Thursday, February 18, 2016

The SNCC Legacy Project: Black Power 50th Anniverssary


SNCC: The Importance of its Work, the Value of its Legacy

by Charles Cobb

The time was 1960, the place the U.S.A.
That February first became a history making day
From Greensboro all across the land
The news spread far and wide
That quietly and bravely youth took a giant stride
Heed the call
Americans all
Side by equal side
Brothers sit in dignity
Sisters sit in pride

—Ballad of the Sit-Ins by Guy Carawan, Eve Merriam and Norman Curtis


Greenwood MS, June 1966, on the Meredith March. SNCC Chairman Stokely Carmichael (Kwame Ture) calls for "Black Power."

Beginnings

You can never tell when a spark will light a fire. So, on February 1, 1960 when four Black students attending North Carolina A&T College sat down at the lunch counter in a Greensboro, North Carolina Woolworth Department store, ordered food, were refused service and then remained seated until the store closed, few could have predicted how rapidly similar protests would spread across the south; or the lasting impact on the south and the nation of the sudden direct action by these students.
Over the next two months, student sit-ins spread to 80 southern cities and were involving thousands of young people, most of them attending historically black colleges and universities like A&T, although in several cities high school students launched and led sit-ins. Two and a half months after Greensboro—the weekend of April 15-17—student sit-in leaders gathered at Shaw College (now Shaw University) in Raleigh, North Carolina to meet one another, share experiences and to discuss coordinating future actions.
Ella Baker, one of the great figures in 20th century civil rights struggle had organized this gathering. She was then executive director of Rev. Martin Luther King’s Southern Christian Leadership Conference (SCLC), a group she had been instrumental in organizing. In the 1940s she had been the NAACP’s director of southern branches, and in the early 1950s deeply involved with supporting southern Black community leaders facing economic reprisals because of their civil rights activities. As the sit-ins unfolded, she recognized that beyond energetic protests, the students were bringing something fresh and new to civil rights struggle and at the Shaw conference encouraged them to consider forming their own organization. Thus was born the Student Non-violent Coordinating Committee (SNCC, pronounced “Snick”). Her fundamental message to the students was, “Organize from the bottom up.” She emphasized her belief that, “Strong people don’t need strong leaders.”
Ella Baker provided a corner of the SCLC office in Atlanta to SNCC. In this cramped space SNCC’s sole staff member was Jane Stembridge, a volunteer stirred by the sit-ins who was the white Georgia-born and raised daughter of a Baptist preacher. A newsletter—The Student Voice—was created and circulated to student protest groups. It mainly provided information about what the various SNCC-affiliated campus-based organizations were doing. The first check to SNCC—$100—in support of its existence and efforts, came from Eleanor Roosevelt.
Soon, however, discussion among some of the students turned to what beside sit-ins could be done by young people, especially outside of urban centers. Within a year of SNCC’s founding, a small group dropped out of school and became the first SNCC organizers or “field secretaries.”

These organizers, armed with the names of grassroots contacts Ella Baker had developed over many years, even decades, began digging into southern black belt communities. By the fall of 1961 SNCC had established two significant organizing projects: Southwest Mississippi and Southwest Georgia. Both regions, rural and containing majority Black populations, were characterized by violent and vicious opposition to Black voting rights with terror and reprisal encouraged and supported by state and local government in response to any civil rights activity.

The Black Organizing Tradition and SNCC

Community organizing is a very old tradition in Black America. Slaves, after all, were not sitting-in at the plantation manor dining room seeking a seat at the table; nor picketing the auction block in the town square. They were organizing—sometimes an escape, or sometimes a rebellion, and constantly, the ways and means of survival in a new, very strange and hostile land. Ella Baker, and the community leaders she introduced them to, brought SNCC field secretaries into this organizing tradition. And what these Black community leaders wanted help organizing was voter registration campaigns. Black people had the numbers; if they could get the vote they could begin to dismantle the system of oppression that had dominated Black life for all of the 20th century; indeed, since the abandonment of Reconstruction in 1876. Mississippi NAACP leader Amzie Moore put this on the table at SNCC’s second conference in October 1960. And SNCC’s black belt organizing efforts increasingly revolved around voter registration.
SNCC organizers embedded themselves in rural black belt communities to work to empower some of the poorest of the poor in America. This was a relatively new, even radical approach to civil rights struggle. The ruthless white violence directed at any civil rights effort in the rural deep south black belt engendered belief that little was possible through direct organizing efforts. More traditional civil rights organizations did not concentrate much effort in this geography or among this category of people, giving priority instead to legal battles to strike down laws enforcing white supremacy and segregation. So in some respects, despite the existence of some truly heroic NAACP leaders, SNCC organizers were also entering virgin political territory. And they were embraced by local people in these communities; invisible as actors in the civil rights struggle but who had long desired change. Out of this work emerged new voices from the grassroots like Mississippi’s Fannie Lou Hamer, a sharecropper who became a powerful national spokesperson for civil rights. She was also, at 46-years-of-age in 1962, SNCC’s oldest field secretary. This kind of close relationship with people at the grassroots would characterize SNCC during its entire existence.
Youth
No civil rights action in history had ever swept the South the way that the sit-in movement did; certainly no action driven and led by young people. SNCC’s youthfulness was important to what it was and what it became. The number and manner in which young people began emerging as leaders in the civil rights movement in 1960, was unprecedented. As Martin Luther King put it at a Durham, North Carolina civil rights rally less than a month after sit-ins erupted in Greensboro, “What is new in your fight is the fact that it was initiated, fed, and sustained by students.” An often ignored effect of this student action was their making legitimate going to jail for a principle. And this changed the students, laying the foundation for everything they would do as SNCC organizers. Charles Sherrod from Petersburg, Virginia was the first of the sit-in students to postpone his education to work full-time with SNCC. He pioneered grassroots organizing in Southwest Georgia. But a few months before going there to begin that work, on the first anniversary of the Greensboro sit-in, he sat-in and was arrested in Rock Hill, South Carolina. He refused bail and served a 30-day sentence of hard labor on a road gang. Upon his release, Sherrod offered a vivid articulation of how students like himself were changing: “You get ideas in jail. You talk with other young people you have never seen. Right away we recognize each other. People like yourself, getting out of the past. We’re up all night, sharing creativity, planning action. You learn the truth in prison, you learn wholeness. You find out the difference between being dead and alive.”
And in a 1962 field report, 22-year-old Sam Block, who was the first SNCC organizer to begin working in the Mississippi Delta, demonstrates a courage and commitment that can perhaps only belong to youth: “We went up to register and it was the first time visiting the courthouse in Greenwood, Mississippi, and the sheriff came up to me and he asked me, he said, ‘Nigger where you from?’ I told him, Well I’m a native Mississippian. He said, ‘Yeh, yeh, I know that, but where you from? I don’t know where you from.’ I said, Well, around some counties. He said, ‘Well I know that, [but] I know you ain’t from here ‘cause I know every nigger and his mammy.’ I said, You know all the niggers, do you know any colored people? He got angry. He spat in my face and he walked away. So he came back and turned around and told me, ‘I don’t want to see you in town any more. The best thing you better do is pack your clothes and get out and don’t never come back no more.’ I said, Well, sheriff, if you don’t want to see me here, I think the best thing for you to do is pack your clothes and leave, get out of town, ‘cause I’m here to stay; I came here to do a job and this is my intention. I’m going to do this job.…”

