race, according to the university’s website.

Its alumni include journalist Ed Bradley, state and U.S. elected officials, several National Football League players, a U.S. ambassador to South Africa, and Robert Bogle, chief executive of The Philadelphia Tribune.

Cheyney officials did not respond to requests for comment. The university has begun to shrink its workforce by 23 percent and to cut offices’ discretionary spending in half, DePasquale’s audit said.

School officials are planning more aggressive recruitment and will try to improve student retention and graduation rates. They hope to present a new policy to be implemented in January, the audit said.

Across the country, states have cut higher education spending, especially as they struggled to recover from the 2007-2009 recession.

From fiscal 2003 through 2012, state funding fell by 12 percent while median tuition rose 55 percent across all public colleges, the U.S. Government Accountability Office said in a report published Tuesday.

Cheyney is just six miles from Pennsylvania’s largest and best-off state system university, West Chester University, which has nearly 16,000 students. Tuition and fees at the two schools are roughly the same. (Reporting by David DeKok in Harrisburg, Penn.; Editing by Hilary Russ and Leslie Adler)

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America’s Oldest Black College, Cheyney University, Could Face Financial Collapse

Without Sanctuary?: On Lynching in the 21st Century

In a recent New York Times article, Taiye Selasi offers this resonant insight on nationality and identity in relation to the recent Michael Brown case: “that we don’t hear of American-on-American violence as we hear of black-on-black crime suggests that the identity ‘American’ does not, as advertised, imply a single community.” The phrase “American-on-American violence” describes aptly the deaths of Michael Brown, Eric Garner, and the too many unarmed black victims — men and women — of police violence since 1999. This hyper-racial (as opposed to post-racial) moment, overflowing with examples of lethal police brutality, harkens back — as Alice Walker meditates …

In a recent New York Times article, Taiye Selasi offers this resonant insight on nationality and identity in relation to the recent Michael Brown case: “that we don’t hear of American-on-American violence as we hear of black-on-black crime suggests that the identity ‘American’ does not, as advertised, imply a single community.” The phrase “American-on-American violence” describes aptly the deaths of Michael Brown, Eric Garner, and the too many unarmed black victims — men and women — of police violence since 1999.

This hyper-racial (as opposed to post-racial) moment, overflowing with examples of lethal police brutality, harkens back — as Alice Walker meditates on in her recent poem, “Gather” — to those horrific practices of American-on-American violence historically known as lynching. Lynching involved citizen-led, ritualistic acts of public violence sometimes witnessed by large throngs of people, including children. An estimated 3,445 blacks died at the hands of lynch mobs between 1882 and 1968. Lynched bodies, the “Strange Fruit” Billie Holiday memorializes in her haunting and iconic recording, swinging from tree limbs or otherwise grotesquely displayed in full view, spoke the terror — the racial terrorism — that would come to others if they, too, stepped “out of line.”

In Without Sanctuary, collector James Allen catalogs photographs and postcards taken as souvenirs at lynchings throughout the United States. The images collected in Without Sanctuary reflect what the historical record indicates: that the majority of victims of lynching were African American men, though it is also important to note that African American women and women and men of other ethnicities (for instance, Irish and Italian immigrants) were also lynched. Lynching, then, was a set of violent rituals used to police and punish the “Other,” and to set clear boundaries between “whites” and “non-whites.”

One postcard in Without Sanctuary is inscribed with this note: “This is the Barbecue we had last night my picture is to the left with a cross over it your son Joe.” Repeated references to “barbecues” and “main fare,” Allen notes in Without Sanctuary, are found often in lynching-related correspondence. This particular postcard also features an advertising stamp, “katy electric studios temple texas. h. lippe prop,” revealing that, at times, these events were planned ahead, and professional photographers were hired to photograph them. Photographers would then produce and sell prints (in the hundreds and occasionally the thousands) as souvenirs.

Attendees and participants in lynchings would often mail these photographs and postcards through the United States Postal Service to friends and family in the same spirit as one might post photographs on Facebook today: as a general update or as a way to share the experience with those who could not attend. On one postcard, for instance, the sender wrote, “All ok and would like to get a post from you. Bill, This was some Raw Bunch.” The postcard’s front border reads, in handwritten script, “LYNCHING SCENE, DALLAS, MARCH 3, 1910.” One of the most complex postcards includes a portrait of the victim, Will James, surrounded by four images showing the stages of his lynching and the burial of his ashes.

