Art
International Women’s Day: Civil Rights Icon Xernona Clayton, Other ‘Herstory Sheroes’ Honored in Atlanta
Civil rights and media icon Xernona Clayton became the first woman to be enshrined with a statue in downtown Atlanta on March 8, 2023, International Women’s Day. The eight-foot statue with its arms open, high on a pedestal, looks down on Xernona Clayton Plaza, making the petite icon a giant in the cradle city of the modern Civil Rights Movement.
By Maxim Elramsisy
California Black Media
Civil rights and media icon Xernona Clayton became the first woman to be enshrined with a statue in downtown Atlanta on March 8, 2023, International Women’s Day.
The eight-foot statue with its arms open, high on a pedestal, looks down on Xernona Clayton Plaza, making the petite icon a giant in the cradle city of the modern Civil Rights Movement.
World renowned sculptor Ed Dwight created the bronze statue despite challenges with his vision. With Dwight by her side, Clayton announced that it would be his final commissioned project. “As he was making this statue he lost vision in his good eye,” Clayton said at a private dinner before the unveiling. “But if he could do this without seeing, imagine what he could do if he had vision.”
More than 20 speakers, including representatives from the Bahamas and Ghana, praised Clayton at the unveiling ceremony, which was followed by “High Heels in High Places,” an event honoring distinguished women in business and journalism.
Among the “sheroes: honored at the dinner were California Black Media Executive Director Regina Brown Wilson and LA Focus Publisher Lisa Collins. Clayton also acknowledged the mothers of several local celebrities, including Silvia Dickens, mother of Atlanta mayor Andre Dickens, Trice Morgan, mother of rapper T.I., and Mary Tucker, mother of comedian Chris Tucker.
A few of the speakers at the event claimed to be Clayton’s boyfriends, including Mayor Andre Dickens, who began working on the project as a city councilman, and Clayton’s close friend and fellow civil rights icon, Ambassador Andrew Young. Former CNN President, Tom Johnson spoke on behalf of Ted Turner, who was ill, lauding Clayton’s outstanding achievements and attesting to her contributions to broadcast media. Clayton was also a consistent supporter of the Black press across the country.
Martin Luther King III reflected on his memories of Clayton growing up. “There is no greater honor than what is being done here today,” said King III.
At the unveiling, Clayton recalled arranging logistics for a meeting between Dr. King and supporters of the Southern Christian Leadership Conference in the heart of Atlanta. “I pride myself in getting everything right before I start out, and I knew I had all my details in order for this special luncheon hosted by Dr. King, but everything went wrong,” Clayton said.
The motel which supposedly had an “open door policy,” expressly told Dr. King to leave. “I, Xernona Clayton was thrown out of a hotel. Now, you are standing backed by a street named Xernona Clayton Way.”
“The idea for a monument to Xernona Clayton was born from a 4 a.m. meeting with her in 2020. Our kids didn’t know who she was, and we felt that such an inspiring figure deserved recognition,” said Project Co-Founder Mariela Romero, a Latina journalist, originally from Venezuela, who co-presented the idea for the statue and has been one of the forces helping to make the monument a reality.
Romero said when she learned about Clayton’s contributions to the Civil Rights Movement and all her personal accomplishments, she was surprised that more Americans of all races did not know about her life story and legacy.
“Seeing the statue standing proudly in Xernona Clayton Plaza, facing downtown Atlanta, fills me with incredible pride and accomplishment,” Romero added.
“This project was important to us because Xernona Clayton has been a role model, she has dedicated her life to serving others and we have always admired her tenacity, grace, and vision.”
Romero partnered with philanthropist and Bank of America-Merrill executive Rick Baker to spearhead the campaign that made Clayton’s monument a reality.
Xernona Clayton (center) and Xernona Clayton Statue Project Co-Creators Mariana Romero (Left) and Rich Baker (right) cross Xernona Clayton Way in Downtown Atlanta, Georgia toward the unveiling of the Xernona Clayton statue on Wednesday, March 8, 2023. Photo by Maxim Elramsisy, California Black Media.
Clayton became involved in the civil rights movement working for the National Urban League in Chicago. She went undercover to investigate employment discrimination against African Americans at Marshall Fields, a major Chicago department store.
She moved to Atlanta at the behest of Dr. Martin Luther King Jr, where she organized events for SCLC and grew close with Dr. King and his wife, Coretta Scott King.
