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A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Guest host Jovelyn Richards presents White Switch   WHITE SWITCH Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Jovelyn Richards: [00:01:07] Hi, this is Jovelyn Richards and I'm happy to be here on Apex. Some of you may know me from Cover to Cover, which is every Tuesday at two o'clock, which I, um, spend time with artists, filmmakers, uh, writers, play writers, poets, to bring that to my audience. And on every third Monday you would hear me on Women's Magazine and my colleagues. We all take one Monday and Tuesday on different topics from a feminist perspective, from a global perspective. And my specific way of approaching that is to look at writings and, um, that's either from fiction or either it is nonfiction, but at the core of it, because my interest really is getting to the story of what it's like to be human.   Jovelyn Richards: [00:02:05] Those reflect characters topics that really dig inside of that written by women who was in search of, in their research, their lives of highlighting either known people or ordinary people who are. Living in ways in which moves humanity forward. So that's where you'll find me. And so why am I here? I'm here because I did a project, uh, over a year ago, and this, this, uh, tape is, uh, this program is a long time coming. I partnered with this particular project with, so when you would be familiar with, and that's Preeti Shekar last name is spelled S-H-E-K-A-R. And we began this story, uh, of looking at anti-blackness in the South Asian community together. So what I'm going to do is let you listen to a clip, not from Preeti or myself. But from someone else's doing this anti-blackness work in South Asian communities with Ritu Bhasin, and the last spelling of her name is B-H-A-S-I-N. So we'll take a listen to that and then I will be right back and have that discussion.   CLIP PLAYS   Jovelyn Richards: [00:04:46] All right, so here we go. And so one of the things I appreciated seeing and listening to her video when I first was introduced to her, that aligned with the work that myself and Preeti was doing in our project curriculum called The White Switch, and we'll dig into that. What is the White Switch? What is the curriculum of the White Switch and how it came about? And so what I appreciate, the continuous work, you may wanna Google, if you don't already know, you probably do with Ritu Bhasin, uh, because she speaks directly about anti-black, uh, racism within South Asian communities, especially among professionals and leaders. And as you've heard in the video, she shares what that experience has been. And I was so happy to be able to offer that in the beginning of this. Uh, broadcast so that it, uh, to break the sense of isolation just in myself. Speaking of it as a black woman, I was hoping that Preeti would be here, but she's, um, back in India and I'll talk a little bit about what that's like for me, uh, that my co-create, um, my partner on this here.   Jovelyn Richards: [00:05:59] So the white switch and the history of it for years. Uh. Probably like close to 15 years now. We were part of the beginning of white, uh, women's magazine and we had wanted to do something together. We knew that we wanted to work together without knowing the why, but every time we were in conversation in the building, uh, women's magazine and the way I approach the topics, uh, as a collective. And where the resistance was, where the fun of it was at. Uh, and then her way she approached it, there was place the, the connected dots. So example would be for any of our lives, when you're in very difficult conversations, you pay attention to the other, uh, uh, collaborators or whatever the, what the team is made of. And even if it's to people and you see whether or not they're coming from a place of inclusiveness, you're seeing how, how hard they are holding on to their opinion, whether it's negotiable, whether they're really deeply listening. And what was really interesting to where we connect the is that we found that both of us and we were relatively new to each other.   Jovelyn Richards: [00:07:20] What we both found is that the humor. That in the heat of it all, or the conflict of it all, there was, we relied on this part of humor to not, to deflate and deflect from the situation, not to deflate it, like take off the, the, the fullness of the topic, but to give us all a moment to breathe in humor. Right? And, and that's, that is part of my go-to as a standup comedian. So that's real for me. So. Let's talk about the white switch. So the, oh, so the, how it began, how we came up with that since we wanted to do a project together, how did we come up with the white switch anti-blackness in South Asian community Preeti, uh, was in New York over a year ago, and she was taking a Lyft in Harlem to wherever else she was going, or she was going to Harlem and the Lyft driver. South Asian, uh, driver asked her why was she going there or coming from there. Then she said, what do you mean? And he began to have a conversation around the dangers of that even. He didn't always like to pick up folks there and he was referring to black folks. And so pretty him not knowing that she's an independent journalist, she's also an activist.   Jovelyn Richards: [00:08:48] Begin to ask important questions and starting with what has been your experience, your personal experience, and then your experience with others close to you that might have shared that is informing these thoughts. You have these feelings, you have these decisions you're making, these things you're telling me not to do, and he had nothing, none to offer. So the next question would be, so then, then. Why, and then from, if I got the story right, there was a, um, uh, moments of silence and so I think he was sort of processing, processing in his own mind. Why am I telling, why am I feeling this way? Why am I hesitant to go to areas where I know there'll be black folks? Why am I telling a woman who is South Asian, particularly identifying with his own, uh, identity, wanting her not to go? And in that emptiness, one would hope that. Once he did self-reflection, uh, with that question that he was discovering, like he really didn't have anything substantial to go by. And so when she got back from her trip, we were talking and she said this was very important to her, to talk about that.   Jovelyn Richards: [00:10:15] And uh, and I told her at the time, surprisingly enough that I was. Actually had been working on a project in my isolation, uh, called the White Switch, and that this coincidence, we wanted to take advantage of both of our energy of importance towards the matter. So the thesis statement within it is that the whites, which is a healing curriculum. This innovative program designed for activists very specifically anyone can, can be involved in the curriculum of, of essentially looking at the anti-blackness in any community outside of the black community. Specifically for activists and then, but anyone can do that if you, if they're, you don't have to be actively considering yourself an activist just by wanting to, to think about and look at the curriculum on some level. Something is activating inside and looking at that, and then to, in the curriculum to recognize as this, this Lyft driver did that there was no logical reason for him. To not only have that stance, but to offer it to strangers, then spreading that untruth or have no validity to it, right? And so the curriculum addresses that and to begin as, as to, to eradicate the deeper feelings despite being activists, despite education around anti-blackness.   Jovelyn Richards: [00:12:12] That even among the most astute South Asians, there are the deeper roots, the deeper roots of anti-blackness. And that is the white switch. The white switch. And so the, the pattern. The reoccurring pattern that one has seen politically in black communities. As we also heard in the, um, video, which were two of us seen, uh, has been, that is, is even after years of political education, community organizing, or DEI, where there's a sudden internal shift that occurs. This shift is not intellectual, it is somatic. Emotional and rooted in the proximity to whiteness. And that switch, the white switch goes on immediately for survival purpose. So when confronted. By anti-blackness in conversation and actions, there's a switch that goes off. Fight or flight, fight or flight. And when that happens, there are things that happen again in the activist. In, in communities that have, uh, fought for years for political education through community organizing. But the, the, the roots of the proximity to whiteness globally is no joke because literally it is saying, this is for your survival.   Jovelyn Richards: [00:14:18] You are invested here in this proximity to whiteness. For your survival, economically, social placement, accessibility, back to safety for all of the above, and this buried there even while you're doing the, the, the radical work, however you show up, is sitting there with those deep roots, right? And so the workshop curriculum was created. I had started it before Preeti and I began doing it, um, writing about it. And I'll give you that history. This is a good place to do the history of that. I had been doing political education around anti-blackness and around many issues, but what, this is what we're speaking about, right? And educating around domestic. Other things were like hunger, domestic violence, um, community organizing, and specifically that, that came out of anti-blackness, holding workshops, creating workshops. And what I discovered is, um. Most of the people, the audience that was there, I'm thinking example of the Stockton Unified School districts district where myself and peer advocates went in, uh, to do the work of anti-blackness over some incidences that had happened in in Stockton in the public school system that was quite serious and quite painful for the black students and black community.   Jovelyn Richards: [00:16:07] And when I was there doing a workshop, and this was in my particular, um, um, curriculum that we was, we was doing, uh, but I was implementing it and what I noticed was more pronounced, I had noticed it before. And had even talked about it, had, um, had dialogues about it, uh, with others. What I noticed in those, the, those times that there's a point. Where in the, that particular workshop, I could see where there was staff that was really wanting to get to the bottom of their own anti-blackness for their students. So the teacher part of them and the diversity of the students. And there was activated and then there was those, uh, that were not engaged with the caring of, they were there to teach and they brought, they. Didn't have an issue with their behavior that spoke to anti-blackness. Example would be two students are talking and one non-black. Black. And these are just random examples. Very, they're not mild, but compared to what had happened, what brought us there that was so extreme, it involved death. Um, uh. I shouldn't just say it like that without giving more backdrop to it, but, and maybe I will.   Jovelyn Richards: [00:17:43] But here's in the daily classroom that then this black student would be called out and removed more times than not from a classroom. And so by the teachers that did not take up responsibility, that in their teaching they had a responsibility to be teaching themselves. By listening to the students that would call, would call them out and, and stay forth and say, why, why? This person started talking to me? Why are you only pointing out at me? So this, this is not new. I'm sure this happened throughout the teaching person teaching career. Why am I have to go to office? And so now we can see what happens when students are constantly in the office, how that impacts them. So. That is part of when I started making more notes on this here. And then I, uh, worked with, and probably you're very familiar with this organization in the Bay Area, surge showing up for racial justice. And they were, uh, we worked together on a project. That I was doing as a writer. I was writing the Play 911: What's your emergency? And it was in response to white communities, particularly women calling the police on Brown and black people. And most notable in the Bay Area was barbecue, Becky and Permit Patty. So I met La Peña. I was a resident artist at La Peña Cultural Center. Hopefully you're all aware of that. Uh, of the center and its beauty that it, uh, and work is done over the decades. And I, so in writing the play and working with community folks, uh, actors, performers, and interested and impacted by these phone calls, and we worked in Workshop to create together, I did. I wanted to. Dig more into the psychology now of the barbecue Becky and permit Patty.   Jovelyn Richards: [00:20:10] That means I wanted to look at the racism within white women. And again, I wanted to look at that from, of. White women who have done work and fight for anti-blackness and other, uh, social ills. And so I went to search and, uh, they agreed immediately, which is kudos and kudos, uh, that, uh, they were willing to even think to themselves, yes, I can look, I can get, I, there's, there's roots in here. There's something in here. And so we, um. Created, I created the curriculum for the workshop that lasted over the weekend, and I found out some very interesting things and they found out more importantly, some very interesting things being activists themselves. And as we dug deeper using healing curriculum, for example, uh, there's, uh, healing, uh, um. Theater is based in theater, similar to, um, not similar to, but another theater thing you could think of that deals, which social ills would be theater of the press, uh, playback theater. And I also use that in some of the work I do. That's part of the White Switch. But I had created a thing called two Tiers Telling. Jovelyn Richards: [00:21:38] And in the chairs, two chairs telling the facilitator being me and the, the person who is working on, and this, in this case, women from s would sit in the chair and the others are the witness. They hold the space. Right. And again, this is a healing, uh, process. And then we go into some reflection questions, right. The same way. Preeti did with the Lyft Driver. But these particular questions, because I'm working with activists who are very savvy in the work they do, and very knowledgeable and, uh, the political, uh, things that are happening are happening in the world, then I created those questions to dig past the intellect. Pass the work into the personal, right? So we go into to memory, we go into early memory, and that became really a wonderful experience, as I said, for everybody, right? And I took those notes again, collecting that. And over the years, other workshops I've done. And so again, by the time it circled to pretty us looking forward. Uh, work to do together. It came up. Now I even in this rec, this, um, programming, it was odd when I 'cause this, this recording, this program was due like almost a year ago. We started this program in this 20, 20, 26. Now we started together in late 2024. We presented this at the DESI Conference in 2024, south Asian uh, DESI Conference.   Jovelyn Richards: [00:23:41] We presented at that conference, right? And we were building the curriculum looking for, um, support for it, and Kamala Harris spoke at that conference. There was some political uproar from some of the folks there. They had their own feelings about her and the, the, the, what was, what was happening, what was not happening in the, uh, Biden and her administration with Biden. And there happened to be a moment when I got into, uh, an argument with one of the people who wanted to disrupt the moment she was speaking. I had an issue with that and wanted to, um, ask more questions and in the questioning the person was, was crying and so upset, and then I asked them what work they had been doing in their, in anti-blackness, and their response to me was, I don't have time for that right now.  That was very concerning. Very concerning. And so when I talk about this now, I'm recording this. It's actually Martin Luther King's Day where I'm recording it at air, uh, later and, and I'm sitting here reflecting on where we're at as a whole. Jovelyn Richards: [00:25:14] And I know that a lot of that was, we're here now, whatever, wherever you're thinking about where we're at, because of anti-blackness, because of anti-blackness. So, so much feels kind of odd to be talking about the work we were doing and wanting to do, and then more fiercely leading up to the election. Right? So again, this was, uh, 24. 2024 when we started the story in the, the spring of, and it just turned 2024. The conference was in the spring, I think it was May, late spring, and we came back wanting to do workshops and I left the conference. It was a wonderful. And I love the diversity of the conference in terms of the way diversity and how they was approaching it. Different topics, whatever the topics they were using. It was a different, it was different than most conference where the talking hads and, and then you go to break room, then you come back to another workshop on the program and then you go on the talking hat. You take notes or. And then you come out and then there's a, another break or lunchtime, you go back in and you meet people. There were hundreds of people and there were, there were people approaching difficult subject matters with comedy. And I'm a comedian, so I know that, and we all know on some level the comedians can tell you the best of the best stuff in terms of, um, political social ills, and they get you with that punch.   Jovelyn Richards: [00:26:50] That's another way to get people to sort of pay attention to where they're at in the world, where they're at within the subject matter and what or what not they want to do. Richard Pryor would be a good one, uh, most notable. Uh, and Eddie Murphy to some degree. Yeah, to some degree, but definitely Richard Pryor. Um. And so, and then they also had the dance. They have so much, they had so much of, they brought themselves their culture to the conference and it was one, it was the best conference I had been to. Uh, in a long time. 'cause it brought the, the, the one beautiful thing about many communities is that if, if the conference is put on by them, uh, and for whatever the topics, some, a lot of communities bring their culture into it, right? It's not a template of traditional conference, which very cut, very linear, et cetera. And that was absolutely fantastic. And I enjoyed it deeply and that was my takeaway from it. My takeaway from what we presented, very active listeners, very painful. As I was listening to some of the panelists, I was on the panel, discussed the work they do and gave, uh. Examples, like, uh, one woman was an his attorney and deals with, uh, prison reform and she was giving case cases that she had shared and the disparity of an justice system and the pain of, and then it was, it was, um, very, uh, emotional for me because I know these things occur, but when you hear, hear them in a case study and the results of them.   