SNCC Organizing Projects

The organizing work was both dull and dangerous, mostly involving door-to-door canvassing in an effort to persuade legitimately fearful potential Black registrants to brave the risks of going to county courthouses to register to vote knowing that the chances of actually getting registered were virtually nil. Courthouse clerks could ask anyone attempting to register questions like how many bubbles were in a bar of soap; or to interpret a complex section of the state constitution to their satisfaction as a requirement for registration. And almost always, economic or violent reprisal followed attempts by Blacks to register to vote. At a deeper level than the immediate political concern with voter registration, SNCC’s work was also about cultivating new local leadership and reinforcing existing local leadership. SNCC field secretaries did not see themselves as community leaders but as community organizers, a distinction that empowered local participants by reinforcing the idea at the heart of SNCC’s work in every project that “local people” could and should take control of their own lives. 
Much of what SNCC organizers did was demonstrate they were willing to stay in these communities despite the violence; that they could not be run out by the violence. Conversations on front porches, in dirt yards, amidst crops in cotton, tobacco and sugar cane fields, in small church meetings and in plantation sharecropper shacks, explored citizenship and the idea of gaining control of the decision-making affecting daily life. Being able to do this on a large scale was uncertain because fear kept many doors closed, but even attempting to do this sort of work in the rural black belt south could be counted as a breakthrough, a modest but important victory of commitment over terror. And though large numbers did not publically and politically surface in response to SNCC organizing efforts, a small number of the very brave did, teaching the SNCC “organizers” how to listen as well as how to talk; how to understand the communities they were in; and to know when they were in danger and when they were not. “We were the community’s children,” wrote SNCC’s legendary Mississippi project director Bob Moses in his book Radical Equations. “And that closeness rendered moot the label of ‘outside agitator.’”
There is not enough space here to detail every single one of SNCC organizing projects, but during the eight years of its existence SNCC had projects in Mississippi, Georgia, Alabama, Arkansas, South Carolina, Virginia, Maryland, and Texas. There were more SNCC field secretaries working full time in southern communities than any civil rights organization before or since. And there were two notable organizing projects that need mentioning here and are important to SNCC’s legacy:
The Mississippi Freedom Democratic Party: In Mississippi and throughout the black belt, the savage never-ending oppressive cycle that kept black people politically disenfranchised had two connected halves. 1) Blacks were deliberately and systematically kept illiterate (and the public school system was part of this) while at the same time literacy was the primary requirement for voter registration. 2) Violence and reprisal was the response to any Black effort aimed at gaining the political franchise; but because few blacks were willing to brave the virtually certain terroristic response to seeking the franchise, they were said to be “apathetic.”
To attack this cycle in Mississippi, SNCC and other civil rights organizations in the state established in churches, small shops and other places within Black communities, voter registration facilities; safe places for voter registration. More than 80,000 people “registered to vote” under these simpler and more comfortable conditions, thus arming organizers with concrete evidence that apathy was not the problem. This “freedom registration” was followed-up with the organizing of a “freedom party”—the Mississippi Freedom Democratic Party (MFDP). Unlike the all-white so-called “regular” state Democratic Party, the MFDP was open to all without regard to race. Carefully following all of the delegate selection rules for the 1964 Democratic Party national convention, the MFDP challenged the legitimacy of seating Mississippi’s official all-white delegation. Although the MFDP lost the challenge in a still bitterly remembered political fight which brought the weight of the White House down on them, their challenge forced changes that dramatically reshaped both the state and national Democratic Party.
The Lowndes County Freedom Organization: When a small group of SNCC organizers, led by Stokely Carmichael, entered notorious Lowndes County Alabama shortly after the Selma-to-Montgomery march, not a single black person in this county, whose population was 80 percent Black, was registered to vote. In fact, no Black person in this county nicknamed “Bloody Lowndes” was known to have been registered to vote in the entire 20th century. Remarkably, in less than a year, despite violence that included the murder and the attempted murders of civil rights organizers, Blacks were a majority of the registered voters in Lowndes County. This success in voter registration was assisted by the August 1965 signing into law of the Voting Rights Act. But SNCC’s organizing here took root around the idea of an independent Black political party. That party, the Lowndes County Freedom Organization (LCFO) pioneered the development of written and visual materials clearly illustrating through words and pictures the importance of the vote, or as one organizer put it years later, “regime change.”
The symbol of the LCFO was a black panther, making it the first black panther party in the nation. In 1966, the LCFO fielded candidates for county offices and the party’s instructions were simple: “Pull the Black Panther lever and go home.” (The symbol of Alabama’s Democratic Party was a white rooster with the words “white supremacy for the right” written above it.) Fraud by the county’s white powers denied the LCFO victory and the election was followed by the expulsion of Black sharecroppers and tenant farmers supporting the LCFO. Nonetheless, in 1970 the first Black Sherriff was elected in Lowndes County. Meanwhile, the black panther symbol had leapt across country to Oakland, California where the now much better known Black Panther Party was formed by Huey P. Newton and Bobby Seale. Here, too, in Lowndes County are the roots of Stokely Carmichael’s 1966 call for Black Power as chairman of SNCC.

Greenwood MS, June 1966, on the Meredith March. SNCC Chairman Stokely Carmichael (Kwame Ture) calls for "Black Power."

LEGACY

In the broadest sense, SNCC’s legacy is the legacy of grassroots organizing. Within this frame, SNCC and the field organizers of CORE, SCLC and the NAACP are really an interconnected force that in just one intense decade successfully challenged and changed America for the better. But there are specific aspects of this broad legacy that belong to SNCC and justify a formal effort to both collect and create material that will help future generations understand, draw lessons from, and perhaps use the SNCC experience in continuing efforts to fashion “a more perfect union” here in the United States.
First, by putting their lives continuously at risk through committed grassroots organizing, this relatively small group of young people broke the back of a racist and restrictive exclusionary order that was tolerated at the highest levels of government. Much of what kept white supremacy and segregation in place was the absence of direct and continuous challenge to it and the undramatic grassroots work on the back roads and in the towns and villages of the deep south for voting rights also made it impossible to ignore the will to freedom. And it needs to be said here that this work liberated Whites as well as Blacks.
Indeed, the MFDP and that party’s 1964 challenge not only led to a two-party system in Mississippi and the south, but also forced via the 1972 “McGovern Rules” changes in political practices that have permanently expanded the participation of women and minorities. There is a straight line connecting the MFDP with the election of Barak Obama to the U.S. presidency.