Clayton was instrumental in the desegregation of Atlanta’s hospitals by organizing the city’s Black doctors. In 1967, Clayton became the first Black female in the southern U.S. to host a weekly prime time talk show. The show eventually came to be known as “The Xernona Clayton Show.”
In 1968, Clayton’s impact in the fight against bigotry became clear when Calvin Craig, a Grand Dragon of the Ku Klux Klan, denounced the Klan, crediting Clayton’s influence in the decision.
In 1988, Clayton was named Corporate Vice President for Urban Affairs with Turner Broadcasting System. In her role she served as liaison between Turner Broadcasting and civil rights groups, both in Atlanta and across the country.
As a broadcast executive, Clayton founded the Trumpet Foundation and, with Turner Broadcasting, established the prestigious Trumpet Awards in 1993 to highlight the achievements and contributions of African Americans.
With the unveiling of the Xernona Clayton statue, an influential Black woman is finally immortalized in Atlanta, a city that still holds several confederate monuments and countless stories and memories of its history in the segregated south.
This California Black Media article was supported in whole or in part by funding provided by the State of California, administered by the California State Library
Art
Statue of ‘La Catrina,’ a Beloved Symbol of Dia de Los Muertos, Visits Oakland
Oakland is hosting a monumental 34-foot-tall sculpture of La Catrina at the Fruitvale Transit Village to mark the 31st annual Día de Los Muertos Festival. Handcrafted by master artisans from Mexico City, the massive figure traveled 2,000 miles to serve as a centerpiece for the city’s cultural celebrations. The statue, adorned with marigolds and monarch butterflies, symbolizes the migrant experience and the enduring connections between generations. The installation will remain on public display through early November, offering visitors a unique opportunity to engage with this iconic symbol of remembrance. Read more.
Every year, the Día de Los Muertos Festival brings people together in Oakland to honor those who came before us and to celebrate the bonds that unite the living and the dead.
For the festival’s 31st observation, the Unity Council, Visit Oakland, the City of Oakland, the Consulate of Mexico, renowned artist Romain Greco of Artsumex, and cultural leaders from Mexico City, commissioned a monumental 34-foot-tall sculpture of ‘La Catrina,’ handcrafted by master artisans from the Mexican capital.
The statue that arrived in pieces was unveiled on Sept. 22 and stands at the Fruitvale Transit Village, where she rises as an impressive symbol of Mexican culture, art, and the connection between Oakland and Mexico.
She will remain on display until Nov. 5, welcoming visitors and community members during various events, before becoming one of the main attractions of the Día de Los Muertos Festival on Nov. 1.
What does La Catrina symbolize?
La Catrina is one of the most recognized symbols of Día de Los Muertos. She represents the remembrance of our loved ones, the celebration of life, and the lasting connection between generations. Wearing a crown of orange marigolds, poppies, and monarch butterflies, the Oakland sculpture has her arms outstretched, as if she wants to embrace everyone who approaches her. This gesture symbolizes a warm welcome to the migrants who arrive in the Fruitvale community and expresses shared values such as inclusion, care, a sense of belonging, and cultural pride.
La Catrina also represents another kind of journey. She reflects the experiences of many families who have traveled north to the United States in search of safety, opportunity, and a better future. Her 2,000-mile journey from Mexico City to Oakland becomes a powerful metaphor for these migration experiences. Across borders, the sculpture carries memories, culture, and identity with her.
This story is deeply connected to the history of immigration in the United States, where generations of newcomers have sought opportunity while also helping to build and sustain their communities.
In California, migrants work in the fields, care for our families, build our neighborhoods, and enrich the cultural and economic life of the region. Their contributions are an essential part of the society we live in.
That is why La Catrina is much more than an impressive work of art. She reminds us of the journeys people make, the sacrifices they make, and the lasting contributions they offer to their communities. Her presence in Oakland celebrates Mexican roots, recognizes the migrant experience, and invites us to reflect on the essential role we all play in building a shared future.
The theme for this year’s festival is “La Lucha Continúa: Aquí estamos y no nos vamos” (The Struggle Continues: We Are Here and We’re Not Leaving). The free, family friendly festival is from 10 a.m. to 5 p.m. Sunday Nov. 1 along International Boulevard between Fruitvale and 34th avenues.