Jovelyn Richards: [00:28:47] So I was. How very, I was feeling that very deeply. And when it was my, someone asked a question, it was my, and I was speaking again. I'm feeling a certain kind of way. And I'm much, much, uh, I mean at this point my, you can hear and feel my passion when I was answering the question and the frustration that the story of the prison system. Uh, the, the racial, uh, inequality, the punitive measures, and I, and frustrated because this is not new. We know that in the different presidential folks, uh, say the Reagan administration, the Clinton three strikes, we know that's been going on and on, and yet the same stories being told over and over again. Uh, the sameness is like the, the, that different, different, different zip codes, different people, et cetera. But the same story of the injustice. The injustice, right? Going all the way back for some of you that are familiar with history. Going back to, uh, emancipation when the, um, black folks were, the, this sort of system we're working on now was created from that, that system doing emancipation with black folks, had nowhere to go with no resource, no money, and that no land.   Jovelyn Richards: [00:30:19] And that wandering the roads of trying to, to make up a life. And they created a system, a law that if you were the, what is the fragrant of fragrant frequency law, lot loitering, L-O-I-T-E-R-I, in order to re imprison them. So they had choices either go to prison or go work on Mr. X Farm of Land. And so it's been a continuation of, of creating systems, of imprisonment, of enslavement, of brown and black folks. And then so that came out and one of the people facilitating the conference when I, I just, my impatience of keep dis of discussion, my impatience of intellectual approach, my impatience and my bottom line question is, is what is taking this so long? If everybody, if we have attorneys and politicians and all these folks working on the same thing, why are we still here? What is that? And the persons, and so whatever I said after that was really about being more radical, more clear, more intolerant of it. And the person said, we are not ready yet. Meaning we are not we, we are not ready. We don't have all those pieces in place. And then I said, we are. And why? And why are we on the timeframe of others?   Jovelyn Richards: [00:31:50] Right. Why is it we're looking at the clock of others? What is that about other than anti-blackness? The deeper woods where the white switch clicked on? Why are you, why would anyone or any bodies of people talk about the atrocities of the prison system? The injustice? Talk about it, the atrocities. Then when approached to say, meet it, meet it where it's at, it turns the intensity to say, we are not ready yet. What does that, what did that mean? Jovelyn Richards: And what I learned even in that statement that at the conference, and as men pretty came back and talked about and realized that even after years of political education, the community organizing or DEI, a sudden internal shift occurs. The shift is not intellectual, it's somatic. Emotional and again rooted in proximity to whiteness and despite activists stated commitments to racial justice, many South Asians activists experience a movement with their nervous system over rise their politics. Fight or flight response activation. Instead of leaning into accountability, they retreat.   Jovelyn Richards: [00:33:23] Retreat into defensiveness, fragility or self-protection. And when I say those words, we see that more. We think about in the, what is the book? White fragility. So it's the same thing, right? The same characteristic. 'cause again. It's that close proximity to whiteness. So of course you're taking the, the, the, when you, and this, I think it's across the board when anyone is confronted on anything and don't take the word confronted, um, and begin to think of it just as confront, like it seems like a hard word, word and English language doesn't always offer enough words to express. One thing without making it as heavy, because confront, confront could be simply in a conversation and someone says, do you know what you just said is very offensive to me? And, and say, why? And then suddenly the possibility of the white switch, this reflective, turned toward whiteness. Toward innocence. Jovelyn Richards: [00:34:29] Rural more purity and distance from blackness is the white switch. And so when in my experience, uh, south Asian activist is confronted with their own anti-blackness, does the switch may show up as defensiveness. Words like, I've done so much work on this. I, you know, I do the work. It's like proving, here's my resume, here's my, this, I've done the work and, and, and that's not me. I've taken anti-racism training. I work every day my and, and bring credentials into it. I teach workshops. I'm dismantling racism, volunteer in prison reform. I've marched, donated, organized, centering my, uh, centering, centering. And that I wanna say is what people do in any situations, not just a topic like anti-blackness. It's in a relationships you can, and we call, what do people call it now? Uh, you're deflecting, you're being a narcissist. It's all these other things that cover it up. So it's a, it is, it appears to be something that human beings do in constant protection. So I wanna make that clear, but now we're talking about.   Jovelyn Richards: [00:35:50] In a way of the social pains of this world that we are trying as activists, uh, as people trying to get, not just get a handle on, but to eradicate it. Like right where, just take a moment. Where are we at right now? Where are we at in Minnesota? Where are we at in any state? DC Chicago? Where are we at? This is the thing that we're dealing with. And so it, if the answer is to look at the things that, the look at, the things that the government is saying, it is saying, we clearly, we are racist, and everything we about to do was about to be about that. I'm so happy. Again, you're going to hear this after, uh, today, which is Martin Luther King's Day. I'm so happy on social media where everyone is celebrating. Not everyone, but those that I see are, are celebrating and they're honoring. And they're ignoring any, any kind of dismissal. Erasure, ain't nobody. Yeah. You can forget what you wanna forget. You can have what you want to hide, but, but everybody out here knows the truth.   Jovelyn Richards: [00:37:18] We just gotta get to their truth of humanity. Other ways of dis defensiveness is the feeling in a sense of, of almost like being dismissed as all that they've done. Like, I've done all this, I do all this. And then to hear that and in, in, in that moment, I have, uh, witnessed we're almost as if in the mind, you know, if they say we are not mind Raiders, but if you. You don't have your mind reader to pay attention to the, the flesh of a person, the eyes of a person to be able to get cold. Where they're running, where they're hiding, which, where what, what, what are they doing to survive the moment? Right. To be seen and not seen. Right. And it's not intentional. It's not malicious. It again, it is a, it is the umbrella psychology that we exist under and. When a person works so hard to, to show up their best self as an activist in anti-blackness, and then someone, and particularly a black person, joins in their huge effort to say, Hey, this, this ain't this. This is not working here. Let's work with this here. It's almost like they just threw out their. Whole journey of sense of, of what they're proud of, what they're, what makes them feel good about themselves inside this human life. And it should, oh, and they should absolutely adore, feel good because we're out here doing the work.   Jovelyn Richards: [00:39:09] And so these are the things that is important for us to know. And we're going to listen to another, um, video, and you are going to hear, I, I appreciated this video because it asked a question, what would I have been if I had not been doing this? So take a listen and then I will be right back.   CLIP PLAYS   Jovelyn Richards: [00:41:55] So what would. Right. What would we be doing? I ask myself as a black woman, if a lot of what I do as a writer, as a performance artist, as a community, um, activist, whatever the title is, how much energy it takes, and right now. The energy is taken again in a very different faith. This hurts, this hurts, this really hurts. Right? In a way that almost the thinking about again, the timeframe of when we were doing the work and then where we at now. Being in the conference where we at now, how many people voted against Kamala, where we are now after the conference, um, I got a text message and this was when they were, uh, folks was holding, uh, zoom.   Jovelyn Richards: [00:43:20] And it was really exciting. So many people from so many different communities was doing Zoom calls to talk about the, the elections that were coming up. And when she became the primary chosen person to run as a democratic party and people were talking, people raising money. Oh, did you see the excitement, the energy. I got a text message from one of the people from the DESI conference and, and was very, they were in pain. He said, I feel so hurt right now because on the zoom that she was uh, on, there were many people saying that they weren't gonna vote for her, or no, this is South Asian Zoom. They weren't going to vote for her. Or they weren't gonna vote at all. My re I was so my livid, which is really not as important as the liveness of now. But I was just surprised given what everybody understood and knew about her opponent. And so I said to the person in text. I said, go back to the Zoom, and I said this, everyone, there's a slogan that people are saying as if it's, uh, the, the, you know, there's always this new thing to say.   Jovelyn Richards: [00:44:58] And the slogan was, listen to black women. Listen to black. So I said to her, which, which I, I think people really don't get it, don't understand the history of what that means. They don't understand history with that. They don't care. And, and I'm saying, I shouldn't just say I, it's not that they don't care. I don't think they, they, they take, they don't look at what that meaning. That means listen to black women means the story of black women in this country, how the, how our arrival, and then the story after that. They're not gonna even get into you. You know that if you know anything, if you listen to KPFA, you know, and the MA mechanisms of how that happens, the template of how that works is the, the ask black women, the template, right? We, we know that the, the intimate details of how that works, right? And so the thought that people were literally not wanting to. I not wanting to, and that was disturbing.   Jovelyn Richards: [00:46:19] And so that happened. And then we did, oh, then I was, um, watching a couple ones that were white women were getting together. On these zooms, and they were so excited, so excited. And in their excitement, they were talking about, they were connecting. They, they were having so much fun talking about this, this, the leading up to the election, the support, the, the, and they felt some sisterhood. They felt energized. They felt all of this stuff and the energy I got from that. The energy I got from that is this is about y'all having fun, connecting, laughing, having a project. This is a project, and I asked, what I didn't hear them say is how much they had raised. They weren't talking about any of the practicalities of the next step.   Jovelyn Richards: [00:47:28] It was just about. It was a, and I put it in the way I took it. Good, bad or different. You can agree or not agree, but I'm telling you what I experienced. It felt like it was a big party, a really big fun party that they had experienced and being able to see people, they and strangers, and laugh and talk and, and go on and on and on, that it was a party, right? But it really wasn't about the truth. It had something to do. And then, and I said, and I left that, that when I saw that, I wasn't in the Zoom, but this was people talking afterwards, like on social media, about how excited they were. And I had asked, what did you raise? What are your next steps? They had nothing.   Jovelyn Richards: [00:48:14] Well, we are gonna have another one in a couple weeks. We can figure that out. Really interesting. You got two weeks to figure it out. You got, oh, you got that kind of time. Interesting. Right. And then, uh, we saw how that happened and I see that they're working right outside my window. So let me just day. I apologize for those. Got a little bit of that noise out, said that, oh, I think that happened a little bit. And so that's how that went. And now we are here. So again and again, we, I think to find a way, even though there's a sense of probably hopelessness that some of us are feeling and we are not gonna go into, um, the hopelessness of it all. We are gonna go into, uh, not in this here, um, thing, but I think all of us needs to go into, uh, the, not even about the hope, but the necessity. Hope is wonderful. Necessity. They're going to the necessity, right? They go into that place like, and find where do you live, where it's like this is the urgency, the necessity to it.   Jovelyn Richards: [00:49:42] Uh, other quotes that I'm gonna give you a few of them. A few quote, anti-blackness is foundational, not peripheral. And that's Frank B Wilderson. The third on the limits of allyship. So as we go into this, uh, we're in this thing right now. I think it's important for, uh, connectiveness, interconnectiveness in groups, intubated, dig. Inside, um, those roots to be the most effective on the nervous system and racial conditioning, the body keeps the score. I think that's, um, something that's important. And then when the, when I bring that up, the body keeps the score because what does proximity to whiteness doom where it literally dismantles parts of you no matter how deep you've been educated.   Jovelyn Richards: [00:50:43] That it can dismantle you. Um, and where does that go? Example, the nervous system and racial conditioning I speak about That is the, you lose the ability to see, hear, and speak that racial conditioning, proximity to whiteness. You give up the ability to hear. To see and to speak. You are muted and your critical thinking skills is dismantled in areas of, of, uh, anym. So I'm gonna broaden it anym, and it dismantles those parts of you energetically. Like here we are on this human experience. And, and all the, the human properties that belong to us. All the gifts of being human and to come into a circumstance, uh, where you are immediately given isms and in this story, anti-blackness. And I think some of you have, you, you may have heard of the book cast and we know it South. Asian communities coming from a caste system and then coming to America. If you came here to America with, or a history of, however, the story is that you, it's, you have a built in template for anti-blackness. I mean, it's already set thousands of years of being set.   Jovelyn Richards: [00:52:27] And so coming here, it's not so hard, uh, to even, no matter how hard when you work to be educated. And to work in systems, uh, it gives you, working in systems and anti-blackness gives you sort of the oodles and feel a sense of pride when you sit down at the table. Right. But that white switch is there that you, the, the hearing, the saying, and the knowing is gone speaking, and so it's at what percent. What percent are you really doing the work if you are embedded with anti-blackness? You, so, like I said, the co. The co, the conference, I asked that questions. I asked a question like, why is it taking so long? Because people operating, operating at 40%. It's like being in a burning building and people in the burning building, you say, okay, I'm gonna go get, um, uh, enough water for half the building to be, um, uh, fire to be put out.   Jovelyn Richards: [00:53:45] So stand on that part of the building. The building's still on fire. So you're gonna put that out. So you're kind of running around in a burn, a, a burning building, and that's not okay. And so in creating the curriculum to do work, I think is really relevant. Now, I would fe I think February, um, 20, uh. 20 something, there's gonna pop the white switch, uh, ebook is coming out and it'll be on Amazon.  I know. Um, and that's not the best thing. Um, it'll be on, but it'll be out there and it will be the curriculum, it'll be the self-reflection, it'll be stories. And I, one of the things that I'm wanting of folks is to start partnering with. Like, if you're listening to this as a South Asian activist, what would it be like to get to, to hook up, which probably folks in your circle, um, black activists and there, and, and you may say what you, you may, I'm pretty sure you, you connected, but some folks have said, well, what if they're, they're not an activist.   Jovelyn Richards: [00:55:15] Um, very difficult to be breathing in black and not be an activist, if that's even before this time being aware of your activism. 'cause if you gotta move through space every day, you're fighting for yourself. You endure, uh, worlds. You are code switching, you are being aware of and mindful of and of your activities. You are an activist and always saving yourself. Saving yourself, saving your family, aware of signs of, uh, like, uh, signs that are out movies, you're always looking after anti-blackness that exists, even if it's not conscious on that level. Right. And so as I come to an end, I must say that, uh, it would've been nice to have done this with pretty, uh, one of the things that I think we both was learning an I that was.   Jovelyn Richards: [00:56:11] We were working on the anti-blackness and our work together that was, that couldn't be helped, uh, in working together. And as she shared with me one time, and she does a lot of fantastic work on herself, she said, you know, I am, I am the white woman in India. And I appreciated that knowledge and how that might work out with us. I work and it did show up and we were able to discuss some things, some things I, my own stuff kept silent. Right. And that's something I gotta work on. And I'll leave you with that. It's been traveling. Again, the ebook called We Switch by Joplin, uh, late February. Uh, curriculum exercises, thoughts, reflections, Self-Reflection, uh, and I'll see you on Cover, the cover of Women's Magazine. Until then, be mindful. Be conscious. Goodbye.   Miko Lee: [00:57:18] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.   Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Thank you so much for joining us.   The post APEX Express – 1.29.26 – White Switch appeared first on KPFA.

