National

Local Churches Discussing Security After Massacre At Emanuel

Published

11 years ago

June 30, 2015

Oakland Post

Rev. John Paul Brown (Courtesy of The Charleston Chronicle)

By Barney Blakeney
Special to the NNPA from The Charleston Chronicle

Dylann Storm Roof on June 17 walked into Emanuel AME Church through a side door without facing any resistance or questions. He sat with members of the congregation about an hour as they conducted a weekly Bible study session then pulled out a .45 Caliber handgun and shot nine of the members to death. That tragic incident leaves the community in shock and some asking if better security could have prevented the crime.

Houses of worship are among the most accessible places in the community when activities of various types are being conducted. Doors are unlocked to allow participants to enter during evening meetings, practices and other activities. And during activities such as Bible study, all including strangers such as Roof, are welcome without question. The Godly then are at a disadvantage to those whose intentions may be devious.

This week as Charleston remains in a state of shock after the premeditated murder of nine participants in the Bible study session at Mother Emanuel, many local church congregations held conversations about security in the wake of the carnage.

Saturday while the men of St. Matthews Baptist Church in North Charleston enjoyed a meal of fresh fish during a Father’s Day program, church leaders met to discuss security going forward after the deaths at Emanuel. Later that evening the pastors of several Charleston area churches were asked about security at their houses of worship.

Charity Missionary Baptist Church Pastor Rev. Nelson Rivers, a former national NAACP field operations vice president and current religious affairs and operations director for the National Action Network said public discussion of security measures for any facility is counterproductive, but he offered that security cameras, locked doors and entry buzzers are among the equipment churches should consider standard in their security systems.

Location also should be considered, Rivers said. Emanuel, one of the city’s most historic edifices, is located in Charleston’s historic district. And because churches are places where all are welcome, that location makes it and several other downtown churches vulnerable to insidious attacks.

One member of Emanuel suggested that someone in the church have in their possession a firearm any time the church is open. Mt. Zion AME Church Pastor Rev. John Paul Brown rejected the suggestion saying the church is no place for firearms. Sam Jenkins, security advisor at Wesley United Methodist Church in Charleston said instead, cameras at all entrances are necessary. At some point people just have to trust God, he said.

Brown said in addition, parishioners always should trust their common sense. That means locking doors that don’t lead into areas where services are being conducted and he suggests consulting experts in security. “We want to take necessary precautions, but we don’t want to overreact,” he said.

Rev. Alonzo Washington Pastor of Wallingford Presbyterian Church in Charleston said his congregation had an open door policy before the tragedy at Emanuel and will continue that policy. But that doesn’t mean they won’t lock doors and maintain constant vigil and observation to detect anything or anyone suspicious. Christian faith will not be conquered by fear, he said.

Charleston police spokesman Charles Francis said patrol officers will increase their vigil as well. They can be expected to knock on doors when they think someone may be in churches at various hours beyond those of normal worship service. As always, if anyone feels uncomfortable about any situation at a church, he encourages them to call police. Having members carry firearms in churches is a question individual churches must decide, Francis said.

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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.

Published

3 weeks ago

March 24, 2026

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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.

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.