Nationwide, student struggle was also inspired by the southern movement and these movements expanded and accelerated in the decade of the 1960s. SDS’s grassroots Educational and Research Action Projects (ERAP) in the North grew out of discussions with SNCC and observation of its work. The Northern Student Movement (NSM), initially formed in 1961 to aid SNCC, became an activist organization with nearly 50 campus chapters taking on welfare reform, dysfunctional schools and other community organizing projects.
The Mississippi Summer Project of 1964 which brought nearly 1,000 students from around the nation to Mississippi for a “freedom summer” conveyed the ideas and ideals of the southern freedom movement into a whole generation from which the future leadership of the country would be drawn. Most immediately, the free speech movement that erupted on the University of California campus at Berkeley during the 1964-65 school year, was initiated by Mississippi Freedom Summer volunteer Mario Savio.
SNCC’s articulation of “Black Power” fostered a new black consciousness. The Black and Africana studies departments on college campuses today have roots in the Mississippi “freedom schools” of 1964, the earlier Nonviolent High School created in 1961 by SNCC in McComb, Mississippi when students were expelled for protesting, and the general idea of education for liberation that is taking the form today in the growing struggle over quality public education as a civil right.
Other movements gained strength from the pool of ideas found in SNCC: Chicano farm workers, who were facing sheriffs and going to jail in the late 1950s, invited SNCC workers to help with their efforts in the late 1960s. Discussion of sexism and women’s rights within SNCC, as well as SNCC’s real life examples of empowered, respected women who led local movements and held key positions in the organization, encouraged and reinforced a burgeoning feminist movement.
But more than anything else, the SNCC legacy is found in the veterans, many of who have continued to work for “a more perfect union.” Five SNCC veterans have been recipients of MacArthur Foundation Genius awards. Former SNCC communications director Julian Bond became board chair of the NAACP. Former SNCC chair John Lewis is now serving his 15th term as congressman from Atlanta’s 5th congressional district. Across the country, and especially in the south, SNCC veterans are influential leaders and activists. Once young and mentored by “elders” who had long labored in the fields of social change, SNCC veterans now continue that tradition and are now, who “they” were. Ella Baker’s words best define this legacy: “We who believe in freedom cannot rest.”

RECOMMENDED READING FOR FURTHER INFORMATION

On The Road To Freedom, A Guided Tour of the Civil Rights Trail, by Charles E. Cobb Jr.
Hands on the Freedom Plow, Personal Accounts by Women in SNCC, edited by Faith Holsaert, et. al.
Deep in Our Hearts, Nine White Women in the Freedom Movement, by Joan Browning, et al.
Many Minds, One Heart, SNCC’s Dream for a New America, by Wesley Hogan
SNCC, the New Abolitionists, by Howard Zinn
In Struggle, SNCC and the Black Awakening of the 1960s by Clayborne Carson
Ready For Revolution, the Life and Struggles of Stokely Carmichael, by Stokely Carmichael with Ekueme Michael Thelwell
The Making of Black Revolutionaries, by James Forman
The River of No Return, by Cleveland Sellers with Robert Terrell
Walking With the Wind, by John Lewis with Michael D’orso
Ella Baker and the Black Freedom Movement, by Barbara Ransby
Ella Baker, Freedom Bound, by Joanne Grant
The Wrong Side of Murder Creek, by Bob Zellner with Constance Curry
Freedom Song, by Mary King
Letters From Mississippi, edited by Elizabeth Sutherland Martinez
Bloody Lowndes: Civil Rights and Black Power in Alabama’s Black Belt, by Hasan Kwame Jeffries
Radical Equations, Civil Rights From Mississippi to the Algebra Project, by Robert P. Moses  and Charles Cobb

 
"THE BLACK POWER CHRONICLES"
2016 to 2018
 
ANNOUNCEMENT
 

PROJECT DESCRIPTION
 
Introduction
 
Black Power! These words shouted out on Mississippi highway 51 on June 17, 1966 reverberated in the collective soul of Black America, crystalizing both strength and love. The declaration came from SNCC organizer, Mukasa Willie Ricks, and SNCC chairman, Stokely Carmichael, during the Meredith March Against Fear in Mississippi. Young activists throughout the world embraced the phrase, making it their own and expanding the dynamic of struggle
   Stokely Carmichael
The call led to new goals and redefined the measures of success, inspiring a new generation of activists who had not previously been involved in the Civil Rights Movement. It built upon the lessons learned from the southern civil rights struggle and called for a black consciousness, establishing new independent organizations and institutions that were controlled by black people. It shaped personal transformations as well as political activism and led to the creation of organizations by those who never found their place in the civil rights agenda. There is a need to look back at this often-distorted era and in doing so, to look ahead to the work that still needs to be done. As Mozambican and Angolan freedom fighters said in their fight for liberation from Portuguese colonialism: A Luta Continua.
 
SNCC Legacy Project (SLP)
The SNCC Legacy Project (SLP) is a non-profit, tax-exempt volunteer organization founded in 2010 following the 50th anniversary celebration of the founding of the Student Non-Violent Coordinating Committee. Our mission is to gather, present and interpret the stories, materials, lessons, ideas and legacy of SNCC and the Civil Rights Movement for current and future generations of social justice activists.

Over the past five years SLP's Board of Directors, made up of SNCC veterans and younger activists, has collaborated with a variety of academic institutions including HBCUs and majority-serving research universities, community-based organizations and contemporary social justice organizations to provide a range of materials and services. These include oral histories, internet-based educational platforms, curriculum development, classroom materials, a video documentary, special events training, and technical assistance.
 
Our collaborating partners in this regard have included the following: the Smithsonian Institute, particularly its National Museum of African American History and Culture; the Library of Congress; Howard University , Tougaloo College, Albany State College, Brown University , and Princeton University; The Mississippi NAACP, Veterans of the Mississippi Civil Rights Movement and most recently, Duke University. (See the attached sheet for a list of programs and achievements).  
Program
 
In 2016, the SNCC Legacy Project (SLP) will embark on a multi-year collaborative series of national and international programs, events and activities commemorating the 50th anniversary of the call for Black Power and the launching of the Black Power Movement. This project builds upon the SLP's five-year focus on capture and interpreting the history, impact and legacy of the Civil Rights Movement from the perspective of those organizers who worked at the grassroots in black communities.
 
Our goal is to organize a comprehensive series of programs themed on the Black Power Movement that will write new history, provide a fresh look at the impact and influence of the concept on the lives and aspirations of oppressed people of color in the U.S. and throughout the African Diaspora, as well as on other social justice movements globally.  One key feature of these activities will be the bringing together of 21st-century social justice activists with veterans of the 20th century Black Power Movement.                                     
 
The program will help identify questions and themes that might inform and guide the development of an inter-generational collaboration, and further facilitate an ongoing dialogue in this respect. It is anticipated that the programs will empower the contemporary social justice movement by sharing organizing ideas, strategies, practices and models; introducing veteran and contemporary activists to each other at the local level; and building alliances and trust across social justice generations. We also expect the program to generate new creative work about the Black Power era by inviting contemporary writers, artists, educators, students and scholars to take part in the activities and the discussions they will engender.
Collaboration
 
The SLP is now building collaborations with Black Power veterans and contemporary social justice activists in 15 cities around the USA, as well as in other countries that are also part of the African diaspora. Here the focus is on those community-based institutions, organizations, events and leaders that influenced the development of the Black Power Movement in their communities, or might do so today.