On occasion, such images were sent to other possible victims as warnings. Mailing these images meant that the results of lynchings were witnessed not only within the communities in which they occurred, but also were replicated, transmitted, and amplified for viewers sorting, transporting, and receiving these pieces of mail, effectively broadening the reach of these events. By 1908, the practice of mailing postcards or other visible forms of lynching images was so popular that the Postmaster General of the United States, through an addition to the Cromstock Laws, banned the mailing of the written messages that often inscribed these images.

There are certainly important differences between the ritualistic acts of violence called lynchings and the most recent yet systemic violence at the hands of police against black people. In terms of image transmission in particular, rather than sent through the United States mail, personally recorded video of police brutality and its aftermath is now recorded by smartphone and transmitted to millions through social media outlets — evidence of the disease of American racism gone viral. The intent of sharing these images, of course, is starkly different from the intent of those who sent lynching images through the mail. People sharing, for instance, the Eric Garner video, seek justice for the victim, a purpose resonant with Mamie Till’s decision to allow her son’s mutilated, lynched body to be viewed at his funeral, and photographs to be reprinted in national newspapers and magazines. Today, videos, memes, hashtags, recordings of a victim’s final pleas, post-Grand Jury explanations, protesting and all the forms protesting takes — all of it is part of the spectacle and sonics of 21st century lynching, the spectacle and sonics of a New Jim Crow.

Yet there are parallels between the violence of the past and the perpetual violence we are witnessing in the present. While the intent might not be such, while these killings may not be illegal, the message repeatedly in these instances of violence and death is that black lives don’t matter. When we watch an officer aggressively hold a man in a chokehold until he can no longer breathe, and that same officer on a second video moments later nonchalantly peering into the camera, it looks like black lives don’t matter. Or when a black teenager’s body is left out in the open for public view for at least four hours in the high heat of August, it looks like black lives don’t matter. Or when our judicial system doesn’t seem to know how to adequately speak to these instances of American-on-American violence, we can’t help but think that while the intent may not be such, the message communicated is that black lives don’t matter in the larger fabric of our society. As difficult as it is to contend with, the history of lynching and our contemporary moment of violence against black people reminds us that the devaluation of black life in America is as old as this nation. And it still exists, daily resuscitating the need for us to utter in chorus the otherwise muted truth that should be self-evident: Black lives do and have always mattered.

As we wrestle with two Grand Jury decisions not to indict police officers for murder and United Nations concerns regarding a “pattern of impunity” concerning victims of color in the American judicial system, as demonstrators of all hues flood the streets here and abroad in protest, I am reminded of anti-lynching advocate Ida B. Wells. Wells, an African American journalist who often sent detectives to investigate individual lynchings and published their reports, explained that she published these findings “to give the public the facts, in the belief that there is still a sense of justice in the American people, and that it will yet assert itself in condemnation of outlawry and in defense of oppressed and persecuted humanity.” It is this sense of justice that now must compel this nation and its law enforcement agencies towards acting justly. Or are we living in a moment without sanctuary?

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Without Sanctuary?: On Lynching in the 21st Century

39 Of The Country’s Greatest Dancers Explain Why They Dance

“To dance is to be out of yourself,” Agnes de Mille famously proclaimed. “Larger, more beautiful, more powerful. This is power, it is glory on earth and it is yours for the taking.” Although the iconic 20th century dancer and choreographer makes it look easy, it can be difficult to accurately put the allure of dance into words. By nature, dance is a wordless form of expression, translating emotions and thoughts into physical movements. But we wondered, is there a way to explain why we dance? We turned to some of the world’s most talented ballet figures — and few aspiring ones too — to find the answer. Dancers from across the …

“To dance is to be out of yourself,” Agnes de Mille famously proclaimed. “Larger, more beautiful, more powerful. This is power, it is glory on earth and it is yours for the taking.” Although the iconic 20th century dancer and choreographer makes it look easy, it can be difficult to accurately put the allure of dance into words. By nature, dance is a wordless form of expression, translating emotions and thoughts into physical movements. But we wondered, is there a way to explain why we dance?

We turned to some of the world’s most talented ballet figures — and few aspiring ones too — to find the answer. Dancers from across the country — from the American Ballet Theatre to Ballet San Jose, the Kansas City Ballet to the Dance Theatre of Harlem, the Nashville Ballet to Abraham.In.Motion, the San Francisco Ballet to a children’s studio in Hawaii — sent us their reasons for taking the stage. We compiled their responses in a campaign, aptly titled #WhyIDance.

