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Op-Ed

Jacob Lawrence’s “Migration Series” Exhibit

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Lee A. Daniels

By Lee A. Daniels
NNPA Columnist

 

I recently wrote that several extraordinary developments of June – the tragedy at Charleston’s Emanuel A.M.E. Church and its aftermath, and the two U.S. Supreme Court decisions on same-sex marriage and Obamacare – marked it as one in which momentous history was being made.

In fact, even before those events unfolded, my mind was full of thoughts about moments of momentous history because I had just seen the current exhibit at New York’s Museum of Modern Art, otherwise known as MoMA, that presents the “picture book” the great artist Jacob Lawrence painted some 60 years ago of a seminal event in American history: the Black Migration.

There is something so mesmerizing in the 60 small, deceptively simple paintings that comprise Lawrence’s “Migration Series.” The sparseness of their landscapes and interiors, the anonymity of the human figures, and the understated yet vibrant uniform colors are arresting and poignant. They vividly convey the often harsh predicament many Blacks endured in the South and were to face in the North and West. And yet, individually and as a Series, the paintings also unmistakably convey the Black Americans’ profound internal strength and determination to move forward, no matter the odds.

For most of the more than 6 million Blacks who left the South for the urban North and West between 1910 and 1970, the odds were formidable indeed. But their trek not only resulted in the making of modern Black America; it’s impossible to imagine the United States of America of the post-World War I 20th century without its having occurred. Pushed by the decline of the South’s agricultural prosperity, suffocating racist laws and pathological violence and pulled by the industrial North’s voracious need for workers, Blacks fled the South during these decades in ever increasing numbers. In 1900, only 8 percent of Black Americans lived outside the South. By 1970, that figure had swelled to 47 percent.

Of course, it’s all too true that Blacks quickly found a pervasive bigotry against them in those regions as well. But they also found a crucial modicum of support among a minority of Whites, and, equally important, indifference among another small segment of Whites – legacies of North’s having ultimately fought, however reluctantly, a war to end Negro Slavery.

That gave Blacks room to struggle for educational, economic, cultural and political opportunity. Over the course of the century, they transformed that space into a platform to rescue themselves, Black Southerners, White Southerners and White America as a whole from the evil of White-supremacist ideology.

In effect, the Black Migration was America’s early 20th century freedom march, one whose various facets Lawrence presents in a stunning visual “history book” of 60, 18 by 12 inch paintings numbered sequentially 1 to 60.

Since their completion in 1941, the paintings have been in the permanent collections of MoMA and The Phillips Collection, of Washington, D.C. Each institution has 30, split between the even and odd numbers in order to properly maintain the integrity of the Series’ narrative south-to-north progression. Lawrence himself never considered the Series as “split” but rather being “in two places, two very prestigious collections: The Phillips Collection and the Museum of Modern Art.”

The current exhibition, at MoMA until September 7, is one of the few times the Series has been shown in complete form since its inaugural gallery exhibition in late 1941 stunned the art world. Lawrence was just 23 at the time, but his work was a testament to both the precocious talent made evident as an adolescent a decade earlier and to his being grounded in the vibrant life of the Harlem community his family had migrated to in 1930 – a vibrancy that was the direct result of its being a primary destination of Southern Blacks’ migratory stream.

A significant part of the factual history of the migration, of Lawrence’s disciplined approach to art and the political and cultural ferment of Harlem and New York City in the 1930s is evocatively captured in the essays and notes on the individual paintings in the book, Jacob Lawrence: The Migration Series, that complements the exhibition. Reading the book and, most of all, contemplating Lawrence’s serial masterpiece, left this viewer with one thought: a wish Lawrence were alive today to compose a “Migration Series” for our time.

 

Lee A. Daniels is a longtime journalist based in New York City. His essay, “Martin Luther King, Jr.: The Great Provocateur,” appears in Africa’s Peacemakers: Nobel Peace Laureates of African Descent (2014), published by Zed Books. His new collection of columns, Race Forward: Facing America’s Racial Divide in 2014, is available at www.amazon.com.

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Activism

Why Peace on Earth Begins with Birth, a Q&A with Midwife Nikki Helms

In this Q&A with California Black Media, Helms reflects on what it would take to truly improve birthing services in the United States, why midwifery must be fully integrated into the healthcare system, and how trauma, safety and community shape birth experiences across a lifetime. Drawing on her clinical expertise and lived experience, Helms shares insights on building supportive birth environments, paying for care, and what every parent and baby deserves for a healthy start.

