Bay Area

Jews of Color Navigate Issues of Inclusion During High Holiday Season

Published

7 years ago

October 3, 2019

The Jewish population is becoming more and more diverse, with Black and Brown people who are born in the faith or converts becoming more visible.

Their experience during the high holiday season, including Rosh Hashanah, the new year, which began on September 28, and the solemn season of Atonement, which begins on October 9 can stand out even more.

Jews of color navigate prejudice as they try to worship and yet there are cultural triumphs as well, in particular the casting of Ja Latinx Jew for the Hannukah and coronation specials Disney show, “Elena of Avalor,” which is to open in December.

In a Washington Post story published on Sunday, Rabbi Joseph Berman planned a new year’s sermon using a term from the Exodus known as ‘Erev Rav,’ which refers to the ‘mixed multitude’ of people who fled biblical Egypt with the Israelites. It was important to Berman, whose New Synagogue Project is in Wash., D.C., to bring voice to Jews whose roots are African American, Middle Eastern, Asian and everything in between.

“There’s this problematic narrative, that Jews of color are new to the community because they’re converts or part of mixed marriages, and that’s not true,” Berman told The Washington Post. “For some Jews of color, that’s part of their story, but there have always been Jews of color. It’s where Judaism started.”

Groups and projects around the country are grappling with the issue of what comprises Jewish identity, belonging for Jews of color and challenges Jews of color face. There are about 600,000 Jews in the United States who identify as Black, Latinx, Native American, Sephardic and Mizrahi.

Their presence is influencing the framing of the Yom Kippur confessional prayer, called Ashamnu, to include mass incarceration, unfair housing and police violence.

The spike in anti-Jewish and attacks on synagogues like the ones in Pittburgh Pa., in 2018 that left 11 people dead and Poway Ca., attack that left one dead on the last day of Passover this year, mean security has been increased, but there are worries about profiling by security guards and police.

“How can Jews of color be totally engaged if they’re profiled on their way to synagogue?” Ilana Kaufman, executive director of the Jews of Color Field Building Initiative and a Berkeley resident, told the Washington Post. “Jews of color are asked: Who do they know here? What’s the rabbi’s name? Someone using the facilities might be asked if they’re janitorial staff.” She said she believes there is some American Jewish anxiety around the topic of nonwhite Jews that’s not unlike American anxiety and racism about national demographic shifts.

“They worry about diluting Jewishness, that people of color celebrating their Jewish identity will eclipse our ‘Jewishness.’ It’s like we’re dealing with a finite pie,” she said.
Carla Mays, who grew up in Los Angeles with a mother and grandmother who considered themselves Jewish but were uncomfortable in institutional settings, is now a board member of the Jewish Multiracial Network, which formed in the 1990s to support multiracial Jewish families.

She joined the group when she moved to San Francisco as she tried to balance between Jewish and African American spaces.“I couldn’t worship in peace, and was constantly questioned about who I was. And I saw [young Jews of color] having to bear that brunt.

That’s why I stepped into this role,” she said of her work in the Network.
On the other hand, news of actress Jamie Lee Sigler, a Sephardic Jew of Cuban American heritage, was cause for excitement for mothers of young Jewish children.

The casting of the Latinx Jewish princess in a Disney vehicle is important to Latinx familes, according to a story written by Ruth Abusch-Magder, for Be’chol Lashon, a magazine focusing on Jews of color.

“As a Latinx Jewish woman, I’m thrilled that my children will be able to see aspects of their heritage and culture represented on a platform where they have largely gone unnoticed,” Stempel told Be’chol Lashon. “We may not be royal, but when we see ourselves positively reflected on the media we consume, it definitely impacts self-image.”

Sarah Aroeste is a Sephardi singer educator who was thrilled to hear of the character and what it would mean for her two young girls.
“To show a Jewish princess – explicitly in the script – is something so exciting by itself,” Aroeste told Be’chol Lashon. “To add the Latina element is an amazing added bonus! I love the fact that people will see a character that is not only Jewish but one that is not necessarily Ashkenazi.

Of course just because she’s Latina does NOT mean she’s Sephardic, but to show a non-standard portrayal of a Jewish girl is something I didn’t think we’d see yet in mainstream kids’ media”

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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

3 days 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

3 days 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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Alameda County

Ferry Fares to Increase July 1 as Ridership Hits Record Highs

The Oakland and Alameda routes will increase from $4.90 to $5.10, the South San Francisco route will go up from $7.40 to $7.60, and the Vallejo route will increase from $9.90 to $10.

Published

3 days ago

June 24, 2026

Oakland Post

Courtesy photo.

By Mike Aldax, The Richmond Standard

Starting July 1, the standard adult fare for the San Francisco Bay Ferry route between Richmond and San Francisco will increase to $5.20, up from the current $4.90.

Discounted fares for eligible passengers, including youth, seniors, people with disabilities, and Clipper START users, will rise to $2.60 from the current $2.40. Children under 5 will continue to ride for free.

The Oakland and Alameda routes will increase from $4.90 to $5.10, the South San Francisco route will go up from $7.40 to $7.60, and the Vallejo route will increase from $9.90 to $10.

The adjustments are part of a systemwide fare update approved by the agency’s Board of Directors, which is moving away from a flat 3% annual increase to route-specific pricing for the 2027 and 2028 fiscal years.

This fare update arrives as San Francisco Bay Ferry celebrates a historic May, transporting 301,270 passengers. The record-breaking figure represents an 8% increase over May 2025 and marks the third consecutive month of record-setting ridership.

Furthermore, it is the sixth month in a row that passenger numbers have exceeded pre-pandemic levels. Weekend travel has been a primary driver of this growth, with average weekend ridership seeing a 56% increase compared to pre-pandemic trends.

The agency states that the fare adjustments are necessary to ensure the long-term fiscal sustainability of public ferry services. By shifting to route-specific adjustments, the agency aims to offset rising operating costs while maintaining the high levels of service frequency and reliability.