National

Life of Black Man Displayed in Zoo Matters Too

Published

11 years ago

April 22, 2015

Pamela Newkirk, journalist and author of the book said that, “For more than a hundred years, the story of Ota Benga was told by the same people who exploited him, and that narrative has stuck all of this time.” (Courtesy Photo)

By Jazelle Hunt
NNPA Washington Correspondent

WASHINGTON (NNPA) – An ordinary Internet search on Ota Benga yields black-and-white photos of a petite Black man, almost naked, smiling with a row of spiky teeth. Some accounts say he achieved fame in the early 1900s as part of controversial human zoo exhibitions in the United States.

But a look below the surface reveals a true tale of extreme racism, cruelty, and widespread collusion in the kidnapping and dehumanization of a man.

This is the meat of Spectacle: The Astonishing Life of Ota Benga, a shocking historical biography of Benga’s experience as a museum attraction – most notably as “the pygmy at the [Bronx] Zoo,” on display in an enclosure with an orangutan in 1906. Benga was later relocated to Lynchburg, Va, where he committed suicide.

Due on book stands in June, the historical biography retraces Benga’s journey using primary sources such as published articles, museum archives, and first-person writings from Samuel Phillips Verner, the man who abducted Benga and brought him across the Atlantic.

“So much of what I read in the archives was so chilling,” says Pamela Newkirk, journalist and author of the book. “And I guess the thing that surprised me to was the extent to which the statements of elite men and institutions go unquestioned. For more than a hundred years, the story of Ota Benga was told by the same people who exploited him, and that narrative has stuck all of this time.”

Currently, Ota Benga: The Pygmy in the Zoo, published in 1993, is the book of record for learning more about Benga’s life and death. It tells the story of Verner’s exploits as a missionary in the Congo, his fascination with the racist scientific theories of the day, and his guilt over his treatment of Benga, all culminating in a tenuous friendship between Benga and Verner. This book’s co-author is Verner’s grandson, who died in 2013.

As Newkirk gathered primary sources, she was surprised to find so many news articles, scholarly studies, and first-person accounts, written in real-time as Benga’s life unfolded. And despite clear evidence, some academics were reluctant to have the narrative disturbed.

“There were some institutions that were not as forthcoming as one would hope,” she says. “But I did find a lot more than I ever thought I would. Even if one institution had withheld information, there was a lot more, so I wasn’t overly reliant on one place.”

In reading, she began to understand why some sources seemed so guarded.

“One of the main things I found is that he was hunted, like one would hunt an animal,” Newkirk says, referencing an article Verner had written about his method for capturing the people derogatorily called pygmies. “He was in no way complicit in his exhibition, and he resisted being there. Stories have been told as if he was a happy subject of that degradation.”

According to Newkirk’s research, scientists and anthropology pioneers were among the first and loudest to defend and justify Benga’s confinement. Newkirk explains that the theme of the Louisiana Purchase Exhibition in 1904 – also known as the St. Louis World’s Fair, the first place Benga was held captive – was human advancement. Many indigenous people from around the world were kidnapped or coerced into performing in exhibits depicting man’s progress from “savage” settlements to the “civilized” White Western world.

“It was all predicated on notions of science and anthropology. When The New York Times defended the [Bronx Zoo] exhibition, they defended it in the name of science,” she explains. “There were questions of whether or not he was human, whether he was The Missing Link. It was the most eminent men of New York City who defended and supported this exhibition.”

Newkirk, who is also the director of undergraduate studies at New York University, where she teaches about media representation of marginalized groups, draws parallels between the racist beliefs that enabled what happened to Benga, and today’s racial climate.

She says, “The refrain of ‘Black lives matter’ rings in your ear when you see what people are capable of doing. They said that the African is so close to the ape…. When you look at what was considered ‘educated’ and ‘modern’ and ‘advanced,’ those were the views that were considered progressive in that period.

“This is so deeply rooted in American society – this idea that Black people…are animals. My book is historical…but I leave it to others to see how deeply embedded these ideas are and how they became…the foundation for policy.”

Spectacle: The Astonishing Life of Ota Benga goes on sale June 2. Pre-orders are available now through Amazon and Barnes & Noble.

Newkirk hopes that her book is instrumental in correcting the historical record of Benga’s life in the United States.

“The most important thing for me is to correct the historical record. It’s just such an insult that the man who’s most responsible for exploiting him has been depicted as his friend and savior for a hundred years,” she says.

“[Benga’s] life was worthy of this kind of exploration, because Black lives do matter. I think we owe that to Ota Benga.”

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Art

Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

Published

36 minutes ago

June 10, 2026

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Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

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Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

Published

2 hours ago

June 10, 2026

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Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

1 day ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.