The story of the Fendika Cultural Center in Addis Ababa, Ethiopia is the story of Melaku Belay and his journey from homelessness to international acclaim as a community leader.READ MORE IN THE ATLAS: https://www.atlasobscura.com/places/fendika-azmari-betWe always want to hear from you! If you have a question or story for us, give us a call at 315-992-7902 and leave a message, or send an email to hello@atlasobscura.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Green Fee Advisory Council Chair Jeff Mikulina shares how the $100 million in anticipated revenue from the green fee may be spent; the Pā‘ia Youth and Cultural Center is trying to relocate its facilities out of the way of sea level rise

Lucy Rymer has always had a "what have I got to lose?" mindset, and it's shown up at some of the most pivotal moments in her career. In this episode, Lucy shares how growing up with stage fright taught her to push through fear anyway, why she ultimately chose a more practical path even when encouraged to pursue theater professionally, and how a career in banking eventually led to a full-circle moment that brought her back into the arts. Lucy Rymer is the Executive Director of Cleveland's Museum and Cultural Center at 5ive Points. You can connect with her on LinkedIn (https://www.linkedin.com/in/lucy-rymer-37506b21).  If you like this episode, we think you'll also like: Virginia Anne Sharber's Morning Cup (E59) Andy Wood's Morning Cup (E124) Mayor Kevin Brooks's Morning Cup (E154) My Morning Cup is hosted by Mike Costa of Costa Media Advisors and produced by SpeakEasy Productions.  Subscribe to the weekly newsletter and be the first to know who upcoming guests are: http://eepurl.com/iGJzII 

