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NC Voting Rights Fight Moves From the Courtroom to the Streets

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BySue Sturgis, Common Dreams

 

As the federal trial over North Carolina’s restrictive voter ID law wrapped up last week in Winston-Salem, the North Carolina. NAACP — the lead plaintiff suing the state over its ID requirements — was getting ready to shift its fight for voting rights from the courtroom to the streets.

 

The civil rights group serves as the lead organizer of the annual Mass Moral March on Raleigh, which takes place this year on Saturday, Feb. 13 and involves over 150 supporting organizations.

 

In its 10th year now, the march will kick off at Shaw University — the historically black school where the Student Nonviolent Coordinating Committee was formed in 1960 — and wind through downtown before ending near the state capitol.

 

It’s expected to draw thousands of people to rally for a 14-point legislative agenda calling for well-funded public schools, living wages and health care for all.

 

This year’s march will have a special focus on voting rights with the theme, “This Is Our Selma, This Is Our Time, This Is Our Vote,” recalling the historic 1965 voting rights movement marches in Alabama.

 

The lineup of speakers will feature ordinary North Carolinians who’ve been affected by restrictive new voting rules the state adopted after the U.S. Supreme Court hobbled the Voting Rights Act in 2013. And the march’s ambassadors will include David Goodman, brother of voting rights activist Andrew Goodman, who along with fellow activists James Cheney and Michael Schwerner was murdered by the Ku Klux Klan in Mississippi in 1964.

 

“We will not give up on our democracy,” Rev. Dr. William Barber II, president of the N.C. NAACP and architect of the Moral Movement, said during a press conference held this week to discuss the trial and the march. “We must stand up and continue to fight in the courts, in the streets and at the ballot box.”

 

The Feb. 13 event will be more than just a march, however: It will also be what Barber called an “organizing mobilization in the public square.”

 

Organizers there will call on faith communities to join in a Souls to the Polls voter registration, education and protection program that the state NAACP launched in December, with training session taking place immediately following the march (click here to register).

 

They will also enlist marchers to form what Barber described as a “mighty volunteer army” to ensure North Carolinians can and will vote in the state’s March 15 primary and the Nov. 8 general election. The voter campaign aims to be active in 90 of North Carolina’s 100 counties, with organizers undertaking what Barber described as a “deep dive” in 55 of them.

 

“Because we have to,” Barber said. “We have no choice.”

 

A top concern of organizers is confusion over the state’s voter ID requirements. When the legislature passed a new voting law in 2013, it required would-be voters to show one of a limited number of acceptable forms of identification, sparking legal action by the NAACP and other voting rights groups that charged the new rules abridged citizens’ fundamental right to vote.

 

With concern mounting that the ID rules would not pass constitutional review, state lawmakers approved a bill late in last year’s legislative session changing the requirements.

 

Under the new law, voters who lack one of the approved forms of ID due to a “reasonable impediment” such as illness, transportation problems or a lack of needed documents will be able to vote by provisional ballot if they sign a declaration describing the impediment and provide the last four digits of their Social Security number and their birthdate, or present their current voter registration card, or show a document with their name and address such as a utility bill, bank statement or paycheck.

 

The state elections board has produced public service announcements and other educational materials explaining the new ID requirements, but they don’t prominently discuss the reasonable impediment provision.

 

The board has also moved slowly on training poll workers to apply the new rules properly. And under questioning from U.S. District Court Judge Thomas Schroeder, who’s presiding over the voter ID trial, the state elections board director revealed there’s uncertainty about exactly how the new provision will work.

 

The decision on the voter ID law is now in the hands of Schroeder, an appointee of former President George W. Bush. Attorneys for the NAACP have said they think a ruling before the state’s March 15 primary is unlikely, so voters will likely cast ballots under the current rules.

 

“We have to do a lot of education,” Barber said. “This is just a bad law.”

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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