Each collaborating city or country will form a Host Committee (HC) consisting of representatives and veterans of the Black Power Movement as well as representatives from the contemporary social justice movement. Collaborating municipalities and counties include: New York City, Washington, D.C., Atlanta, Jackson (Mississippi), Newark, Detroit, Chicago, the San Francisco Bay Area, Durham and Orangeburg (North Carolina), Lowndes County and Fairfield (Alabama), and the Texas Triangle (Houston, Dallas, San Antonio).
 
The global conversation will explore the history, impact and legacy of the Black Power Movement from the perspective of those who shaped the vision, built the institutions or drew inspiration from this transformational period of the U.S. struggle for civil and human rights, thereby empowering activists across Africa, in the Caribbean, and in Latin America, but also others in places as far-flung as New Zealand and India.
.     .
The Host Committees will bring together representatives from the following community-based or non-profit entities: HBCUs and other academic colleges and universities; social justice organizations, institutions and activists; youth empowerment organizations and activists; academic and student organizations and associations; cultural institutions, art centers and art professionals; units of local government, elected officials and public administrators; religious institutions and clergy; labor unions and professional associations; specialty museums, libraries, archives; media outlets, publishers, and journalists; and other black institutions and associations founded during or influenced by the Black Power era.
 
SLP will work with local activists to define broad guidelines and a framework; help identify community leadership; and provide organizing, marketing and communications services. SLP will provide content areas as needed, and provide programming to supplement the local documentation defined by the HC.   Each HC will develop its own action plan to bring about the designated program outcomes and provide leadership for the national and global program.
Outcomes
 
The Black Power Chronicles will illustrate that the Black Power Movement was a positive force for social and political empowerment for oppressed people, and not the destructive influence that has been so often portrayed. Most important, it will enable young activists to establish working relationships and communications with Black Power veterans, as well as educate the veterans about the contemporary social justice movement. We hope to forge new cooperation and alliances between veteran and contemporary social justice and thus strengthen the work ahead.
 
This program will strive to facilitate and encourage the development of new works about the Black Power era. These may include, but are not limited to the following: articles both digital and print; educational curricula, teaching materials and online educational platforms; video and film documentaries; art and photo exhibits as well as original music, dance, theater, poetry and literature.
 
Enjoy this 1966 speech by Stokely Carmichael:  https://www.youtube.com/watch?v=Cv9fyyAnIOQ

Marvin X Meets the Press




 Marvin X interviewed by WURD Talk Radio, Philadelphia, Black Power Babies Conversation,
produced by Muhammida El Muhajir.

DJ: Donald Lacy

Marvin X interview

Wake Up Everybody

Saturday, 7AM-Noon Music, news, and commentary  
LovelifeFoundation.org DonaldLacy.com

 
KPOO Radio's Donald Lacey will conduct a long awaited
interview with Marvin X, 3pm, Thursday, Feb. 20, 2016
89.5FM
kpoo.org



If you missed Marvin X's brief appearance in Black Panthers, Vanguard of the Revolution, you can
catch the Wild Crazy Ride of the Marvin X Experience  this Thursday, 5PM Pacific time; 8PM East Coast Time, Harambee Radio.com, interviewed by Sistah Q, a continuation of her dramatic interview with Black Arts Movement co-founder and Black Arts Movement Business District planner Marvin X, known variously as "Plato teaching on the streets of Oakland", Ishmael Reed; "The USA's Rumi, Saadi, Hafiz", Bob Holman; "Mark Twain", Rudolph Lewis.


Peace...

Brothah Marvin X. Topic: The Black Arts Movement Business District, Oakland - part 2

Listen to Brothah Marvin X on "What The Problem Is with Sistah Q Live on Harambee Radio" Thursday 18 February 2016 from 8 to 9 pm eastern time as he discusses The Black Arts Movement Business District in Oakland, California - part 2.

Listen online at HarambeeRadio.com
or on your phone.
Call-in number:805-309-0111
Conference ID number:
840360#

Peace...
Sistah Q



See also  this week's East Bay Express Newspaper feature story Arts in Oakland by Sarah Burke:

Marvin X Jackmon, a West Oakland native, co-founder of the Black Arts Movement, and seminal writer on Black radical politics, can often be found across the street from Betti Ono Gallery, at the intersection of Broadway and 14th Street, where for years he has set up his "academy on da corner." There, Jackmon works to preserve Oakland's legacy of Black radicalism — for which the 14th Street corridor has historically served as an anchor — while urging pedestrians to wake up to the reality of the Black struggle in America.


  Marvin X Jackmon was a crucial proponent of the Black Arts Movement and Business District. - BERT JOHNSON 
photo Bert Johnson
Marvin X Jackmon was a crucial proponent of the Black Arts Movement and Business District.

For the past year, Jackmon has also been an essential advocate for a resolution — sponsored by city council President Lynette Gibson McElhaney — to create a Black Arts Movement and Business District along 14th Street, from Oak Street to Frontage Road. The stretch includes Betti Ono, Geoffrey's Inner Circle, the Niles Club, Joyce Gordon Gallery, Club Vinyl, The Malonga Casquelourd Center for the Arts, and a number of other longtime Black-owned businesses.

The Oakland City Council unanimously passed the resolution on January 19. As is, the official designation only entails signage for the district — Jackmon envisions Pan-African flags flying above the street. But proponents hope the council will also enact legislation that will ensure community members have a powerful voice in how the district develops and are protected from displacement. In a recent interview, Jackmon said that his ultimate goal is to build a trust fund that would allow for community members to acquire the buildings that their businesses inhabit. "The main point is how do we maintain the longevity of this district after what we went through in West Oakland, in the Fillmore, and what Harlem is going through right now?" said Jackmon. "It's the same thing, so even if you build it, will it stand? And how long will it stand?"

At the January 19 council meeting, when the resolution was passed, a number of prominent community members urged councilmembers to not let the designation prove to be an empty gesture. "This is the first step, and I appreciate it, but there's so much more that we need to do to ensure that we don't become a relic and this Black Arts District is not just superficial, but we actually have Black bodies that are living in the city that can continue this legacy of artistic engagement and Black businesses," said Carroll Fife of Oakland Alliance, a coalition for racial, social, and economic justice. "Folks at the Malonga Casquelourd Center ... will they be able to impact the decisions that could displace them? Like the condo that is going up in front of the mural across the street from [the Malonga Center], what kind of say will these individuals who are part of this district, and who are business owners, have in the development of the city moving forward?"

See Sarah Burke's feature story on this blog, Eastbay Express headline.


Amiri Baraka (RIP) and Marvin X
 They enjoyed a 47 year friendship as Black Arts Movement movers and shakers


Angela Davis, Marvin X, Sonia Sanchez

Film director Stanley Nelson (Black Panthers, Vanguard of the Revolution),
poet Marvin X and Fred Hampton, Jr.