What's next for Discovery Park of America? In this special Reelfoot Forward episode, CEO Scott Williams sits down with senior collections and exhibits director Jennifer Wildes and manager of marketing and PR Zac Willis for a look at what's ahead in 2026 at the museum and park. The conversation offers a behind-the-scenes preview of upcoming exhibits, major events and cultural celebrations, including plans tied to America's 250th anniversary, new permanent exhibitions, expanded educational programming and returning events that have become regional traditions. Listeners will hear how Discovery Park selects exhibits, balances popular demand with mission-driven storytelling and plans year-round experiences for children and adults. As Discovery Park commemorates the 230th anniversary of Tennessee's statehood and the national America 250 celebration, several new exhibits will open next year. The museum will host "Home, Heart, Heritage: Quilt Exhibition Celebrating Black History," a traveling exhibition from Monthaven Arts and Cultural Center that features five double-sided quilts celebrating Black American contributions to Tennessee and the nation. Listeners will also learn more about "Brushstrokes of a Young Nation: The Art of David Wright," which will be on display in the Southern Artist Showcase Gallery. The exhibition will include prints by celebrated Tennessee artist David Wright, whose paintings of early settlers, frontier life and America's expansion offer a vivid visual journey through the nation's formative years. Another major highlight of Discovery Park's Tennessee America 250 programming discussed in the episode is the Celebrating 250 Years of Independence event July 3–4, 2026. On Friday, July 3, country music artist Mo Pitney will headline a free outdoor concert as part of Discovery Park's Rhythm on the Rails series. Whether you're a longtime member, a first-time visitor or simply curious about how a regional museum plans for the future, this episode offers a candid, informative look at how Discovery Park continues to evolve while staying rooted in the stories of West Tennessee and the Reelfoot Lake region. This episode is sponsored by Main Street Union City.

Can a Balanced Ecosystem Really Change Your Life Forever | Season 11 Episode 3 | Damroo - Amrita Tewari, Lalit Sharma The video is about Project AMBIKA, a center for modern life in Almere Poort, Netherlands, that aims to redefine what such a center can be. This is not a real estate venture, but a living ecosystem built on universal values of belonging, strength, and compassion. Founders Amrita Tewari and Lalit Sharma Bhusal share their vision of blending culture, community, and inner purpose to create a space where people can truly feel at home. Designed as a four-layer ecosystem, AMBIKA brings together business, culture, and spirituality:

Host: Carol MacAllister Guests: Tim Ryan & David Clingan Description: Tim Ryan (Lakes) and David Clingan (Manor) are the Managers of Maintenance on our two Willow Valley campuses. They share with host Carol MacAllister the breadth and depth of the work their departments do. Residents can SEE that they fix what is broken and replace what can't be fixed in their homes, but in fact, they do so much more. Everything that has to do with the Brick and Mortar of WV, inside and out, is their domain. For every activity, function, or special event that requires setup and teardown (e.g., Cultural Center and Chautauqua Hall), the maintenance department is present. Holidays such as Christmas double their workloads, although the staff does not increase. They put up all those Christmas Trees, live and artificial! Winter snows create round-the-clock efforts. This is a well-oiled operation, often invisible to the residents.

The African American Cultural Center has completed phase one of its renovation, marking a major moment for this historic East Side institution. Interim dance and drum director Robin Hibbert, Board Chairwoman Thembi Duncan, and Executive Director Leah Angel Daniels join Jay Moran to discuss the challenges of rebuilding, the community's response, and what lies ahead as the center prepares for new programs and its upcoming Kwanzaa celebration.

