Black History

COMMENTARY: Embracing the Courageous Four; Radically Reconceiving and Reconstructing America

LOS ANGELES SENTINEL — In spite of the forked-tongue talk, doublespeak and patently racist ranting of the pretending President Trump and the White supremacist mob-like cheerleaders chanting hatred at his rallies, we must not miss the fresh, air-clearing and uplifting wind that is steadily rising and blowing our way. It is the transforming force of the voice, views and defiant struggles of the courageous four “freshmen” congresswomen: Rep. Ayanna Pressley (D-MA); Rep. Ilhan Omar (D-MN), Rep. Alexandria Ocasio-Cortez (D-NY); and Rep. Rashida Tlaib (D-MI). They come to their position anxious and impressively able to serve the people, their constituency, the vulnerable, and the larger interests of the country with rightful concern for the well-being of the world. And they will not be bullied or silenced by Trump and company, nor accept a party discipline that calls for a compromise of their principles or taking a position that diminishes and undermines their capacity to serve the people as best they can and see it.

Published

7 years ago

July 30, 2019

Oakland Post

By Dr. Maulana Karenga

In spite of the forked-tongue talk, doublespeak and patently racist ranting of the pretending President Trump and the White supremacist mob-like cheerleaders chanting hatred at his rallies, we must not miss the fresh, air-clearing and uplifting wind that is steadily rising and blowing our way. It is the transforming force of the voice, views and defiant struggles of the courageous four “freshmen” congresswomen: Rep. Ayanna Pressley (D-MA); Rep. Ilhan Omar (D-MN), Rep. Alexandria Ocasio-Cortez (D-NY); and Rep. Rashida Tlaib (D-MI). They come to their position anxious and impressively able to serve the people, their constituency, the vulnerable, and the larger interests of the country with rightful concern for the well-being of the world. And they will not be bullied or silenced by Trump and company, nor accept a party discipline that calls for a compromise of their principles or taking a position that diminishes and undermines their capacity to serve the people as best they can and see it.

Trump’s attacks on these four courageous, committed, knowledgeable and defiant congresswomen of color, not only reflect his commitment to views, policies and practices that are racist, anti-people of color; xenophobic, anti-immigrant and those different; sexist, anti-women; and opportunistic, ever self-promoting and peacocking. These attacks also reflect his reactionary politics and conception of America. It is a politics of White supremacy; predatory capitalism at home and abroad; warmongering; privatization of public wealth and space; and peddling a personalized patriotism based on his astonishing ignorance, multiple insecurities and vulgar interests.

We must constantly expose, criticize and condemn the monster side of America we call Trump and his supporters and enablers, but we must not over focus on him and under focus on the rising movement to actively resist him in Congress, as represented by the initiatives of the courageous four and also in our various communities across the country. To make this mistake would be like over focusing on a devasting fire and the havoc it is wreaking and under focusing on the response and responders needed to control and extinguish it.

Audacious and defiant, these four progressive congresswomen resist and reject Trump’s attempt to impose his deformed and dishonest reactionary conception of patriotism and politics. Indeed, they cannot morally and will not politically accept Trump’s packaged and constantly peddled racist patriotic politics of vicious and varied forms of oppression: apartheid walls here and abroad; corruption and coercion; the savaging of immigrants and the abuse and separation of children from their families; anti-labor and anti-union policies; preference for the rich at the expense and injury of the poor; racial and religious restrictions and preferences; denial of climate change; and his obsessive and infantile attempt to rival and erase everything considered an Obama achievement.

Trump and his allied haters, enviers and detractors can call them names and attribute to them all kinds of social sins, but these courageous, competent and committed women of color congresswomen stand on solid moral and political ground. They are right to criticize and condemn the inhumane detention, conditions and treatment of the refugees, asylum seekers and immigrants at the border as a concentration camp, a site of mass detention, oppression, labor and sexual abuse and exploitation, degradation and death. And such camps were put in place first, not by the Nazis, but by Euro-Americans against Native Americans, whether in missions or so-called “reservations.”

Regardless of the Barnum and Bailey big top circus of smoke and mirrors, dog whistles, and lying as public policy and a way of life from the Trump camp of circled covered wagons, the real issue is what kind of America we want and are willing to struggle, strive and sacrifice for to bring into being at this critical juncture in the history of our people and this country. The struggle is over two concepts of America: whether it is a finished White product or an ongoing multicultural project. In the first version, we are to accept White dominance, defer to policies and practices negative to human life, dignity and development and be grateful to live in the house Jack, the enslaver, segregationist, capitalist and colonizer claims he built, but without rightful acknowledgement that it was built with the enslaved and exploited labor and social and political exclusion of oppressed people. The second concept of America sees it as an unfinished ongoing multicultural project in which each people and person has both the right and responsibility to speak their own special cultural truth and make their own unique contribution to how this society is radically reconceived and reconstructed in the most just and human way.

