Black History

COMMENTARY: Are we forgetting 400 years?

FLORIDA COURIER — This milestone 400th anniversary year of the single incident that began the relationship for the next four centuries among Africans, English, and Native Americans.

Published

7 years ago

February 13, 2019

Oakland Post

By Dinizulu Gene Tinnie

As Black History Month (BHM) 2019 begins, we might easily find ourselves simultaneously gratified, impressed, and nearly overwhelmed by the rich smorgasbord of programs and activities taking place in South Florida alone (diligently compiled by the Miami-Dade Office of Black Affairs and other sources).

This reflects a rapidly-growing availability of previously lost and hidden information steadily coming to light in this new day ‒ or what Native American First Nations people have recognized as a “Time of Awakening,” from which there is no escape or going back to past ignorance.

This year, for example, many are learning for the first time this year that February 1, the anniversary of the 13th Amendment officially ending legal slavery in the U.S. in 1865, is officially National Freedom Day, signed into law in 1948 by President Truman to celebrate the freedom enjoyed by all Americans. This is thanks to the dedicated efforts of Major Richard Robert Wright.

Pushed for recognition

Wright was born into slavery in Georgia in the 1850s. After a distinguished military career and numerous remarkable achievements in education and business, he launched his campaign in 1941 to establish the holiday – a fitting beginning of Black History Month.

However, just as this rapidly increasing knowledge and awareness might make this year’s BHM the most empowering ever, enhanced by the 2019 National Black History Theme of “Black Migrations,” there is a striking absence in virtually all of the programs listed on this full calendar of any reference to one of the most significant Black migrations of all time.

That is the fateful 1619 arrival from Ndongo, Angola, West Africa 400 years ago of the first “20 and odd” captive Africans to be brought into British-occupied Native North America, at Point Comfort, Virginia (not Jamestown, as is usually reported).

Their arrival notably occurred more than a year “Before the Mayflower” (the title of Lerone Bennett Jr.’s classic study of America’s Black history), but also more than a century after the first Africans of the modern era, free and enslaved, had come to the Spanish-claimed territory of Florida peninsula and other coastal settlements (including one which was destroyed by a slave revolt).

Note that there are much earlier documented African arrivals in the Americas centuries before Columbus, or the African presence among Indigenous peoples long before then.

More than one incident

In that larger historical and geographical context, the storied landing of a few Africans brought to a remote British North American outpost on the ship “White Lion” might seem to be almost insignificant, considering how commonplace such human trafficking had become since the early 1500s under Spanish and Portuguese flags.

(In case you didn’t know, the White Lion’s captain had stolen these same Africans from a Spanish vessel which he attacked and raided, and then sold the captives to the English settlers as commodity in exchange for food and supplies.)

That very point about context is convincingly made in Dr. Michael Guasco’s September 2017, article in Smithsonian magazine, cautioning against the dangers of overemphasizing the single 1619 incident at the expense of ignoring how much equally or more important history preceded, surrounded, and followed it.

Even without that caveat, other factors have already long been in play which serve to downplay the importance of those particular African men and women’s arrival in the Virginia colony.

On the one hand, many thoughtful observers astutely refuse to give undue importance to historical occurrences which become emphasized as parts of “his-story,” presented and defined by the settlers’ perspectives only.

On the other hand, there is also the inescapable factor of traumatic pain and unhealed psychic wounds associated with such stories which lead many African descendants to prefer not to be reminded of them, even though they continue to haunt our every hour ‒ whether we acknowledge them or not.

Knowledge empowers us

And that becomes the most important point today. “Knowledge is power,” and we are all certainly more empowered by knowledge of the collective history which has played such a prominent role in making us who we are today than by ignorance ‒ or worse yet, myths, lies, and propaganda ‒ calculated to disempower us.

This milestone 400th anniversary year of the single incident that began the relationship for the next four centuries among Africans, English, and Native Americans in North America is the ultimate “teachable moment,” an opportunity not to be missed, especially in this Time of Awakening when information abounds, and a new generation is coming of age as yet another is being born.