Artspeak Radio, Wednesday, December 17, 2025, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes Jenny Mendez and Betsabeé Romero. JENNY MENDEZ, Cultural Arts Director Mattie Rhodes Arts Center and Gallery was born and raised in Kansas City, Missouri. Growing up in a neighborhood filled with family and friends on Kansas City's West Side. As a young girl Jenny enjoyed hearing stories from her grandmother, these stories were such an inspiration to Jenny in her love of her culture and heritage. Jenny attended the Kansas City Art Institute majoring in painting, she also studied both printmaking and photography. She was involved in community mural projects as a high school student and into college. She has always given back to her community. She has been employed with the Mattie Rhodes Center for the past twenty- five years and is responsible for all arts programming for the agency as the Cultural Arts Director. Through her work she is able to educate the community on the Latino culture through art. Being able to inspire children through art is what she is most passionate about – giving children and young artists a place to learn, create, express themselves, imagine, and grow in the arts. She has served and participated on many boards and committees through the years advocating for the arts and community. Her most valued appointment was to the board of the National Association of Latino Arts and Culture (NALAC). Most recently in March of 2020 as part of Women's History Month she was awarded the Nuestra Latina Award for the Arts by the Hispanic Chamber of Commerce. Her work in the community is valued and shows her commitment to being a voice for the Latinx artists, students and individuals. Showing her expertise in the creative process and authenticity to arts and culture through her work and partnerships with the Kansas City Museum and the Nelson Atkins Museum of Art. She is very committed to continue to be a voice for the Latinx and arts communities at large. Mattie Rhodes Art and Cultural Center is located at 1701 Jarboe, KCMO www.mattierhodes.org BETSABEÉ ROMERO- Knitting Ties, Project Description: The installation features the creation of two sculptural soccer goals with nets crafted from metal lattices. These lattices will showcase characters that represent both soccer and the pre-Hispanic ball game, creating a bridge between contemporary sports and ancient cultural traditions. The metallic lattices will be interwoven with threads of various fibers, with the characters cut along the length and width of each goal's net. All elements will be handcrafted by migrants and local artisans, emphasizing community collaboration and cultural exchange. Elements of the Sculptural Objective: Metallic Lattices-metal cutouts are interconnected in a lattice configuration, forming modular structures that provide a sculptural foundation for artistic interventions. Community Networks-Fabrics crafted by volunteers and artisans interweave with lattices, forming distinctive patterns that narrate the stories of their communities. Athletic Emblems-Symbolic figures associated with soccer are integrated into the sculptural design, linking artistic expression with the passion for football. Betsabeé Romero; Education: Bachelor's Degree in Communication with a specialization in Participatory Communication, Universidad Iberoamericana (1984) Master's Degree in Visual Arts, Universidad Nacional Autónoma de México (1986) Diploma from l'École Supérieure des Beaux-Arts (1989) Art History Studies at l'École du Louvre (1988-1989) Doctoral studies in Art History, Universidad Nacional Autónoma de México, no degree completed (1990-1993) Exhibitions: Romero has held over 100 solo exhibitions across five continents, with notable shows at the British Museum (2015), Grand Palais (2019), Royal Botanic Gardens Kew (2022), York Avenue in Washington (2018), Place Vieille Bourse in Lille, France (2019), Nevada Museum of Art (2014), Neuberger Museum (2011), Nelson-Atkins Museum of Art (2012), Canberra University Museum (2002), La Recoleta, Buenos Aires (2019), Mexico Pavilion at Expo Dubai 2020 (2021), and Place du Louvre (2021). In 2024, her exhibition "Huellas para Recordar" featured five monumental sculptures on Park Avenue (81st, 82nd, and 83rd Streets) by invitation of NYC Parks & Recreation. Also in 2024, "The Endless Spiral" was featured at the Venice Biennale Official Collateral Event at Galeria Belacqua LaMassa, St. Mark's Square, by invitation of MOLAA. In Mexico, highlights include the Mega Ofrenda at Mexico City's Zócalo (2016), Museo Frida Kahlo (2019, 2013), Museo Anahuacalli (2015), Antiguo Colegio de San Ildefonso (2014), Museo Amparo, Puebla (2008), MARCO, Monterrey (2009), and Museo Carrillo Gil (1999). Collections: Her work is part of major collections including the British Museum, Museum of Contemporary Art Houston, Phoenix Art Museum, Musée des Beaux-Arts de Montréal, Daros Collection (Switzerland), Nelson-Atkins Museum, Nevada Museum of Art, World Bank Collection, LACMA California, FEMSA, Irish Museum of Modern Art, El Museo del Barrio, Museo de Arte Moderno de México, MUAC, and Michigan State University. Biennials: Monterrey Biennial, Tamayo Biennial, inSite (Tijuana-San Diego), La Courneuve Biennial, Puerto Rico Graphics Triennial, Polygráfica Philadelphia, Ljubljana Graphics Biennial, Havana Biennial, Porto Alegre Biennial, Cairo Biennial, Sur Buenos Aires Biennial, Bogotá, and United Arab Emirates. Official selection for collateral projects at the 2024 Venice Biennale with the solo exhibition "Endless Spiral" with MOLAA Museum at the Bellaacqua La Massa Foundation in St. Mark's Square. Awards: Prix Oric'Art, Neuilly-sur-Seine, France, 1988 Grand Acquisition Prize in Installation, Second Monterrey Biennial, Museo de Monterrey, Nuevo León, Mexico, 1994 First Prize, Cairo Biennial, 2006 Millésimé Prize in Visual Arts, 2018 Chevalier des Arts et des Lettres, France, 2020 First Prize in Pavilion Design

This episode Nez and Mike are here to rundown Mike's time down in Hollywood at the LA Skins Fest 2025. Mike was there to screen the new short doc BLACKTOP POETS: The Story of Without Rezervation. Plus Nez talks about his time at the SIHASIN show at La Peña Cultural Center in Berkley California. To check more on the LA Skins Fest and Sihasan click the links below.LA Skins Fest -https://laskinsfest.comSihasin -https://sihasin.comHit up E Society on Facebook.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/ESocietyPodcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ESP Podbean feed:https://macnezpodcast.podbean.comE Society YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠E Society and Mac-Nez t-shirts Tee Public:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://tee.pub/lic/9ko9r4p5uvE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X:E Society Podcast -⁠https://x.com/esocietypod⁠Mac Nez Podcast -⁠https://x.com/macnezpod⁠The Zissiou -⁠https://x.com/TheoZissou⁠Instagram -E Society -⁠https://www.instagram.com/esocietypod/⁠Mac Nez Podcast -⁠https://www.instagram.com/macnez/⁠The Zissiou -⁠https://www.instagram.com/thezissou/⁠TikTok -⁠https://www.tiktok.com/@esocietypod⁠ Taylor and Nez new podcast:Old Dawg New Trickz⁠https://open.spotify.com/show/319KRWiJfGpMbFBLTp6E8P⁠YouTube page for Resting Easy with Chris and Breezy⁠https://www.youtube.com/@RECBIntro/Outro Music by MESTIZO.

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Does "Die Hard" count as a Christmas movie? We're stretching the definition of "Pittsburgh holiday movie" to its limits and talking about the many films loosely connected to our city this festive season. Host Megan Harris is with Josh Axelrod, a founding member of the Pittsburgh Film Critics Association and director of communications at The Lindsay Theater and Cultural Center, to talk about the most famous holiday movies, the one corner of Sewickley popping up over and over in Hallmark films, and why one small part of "The Perks of Being a Wallflower" makes it a Christmas watch.  The Lindsay Theater is screening holiday classics from December 19-25. Check out the full schedule here. Learn more about the sponsors of this November 19th episode: Pittsburgh Cultural Trust Handmade Arcade The Frick Family House Become a member of City Cast Pittsburgh at membership.citycast.fm. Want more Pittsburgh news?  Sign up for our daily morning Hey Pittsburgh newsletter. We're on Instagram @CityCastPgh. Text or leave us a voicemail at 412-212-8893. Interested in advertising with City Cast? Find more info here.

Our First Alert Team is tracking deep tropical moisture, which will continue to stream over the eastern end of the state today. Loved ones, friends, and colleagues gathered at the Castle Theater at the Maui Arts and Cultural Center for a celebration of life service for Maui County Councilmember Tasha Kama. And a lawsuit has been filed claiming a boy was sexually assaulted and bullied at a popular after-school program.See omnystudio.com/listener for privacy information.

Host: Carol MacAllister Guest: WV VP of Resident Life, Stacy Musser Description: Stacy Musser started at Willow Valley part-time in Culinary when she was 17 years old. Since that fateful first job, she has grown with the organization, progressively wearing many hats and now multiple hats simultaneously. The breadth of her responsibilities, which grew as the organization grew and grew, is staggering when you spread them all out as we attempted to do in this podcast. Musser discusses her family background, her reliance on mentorship and collaboration in her leadership style, and the complexities of managing multiple calendars and budgets to serve a diverse resident population. Talking fast, taking nary a breath, we get a glimpse of what Stacy does for the 2600 residents, who take the seamless operation of all our amenities for granted. Listen closely, and maybe more than once, then stop by her office in the Upper Level of the Cultural Center to say thank-you. go to: https://vimeo.com/909183218/230aa7e1ff to understand what Stacy does.