Marvin X is now available for interviews and speaking engagements coast to coast
510-200-4164
jmarvinx@yahoo.com

Eastbay Express: Will Oakland Lose Its Artistic Soul?

February 17, 2016 

Marvin X Jackmon, a West Oakland native, co-founder of the Black Arts Movement, and seminal writer on Black radical politics, can often be found across the street from Betti Ono Gallery, at the intersection of Broadway and 14th Street, where for years he has set up his "academy on da corner." There, Jackmon works to preserve Oakland's legacy of Black radicalism — for which the 14th Street corridor has historically served as an anchor — while urging pedestrians to wake up to the reality of the Black struggle in America.


Marvin X Jackmon was a crucial proponent of the Black Arts Movement and Business District.

For the past year, Jackmon has also been an essential advocate for a resolution — sponsored by city council President Lynette Gibson McElhaney — to create a Black Arts Movement and Business District along 14th Street, from Oak Street to Frontage Road. The stretch includes Betti Ono, Geoffrey's Inner Circle, the Niles Club, Joyce Gordon Gallery, Club Vinyl, The Malonga Casquelourd Center for the Arts, and a number of other longtime Black-owned businesses.

The Oakland City Council unanimously passed the resolution on January 19. As is, the official designation only entails signage for the district — Jackmon envisions Pan-African flags flying above the street. But proponents hope the council will also enact legislation that will ensure community members have a powerful voice in how the district develops and are protected from displacement. In a recent interview, Jackmon said that his ultimate goal is to build a trust fund that would allow for community members to acquire the buildings that their businesses inhabit. "The main point is how do we maintain the longevity of this district after what we went through in West Oakland, in the Fillmore, and what Harlem is going through right now?" said Jackmon. "It's the same thing, so even if you build it, will it stand? And how long will it stand?"

At the January 19 council meeting, when the resolution was passed, a number of prominent community members urged councilmembers to not let the designation prove to be an empty gesture. "This is the first step, and I appreciate it, but there's so much more that we need to do to ensure that we don't become a relic and this Black Arts District is not just superficial, but we actually have Black bodies that are living in the city that can continue this legacy of artistic engagement and Black businesses," said Carroll Fife of Oakland Alliance, a coalition for racial, social, and economic justice. "Folks at the Malonga Casquelourd Center ... will they be able to impact the decisions that could displace them? Like the condo that is going up in front of the mural across the street from [the Malonga Center], what kind of say will these individuals who are part of this district, and who are business owners, have in the development of the city moving forward?" 

Will Oakland Lose Its Artistic Soul? 

Members of The Town's vibrant arts community say they're at risk of displacement because of skyrocketing rents, and that Oakland isn't moving fast enough to protect its cultural identity.

Anyka Barber, founder and director of Betti Ono Gallery, is worried that the gallery might have to close 
because of a steep rent increase.

Anyka Barber, founder and director of Betti Ono Gallery, is worried that the gallery might have to close because of a steep rent increase.

On the first Friday of February, during Oakland's monthly street fair, patrons packed into Betti Ono Gallery in the heart of downtown. The gallery's walls featured photos by Brittani Sensabaugh, depicting Black, disenfranchised communities across the country — including the deep East Oakland one where the artist grew up. With her mother by her side, Sensabaugh spoke about what she aims to achieve through her work: uplifting struggling communities by representing them authentically, rather than relying on harmful stereotypes. Afterward, a patron asked a question that seemed to have been on the minds of many: "What are your thoughts on gentrification?" 
"I've got a lot of thoughts about that, but let me just keep it to a bare minimum," Sensabaugh responded. "It's not even the fact that they are coming in, it's the fact that the people coming into the neighborhoods are not embracing the culture that is already there."

At Betti Ono, conversations about art and politics are always entangled. Physically, the gallery itself offers a metaphor for that deliberate intersection. Tucked into the Broadway-facing edge of Frank Ogawa Plaza, the space occupies the same plot as City Hall, with its door mere yards from the city council chambers. There, it's uniquely poised to bring the concerns of artists and culture makers to a place where they can't be ignored by those in power — to amplify unheard voices on a stage at the center of the city.

But Betti Ono's own voice is in danger of being silenced. Recently, the gallery's founder and director, Anyka Barber, received notice from her landlord — the City of Oakland — that her rent was going up by 60 percent. That works out to $22,000 more a year, and the gallery can't afford it. According to Barber, when she moved into the space five years ago, representatives from the city's real estate department told her she would eventually be able to secure a long-term lease, and that the city would provide support for improvements on the space to accommodate her programming. But instead, the city has hiked the gallery's rent every year.

Although Barber has been requesting a long-term lease from the start, the city has only offered her one-year leases, she said. And since the gallery's last lease ended in December, she has been operating on a month-to-month basis — a situation that has greatly inhibited her ability to plan for future programming and apply for outside funding or loans, she said. The space is currently in limbo, she added, because representatives of the city's real estate department have asked her to hang on until they decide whether they can offer her a lower rate. Meanwhile, she's had to turn down artists and cultural organizations interested in collaborating. Soon, she'll be launching an online fundraising campaign in hopes of keeping the gallery open.

"We don't have a lease, which means we don't have a home," Barber said in a recent interview. "That's a really, really hard thing to say about a space that has been intentional about creating space for people of color in Oakland, especially Black people, to feel like they belong and that they have just as much access to downtown and can celebrate themselves in public and be seen and be accepted and be protected just like any other group in the city should be able to do."

The challenges facing Betti Ono Gallery are not unique. Although Oakland's art and culture scene has blossomed during the past decade and gained widespread recognition for its vibrancy, a growing number of arts and cultural spaces are currently at risk of displacement. In fact, many have already shuttered, and artists and gallery owners are increasingly worried that Oakland may eventually lose its artistic soul.

For the past eight months, Barber has been working to stem the tide of displacement of Oakland's artists and cultural spaces as one of the core leaders of Oakland Creative Neighborhoods Coalition (OCNC). Barber co-founded the group in June with Katherin Canton, a network coordinator with Emerging Arts Professionals San Francisco Bay Area, in hopes of organizing around rising concerns over Oakland's arts community being priced out of the city. (Canton has since stepped away from her leadership role in the coalition due to time restraints, but well-known Oakland arts advocate Eric Arnold, a former Express staffer, has taken on a prominent role, among others.)

OCNC, which now has hundreds of members, initially came together in an attempt to draw city officials' attention to the need for Oakland to hire more staffers in its cultural arts department before the 2015-2017 city budget was finalized in June of last year. The city has been without an arts commission since it disbanded in 2011.

The city's cultural affairs department used to be robust: From 2001 until 2003, it had thirteen employees working specifically on arts-related matters. But since then, the department's staffing has gotten consistently smaller. It also took a major cut during the recession. Today, it only has three full-time employees and one part-timer, with only two of those positions dealing directly with art and artists.