Art
BLACspace Cooperative Invites Bay Area to Experience Oakland’s Black Cultural Ecosystem Through a BLAC Map Tour + Party
BLACspace Cooperative invites the Bay Area to experience Oakland’s Black cultural ecosystem through its BLAC Map Tour + Party on October 2. Presented as part of the Museum of the African Diaspora’s Nexus: SF/Bay Area Black Art Week, the event offers a guided field trip through creative and cultural spaces, followed by a celebration. Guests will explore the people and places shaping Black arts and culture across Oakland. The tour highlights BLACspace’s interactive guide to spaces stewarded by its members. Read more to learn about this unique event.
Presented as part of MoAD’s Nexus: SF/Bay Area Black Art Week, the October 2 experience takes guests inside the spaces, practices, and relationships that keep Black arts and culture rooted in Oakland
What does Oakland’s Black cultural ecosystem look like from the inside?
On Friday, October 2, BLACspace Cooperative will bring its BLAC Map to life with The BLAC Map Tour + Party, a two-part experience connecting artists, cultural workers, community partners, funders, and arts lovers with the people and places shaping Black arts and culture across Oakland and the greater Bay Area.
Presented as part of the Museum of the African Diaspora’s Nexus: SF/Bay Area Black Art Week, the day begins at MoAD at 685 Mission St. at 12 noon with a guided field trip through creative and cultural spaces connected to the BLACspace ecosystem.
Guests will travel together by bus from San Francisco to Oakland, stepping inside studios, cultural hubs, creative businesses, and gathering places while experiencing artist talks, exhibitions, film, music, movement, ancestral practice, and opportunities for conversation.
The Tour is an extension of The BLAC Map of Oakland, BLACspace’s interactive guide to creative and cultural spaces stewarded by members of its ecosystem. The map makes visible a network of people and places working to keep Black culture rooted in a city where displacement, rising costs, and shrinking arts funding continue to threaten cultural permanence.
“We call this work Cultural Reforestation,” said Zakiya Harris, Vision and Leadership steward of BLACspace Cooperative. “It’s about repairing, replenishing, and rooting Black arts and culture where it has been displaced, and creating the conditions for our cultural ecosystem to remain for generations to come.”
The Tour will move through several Bay Area cultural spaces, including Minnesota Street Project, The Barn, B-Love’s Guest House, Koo Labs Production & Design Center, BAM House, and BlaQyard, with experiences featuring members and collaborators across the BLACspace ecosystem.
At 5 p.m., the field trip gives way to The BLAC Map Party, a celebration of the ecosystem the Tour spent the day exploring. The evening invites the wider community to gather for music, food, art, cultural activations, an opening Ring Shout ceremony, and connection among Black artists, cultural workers, organizations, and the people who support their work.
The experience reflects BLACspace’s larger belief that the future of Black arts and culture requires cooperation.
As a Black arts and culture-promoting cooperative, BLACspace brings together artists, cultural workers, creative businesses, and organizations to share resources, relationships, knowledge, and stewardship.
Through membership, holistic business coaching, mutual aid, consulting, storytelling, and advocacy for cultural spaces, the cooperative is building infrastructure intended to strengthen Oakland’s Black cultural economy for the long term.
EVENT INFORMATION
The BLAC Map Tour + Party
Friday, Oct. 2
BLAC Map Tour: 12–5 p.m.
Begins at the Museum of the African Diaspora (MoAD)
685 Mission St., San Francisco
BLAC Map Party: 5–8 p.m.
Oakland, California
Party location provided to confirmed RSVP guests.
Tickets, RSVP information, and additional event details are available through BLACspace Cooperative at ABOUT BLACSPACE COOPERATIVE
About BLACspace Cooperative:
BLACspace Cooperative connects and cultivates an ecosystem of artists, cultural workers, creative businesses, and organizations shaping Black arts and culture. Through holistic business coaching, values-aligned consulting, shared stewardship, and advocacy for cultural spaces, BLACspace works to create the conditions for its ecosystem to remain rooted and thrive.
Its work is grounded in Cultural Reforestation: strengthening what is here, restoring what has been displaced, and building toward cultural permanence in Oakland and beyond for the next 100 years.
Adéniké Amin is the storytelling steward for BLACspace Cooperative. For media and other information, please reach out to adenike@blacspace.coop
Art
Misty Copeland Shapes Ballet’s Tomorrow
THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.
This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.
Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.
That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.
Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.
The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.
The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.
The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.
For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.
Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.
The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.
Based on reporting by The Positive Community.
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