Join host Dr. Mario Espinoza-Kulick for a conversation with Nakia Zavalla, Cultural Director for the Santa Ynez Band of Chumash Indians. They will discuss how the new Santa Ynez Chumash Museum and Cultural Center celebrates Native history through storytelling, language revitalization, and cultural preservation. The museum's exhibits offer visitors an immersive experience that connect the past, present, and future of the Chumash people.Hear the conversation Thursday from 1-2pm on KCBX or online at KCBX.org.

  For over 20 years, the Jacklin Arts & Cultural Center, also known as The JACC, has brought the Post Falls community together through the transformative power of the arts. What began as a mission to save a historic building has blossomed into a thriving hub where creativity, connection, and culture flourish in the heart of Post Falls. Darla Dreyer has been the Executive Director for the last eight of those years, and she talks to us about the upcoming events, exhibits and classes happening there this fall and winter. To find out more visit thejacklincenter.org or on Facebook @JacklinArts.

10102025 Willow Valley's Full-Service Day Spa Host: Carol MacAllister Guest: Diamondo Wallace, Team Manager of WV Day Spa Description: Nestled in the core of the lower level of the Cultural Center is Willow Valley's full-service Day Spa. Full service means manicures, pedicures, full body massages, foot massages, and facials. Mondo, as she is affectionately called by all her customers, began working for WV at the age of 14 as a food server at the Glen. After receiving her license from the Lancaster Cosmetology School and completing several years of apprenticeship at a hair and nail salon, she returned to Willow Valley to begin her career in the newly established Cultural Center. That was in 2003. For 18 years, she worked alone, providing all the nail services, but in the last seven years, her staff has grown appreciably, as has the breadth of the services. As she likes to say, the WV Spa is not about “fluff,” it is about total wellness care because feeling good physically makes you feel good emotionally, and we all need that! For more information, please stop by for a brochure of their services.

We discuss with Iowa Watercolor Society President Glenda Plozay.

We discuss the exhibit Unfinished Woman at the Cultural Center of Cape Cod

In this nonprofit spotlight, we interview Jordan Johnson, COO of the Christian Cultural Center of Atlanta. They discuss the importance of alignment and transparency in nonprofit organizations, the challenges of growth, and the role of a COO in fostering interdepartmental connectivity.Jordan shares insights from his experience with the Veritas Schools and his consulting firm, Alfred Nguyen, emphasizing the need for clear messaging and brand strategy in the nonprofit sector. The conversation highlights the significance of hospitality in creating a welcoming environment for community members and donors.Charity Charge is a financial technology company serving the nonprofit sector. From the Charity Charge Nonprofit Credit Card to bookkeeping, gift card disbursements, and state compliance, we help mission-driven organizations streamline operations and stay financially strong. Learn more at charitycharge.com.

In the fall of 2024 Kayte had the chance to talk with Nicole Keith, Food Sovereignty Coordinator of the Nottawasepi Huron Band of the Potawatomi (also known as NHBP) and Kevin Harris, Culture Specialist with the NHBP.They visited Bloomington in the fall of 2024 to share a film about wild river rice with The First Nations Educational and Cultural Center on the IU campus, in partnership with the IU Media School. The film is called Mnomen | Wild Rice "From the River Banks to the Table.”The interview that appeared in the last episode of our Eats Wild series was cut for time, here is an extended version. 

In the fall of 2024 Kayte had the chance to talk with Nicole Keith, Food Sovereignty Coordinator of the Nottawasepi Huron Band of the Potawatomi (also known as NHBP) and Kevin Harris, Culture Specialist with the NHBP.They visited Bloomington in the fall of 2024 to share a film about wild river rice with The First Nations Educational and Cultural Center on the IU campus, in partnership with the IU Media School. The film is called Mnomen | Wild Rice "From the River Banks to the Table.”The interview that appeared in the last episode of our Eats Wild series was cut for time, here is an extended version. 

Throughout Hispanic Heritage Month, we are profiling trailblazers in the community about their commitment to their craft and contributions to the San Diego region.Thursday on Midday Edition, the executive director and CEO of the San Diego Museum of Art talks about her journey into the arts and what she sees for the future of San Diego's thriving, binational arts and culture scene.Then, a unique Halloween attraction puts its own spin on the haunted maze by bringing attention to real-world issues like climate change, animal cruelty and pollution. KPBS arts reporter Beth Accomando previews the socially conscious haunt.And finally, the Chicano Park Museum and Cultural Center celebrates its third anniversary this weekend. KPBS arts reporter Julia Dixon Evans speaks with a local printmaker who is featured at the event and previews other events on her radar.Guests:Roxana Velásquez, Maruja Baldwin Executive Director and CEO, San Diego Museum of ArtJaidacyn Madrigal, founder, Fright for FutureJohn Hansen, haunt crew member, Fright for FutureIrie Zepeda, artist, printmaker, Por La Mano Press y Arte founderJulia Dixon Evans, arts reporter and "The Finest" host, KPBS

The Cultural Centers of Lincoln Collaborative is one step closer to its new home. The building, located on a site at 21st and Vine streets, will connect four initiatives: the Good Neighbor Community Center, the Asian Community and Cultural Center, El Centro de las Américas and the Malone Center.

A memorial service honoring the life of fallen Maui Police Department officer Suzanne O took place Friday morning in Kahului. Family, MPD personnel and invited guests honored O with heartfelt speeches, prayers, and performances at the Maui Arts and Cultural Center. Here are the highlights.See omnystudio.com/listener for privacy information.

The John F. Kennedy Center for the Performing Arts has long been an important cultural landmark in D.C., bringing a variety of arts programming to the region while also serving as “the Nation's Cultural Center.” Since it opened in 1971, the Kennedy Center has also been largely apolitical. It receives some federal dollars, but sitting presidents have allowed the Kennedy Center's board of directors to operate and curate programming without any influence from the executive branch.That changed earlier this year, when President Donald Trump made himself the chair of the Kennedy Center board. And just this week, he inserted himself into the center's annual marquee event by announcing this year's recipients of a lifetime achievement award, the Kenney Center Honors. Host Colby Itkowitz speaks with style reporter Travis Andrews about Trump's move to shake up the Kennedy Center, as well as his broader goals of reshaping arts and culture institutions in the United States.Today's show was produced by Thomas Lu. It was edited by Reena Flores and mixed by Sean Carter. Subscribe to The Washington Post here.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

A new Japanese Community Center is coming to Santa Maria. Join Lata Murti and her guests, Jo Anne Nishino Spencer, and Wes Koyama, to learn more about this new center and its offerings.Thursday 1-2pm

Black self-determination and liberation requires a holistic and strategic integration of political power, cultural memory, and economic self-determination. Across a week of reflection, convenings, and engagement, from Birmingham's Civil Rights Historical District to Atlanta's Sweet Auburn Avenue to Daytona's Paul Laurence Dunbar House and Wilberforce Ohio's National Afro American Museum and Cultural Center, we center the urgency of reclaiming and redefining learning, community, citizenship, institution building and governance on African terms.The Ballot represents more than just voting, though that is an essential element of civic participation: It symbolizes collective potential power. The long fight against voter suppression is revealed by the fracturing myth of inclusion within a settler colonial state to be a potent weapon for realizing collective power. As W.E.B. Du Bois and others demonstrate, the struggle for political power is communitarian, not individualist—and the US South remains a battleground, not of defeat, but of underutilized potential.The Book highlights the liberatory role of education, historical memory, and cultural knowledge. Case studies of figures like Martin Delany show how Black communities must resist erasure and re-center themselves as global actors in a world system undergoing transformation. Reclaiming narratives that fostering an understanding of internal governance formations is necessary to recover agency.The Buck calls for an economic awakening—exposing capitalism's lie of meritocracy and the theft of public wealth. Reimagining collective economics through community interdependence, strategic ownership, and global solidarity becomes a compelling path forward. From the ruins of racial capitalism, a new economic ethos must emerge, rooted in mutual aid and sovereignty.Voting, reading, and spending must be done with vision and unity. “We'll find a way, or make one” is not merely a slogan—it's a generational imperative in the ongoing struggle to complete the unfinished work of Black freedom and transformation.JOIN KNARRATIVE: https://www.knarrative.com it's the only way to get into #Knubia, where these classes areheld live with a live chat.To shop Go to:TheGlobalMajorityMore from us:Knarrative Twitter: https://twitter.com/knarrative_Knarrative Instagram: https://www.instagram.com/knarrative/In Class with Carr Twitter: https://twitter.com/inclasswithcarrSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

New York–based architect Andrea Steele joins Architectural Record's DESIGN:ED podcast to discuss the design of the L10 Arts and Cultural Center in Brooklyn, the benefits of combining typologies, and successful strategies in implementing human centered design

DescriptionIn a conversation with Design:ED, Andrea Steele of Andrea Steele Architecture (ASA) shared her perspective on the evolving role of architecture, emphasizing the importance of creating inclusive, community-centered spaces over simply designing buildings. She highlighted ASA's approach of questioning whether building is always the right solution and illustrated this with a modular kit-of-parts project for New York Restoration Project that empowered communities to build their own pavilions. Steele also discussed the L10 Arts and Cultural Center in Brooklyn as an example of cross-programming and shared civic space, underscoring the value of collaboration between diverse cultural organizations. Throughout, she stressed architecture's role in fostering human connection, prioritizing flexibility, accessibility, and long-term relevance over image-driven design.Learning Objectives:Identify key design strategies discussed in the conversation that promote sustainable architecture.Apply insights from Andrea Steele's approach to integrating community needs into project planning.Evaluate examples of adaptive reuse projects highlighted during the discussion.Differentiate between various stakeholder engagement methods shared in the conversationCredits: 1.0 AIA LU/ElectiveSpeaker: Andrea Steele

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Tune into today's NKY Spotlight Podcast! Alex Noel of the Baker Hunt Art & Cultural Center dives into the organization's 100+ year history and Sara Elmore of Elite Nannies on Demand highlights their range of services.The NKY Spotlight Podcast is powered by CKREU Consulting and sponsored by Schneller Knochelmann Plumbing, Heating & Air.