Pamela Mays McDonald, an OCNC member and External Affairs chair for Oakland Art Murmur, a nonprofit organization that supports and represents Oakland galleries, addressed the issue in a recent email: "The fact that the Cultural Arts Department has been kneecapped by having no commission of responsible citizens for advocacy and oversight, combined with being grossly underfunded and understaffed, leaves culture workers here defenseless against the onslaught of gentrification," she wrote. "There is no institutional understanding that the arts are an economic engine for the area; they are not just a cynical lure to make a neighborhood pretty to attract outside investors."

Nonetheless, during last year's budget talks, the city council declined to increase the size of the department or reestablish the arts commission. Since then, OCNC has been working to narrow down a list of the arts community's top priorities and concerns. So far, those have mostly focused on the need for more affordable housing, rent security for studios and creative spaces, and legislation that would immunize pre-existing cultural communities from noise complaints by new residents.

Another core concern for the coalition has been rallying artists to provide input for the Downtown Oakland Specific Plan. The city's extensive planning process has been engaging with community members to produce a detailed vision for what downtown is going to look like if developers continue to invest in Oakland — how tall buildings will be, what kinds of occupants they will have, and how much affordable housing will be built. OCNC aims to ensure that the arts community is prominently positioned in that vision, so that the scene thrives in Oakland over many more decades.

Those involved with OCNC, and many groups of artists organizing alongside it, agree that now is a critical moment for Oakland's creative contingent to make demands of the city, and for the city to be responsive to those demands — before Oakland loses its cultural identity.

"To be a world class city, to have all this cultural vibrancy and 'diversity' and all this specialness that everybody talks about, there needs to be a clear strategy to protect that and to grow that," said Barber. "I think our city leadership could really set the stage for some really powerful new policies that could inform cities across the country and across the world."

In the early Aughts, following the first dot-com crash, Oakland's Uptown district was riddled with storefront vacancies, and rents were extremely cheap. So artists began to move in: DIY spaces Mama Buzz and Rock Paper Scissors Collective (RPSC) were some of the first to open up. Others soon followed, and during the next decade, the neighborhood transformed from a rarely walked, crime-ridden district to one with the densest aggregation of galleries in Oakland.

During the mid- to late Aughts, the migration of artists from San Francisco to Oakland started to hasten, as more artists were attracted by the East Bay's affordable rents, its high prevalence of studio spaces, and DIY art culture. And in recent years, during the latest tech boom, San Franciscans have been moving across the bay in hordes, thereby driving up rents even further and making Oakland's economic climate less accommodating to the low incomes of artists.

As rent prices have soared, even landlords who had been sympathetic to cultural spaces in the past are finding they can't afford not to rent at market rate. And the depletion of affordable housing and workspaces is creating a strong sense of insecurity for artists and cultural professionals.
Last year, San Francisco's arts commission conducted a survey of artists that work in the city and found that 72 percent of nearly six hundred respondents said they had either been displaced or were facing imminent displacement from their workspace, home, or both.

Last November, a taskforce appointed by Mayor Libby Schaaf to research artist housing and workspaces conducted a similar survey in Oakland and received more than nine hundred responses. The complete survey results have yet to be published, but a memorandum that the task force submitted to the mayor in late December outlined the main takeaways: While 70 percent of respondents said that they do not fear imminent displacement in their workspaces or homes, the majority felt that workspace and housing costs are the biggest challenge to being an artist in Oakland. In addition, half of the respondents said they are paying month-to-month for housing and workspace, rendering them particularly vulnerable, especially for those in commercial spaces because they have no rent control or rent protections.
Students and other activists marched last week to protest the destruction of the Alice Street Mural.

Kelley Kahn, who works on special projects for the mayor's office and manages the task force, said in a recent interview that the results show that we're currently in the midst of a critical window of time during which the city has an opportunity to prevent the same kind of creative exodus that San Francisco experienced. "The time is now to start intervening," said Kahn. "And our interventions may actually have an impact because the artists have not left yet."

But even before the survey was conducted, it was clear that Oakland's artists were starting to face a crisis. For many, that realization came in July when Rock Paper Scissors Collective, a gallery and nonprofit community space that specializes in arts programming for low-income youth, announced that it could no longer afford the space it had occupied on the corner of 24th Street and Telegraph for eleven years. The landlord, who had long worked with the collective's members to keep the rent affordable, finally decided to raise the rent to market-rate — more than triple what the collective had been paying. RPSC had been the last founding member of the First Friday art walk and Art Murmur — its organizing body of galleries — to still exist in the area.

"This space has become attractive to wealthier tenants because of the years of hard work we have put into building a community of engaged artists, musicians, and performers, and as a reward we are being kicked out to make way for a wealthier class of renters," read the July 10 announcement from RPSC. "Will they share RPSC's dedication to making art accessible for everyone? Will they be as community-focused? Will they stand in solidarity with the people of Oakland, as we have?"

The physical closure of RPSC (the collective is still doing programming out of other arts spaces) was followed by a series of similarly unsettling events. Also in July, the city declared that Humanist Hall, a community space on 27th Street, between Broadway and Telegraph Avenue, was a public nuisance due to noise complaints from neighbors. The city imposed a $3,500 fine and threatened daily $500 penalties if the complaints should persist. Not long after, a longtime West Oakland gospel church, Pleasant Grove Baptist Church, received similar threats of fines for noise complaints about its choir. And in September, as covered widely in the local press (including in the Express), a white Lake Merritt neighborhood resident called the police on a group of Samba Funk African drummers playing at the lake, resulting in a clash between drummers and Oakland police.

The issues collided at the fourth OCNC meeting in October, which was held at the Oakland Asian Cultural Center. In the crowd of about one hundred attendees was Oakland Museum of California director Lori Fogarty; Pleasant Grove Baptist Church pastor Thomas A. Harris III; Samba Funk African drummers; and curators, dancers, and visual artists of all stripes — all airing grievances about Oakland's apparent cultural shift. At one point, Pastor Harris took the floor to passionately demand that the church community be included in the coalition's campaign. In the moment of tension, Barber made it clear that she felt every issue that had been brought to the table was part of one complex struggle to fight displacement and cultural erasure in Oakland. "The issues that are impacting the churches are the same issues that are impacting the arts and culture community," she asserted. "It's not separate."


Marvin X Jackmon, a West Oakland native, co-founder of the Black Arts Movement, and seminal writer on Black radical politics, can often be found across the street from Betti Ono Gallery, at the intersection of Broadway and 14th Street, where for years he has set up his "academy on da corner." There, Jackmon works to preserve Oakland's legacy of Black radicalism — for which the 14th Street corridor has historically served as an anchor — while urging pedestrians to wake up to the reality of the Black struggle in America.

Marvin X Jackmon was a crucial proponent of the Black Arts Movement and Business District.