This conversation that these courageous four are compelling the country to have is a necessary one, and one that builds on and moves forward a tradition of struggle defined by our foremother, Fannie Lou Hamer, as rooted in the a moral imperative to righteously and continuously question America in thought and practice. It is a moral imperative deeply embedded in the Black Liberation tradition and other radical and progressive traditions of this country. It calls for us to question the quality, content and course of American thought and practice, and to measure it by its highest ideals and engage in corrective action where America finds itself in contradiction to these ideals. And it calls on us to even go beyond its best ideals when they are found to be in contradiction with the best of our moral sensitivities, moral reasoning, lived experience, and knowledge-producing practice.

It is right, good and necessary to raise questions about and reject a racial, religious or political protocol that demands agreement with immoral, irrational and unjust policies and practices. We are right to question corporate and big money negative influence on domestic and foreign policy and on democratic governance. It is not our obligation to demonstrate allegiance to or support of a foreign state as part of participating in American government. Nor is it wrong to question and reject any pressure to do so.

It is right to reject the claim of any country, people or person of a right to immunity from criticism and it is right to raise questions concerning the violation of human rights and international law by any country, people or person. And that includes, not only Israeli occupation of Palestine and the oppression of Palestinians; but also American, Canadian and French occupation of Haiti and oppression of the Haitian people; the Chinese oppression of the Uighurs; the Burmese oppression of the Rohingya; and the Saudi and Emirates’ criminal and indiscriminate bombing of the Yemeni people.

Other questions heretofore pushed to the side, buried in conservative, reactionary and even liberal graves of indifference, dismissal and amnesia, must be resurrected, revived and put at the center of national discourse policy and action. And we are not to be grateful or express gratitude for being conceded human rights we had at birth and just by being human. Nor are we to be grateful to self-seeking others for civil rights, freedom and justice which we won in the fire and furnace of righteous and relentless struggle.

This article originally appeared in The Los Angeles Sentinel.

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Activism

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses. The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Published

3 days ago

June 24, 2026

Oakland Post

Toks Omishakin, secretary of the California State Transportation Agency, was one of the speakers at the event. Photo by Shellee Fisher Photography and Design.

By Calvin Naito, Special to The Post

On June 4, a national nonprofit named the Equity in Infrastructure Project (EIP) – which aims to increase public construction contracting opportunities for small and historically underutilized businesses – held a day-long event in downtown San Francisco to rally supporters and build momentum to its cause.

It was attended by more than 100 individuals from public agencies, private firms, and other organizations committed to increasing contracting opportunities with governmental agencies, thereby creating more competition and lowering public costs.

The EIP event was held the Hyatt Regency San Francisco in conjunction with BuildIT, which aims to increase contracting opportunities for LGBT-owned businesses.

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses.

The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Following the workshop, BuildIT hosted a VIP evening reception honoring EIP, whose principals – Phil Washington, John Procari, and Rick Jacobs – accepted the award.

The event also set in motion the coalition’s efforts to implement recommendations from EIP’s “Procurement for Prosperity: A Playbook.”

The Playbook is a practical guide for public agency leaders and procurement and contracting practitioners to grow the capacity of small and first-time contractors, strengthen competition, and deliver better value for taxpayers.

Toks Omishakin, Secretary of the California State Transportation Agency (CalSTA), a long-time EIP supporter, also told attendees, “This is about commitment. This has been a life’s work. This is a tailwind moment.”

The event’s presenting sponsor was Hub International, one of the largest insurance brokerages in the nation, which was joined by partners Travelers Insurance and the State Compensation Insurance Fund.

After the pledge-signing ceremony, attendees participated in a workshop in which they examined the policies, practices, and programs needed to meet EIP goals, learned from practitioners, and identified next steps toward utilizing the Playbook.

Ingrid Meriwether, formerly of Merriwether & Williams Insurance Services (MWIS) and current president of Hub International’s Aligned Risk Management, MWIS, described the hard-fought lessons she and her MWIS team have learned over the last three decades administering contractor development programs (CDPs) for the City and County of San Francisco, Alameda County, City of Los Angeles, LA Metro, and other municipalities.

The CDPs help small and local construction firms win public infrastructure contracts with these government agencies. The program provides bonding assistance, contract financing, technical support, training, and other services to underrepresented businesses funded by public agencies who seek greater contracting participation with these firms.

Merriwether said programs like these “break down systemic barriers, create greater fairness, and save taxpayers money by enabling more competition. The contractor development programs have, cumulatively, over two decades, helped contractors access over $1 billion in bonding, supporting over $380 million in awarded contracts, and maintaining a loss ratio 250 times lower than the industry average – while saving participating municipalities more than $27 million in contracting costs as a result of enabling more competition.”

Rick Jacobs, EIP co-founder and co-chair urged attendees make plans to meet again in the near future “to continue building on this work, share progress on organizational commitments, and discuss how we can collectively advance the goals of the EIP pledge.”

For more information on the EIP and to access a copy of the Playbook, go online to https://equityininfrastructure.org/

Calvin Naito is communications manager for Equity in Infrastructure Project.

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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

3 days 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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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

4 days 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.