“More competitions are being organized, and it has become a way for these conductors and choirs to work on their skills. By joining these competitions, the rate of their progress accelerated. People join choirs for different reasons. For most of us, we started only because we loved singing, because we found a place where we can share our voice with friends with the same interest. This desire to join competitions would just be a product of years of singing with a choir.”Mark Anthony Carpio is recognized as one of the most respected figures in choral music today. He is a faculty member of the Conducting and Choral Ensemble Department of the University of the Philippines College of Music, where he earned his Master's degree in Choral Conducting and his Bachelor's degree in Piano.In 2001, Prof. Andrea O. Veneracion, National Artist for Music, chose Mark to succeed her as choirmaster of the Philippine Madrigal Singers, also known as the “Madz.” Since then, he has continuously led the already much-awarded choir to even greater heights, including placing first in several prestigious choral competitions in Europe. Under his leadership, the group has been invited as guest choir in several international choral conferences in the USA and South America, among others.In 2007, under the baton of Mark, the Philippine Madrigal Singers won, for the second time, the grand prize in the European Grand Prix for Choral Singing in Arezzo, Italy. This victory makes them the first of the only four choirs in the world to win the grand prize twice.In 2009, UNESCO designated the group as a UNESCO Artist for Peace. This title is given to celebrity advocates charged with the mission of embodying and raising awareness of the UNESCO ideals, which include peace, security, fundamental human rights, and freedom.In the Philippines, he regularly collaborates with the Philippine Choral Directors Association, the Cultural Center of the Philippines and the National Commission for Culture and the Arts, for music and choral education programs. He heads the Andrea O. Veneracion Sing Philippines Foundation, which spearheads choral music development initiatives including the Sing Philippines Youth Choir, whose singers come from all over the country.Mark has adjudicated in different choral festivals and competitions and presented around the world, including Korea, Indonesia, Singapore, Hong Kong, Malaysia, Japan, Taiwan, Italy, Latvia and the US. Locally, he has been the chairman of the board of jurors of the biennial Andrea O. Veneracion International Choral Festival and the 1st Asia Choral Grand Prix (2019).He also directs the Consortium of Voices, a choral society of young choristers, consisting of the Kilyawan Boys Choir, Kilyawan Male Choir and the Voces Auroræ Girls Choir.​To get in touch with Mark, you can find him on Facebook (@markanthonycarpio) or visit the Philippine Madrigal Singers website.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

This episode of Curry Café, hosted by Ray Gary and Rick McNamer, features an in-depth discussion with Katrina Thompson-Upton, founder of the Northwest American Indian Coalition, and Tabatha Rood, Rogue Basin Coordinator for the Southern Oregon Forest Restoration Collaborative, about the historical and ongoing struggles of Native American tribes in Curry County. The discussion explores […]

Send us a textProlific actor William Sadler dropped in to discuss his expansive acting career and offered his opinion on the effect AI will have on Hollywood. Also, we dove into his passion for making and playing music.He will be performing at the Pocono Cinema & Cultural Center on June 29th. The event will include his music and an audience Q&A. For more information and ticket purchase info, please visit https://poconocinema.org/upcoming-events Check our other links:TwitterRumbleInstagramYouTube

As the Filipino population grew in Hampton Roads, community groups looked for a place to gather and celebrate their culture. On June 24, 2000, the Philippine Cultural Center opened in Virginia Beach.

The post Ukrainian Educational Cultural Center 05-24-25 appeared first on WWDB-AM.

The MAGA storm system continues to exert a profound influence on community members, activist artists and cultural organizers living and working in Minneapolis' Powderhorn Central Community. Bill Cleveland's dialogue with Noel Raymond reveals the complexities of navigating activism amidst the destabilizing forces fast moving Trumpian juggernaut. Raymond describes the fraught material emotional landscape faced by artists and cultural organizers, characterized by feelings of fear, rage, and disorientation. Takeaways:Understand why the disorientation that we're all experiencing is used as a tactic to prevent resistance, and that recognizing this helps us stay grounded.Find out how an organization like Pillsbury House, uses the practice of sanctuary is a means of both safety and. And strategy.Learn how creating spaces of safety and joy and cultural expression can be a powerful form of defiance and that the communities stories, whether they're in small circles or on stage, are a lifeline.Other Key Points:And when people tell their truths without mediation, they build solidarity and power and the possibility of change.The discussion emphasizes the critical need for community support and the importance of creating safe spaces for artistic expression. Through the lens of Pillsbury House's mission, the conversation underscores the power of storytelling as a tool for resistance and empowerment. Raymond's insights into the organization's efforts to center marginalized voices, particularly during moments of heightened tension, illuminate the intersection of art and activism. As the episode unfolds, listeners are encouraged to reflect on their roles within their communities and the ways in which they can contribute to building solidarity and resilience in the face of adversity. Ultimately, this episode serves as both a poignant commentary on the challenges of the present and an inspiring call to action for those seeking to effect meaningful change.Change the Story GoFundMe CampaignNotable MentionsIn this episode, host Bill Cleveland sits down with Noel Raymond of Pillsbury House + Theatre to explore how artists and cultural organizers are navigating political backlash, erasure, and community survival in the heart of Minneapolis. Below is a curated list of the people, organizations, events, and references that came up during their powerful conversation. People Bill Cleveland: Host of Change the Story / Change the World and Director of the Center for the Study of Art and Community.Noel Raymond: Senior Director of Narrative Arts and Culture at Pillsbury House + Theatre, leading narrative strategy and performance-based organizing.Mike Hoyt: Artist and cultural organizer at Pillsbury House + Theatre, noted for his community work and collaboration with Noel.Judy Munsen: Composer of the podcast's original theme and soundscape.Events & Social MovementsTrans Day of Visibility: Annual event on March 31 to honor and raise awareness for the transgender community.

On Thursday, April 10, 2025, the Center for Law and Social Justice held a "Reparation Town Hall Part 1." forum at the Alice Moore Black Arts and Cultural Center at 135 South Perl Street, Albany, NY. The discussion was held in conjunction with the Bronx Reparation Town Hall Meeting. Roaming Labor Correspondent Willie Terry attended the Event where he interviewed Ta-Sean C. Murdock, Executive Director of The Center for Law and Justice, about the Reparation Town Hall 1 and recorded some of the testimonies from participants: part - two.

On Thursday, April 10, 2025, the Center for Law and Social Justice held a "Reparation Town Hall Part 1." forum at the Alice Moore Black Arts and Cultural Center at 135 South Perl Street, Albany, NY. The discussion was held in conjunction with the Bronx Reparation Town Hall Meeting. Roaming Labor Correspondent Willie Terry attended the Event where he interviewed Jeremy Clement, Policy and Strategy Manager for The Center for Law and Justice, about the Reparation Town Hall 1 and recorded some of the testimonies from participants: part - three.

On Thursday, April 10, 2025, the Center for Law and Justice held a "Reparation Town Hall Part 1." forum at the Alice Moore Black Arts and Cultural Center at 135 South Pearl Street, Albany, NY. The discussion was held in conjunction with the Bronx Reparations Town Hall Meeting. Roaming Labor Correspondent Willie Terry attended the Event and recorded comments from Dr. Mark Naison,  Professor of African American Studies and History at Fordham University. Dr. Nalson spoke about "Opticals to Black Wealth" in New York State in this labor segment.

"Clay at Our Core" takes you across the Ohio River to talk with Austin Deal, the programming director at the Baker Hunt Art and Cultural Center, a cool place with a rich history in Covington.

