Commentary

COMMENTARY: What More Can Be Done Under ESSA to Support Highly Qualified Teachers

NNPA NEWSWIRE — Teacher concerns transformed into organized protests when, in early 2018, the West Virginia teacher’s strike made headlines, lasting over 2 weeks. Local education activists and teacher advocates forced the state legislature to address many of their concerns through the statewide strike. Afterwards, teachers returned to their classrooms with a 5 percent pay raise.

Published

7 years ago

February 5, 2019

Oakland Post

By Akil Wilson

As of Monday January 14^th the country’s 2^nd largest public school system was being paralyzed by a teachers strike. The Los Angeles Sentinel reported that the walkout was followed by a plunge in student attendance, with about 144,000 students out of more than 600,000 students. On Tuesday that number grew to 159,000 students without instruction. This work stoppage was the latest in what has become a wave of similar protests in our nation’s public school systems.

Teacher concerns transformed into organized protests when, in early 2018, the West Virginia teacher’s strike made headlines, lasting over 2 weeks. Local education activists and teacher advocates forced the state legislature to address many of their concerns through the statewide strike. Afterwards, teachers returned to their classrooms with a 5 percent pay raise.

The strike lead to similar actions in several other school districts across the country including Oklahoma, Arizona, Kentucky and North Carolina.

Teacher grievances in Los Angeles echo the concerns of teachers in many school districts nationwide. Among their demands are smaller class sizes, an increase in support staff and higher pay.

The Los Angeles Unified School District is overwhelmingly comprised of low-income students, with over 80% of its students qualifying for free or reduced lunch.

Within this immense school system of 900 schools and roughly 30,000 teachers, classroom sizes can often exceed 32 students per teacher at the elementary level and up to 39 students per teacher for middle and high school. This student-to-teacher ratio greatly exceeds the 16 to 28 students per teacher national averages in urban school districts, according to the National Teacher and Principal Survey of 2015-16.

One of the Every Student Succeeds Act’s (ESSA) primary mandates involves building systems of support for educators through the use of additional funding and initiatives provided in Title II.

Title II funds purpose to support class size reduction, encourage performance-based pay for effective educators and develop opportunities to improve overall school conditions. In addition to funding, ESSA will enable school systems to attempt to address the shortage in classroom instructors by shifting the emphasis for teacher evaluations away from student standardized test performance — a point of stress for many educators.

Thus far, the Los Angeles Unified School District has offered a 6% pay increase as well as a classroom cap size of 35 for elementary schools and 39 for high school English and Math courses. However, in a school district as massive as Los Angeles, support staff is also vital.

Teachers in Los Angeles are also demanding that something is done to address the current state of affairs, which allows a workload of over 500 students per guidance counselor and over 2,000 students per nurse in the county. The school district has promised to address these concerns by offering one additional academic counselor per high school in the district and ensuring that each elementary school has daily nursing services.

If you are in Los Angeles or a similarly affected school district, learn more about ESSA’s impact on Title II and find out how your State Education Agency (SEA) and Local Education Agency (LEA) can support the extremely important work our educators are doing to advance our students’ success.

Akil Wilson is a Washington, DC-based podcaster and parent. He is a contributing writer for the Washington Informer in addition to providing broadcast commentary for a variety of media outlets.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

15 hours ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.