A quadricentennial only comes once. Only the present generations can gather and preserve historical facts that were either unavailable or too painful for those before us, and may well be lost and forgotten forever if we do not pass them on to those who come after us.

Among the most important facts of 1619 ‒ even more than knowing what those Africans and the millions who came after them, both on ships and as descendants for the next 400 years contributed to the building of the nation that we know today ‒ is the knowledge of who those first surviving Africans (like all others to follow) were.

What happened?

What did they feel upon their arrival in this strange place? How did they interact with one another and with the English settlers and the Native Nations which surrounded them? What indelible marks did their lives-that-mattered make on the society of which they were an integral part, regardless of what social status the settlers attempted to force upon them?

By going back to this beginning, without forgetting and by including that larger historical and geographic context around those 20-plus first Africans in British-occupied North America, we take full advantage of the proverb, “The past is present, the future is now.”

Yesterday is not tomorrow, which will be largely defined by what we do. As products of our ancestral past, what we do with our knowledge in the present moment shapes the future of our next generations.

This is why this milestone 400th year adds so much power and significance to all of our various inspired Black History Month and year-round activities. This is why each of these activities will benefit us and their audiences by including prominent public mention and recognition of this anniversary. Conversely, we will lose a precious and invaluable opportunity forever by not doing so.

***

Dinizulu Gene Tinnie is a South Florida-based artist, activist and historian. Click on this commentary at www.flcourier.com to write your own response.

This article originally appeared in the Florida Courier.

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Activism

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses. The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Published

1 week ago

June 24, 2026

Oakland Post

Toks Omishakin, secretary of the California State Transportation Agency, was one of the speakers at the event. Photo by Shellee Fisher Photography and Design.

By Calvin Naito, Special to The Post

On June 4, a national nonprofit named the Equity in Infrastructure Project (EIP) – which aims to increase public construction contracting opportunities for small and historically underutilized businesses – held a day-long event in downtown San Francisco to rally supporters and build momentum to its cause.

It was attended by more than 100 individuals from public agencies, private firms, and other organizations committed to increasing contracting opportunities with governmental agencies, thereby creating more competition and lowering public costs.

The EIP event was held the Hyatt Regency San Francisco in conjunction with BuildIT, which aims to increase contracting opportunities for LGBT-owned businesses.

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses.

The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Following the workshop, BuildIT hosted a VIP evening reception honoring EIP, whose principals – Phil Washington, John Procari, and Rick Jacobs – accepted the award.

The event also set in motion the coalition’s efforts to implement recommendations from EIP’s “Procurement for Prosperity: A Playbook.”

The Playbook is a practical guide for public agency leaders and procurement and contracting practitioners to grow the capacity of small and first-time contractors, strengthen competition, and deliver better value for taxpayers.

Toks Omishakin, Secretary of the California State Transportation Agency (CalSTA), a long-time EIP supporter, also told attendees, “This is about commitment. This has been a life’s work. This is a tailwind moment.”

The event’s presenting sponsor was Hub International, one of the largest insurance brokerages in the nation, which was joined by partners Travelers Insurance and the State Compensation Insurance Fund.

After the pledge-signing ceremony, attendees participated in a workshop in which they examined the policies, practices, and programs needed to meet EIP goals, learned from practitioners, and identified next steps toward utilizing the Playbook.

Ingrid Meriwether, formerly of Merriwether & Williams Insurance Services (MWIS) and current president of Hub International’s Aligned Risk Management, MWIS, described the hard-fought lessons she and her MWIS team have learned over the last three decades administering contractor development programs (CDPs) for the City and County of San Francisco, Alameda County, City of Los Angeles, LA Metro, and other municipalities.

The CDPs help small and local construction firms win public infrastructure contracts with these government agencies. The program provides bonding assistance, contract financing, technical support, training, and other services to underrepresented businesses funded by public agencies who seek greater contracting participation with these firms.