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The campaign is simple. Inspired by dance programs around the world like South Africa’s Dansazania project and Brazil’s House of Dreams, we asked dancers to complete the sentence “I dance because …” Each participant wrote his or her response on a piece of paper and posed for a camera holding each proud statement: “I dance because it brings me joy, strength, and life!” said Misty Copeland; “I love sharing a piece of my soul with the world through movement,” said Kayla Rowser; “I dance because I like to challenge my body to the limit,” said Diego Cruz.

Together the portraits tell a visual story of the power of dance in the 21st century. Take a look at the entire #WhyIDance portrait collection:

“I dance because I enjoy expressing my feeling and emotion in many ways. And it makes me happy.”Maykel Solas, Ballet San Jose

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“I dance because I get to be something different everyday.”Alexandra Basmagy, American Ballet Theatre

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“I dance because I love sharing a piece of my soul with the world through movement.”Kayla Rowser, Nashville Ballet

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“I dance because it is my passion. Dance enables me to find different facets of my inner self, yet allows me to lose myself at the same time. Overcoming challenges and the feeling of self-fulfillment is why I love to dance.”Ommi Pipit-Suksun, Ballet San Jose

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“I dance because it brings me joy, strength and life!”Misty Copeland, American Ballet Theatre

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“I dance because it makes me smile.”Mona Meng, Kansas City Ballet

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“I dance because I can become someone else on stage.”Duncan Lyle, American Ballet Theatre

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“I dance because I’m still excited by it when I wake up each morning!”Katie Vasilopoulos, Nashville Ballet

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“I dance because I like to challenge my body to the limit.”Diego Cruz, San Francisco Ballet

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“I dance because since I was a little boy I was inspired by my wonderful parents who were both professional dancers with the Ballet National of Cuba. I love the beauty, elegance, complexity and magic of dance. I knew since a very early age that ballet was my destiny.”Rudy Candia, Ballet San Jose

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“I dance because if I have a stressful day, I look forward to getting to dance and letting it all go.”Grace Branham, dance student based in Hawaii

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Tammy Steele of Manamotion Photography

“I dance to be alive. Mind. Body. Spirit. And transmit that to others!”Tempe Ostergren, Kansas City Ballet

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“The intention of perfection gives me persistence while I stay fixated on my goals. Optimism about the artist and person I would like to become has a growing presence in my life. I dance because it completes me!”Gabe Stone Shayer, American Ballet Theatre

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“I dance because I want to make people FREE.”Connie Shiau, Abraham.In.Motion

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“I dance because every time I go I leave feeling stronger.”Laulea Noche, dance student based in Hawaii

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Tammy Steele of Manamotion Photography

“I dance because I have to.”Ryan Jolicoeur-Nye, Kansas City Ballet

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“I dance because it’s how I express myself best without words.”Kelley Potter, American Ballet Theatre

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“I dance because I want to take the audience on an emotional journey.”Mollie Sansone, Nashville Ballet

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“I dance because sometimes it’s the only way I know how to speak.”Amanda Trusty, dance teacher based in Hawaii

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Tammy Steele of Manamotion Photography

“I dance because it brings me happiness.”Lamin Pereira, Kansas City Ballet

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“I dance because I [heart] it.”WanTing Zhao, San Francisco Ballet

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“I dance because I want to express more than words.”Charles Martin, Kansas City Ballet

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“I dance because I can let all of myself go and live in the moment!”Alison Stroming, Dance Theatre of Harlem

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“I dance because it frees me.”Jill Marlow, Kansas City Ballet

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“I dance because it feels good. Also, applause.”Helen Phelan, freelance dancer

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“I dance because I love to inspire and bring out the best in people’s heart!!”Ingrid Silva, Dance Theatre of Harlem

“I dance because I can channel my emotions into something creative.”Ashley Murphy, Dance Theatre of Harlem

“I dance because I love to be a character.”Samuel Wilson, Dance Theatre of Harlem

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See more of Amanda Trusty’s students (below).


Let’s keep the campaign alive. Post your own photos with the hashtag #WhyIDance and we’ll share them on our Twitter, @HuffPostArts.

Link:

39 Of The Country’s Greatest Dancers Explain Why They Dance