The new exhibit at Chachalu Museum and Cultural Center in Grand Ronde features the work of queer indigenous artists reflecting on the role of queerness in indigenous cultures. The exhibit was curated by Grand Ronde artists Anthony Hudson and Felix Furby who created another exhibit two years ago based on the life of Shumkin, a 19th-century Two-Spirit Atfalati Kalapuya healer. That exhibit set out to explore the ways that queerness has always been a part of the Indigenous history, but assimilation had tried to sever the community’s connection to it. This newer exhibit discusses the present and future of queer indigeneity as well. Hudson and Furby join us to talk about the exhibit, along with Steph Littlebird, one of the featured artists. 

MDJ Script/ Top Stories for February 19th Publish Date:  February 19th    Commercial: From the BG Ad Group Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Wednesday, February 19th and Happy Birthday to I’m Dan Ratcliffe and here are the stories Cobb is talking about, presented by Times Journal Cobb Plans to Start Burning Sewage Sludge Again Cobb Inmate Accused of Identity Theft Sewell Mill Library and Cultural Center Gallery to Host Quilt Exhibit All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!  BREAK: Ringling Bros STORY 1: Cobb Plans to Start Burning Sewage Sludge Again Cobb County plans to spend $70 million to retrofit and reactivate sludge incinerators at the R.L. Sutton Water Reclamation Facility, addressing rising landfill costs and limited disposal options. The incinerators, decommissioned in 2015 due to stricter EPA standards, will now meet updated guidelines, reducing sludge volume by 90%. Public concerns about emissions remain, but officials emphasize stricter monitoring and compliance. Alternatives like land application face scrutiny over potential health risks, while landfill costs have surged. Construction is set to begin in 2027, with public input sessions planned to address community concerns. STORY 2: Cobb Inmate Accused of Identity Theft Stephanie Leah Cherry, 22, of Austell, is accused of using a victim's Sheriff’s Office ID to access their Inmate Detention Account at the Cobb County Adult Detention Center, transferring funds to her own account between Dec. 16-25, 2024. She allegedly used the stolen funds for entertainment purchases. Cherry faces charges of identity theft and computer theft and is being held on an $8,000 bond. STORY 3: Sewell Mill Library and Cultural Center Gallery to Host Quilt Exhibit The Sewell Mill Library and Cultural Center in Marietta will host the East Cobb Quilters’ Guild’s “Make Your Own Masterpiece” challenge quilts exhibit from Feb. 27 to April 5. Featuring 28 quilts inspired by favorite works of art, the exhibit showcases members’ creativity and technical skills. Each quilt is accompanied by an artist’s statement detailing its inspiration. An opening reception is set for March 1, from 2 to 4 p.m., with gallery hours Monday through Saturday. We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We’ll be right back  Break: Ingles Markets 1 STORY 4: 'A Better Parent': Cobb Jail Inmates Graduate Parenting 101 Course Nine incarcerated mothers at the Cobb Jail graduated from the Parenting 101 course, part of the Realign Restart Initiative led by Sheriff Craig Owens. The nine-week program equips parents with skills to rebuild family dynamics post-release. This largest graduating class began with 35 participants, focusing on topics like family roles, cultural influences, and parenting strategies. Graduate Faith Williams highlighted how the course helped her maintain relationships with her children while incarcerated. The initiative also offers GED programs, anger management, and more, aiming to reduce recidivism. Chief Deputy Rhonda Anderson encouraged graduates to stay present in their children’s lives. STORY 5: Georgia Gas Prices Jump Georgia's average gas price has risen to $3.00 per gallon, with Cobb County slightly higher at $3.09, up 15 cents in two weeks, according to AAA. Seasonal refinery maintenance, a switch to summer fuel blends, and a California refinery outage are contributing to the increase. State prices are 6 cents higher than a month ago but 17 cents lower than last year. The most expensive metro areas include Atlanta ($3.06), while the cheapest are in Dalton ($2.91). AAA advises drivers to save by using fuel programs, paying with cash, and maintaining efficient driving habits. Break: STORY 6: Whataburger Withdraws Application for Atlanta Road Location Whataburger has withdrawn its request for a sixth Cobb County location on Atlanta Road near I-285. The fast food chain planned to combine two properties for the site but paused to reassess traffic impacts and community-requested design changes. Local residents, including those from West Village Smyrna, opposed the proposal, citing concerns over traffic, safety, noise, and property values. They suggested changes like reorienting the building and limiting hours. While residents are pleased with the withdrawal, Whataburger may reapply in the future. The chain currently operates three Cobb locations, with two more approved but not yet built. STORY 7: Cobb Approves Lost Mountain Road Subdivision The Cobb County Board of Commissioners approved a 27-home subdivision on Lost Mountain Road in a 4-0 vote. Traton Homes will develop the 40.5-acre lot, with 18 of the homes on the southern half requiring rezoning. Homes will range from 2,000 to 3,589 square feet, offering more affordable and varied housing options. To address neighbors' concerns, Traton agreed to a 50-foot buffer, a vinyl-coated chain link fence, and stormwater management measures. Commissioner Keli Gambrill praised the compromise, noting it was a better fit than previous proposals for the area. Break: Ringling Bros Signoff-   Thanks again for hanging out with us on today’s Marietta Daily Journal Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.mdjonline.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network Show Sponsors: www.ingles-markets.com Ringling Brothers #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations See omnystudio.com/listener for privacy information.

Ep.233 Mario Joyce's work is rooted in his genealogical research of his family, going back to the 1600s. Incorporating imagery, memories, and stories from his familial research, Joyce incorporates vintage collage materials and soil from the farm he grew up on into his sumptuously textured paintings, weaving together a rich tapestry of his origins. A self-taught artist, Joyce mines his ancestral lineage as well as his personal experience growing up in rural Ohio as a Queer Black man. His work delves into how memories evolve over time and across generations, transforming into intricate capsules of meaning that convey messages of identity, belonging, and place. Mario Joyce lives and works in Los Angeles. He has participated in several residencies including Sointula House Residency, Sointula, BC (2024); Skowhegan School of Painting and Sculpture, Skowhegan, ME (2023); Pratt Forward, Pratt Institute, Brooklyn, NY (2022); La Brea Studio Residency, Los Angeles, CA (2021). His work has been the subject of solo exhibitions at UTA Artist Space, Los Angeles, CA (2024); Sakhile&Me, Frankfurt, Germany (2023); UTA Art Space, Atlanta, CA (2022). He has been included in numerous group exhibitions at MUZEO Museum and Cultural Center, Anaheim, CA (2024); F2T Gallery, Milan, Italy (2023); New York Culture Club, New York, NY (2022); Over the Influence, Los Angeles, CA (2022), among others. His work is included in public collections including the Columbia Museum of Art, Columbia, SC and the North Dakota Museum of Art, Grand Forks, ND. Portrait credit: Courtesy of Jeff McLane and Vielmetter LA. Artist http://www.mariojoyce.com/ Vielmetter LA https://vielmetter.com/artists/mario-joyce/ Good Black Art https://goodblackart.com/collections/all/mario-joyce Sakhile&Me https://www.sakhileandme.com/artists/mario-joyce.htm Culture Type https://www.culturetype.com/tag/mario-joyce/ Future Fair https://archive.futurefairs.com/journal-posts-2/2024/4/28/future-fair-2024-tastemaker-collections-mario-joyce Campaign Buzz https://campaignbuzz.io/email/vielmetter.com/effea04a-e7f9-4c46-8712-24bb113d1280 UTA Space https://utaartistspace.com/press/2022/08/30/transportive-paintings-from-l-a-artist-mario-joyce-distinguish-first-uta-pop-up-show/ AJC https://www.ajc.com/things-to-do/transportive-paintings-from-la-artist-mario-joyce-distinguish-first-uta-pop-up-show/IG67TNAF7ZDWFP2FND2BNWU4SI/ Meer Art https://www.meer.com/en/78691-mario-joyce-amaryllis-garden F2T Gallery https://www.f2tgallery.com/mario-joyce/ Art Rabbit https://www.artrabbit.com/events/mario-joyce-amaryllis-garden Gallery Platform LA https://galleryplatform.la/galleries/vielmetter-los-angeles/events/in-conversation-mario-joyce-and-dominique-clayton Art| Melanated https://www.artmelanated.com/projects-1/mario-joyce Ohio State University https://art.osu.edu/events/visiting-artist-mario-joyce Art Crawl https://arthag.typepad.com/arthag/2021/08/mario-joyce-unearthing-black-joy-on-governors-island.html Over the Influence https://overtheinfluence.com/artists/mario-joyce/

Alderman Ray Lopez and Mayor Johnson have different attitudes about Trump's plan to round up immigrants—that's for sure. Ben riffs. Rummana Hussain talks brainwashing. How Trump has successfully turned Americans, some recent immigrants included, against immigrants. Also, updates on the ADL and Musk and the Cultural Center anti-war puppets. Talk about cancel culture. Rummana is a columnist and editorial writer for the Sun-Times. Her views are her own.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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