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Black Lives Still Matter to Grassroots and Black Media

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Hands-Up-Essence

 

By Jazelle Hunt
NNPA Washington Correspondent

WASHINGTON (NNPA) – The last several months have seen an outpouring of activism, with slogans coming in waves: “Justice for Mike Brown,” “Hands Up, Don’t Shoot,” and “I Can’t Breathe.” But the phrase “Black Lives Matter” has emerged to bind each flashpoint into one cause.

The 2012 murder of Trayvon Martin and acquittal of George Zimmerman served as the first of these flashpoints, snowballing in August with the murder of Michael Brown.

“Ferguson is the birthplace of what’s happening right now. In many ways, Ferguson is like ground zero of these protests,” says DeRay McKesson, who has been protesting and organizing in Ferguson since August. He also co-produces a daily Ferguson newsletter with Johnetta Elzie.

“When I think of Black Lives Matter, that’s the way people talk about the work as it spreads. It’s easier to say, ‘Black lives matter,’ but I think the Ferguson Movement and Black Lives Matter are one in the same.”

Although McKesson is currently focused on ending police brutality and unaccountability, he believes in the importance of eventually dismantling all social and political oppression, particularly the types that target Black communities.

“If all lives mattered, we wouldn’t have to be here talking about Black lives matter,” he explained. “What we’re seeing is people confronting injustice. You see a collective confrontation against injustice…it’s a creating of a radical new space in Black politics.”

Black Lives Matter has also become an organization. Three activists, Alicia Garza, Patrisse Cullors, and Opal Tometi co-founded the project in the wake of the Zimmerman’s acquittal in 2013. Initially, the partners set up BlackLivesMatter.tumblr.com and encouraged activists and organizations to share tactics and broadcast their efforts to uplift Black communities via the website.

“[The website] was an interactive project and a way to really promote the need for Black organizing in our communities,” said Tometi, who also serves as the executive director of the Black Alliance for Just Immigration, based in Brooklyn, N.Y. “Even if you’re not working on police brutality explicitly, there are many other issues that are impacting our communities.”

Today, there are approximately 15 chapters of Black Lives Matter across the nation and one in Canada that are focused on a range of concerns in Black communities, including housing, youth activism, and LGBTQ rights. Its other website, BlackLivesMatter.com, allows Black organizations to meet, network, and collaborate. The project has also adopted a list of demands, including the arrest of Darren Wilson, an end to supplying law enforcement with military weapons, and reinvestment in Black communities devastated by poverty.

“Our lives are being systematically attacked all across the board…it is not just at the hands of police,” Tometi says. “Black Lives Matter is a movement about bringing some of those issues and people who are on the margins to the center, and not forgetting about the Black undocumented immigrants, the Black trans person or Black queer person, or disabled people. All Black lives matter. It’s not just having a movement that’s solely about Black heterosexual men, but about all of us.”

For Chinyere Tutashinda, founding member of the Bay Area-based BlackOUT Collective, the movement is about love for Black people and a desire for justice.

“It [started] around dealing with deaths, dealing with the murders, because that’s right there in your face – a life has been taken, there’s a sense of urgency to that,” she said. “But it is beyond that as well. It’s also really about how are we ending the war on Black people, and ending the way Black people are oppressed in this country.”

On November 28, members of the Collective chained themselves to a BART train as part of a series of actions to disrupt Black Friday consumerism. The Black Lives Matter movement had declared a national day of protest and economic boycott, with some groups successfully causing the closure of shopping malls, Wal-Marts, and other retailers.

The news of these protests, and the Black Lives Matter movement in general, has primarily spread through social media and Black media instead of  White-owned major mainstream outlets. Even when retailers saw an 11 percent drop in Black Friday sales, most mainstream media outlets did not include the movement’s efforts in their analyses of the profit loss.

“The media follows where the fire is. They have followed the fire really well… but I think that they’ve only done that because we made sure people were out on the streets,” Tutashinda explained. “The reason that Black media and Black journalism came to be was because we understood as a people and as a community that our stories weren’t being told. It’s ok [for Black journalists] to know that their role is to help this [movement] move forward.”

Black media has not only amplified the voices of those on the ground, but has also attempted to further conversations, most recently seen in Essence’s February 2015 issue.

The magazine dedicated its 45th anniversary issue to the Black Lives Matter movement, featuring 15 essays from luminaries such as Angela Davis, Melissa Harris-Perry, and Al Sharpton. It is the first time in the publication’s history that its cover did not feature an image, opting instead for bold words against an all-black cover.

“Black media has always brought attention to conversations that are happening throughout our community, and sometimes we’ve been the only source for some of the issues that are important. But what’s happening right now is that Black social media has not only been driving the conversation, but also the movement,” said Essence editor-in-chief Vanessa K. De Luca.

“A number of the people included in the package, they’re all saying that this isn’t just a movement emerging out of chaos. There really is a lot of organization and planning and thought around this whole movement,” she continues. “What I think is so important, especially for Black media, is that we can surface that information.”

In addition to the issue, the publication is launching a new Civil Rights Watch series to chronicle the movement’s developments, wins, and losses moving forward.

A few gains have already been made. The Justice Department is investigating police conduct in a few cities. Seven bills aimed at police regulation and accountability have been introduced in Congress. One was signed into law: the Death in Custody Reporting Act requires states receiving certain federal funds to record all citizen deaths in police custody, and for state Attorney Generals to analyze this information and develop a plan to reduce such deaths.

A handful of police indictments have also been attained, for the shootings of Rekia Boyd, Levar Jones, and recently Bernard Bailey, who was killed by a police officer four years ago in South Carolina.

“It’s great to see publications such as Essence magazine…have a special edition issue called Black Lives Matter. Media plays such a critical role in informing our people. And NNPA publications are so important for our communities especially in rural areas and big cities; this might be the only thing that they read about this movement for black lives,” Tometi says.

“[Media] thinks they have to do a balanced story… but in giving two sides equal platform it skews our understanding of how many people really agree with what. The way press culture operates provides a false sense of balance, when overwhelmingly, there’s support for the movement.”

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Activism

Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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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. 

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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.

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.

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