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Nikki Helms is a midwife and full-spectrum birthing care advocate.
Nikki Helms is a midwife and full-spectrum birthing care advocate.

By Amanda Kim, California Black Media

Midwife and full-spectrum birthing care advocate Nikki Helms has spent nearly two decades supporting families through pregnancy, birth and the often-overlooked postpartum period in California.

A Certified Professional Midwife, lactation educator, and DONA-and CAPPA-trained labor and postpartum doula, Helms is known for her deeply personalized, in-home education, her community-centered workshops, and her unwavering belief that evidence-based care and informed consent are essential to healthy outcomes for parents and babies. As the founder of the San Diego Birth Center, she has helped create a welcoming, home-like alternative to hospital birth — one rooted in continuity of care, trDAt and deep listening.

In this Q&A with California Black Media, Helms reflects on what it would take to truly improve birthing services in the United States, why midwifery must be fully integrated into the healthcare system, and how trauma, safety and community shape birth experiences across a lifetime. Drawing on her clinical expertise and lived experience, Helms shares insights on building supportive birth environments, paying for care, and what every parent and baby deserves for a healthy start.

What is the one thing we could do to improve birthing services in the U.S.?

We need to integrate well-trained, super-experienced, certified professional midwives fully into the healthcare system. Over the last century, the medical community has excluded, and in some states, banned midwifery, which has impacted Black parents and babies the most and limited safe choices. Today, the U.S. spends more money than any other developed nation on maternity care with some of the worst outcomes — for Black families especially. The integration of professional midwives is long overdue.

What does a midwife do?

There are several types. I’m a certified professional midwife and founder of a birth center. But there are also midwives who come to your home, educators, lactation consultants, doulas who provide support and advocacy, and monitrices, who have clinical training and can support the mother before and after the birth.

How are birth centers and midwifery services different from traditional care?

A lot of people feel more at home in a birth center. They are often colorful, inviting, simple, and calm. People also feel more at home because we’ve supported them from six weeks into their pregnancy to six weeks after the birth. That’s nearly a year, so we’ve gotten to know them and understand their lives. This wonderful continuity can help us identify subtle issues later on, especially postpartum. A team of three midwives will always pick up on cues.

As a midwife, what does this work mean to you?

This work just fills my soul. It empties me out completely and fills me. It’s the look on someone’s face after their baby has been born. They are filled with an amazing clarity and a look that says, “I did it.” And I can say, “Yes, you did, and I’m not surprised at all because I believe in you to the depths of my soul.”

After helping so many parents and babies, how has this work changed you?

I often think that peace on earth begins with birth. There are so many things wrong with the world that we can trace back directly to the birth experience. So, if we take care of mothers and babies and create a community around birth, then we are raising children who will know what it means to be emotionally mature, to have boundaries and to feel safe. People who feel safe don’t start wars or get into a lot of trouble.

How do parents pay for midwifery services?

Midwives and birth centers often accept cash, payment plans, credit cards, and certain insurances, like Medi-Cal. I tell expectant parents to, “Put out a shoebox at your baby shower and ask for $20 a head and use that money to pay for your postpartum doula. Help yourself along the way.”  People can also create online fundraisers.

If you were to give every parent and baby a healthy birth bag, what would be in it?

  1. Education, so you know what to expect physiologically and psychologically. Take out some of the surprises. For example, giving birth is generally bloodless, but not vomit-less.
  2. Support without judgment. That can be a partner, a doula, your mother, a partner’s mother, a best friend, aAnd if you have to pay for it, then do, because it’s worth every dime.
  3. Additional nutrition. We don’t want to take anything away from you, but we want to add the nutrition that will help you, your pregnancy and your baby.
  4. External connection, a place to tell your stories and listen to other stories. That’s how we build community.
  5. Two books: The Red Tent by Anita Diamant, which tells the stories of mothers in the Bible and how babies and the birth experience connect us all and The Happiest Baby on the Block by Dr. Harvey Karp, which combines science and wisdom.
  6. A little bit of “woo,” because I definitely believe that babies are incredibly spiritual beings. And birthing people are a passage for these spiritual beings. So, a lot of education, a lot of support, a lot of nutrition, and just a little bit of woo sprinkled on at the end, should cover it.