Merriwether said programs like these “break down systemic barriers, create greater fairness, and save taxpayers money by enabling more competition. The contractor development programs have, cumulatively, over two decades, helped contractors access over $1 billion in bonding, supporting over $380 million in awarded contracts, and maintaining a loss ratio 250 times lower than the industry average – while saving participating municipalities more than $27 million in contracting costs as a result of enabling more competition.”

Rick Jacobs, EIP co-founder and co-chair urged attendees make plans to meet again in the near future “to continue building on this work, share progress on organizational commitments, and discuss how we can collectively advance the goals of the EIP pledge.”

For more information on the EIP and to access a copy of the Playbook, go online to https://equityininfrastructure.org/

Calvin Naito is communications manager for Equity in Infrastructure Project.

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Oakland Museum Presents Landmark Retrospective Celebrating Beloved Bay Area Artist Mildred Howard

“Poetics of Memory” coincides with a year of major recognition for Howard. In 2026, she received the California Arts Council’s 50th Anniversary Award, honoring artists whose work has shaped California’s cultural and civic life, as well as the Museum of the African Diaspora’s Artist Impact Award. In 2025, she was awarded a prestigious Guggenheim Fellowship in recognition of her transformative contributions to American cultural life.

Published

1 week ago

June 24, 2026

Oakland Post

Mildred Howard. Photo by Christine Cueto for the Oakland Museum of California, 2025.

Special to The Post

The Oakland Museum of California (OMCA) opened “Mildred Howard: Poetics of Memory,” the first major museum survey of Bay Area artist Mildred Howard, on June 12.

The exhibition spans five decades of Howard’s influential work, bringing together immersive installations, found-object sculptures, archival materials, and new commissions that explore memory, identity, and power in American life.

Howard was born in San Francisco in 1945 and raised in the East Bay, where she went on to study Afro-Haitian dance, make and sell clothing, and experiment with collage and sculpture.

Her multimedia art practice emerged from these experiences, later becoming associated with West Coast conceptual art, San Francisco funk, and a vibrant community of artists like Oliver Jackson, Betye Saar, and Raymond Saunders. Since the 1970s, she has used found materials and family stories to explore memory—both individual and collective.

At OMCA, visitors enter “Poetics of Memory” through a series of intimate galleries featuring Howard’s early mixed-media pieces and sculptures, along with a large video projection of a number of her public artworks.

Together, they emphasize Howard’s interest in everyday objects as powerful carriers of individual and shared stories. Highlights include collages that remix images of the artist herself; found-object sculptures like The History of the United States with a few Parts Missing (2007) that address omissions in dominant narratives; and public works like “Locks and Keys for Harry Bridges” (2001) that transform urban space into a meditation on access and labor.

This culminates in a richly detailed “studio” environment, where works in progress, archival exhibition flyers, historic photographs of Howard and her community, postcards from fellow artists, and other materials offer insight into her creative process and daily life.

The exhibition then opens into a high-ceilinged, dramatically lit space that brings together Howard’s signature immersive installations. On one end, “Crossings” (1997/2026) – a field of hundreds of ceramic eggs leading to an ornate mirror – suggests cycles of birth, motherhood, and transition, while drawing on the emotional echoes of the Middle Passage. On the other end, “Blackbird in a Red Sky” (a.k.a. “Fall of the Blood House”) (2002) – a red glass shack bordered by a pond – also uses reflection and transparency to draw viewers into the work and prompt consideration of themes of identity and home.

Howard’s newest video installation, “Moving Stills” (2026), repurposes never-before-seen family footage she took as a teenager on a train trip to the American South. Projected onto cascading layers of translucent fabric that stretch across an entire gallery wall, the piece immerses viewers in a layered meditation on memory, migration, and time.

