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Medical Professionals Call on Oakland School Leaders to Increase COVID-19 Protections for Children, Teachers and Families

The following letter was sent by medical professionals and community leaders on Aug. 9, 2021 to Oakland the Oakland Unified School District Superintendent and school board members.

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The following letter was sent by medical professionals and community leaders on Aug. 9, 2021 to Oakland the Oakland Unified School District Superintendent and school board members.

Oakland Unified School District appears to be on the verge of reopening its schools to full capacity, even though the best available data indicates that the spread of COVID‐19 is quickening and expanding, particularly in several of the city’s most vulnerable neighborhoods. 

Because marginalized communities suffer compromised health even in the best of times, it appears inevitable that Oakland’s Black and Brown youth and their families will disproportionately bear the brunt of new infections, and increased morbidity and mortality.
We write to pose some essential questions, the answers to which will reflect the degree to which elected leaders of the school board are willing and prepared to take the steps necessary to protect the well‐being of some of the most vulnerable among us. 

Choices the school board makes with respect to COVID‐19 cannot be divorced from the demands for equity that are sweeping the nation for the simple fact that health vulnerabilities of our communities of color can, in many instances, be traced back to and are deeply rooted in generations of unjust oppression, unequal access to opportunity, and undeniable neglect at the hands of both the public and private sectors. 

To be sure, OUSD’s actions in the 2020‐21 school year to quickly pivot to distance and then hybrid learning are to be commended. Swift action to suspend in‐person instruction and equip students for distance learning surely saved lives, and courageously modeled for an entire nation principle of self‐sacrifice and equity.

But these important achievements risk being squandered. 

First, an adequate plan for regular and targeted COVID‐19 testing has yet to be implemented.
“Recommended testing” at one of “10 OUSD locations” on a voluntary basis for symptomatic and exposed teachers, students and families, is wholly inadequate. 

That teachers are not required to undergo routine testing or demonstrate proof of vaccination despite spending hours indoors (especially) with unvaccinated children is unfathomable, particularly since the Delta viral strain is transmitted more easily modeling in support of that case.

Only when this is done, can the public ‐- the individuals, organizations, businesses, agencies and elected officials that rely upon the expertise of public health professionals ‐- adequately assess their options and make decisions appropriate to their needs and consistent with their appetite for risk. 

If Oakland parents and students must choose between at‐home/distance learning and
exposure to a serious illness that could prove fatal to themselves or loved ones, then they should be provided information about the relative risks of their options so that they can debate and shape the types and timing of trade‐offs being asked of them during this ordeal.
At a minimum we insist that the school board require:

Symptomatic students, staff and teachers isolate and test negative before presenting to any
school site

Every school site have supplies and staff for onsite COVID‐19 testing
All unvaccinated teachers and staff undergo at least weekly mandatory testing
All unvaccinated teachers and staff wear N95 masks at all times

The following data points be included on the OUSD Dashboard:

  • Ventilation strategy being utilized at each school site
  • Distancing guideline(s) being observed at each school site for each common area
    (classrooms, hallways, multi‐use rooms)
  • Percentage of vaccinated teachers and staff at each school site
  • Notification of each COVID‐19 outbreak with number of student and teacher/staff cases

As community leaders and physicians. we stand ready to serve as not only accountability partners, but as a resource to help ensure the health and well‐being of our dedicated teachers and school staff, and the safety of our children. 

Please do not hesitate to reach out to us for additional information or if we can be
of assistance. We look forward to hearing from you.

Signed:
Sherilynn Cooke, MD, president, Sinkler Miller Medical Association
Noha Aboelata, MD, CEO, Roots Community Health Center
Donna White Carey, MD, executive pastor, True Vine Ministries
Aisha Mays, MD, director of Adolescent and School Based Programs, Roots Community Health Center
Kim F. Rhoads, MD, MS, MPH, Assoc. Prof. of Epidemiology & Biostatistics, Founding Dir., Umoja Health
Damon Francis, MD, Health Committee, Brotherhood of Elders Network
Gregory Hodge, chief network officer, Brotherhood of Elders Network
Pecolia Manigo Awobodu, executive director, Bay Area Parent Leadership Action Network
Donald Frasier, executive director, Building Opportunities for Self‐Sufficiency
Pastor Michael McBride, national director, LIVE FREE Project
Carolyn (CJ) Johnson, CEO, Black Cultural Zone Community Development Corporation
Candice Elder, founder and executive Director, East Oakland Collective
Tanya Dennis, Oakland Frontline Healers Coalition

 

The Oakland Post’s coverage of local news in Alameda County is supported by the Ethnic Media Sustainability Initiative, a program created by California Black Media and Ethnic Media Services to support community newspapers across California

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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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