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Advice

COMMENTARY: If You Don’t Want Your ‘Black Card’ Revoked, Watch What You Bring to Holiday Dinners

From Thanksgiving to Christmas to New Year’s Day, whether it’s the dining room table or the bid whist (Spades? Uno, anyone?) table, your card may be in danger.

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The ‘aunties’ playing cards. iStock photo by Andreswd.
The ‘aunties’ playing cards. iStock photo by Andreswd.

By Wanda Ravernell
Post Staff

From the fourth week of November to the first week in January, if you are of African descent, but particularly African American, certain violations of cultural etiquette will get your ‘Black card’ revoked.

From Thanksgiving to Christmas to New Year’s Day, whether it’s the dining room table or the bid whist (Spades? Uno, anyone?) table, your card may be in danger.

It could take until Super Bowl Sunday for reinstatement.

I don’t know much about the card table, but for years I was on probation by the ‘Aunties,’ the givers and takers of Black cards.

How I Got into Trouble

It was 1970-something and I was influenced by the health food movement that emerged from the hippie era. A vegetarian (which was then considered sacrilegious by most Black people I knew) prepared me a simple meal: grated cheese over steamed broccoli, lentils, and brown rice.

I introduced the broccoli dish at the Friday night supper with my aunt and grandfather. She pronounced the bright green broccoli undone, but she ate it. (I did not, of course, try brown rice on them.)

I knew that I would be allowed back in the kitchen when she attempted the dish, but the broccoli had been cooked to death. (Y’all remember when ALL vegetables, not just greens, were cooked to mush?)

My Black card, which had been revoked was then reattained because they ate what I prepared and imitated it.

Over the decades, various transgressions have become normalized. I remember when having a smoked turkey neck instead of a ham hock in collard greens was greeted with mumblings and murmurings at both the dining room and card tables. Then came vegan versions with just olive oil (What? No Crisco? No bacon, at least?) and garlic. And now my husband stir fries his collards in a wok.

But No Matter How Things Have Changed…

At holiday meals, there are assigned tasks. Uncle Jack chopped raw onions when needed. Uncle Buddy made the fruit salad for Easter. My mother brought the greens in winter, macaroni salad in summer. Aunt Deanie did the macaroni and cheese, and the great aunts, my deceased grandmother’s sisters, oversaw the preparation of the roast beef, turkey, and ham. My father, if he were present, did the carving.

These designations/assignments were binding agreements that could stand up in a court of law. Do not violate the law of assignments by bringing some other version of a tried-and-true dish, even if you call it a new ‘cheese and noodle item’ to ‘try out.’ The auntie lawgivers know what you are trying to do. It’s called a menu coup d’état, and they are not having it.

The time for experiments is in your own home: your spouse and kids are the Guinea pigs.

My mother’s variation of a classic that I detested from that Sunday to the present was adding crushed pineapple to mashed sweet potatoes. A relative stops by, tries it, and then it can be introduced as an add-on to the standard holiday menu.

My Aunt Vivian’s concoctions from Good Housekeeping or Ladies’ Home Journal magazine also made it to the Black people’s tables all over the country in the form of a green bean casserole.

What Not to Do and How Did It Cross Your Mind?

People are, of all things holy, preparing mac ‘n’ cheese with so much sugar it tastes like custard with noodles in it.

Also showing up in the wrong places: raisins. Raisins have been reported in the stuffing (makes no sense unless it’s in a ‘sweet meats’ dish), in a pan of corn bread, and – heresy in the Black kitchen – the MAC ‘n’ CHEESE.

These are not mere allegations: There is photographic evidence of these Black card violations, but I don’t want to defame witnesses who remained present at the scene of the crimes.

The cook – bless his/her heart – was probably well-meaning, if ignorant. Maybe they got the idea from a social media influencer, much like Aunt Viv got recipes from magazines.

Thankfully, a long-winded blessing of the food at the table can give the wary attendee time to locate the oddity’s place on the table and plan accordingly.

But who knows? Innovation always prevails, for, as the old folks say, ‘waste makes want.’ What if the leftovers were cut up, dipped in breadcrumbs and deep fried? The next day, that dish might make it to the TV tray by the card table.

An older cousin – on her way to being an Auntie – in her bonnet, leggings, T-shirt, and bunny slippers and too tired to object, might try it and like it….

And if she ‘rubs your head’ after eating it, the new dish might be a winner and (Whew!) everybody, thanks God, keeps their Black cards.

Until the next time.

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