Arts and Culture
Bay Area African American Women in Music: Tramaine Hawkins takes Gospel to Selma and the Symphony
As a teenager growing up in Berkeley during the 1960s, Tramaine Hawkins, the daughter of Ronald and Lois “the Pie Queen” Davis, was well aware of the Civil Rights Movement. She was too busy, however, singing the praises of Jesus Christ at her grandfather Bishop E.E. Cleveland’s Ephesian Church of God in Christ and other churches to actively participate in the movement.
On Sunday, March 8, during the 50th anniversary of the infamous “Bloody Sunday” and the successful Selma-to-Montgomery march and passage of the Voting Rights Act that followed, Hawkins showed her support for the movement by taking part in a star-studded concert in Selma following a march across the Edmund Pettis Bridge.
Some 50,000 people attended the free concert, which also included performances by the Blind Boys of Alabama, Kirk Franklin, Doug E. Fresh, Kelly Price and Ruben Studdard. The reclusive Bill Withers spoke but let his two adult children do the singing.
“It was an awesome honor and a wonderful celebration of voting rights of African Americans,” the singer says. “My heart went out to the people there – parents, grandparents, children. It was an awesome sight to have our people come together like that to support and celebrate one another.”
Hawkins and many others were accompanied by a symphony orchestra and mass choir directed by Henry Panion III, a professor at the University of Alabama at Birmingham. Panion personally invited Hawkins to appear at the concert and has written earlier symphonic arrangements of some of her songs that were performed with orchestras in Washington, D.C., and other cities.
Hawkins will next perform his arrangements with the Stockton Symphony at Christmas concerts on December 12 and 13 in the Atherton Auditorium on the San Joaquin Delta College campus in Stockton.
“I’ve always loved a challenge. I’ve always loved to spread my wings and not just do one genre of music. I’ve been a trailblazer in a lot of respects, with what I did with “Fall Down” and singing with Carlos Santana. He recorded with me on my Grammy-winning album,” she says of her 1990 album “Tramaine Hawkins Live.”
“I think the range and intimacy and fervor of my voice really stand out when I’m singing with an orchestra. It really allows me to just kind of float and have a presence over the music,” she explains. “I hear different chord structures and really play with the melodies and experiment a little bit. It’s a wonderful feeling.”
Hawkins lives near Sacramento with her husband of 20 years, Tommie Richardson Jr. She was previously married to Bishop Walter Hawkins and was a featured soloist in his Love Center Choir. She has seven grandchildren and another on the way.
“So many artists have gleaned so much from me,” she explains, now billed as Lady Tramaine Hawkins. “I’ve always been known as a lady on stage with such presence.”
Arts and Culture
MacArthur Fellow Jennifer Morgan’s Work Focuses on Slavery’s Impact on Black Women
When grants were announced Oct. 1, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit.
Special to The Post
When grants were announced Oct. 1, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit.
Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the fourth in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.
Jennifer L. Morgan is a historian deepening understanding of how the system of race-based slavery developed in early America.
A life-long New Yorker, professor Morgan, 59, is currently on leave from New York University as a fellow at the Cullman Center for Scholars and Writers at the New York Public Library.
She is a 1986 graduate of Oberlin College where she majored in Africana studies and received her PhD in history from Duke University in 1995.
Using a range of archival materials—and what is missing from them—Morgan brings to light enslaved African women’s experiences during the 16th and 17th centuries. She shows that exploitation of enslaved women was central to the economic and ideological foundations of slavery in the Atlantic world.
Morgan has established gender as pivotal to slavery’s institutionalization in colonial America, and her attention to the full ramifications of slavery for Black women sheds light on the origins of harmful stereotypes about Black kinship and families that endure to this day.
Morgan wrote her groundbreaking first book, “Laboring Women: Reproduction and Gender in New World Slavery” (2004), at a time when most scholarship focused on the transport, labor, and resistance of enslaved men.
In Laboring Women, Morgan argues that enslavement was fundamentally different for women because of their reproductive potential. Enslaved women were expected to both perform agricultural fieldwork and produce children, who were born into enslavement.
Morgan’s analysis of wills, probate proceedings, and purchasing records reveals how slaveowners understood forced procreation as a strategy to maintain their labor supply (rather than importing more people to enslave as laborers from Africa).
In her second book, “Reckoning with Slavery: Gender, Kinship, and Capitalism in the Early Black Atlantic” (2021), Morgan examines the development of accounting practices that transformed enslaved people into commodities within a system of trade.
She argues that such data obscured and justified the violence enslavers inflicted upon human beings. Record-keepers largely left gender and parentage out of demographic and accounting records. By refusing to acknowledge kinship among enslaved people, enslavers could rationalize family separation.
Morgan links the so-called neutral data of the slave trade to the consolidation of a hierarchy of race, based on false narratives about the difference and inferiority of enslaved Africans. At the same time, Morgan recovers the humanity and agency of enslaved women.
She demonstrates that enslaved women understood that their captors exploited their ability to produce children to create wealth. Morgan also charts their efforts to resist the commodification of their motherhood.
Morgan is currently at work on “The Eve of Slavery”—a book about African women in 17th-century North America. It is organized around the life of Elizabeth Key, a woman of color who sued for freedom in 1656 on the grounds that her father was a free white man.
The lives of Key and other Black women who tried to protect themselves and their children offer an intimate window into the development of American slavery.
Art
Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.
Special to The Post
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.
Tony Cokes
Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.
Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.
According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.[5]
His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.
Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.
In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.
He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).
Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”
Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.
The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.
More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.
Activism
San Francisco Foundation Celebrates 76th Anniversary
“I’m not going to sugarcoat it: the past couple of years have been tough. From uncertainty about the future of our nation to ongoing wars and violence globally to Supreme Court decisions that rolled back decades of work on racial equity and reproductive rights – it’s easy to become cynical and fatigued,” said San Francisco Foundation CEO Fred Blackwell.
By Conway Jones
The San Francisco Foundation celebrated the 76th anniversary of its founding in 1964 on Thursday, Oct. 24, at The Pearl in San Francisco.
Over 150 people came together with members of the SFF community whose intent was to fulfill the promise of the Bay: democracy, racial equity, affordable housing, and more.
A fireside chat featured SFF CEO Fred Blackwell in conversation with KQED Chief Content Officer and SFF Trustee Holly Kernan.
“I’m not going to sugarcoat it: the past couple of years have been tough. From uncertainty about the future of our nation to ongoing wars and violence globally to Supreme Court decisions that rolled back decades of work on racial equity and reproductive rights – it’s easy to become cynical and fatigued,” said Blackwell.
“Resolve is what is necessary to keep us moving forward in the face of attacks on DEI and affirmative action, of an economy that undervalues arts and caretaking, of a housing shortage that keeps too many of our neighbors sleeping in the streets,” he continued.
Youth Speaks provided poetry and a musical performance by Audiopharmacy, a world-renowned hip-hop ensemble and cultural community arts collective.
The San Francisco Foundation is one of the largest community foundations in the United States. Its mission is to mobilize community leaders, nonprofits, government agencies, and donors to advance racial equity, diversity, and economic opportunity.
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