The “Mildred Howard: Poetics of Memory” exhibit will be on display through Oct. 11 at the Oakland Museum of California, 1000 Oak St., Oakland, CA 94612. Museum hours are Wednesday through Sunday, 11 a.m. to 5 p.m., with extended hours on Fridays to 9 p.m.

This story is sourced from the Oakland Museum of California press office.

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IN MEMORIAM: Oakland Dance Legend Reginald Ray-Savage, 67

Savage lived his life as tribute to the teachers who had shared their wisdom on art and life with him. With a palpably genuine enthusiasm and desire to bring out the best in people, and pass the torch to the next generation, he poured into his students, as his teachers and mentors had into him. His infectious energy, love of life, and generosity of spirit inspired countless souls, both inside and outside the dance studio.

Published

1 week ago

June 24, 2026

Oakland Post

Reginald Ray-Savage brought the old-school teaching techniques he learned in the Katherine Dunham Dance Company to the youth at the Oakland School for the Arts in 2003. Courtesy photo.

Special to The Post

Reginald Ray-Savage – dancer, choreographer, and beloved teacher, mentor, and inspiration to many – passed away on May 17. The Oakland School for the Arts dance instructor was 67.

Born Reginald Ray, Jr. in St. Louis, Missouri, on Sept. 5, 1958, he formally adopted the name ‘Savage,’ to honor the great Archie Savage, his mentor at Katherine Dunham’s Performing Arts Training Center where his dance training journey began in East St. Louis, Illinois.

He soon started dancing professionally with Katherine Dunham Dance Company, making dance a way of life. His grit, tenacity, and notorious work ethic brought him scholarships to train at multiple prestigious dance institutions, including The Ailey School (NYC) and Ruth Page School of Dance (Chicago), under the direction of acclaimed ballet instructor Larry Long and Dolores Lipinski-Long.

He danced with several companies including Joel Hall Dance Company, Ruth Page Ballet Chicago, Lyric Opera, Chicago City Ballet, American Festival Ballet, and touring productions of “Music Man” and “A Chorus Line”.

In 1989, Savage moved to Oakland where he started teaching seven days a week, amassing a devoted following that was attracted to his no-nonsense, impassioned, and effective old-school teaching style.

In 1992, at the insistence of his committed core of students, he founded Savage Jazz Dance Company (SJDC). Over a span of 30 years, Savage produced more than 100 original works, and tour SJDC nationally and internationally, performing at Casa del Jazz in Rome to a packed house and rave reviews—the first dance company to receive such an invitation.

Savage built SJDC into one of the Bay Area’s most respected dance companies, creating a signature style known for its combination of disciplined training, blended with rich artistic musical expression, and raw energy.

In 2003, Savage joined the Oakland School for the Arts as chair of the School of Dance. Over the next two decades, he created, built, and maintained a strong dance program, recognized, and respected by other dance institutions for forging well-trained and resilient dancers and human beings.

The depth of Savage’s tough love and care, and the skill of his teaching and mentoring are reflected in the careers of his students who have gone on to dance with the San Francisco Ballet, Martha Graham Dance Company, Mark Morris Dance Group, Janet Jackson, Ariana Grande, and companies across the globe.

Mark Kitaoka, a photographer hired by Savage in 2016, posted a living eulogy on the dance instructor.

“When I see the self-pride he builds in his students I am constantly impressed that people like Savage still exist in our ‘meme’ society,” Kitaoka wrote. “The kids he mentors are fiercely loyal to one another and I’m certain his methods teach each of those kids to put aside social status, race and gender and is replaced by solid loyalty for other souls.

“What Savage contributes to our world cannot be completely summed up in a few meager paragraphs but can be seen in the countless lives of those he has touched. Because of him, our world, and the world of the future is both a richer and better place.

Reginald Ray-Savage will forever be missed, remembered, and lovingly quoted. He is survived by his beloved wife, Alison Hurley, his sister, Sonia, and his brothers, Pierre, and Andre. May his inextinguishable spirit and impact live on in all the lives he touched.