For the past year, Jackmon has also been an essential advocate for a resolution — sponsored by city council President Lynette Gibson McElhaney — to create a Black Arts Movement and Business District along 14th Street, from Oak Street to Frontage Road. The stretch includes Betti Ono, Geoffrey's Inner Circle, the Niles Club, Joyce Gordon Gallery, Club Vinyl, The Malonga Casquelourd Center for the Arts, and a number of other longtime Black-owned businesses.

The Oakland City Council unanimously passed the resolution on January 19. As is, the official designation only entails signage for the district — Jackmon envisions Pan-African flags flying above the street. But proponents hope the council will also enact legislation that will ensure community members have a powerful voice in how the district develops and are protected from displacement. In a recent interview, Jackmon said that his ultimate goal is to build a trust fund that would allow for community members to acquire the buildings that their businesses inhabit. "The main point is how do we maintain the longevity of this district after what we went through in West Oakland, in the Fillmore, and what Harlem is going through right now?" said Jackmon. "It's the same thing, so even if you build it, will it stand? And how long will it stand?"

At the January 19 council meeting, when the resolution was passed, a number of prominent community members urged councilmembers to not let the designation prove to be an empty gesture. "This is the first step, and I appreciate it, but there's so much more that we need to do to ensure that we don't become a relic and this Black Arts District is not just superficial, but we actually have Black bodies that are living in the city that can continue this legacy of artistic engagement and Black businesses," said Carroll Fife of Oakland Alliance, a coalition for racial, social, and economic justice. "Folks at the Malonga Casquelourd Center ... will they be able to impact the decisions that could displace them? Like the condo that is going up in front of the mural across the street from [the Malonga Center], what kind of say will these individuals who are part of this district, and who are business owners, have in the development of the city moving forward?"

Fife was referring to a 126-unit condominium project that's planned for a parking lot across from the Malonga Casquelourd Center for the Arts, a historic home to some of Oakland's most vital dance communities, such as Bantaba Dance Ensemble; Dance-A-Vision Entertainment; Diamano Coura West African Dance Company; Dimensions Dance Theater; and AXIS Dance Company, a company that works with disabled dancers. Members of the Malonga community have opposed the development in part because it would cover a large cultural mural that was the product of a three-year effort by the mural arts organization Community Rejuvenation Project (CRP). The mural project cost $80,000 — and nearly half of the money came from Oakland's cultural funding program.

In a recent interview, CRP director Desi Mundo said that the city had initially recommended the wall as a location for the mural because it was blighted. To create the mural, CRP muralists interviewed Malonga's artistic residents and Chinatown cultural leaders in order to create art that would depict the cultural legacy of the area and its resilience in the face of ongoing threats of gentrification. But only three months after the mural's completion, Mundo learned about the development plans.
Desi Mundo is the director of the Community Rejuvenation Project. 
At a planning commission meeting earlier this month, developer Maria Poncel said her company, Bay Development, plans to help "kickstart" a replacement mural project on the Laney College campus to make up for CRP's loss. But during public comment, Mundo urged the commissioners to delay the project's approval until Poncel offers the CRP a memorandum of understanding concerning the funding.

"The idea that we're just gonna be capable of re-raising all that money and that the developer won't be responsible for it, even though they said that they would, feels very disingenuous to us," Mundo later told me.

The planning commission, however, green-lighted the condo project without requiring a firm commitment from the developer, thereby seemingly not taking the community's concerns into account.

Since the project's approval, Mundo and others have filed an appeal of the decision and are waiting to be notified of when it will appear in front of the city council. They ask not that the project be denied, but that the developer include community benefits in the project, including funding 100 percent of the mural replacement costs. Supporters also marched on City Hall on February 11 to draw attention to their concerns.

On the evening of January 13, a group of Uptown artists and curators convened at the 25th Street Collective, pulling up about twenty mismatched chairs around a snack table. They were nervous that the city doesn't care about preserving their neighborhood.

Signature Development Group, run by Michael Ghielmetti, has been buying up properties in the area in order to build condos. And, as the Express reported, the Oakland Planning and Building Department, at a planning commission meeting last fall, attempted to sneak through a zoning change that would have benefited Signature by allowing the developer to construct taller buildings than would normally be allowed in the area (see "Special Deal Would Benefit Influential Developer," 11/4). After an uproar from gallerists, who are concerned about rising rents, construction inconveniences, and depleted natural light, the city postponed the decision.

Members of the Uptown artists contingent are also vying for their own cultural district designation. But they hope to have artist-protection legislation folded into the designation from the get-go, possibly including a requirement that a certain percentage of each new development in the area go toward cultural use. They are also considering proposing that the city offer landlords incentives, like tax breaks, in exchange for renting to cultural arts spaces at below market-rate.

Vessel Gallery owners Lonnie Lee and Ken Ehrhardt are currently spearheading an effort to write a resolution based on the community's input, and rallying people to ask their city councilmembers to support it. Their hope is that if it gets passed, it can serve as a template for other cultural districts to be designated throughout the city.

Lonnie Lee spent six months renovating Vessel, her gallery in Uptown Oakland. 
Lee and Ehrhardt moved into the neighborhood before much was there in the way of art. Like many gallerists in Oakland, they completely renovated the space, which had once been a stable for the Oakland Fire Department's horses. Now, the worn wooden floors and vaulted ceilings add a hip charm to the loft, which glows with natural light in the afternoon and often has a pleasant breeze passing through it. Such improvements, however, have also contributed to what makes the area enticing to developers and wealthier tenants.

"[Developers] say, 'Oh, look at what the arts have done. Isn't it cool? We want to buy property here. We want to be here because of them," Lee said.

For some, the Uptown gallerists' attempt to protect the area's art scene is already too late. The 25th Street Collective — the venue for the January 13 meeting and a shared incubating space for local makers — will soon close. The collective's rent recently shot up by nearly 40 percent, and by August, all of the resident artists will have to be out because they can no longer afford it.

But Hiroko Kurihara, founder of 25th Street Collective as well as Oakland Makers — an organization that supports small-scale local manufacturers and artisan producers — seems more concerned with the bigger picture. She's worked at the intersection of manufacturing and social enterprise for many years, and has also been an active member of Mayor Schaaf's Artist Affordable Housing and Workspace task force, which Kurihara has represented multiple times at meetings for the Downtown Oakland Specific Plan.

Kurihara is interested in creating a citywide cultural district that would try to reap funding benefits from the statewide California Arts Commission budget. That way, Oakland's arts community won't be divided. "There's a little pot of money, and then all these competing interests end up squabbling over scraps," said Kurihara. "We can't do that if we're gonna really try to coalesce and build a cultural arts-based community."

But she's also concerned with how the housing crisis crucially plays into the plight of Oakland's artists. She argues that without development impact fees to pay for more affordable housing — a program that the city has yet to approve — attempts at saving art spaces will be futile, because there won't be any artists left who can afford to live in Oakland.

"I understand that the mayor, her platform is 'Made in Oakland,' but she really needs to be able to say 'Stayed in Oakland,'" said Kurihara in a recent interview. "And I understand that right now, the city doesn't have the revenue [to build affordable housing], and there's a fear that if we don't create a transitional easing into what the impact fees are going to be that development will cease. But I think if you were to ask anybody — I mean anybody — if Oakland will remain dormant [if impact fees go into effect], it's just not gonna happen."

