Arts and Culture

Dr. Nontsizi Cayou, 82

Published

7 years ago

October 17, 2019

Post Staff

Nontsizi Cayou, a force in the development of African diaspora culture in the Bay Area, has died at the age of 82.

Born Delores Kirton on May 19, 1937, in New Orleans La., she moved with her family to Oakland, Ca.

She had an almost insatiable appetite for education, obtaining Bachelor’s and Masters’ degrees in Spanish and Dance in the early 1960s. By 1963, she was teaching jazz dance at her alma mater, San Francisco State University and began to pursue an interest in African-derived dance and culture.

A dance student of the late Ruth Beckford, she performed professionally in many dance theaters, musical revues and dance ensembles throughout the United States, eventually founding her own ensemble of dancers, poets and musicians in 1969, which she called Wajumbe.

A Kiswahili word that means ‘people with a message,’ the group Wajumbe was anchored in Cayou’s Project ACE, an Academic and Cultural Enrichment program for under-served children in San Francisco.

As Cayou mastered more dance forms—Haitian, Afro-Cuban and Afro-Jazz, she taught master classes throughout California, and Wajumbe came to represent the vanguard of the Black Arts Movement on the West Coast.

Unabashed in openly seeking, embracing and claiming her African heritage, Cayou led Wajumbe in appearing in the 2nd annual World Black and African Festival of Arts and Culture (FESTAC) in Lagos, Nigeria, in 1977.

Four years later, she took a 21-person group on a five-state tour of Nigeria, culminating in a performance before the foremost king of the Yoruba people, the Ooni of Ile Ife.

Cayou was renowned for instituting an annual celebration of the Kwanzaa principle, Nia (purpose), at the San Francisco Center for African and African American Art and Culture that emphasized presentations by youth and children.

In the same manner, she hosted or presented Black History Month celebrations and programs at SFAAAC or at Cowell Theater at Fort Mason, bringing in international acts like the ONE steel drum band from Trinidad/Tobago; ‘Flash in the Sun’ from the University of Ibadan in Nigeria and jazz sessions by saxophonists John Handy and David Hardiman.

In 1986, Cayou hosted a 45-member ensemble from Nigeria as part of a cultural exchange program with the production of ORI at the Herbst Theater, opening doors between African and the U.S. in unique ways.

In the early 1990s, she brought the World Dance Festival to San Francisco and it was held at SFSU and the Yerba Buena Center for the Arts.

Her unflagging interest and dedication to African spirituality was evident in organizing the 5th World Congress of Orisha Tradition and Culture in San Francisco in 1997. Practitioners from the motherland, Brazil, Cuba, Puerto Rico and all over the United States attended the 10-day conference.

Cayou was also known for her sense of social justice and was instrumental in helping SFSU maintain its standing as a center for ethnic and cultural studies.

After retiring from her position as chair of the Dance Department at SFSU, she continued her quest to raise consciousness over all things African through the African American Institute and the African Trade Center.

She was an avid devotee of African spirituality and was initiated into the mysteries of Obatala in Osogbo, Nigeria, in 1977. Cayou was known for organizing initiations and ceremonies in the Bay Area and even as her health declined, she went to events resplendent in white clothing, covering every visible area of her black wheelchair with white cloth or paint. She passed away on Oct. 3, 2019.

She was so beloved by Baba Ifayemi Elebulban, that he traveled from Nigeria to attend her final services.

A solemn celebration of life will be on Friday, Oct. 18, 2019, from 11:00 a.m. to 12:30 p.m. at the Seventh Avenue Missionary Baptist Church at 1740 Seventh Ave., in Oakland. Interment will follow at Rolling Hills Cemetery in Richmond and mourners will return to the church for a repast.

An Orisha Cultural Tribute will take place at the Greenlining Institute, 360 14th St., from 6:30 p.m. to 9:00 p.m.

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Activism

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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Activism

Stop the Hate Symposium Brings Oakland Together Through Dialogue, Partnership, and Community Healing

More than a meeting and panel discussion, the annual symposium serves as a powerful example of what can happen when neighbors, community leaders, and organizations choose conversation over division, and unity over silence.

Published

1 week ago

June 24, 2026

Oakland Post

Speakers and guests at the annual ‘Stop the Hate Symposium posed with Oakland Chinatown Improvement Council ambassadors. Photo by Marcus Calloway.

By Dr. Maritony Jones, Special to The Post

With the purpose of creating safer, stronger, and more inclusive communities, and in partnership with the Oakland Private Industry Council and other community organizations, the Oakland Chinatown Improvement Council (OCIC) hosted the ‘Stop the Hate Symposium’ on June 13 at the Oakland Asian Cultural Center.

The free event featured keynote speakers, breakout sessions, cultural programming, creating a space where people from many backgrounds sat together with a shared purpose.

The turnout itself reflected the urgency and importance of the topic. The room was packed with community members eager not only to listen, but also to participate. Throughout the event, speakers shared data, personal experiences, research, and practical solutions designed to address hate, violence, social inequity, and community safety.

The keynote panel featured respected leaders and advocates, including Ray Bobbitt, founder of the African American Sports & Entertainment Group (AASEG); Ryan Takemiya from RAMA; Caheri Gutierrez from the Unity Council; honorary guest speaker Oakland City Councilmember at-Large Rowena Brown and City Councilmember Charlene Wang; representatives for Oakland Mayor Barbara Lee and U.S. Rep. Lateefah Simon, with Gia Vang of NBC serving as moderator.

The symposium also offered multiple breakout sessions that addressed issues affecting communities across Oakland and Alameda County:

Session 1, 2, 3: Building Safer and More Inclusive Communities, led by Pastor Raymond Lankfort, CEO of Oakland Private Industry Council (OPIC), Jessica Kang, research manager for Stop AAPI Hate, Kara Guerra of The Unity Council, and Gabriela delaRiva of the Spanish Speaking Citizens Foundation
Session 4: Talk Story: Collective Healing and Relationship Repair, presented by Ryan Takemiya, executive director of RAMA
Session 5: Sexual Violence Prevention, presented by Tunisia Owens, interim deputy director of Realized Potential
Session 6: Violent Attacks on Teens, presented by MaryAnn Alvarado, program manager of Youth Alive

Every session contributed to an important truth: meaningful change begins within communities, through honest dialogue and a willingness to work together.

One of the strongest themes to emerge from the day was the need to create more conversations and stronger partnerships—not just during times of crisis, but consistently and intentionally. Relationships among organizations, neighborhoods, and community leaders often operate behind the scenes but are not always highlighted or celebrated.

Bobbitt spoke powerfully about this issue, noting that partnerships and relationships often go unrecognized despite being essential to community progress. He pointed to examples such as the partnership between OPIC and OCHIC, emphasizing that these collaborations deserve more visibility, investment, and expansion.

Perhaps his most memorable message resonated deeply throughout the room. Bobbitt explained that when a grandparent is attacked or harmed, the impact extends beyond race or ethnicity because today’s families and communities are increasingly multicultural and interconnected.

“We are not going to see our grandparents as just Latino, Asian, Caucasian, or African American,” he shared in essence. “We are going to see them simply as our grandparents.”

Those words reflected the heart of the symposium. Hate may target one group, but pain and loss are felt by everyone. Likewise, healing and progress are shared responsibilities.

For more information about the Stop The Hate Program visit the website: https://www.oaklandchinatownchamber.org/stop-the-hate (or) https://oaklandpic.or

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Arts and Culture

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.