Hiroko Kurihara at the latest Downtown Specific Plan community meeting.

The city has been studying the idea of requiring market-rate developers to pay impact fees on new housing projects for more than a year. Earlier this month, a city council committee voted to move forward a plan to launch the fee program in September, but the full council is not expected to officially approve the proposal until sometime in March — at the earliest. Numerous other Bay Area cities, including both Berkeley and Emeryville, already have such fees in place to pay for affordable housing.

Kristi Holohan of RPSC said Schaaf recently assisted her in setting up a potential deal for RPSC to move into the bottom floor of a new condo project to be built by Signature Development Group on the parking lot directly behind the building that RPSC used to be in. Holohan said it would be a relief to finally find a space after months of being turned down by landlords all over the city, but she is also concerned that if there's no affordable housing in the area, it may no longer be an appropriate place for RPSC's programming.

"Are they going to have affordable housing?" Holohan asked, while painting a mural with youth in San Francisco. "Because we serve a demographic that is really diverse."

At the January 22 opening of the newly expanded San Francisco Arts Commission galleries, attendees could barely move through the three exhibitions. The main gallery, which featured work by recently deceased East Bay artist Susan O'Malley, was packed so densely that you could barely hear internationally celebrated performance artist Guillermo Goméz-Peña giving a monologue in the center. Housed in the War Memorial Veterans Building, the galleries are a gorgeous new addition to the city's arts landscape, yet the support that the galleries are meant to offer to local artists has arrived a few years too late. Most of the local artists who show there will likely be commuting from the East Bay.

Over the past few years, San Francisco has partnered with organizations like ArtSpan and The Community Arts Stabilization Trust (CAST) to preserve what's left of its arts community. ArtSpan organizes art exhibitions in underutilized or vacant spaces in San Francisco. CAST is a nonprofit that uses foundation money to purchase buildings that are already inhabited by important cultural hubs, then leases the buildings back to them at an affordable rate with the intention of eventually selling it to them at the same price that the nonprofit originally paid.

Joshua Simon — who is CAST's treasurer and is the executive director of the East Bay Asian Local Development Corporation (a nonprofit community development organization) and a member of Mayor Schaaf's task force on artist housing and workspace — described the problem that CAST addresses as a "space chase." That's when buying property is just financially out of reach for arts organizations, leaving them perpetually vulnerable. CAST attempts to close that gap by buying an artspace and helping the arts organization build itself financially until it's ready to purchase the space at the same price that CAST paid for it. In the last few years, CAST has acquired buildings for San Francisco's CounterPulse and Luggage Store Gallery.

The memorandum that Schaaf's task force submitted in December outlines the top strategies for preserving the arts in Oakland based on case studies from across the country. Most of them focus on ways for art spaces to achieve ownership and long-term affordability. One of the most promising strategies is to create an acquisition program for Oakland that's modeled like CAST. Other strategies include creating community land trusts through which artists could collectively own properties; leasing underutilized city-owned buildings to artists at affordable rates (until tenants are found); incentivizing private developers to offer affordable, long-term artists spaces by using zoning tools; and greatly increasing available technical assistance and educational resources for artists. According to Kelley Kahn of the mayor's task force, the city is currently devising programming for training artists and gallerists on topics such as how to negotiate a long-term protective lease, how to build a business plan, and how to get funding from foundations.

"Where Oakland is and where San Francisco is, I think there's a lot more hope for Oakland," Schaaf said in a recent interview. "I think we are intervening at a much earlier stage than San Francisco did. We are absolutely looking to learn lessons from San Francisco and avoid the displacement."
But according to Kahn and Schaaf, in order to move forward with many of these strategies, it will be crucial to reinstate the city's arts commission in order to work through complicated details. Kahn also pointed out that the last Oakland arts commission stopped meeting because they were having trouble reaching quorum. And she thinks that's because the commission had very little power to influence the city and rarely dealt with heated issues. She and Schaaf also both want the city to resurrect the Cultural Affairs manager position that was cut a few years ago, and for the council to then heed both the commission and the cultural affairs manager's recommendations.

"We also need someone who can just be mindful of the very issues we're all talking about," said Kahn. "About what does it mean to be an artist in Oakland? What kind of support can the city give them? What can we do from a real estate perspective to improve their ability to stay in Oakland? What can we do with our own arts and cultural space that we own? There's a broader scope of work that needs to be held by this unit than they're currently capable of doing."

Schaaf said the city received a National Endowment for the Arts grant for the purpose of creating a cultural plan to preserve Oakland's arts and to reestablish the city's arts commission, but that process hasn't started because Oakland needs a Cultural Affairs manager to lead it. Plus, the commission can't be reinstated until the cultural arts department hires more staff to support it, she said. "I don't think there's anyone who does not support having a cultural arts commission," said Schaaf. "It's just that we don't want to ask people to volunteer their time if there's no staff support to provide them the assistance." Schaaf, who has been mayor since January 2015, said she plans to bring forth legislation to the council on February 23 to reinstate the Cultural Affairs manager position.

Meanwhile, the full results and analysis of the task force's survey will be publicly released in about a month, although it could be longer, according to Kahn. Schaaf said the Kenneth Rainin Foundation, a major funder of the arts, has agreed to partner with the city to move forward with some of the strategies presented by her task force. The Rainin Foundation recently formed its own working group to conduct a study of Oakland's art ecosystem to identify how best to support those strategies, said Schaaf. When asked for a general timeline, she offered only that "work is underway."

At the most recent presentation for the Downtown Oakland Specific Plan, which was held at the Malonga Casquelourd Center, the plans presented were meant to reflect adjustments made based on community input. For example, in the uptown area (technically called Koreatown Northgate), planners had applied a "surgical" approach to infill development so as not to displace galleries in the area, and plans for the 14th Street corridor were titled "Black Arts Movement and Business District." The adjustments were somewhat promising, but seemed like baby steps to many.

As he presented, the planning head, Victor Dover, projected a slide that read "Development Without Displacement" in large, bold letters. But toward the end of the lengthy presentation, an older Black woman could not wait any longer. She walked in front of the audience to exit, and voiced angry concerns about local, Black-owned establishments having already been displaced because of development.

Soon, Betti Ono could be the next of those to go.

"We need something implemented right now. Today," Barber told me. "We've needed it before the lease expired, and we've needed it for four or five years, so to say just hold on and at the same time we can't even do business is damaging."

"We're being pushed out," she continued. "We're being priced out, and we need the city to act now. What are you waiting for?"
Correction: The original version of this report erroneously referred to AXIS Dance Company as Axis Dance Group.

Tuesday, February 16, 2016

Marvin X will speak at Oakland City Hall Black History Month Reception

flyer-obhmr-potp-2016-700-full size

 
 Marvin X
photo Harrison Chastang

Black Arts Movement poet and BAMBD planner Marvin X will speak and exhibit his Black Arts Movement archives.