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Passion in 1st Meeting of Black Women Organized for Political Action in Napa

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From left to right: K Patrice Williams, President; Latressa Wilson Alford, Vice President; Danette Mitchell, Secretary; Peggy Cohen Thompson, Political Educator Director, the Honorable Dezie Woods-Jones, State Board President; and Cassandra Joebert, Regional BWOPA Director. Not pictured Shontell Beasley, Treasurer.

By Danette Mitchell

A week ago, more than 50 women of color from diverse backgrounds, varying ages, marital status, including same-sex relationships, community, and political involvement — all gathered from Solano and Napa counties with exuberant anticipation, passion and pride to celebrate the inaugural meeting of Black Women Organized for Political Action (BWOPA) Solano/Napa County chapter — joining seven other nonpartisan BWOPAs in Northern California.

K. Patrice Williams, a 2017 honoree of Congressman John Garamendi’s Women of the Year award and the newly-elected chapter president, said the event felt historical. It was “inspiring and moving to see women of color coming together to meet for one united purpose and committed to having a greater voice in both Solano and Napa counties and seeing the support of men.” Williams said one of the “brothers” indicated that he is a longtime supporter of BWOPA. A husband attended to support his wife.

Williams said that many African Americans are frustrated with low voter turnout and the low to none minority elected representation in many of the cities in Solano County. Some of the goals of the chapter are to increase voter registration and issue engagement in the African-American community and increase the number of black women appointed to boards, commissions, and political offices through education, endorsements, and campaign support.

Committees were formed to begin the work, including one made up of young people to expose them to the political process. Officers were sworn in by Hon. Dezie Woods-Jones, State Board president and one of the founders of BWOPA in 1968. In Jones’ welcome address, she said everything we do is political and that others are making decisions and creating public policy on black women’s behalf.

African Americans and especially black women must be engaged in the process, and sit at decision-making tables to speak for themselves and continue work that remains.
Jones mentioned education, health care, criminal justice and economic security. She pointed out that black women outvoted all other race and gender subgroups yet are the least represented.

She concluded her remarks by saying that African-American women must be unapologetically black and come to political tables with power, strength, purpose, vision, research, and knowledge. They must also educate other black women who have a willingness to make a difference and to make things happen in the local community.

The mission of BWOPA is to activate, motivate, promote, support and educate African-American women about the political process, encourage involvement and to affirm a commitment to, and solving of, those problems affecting the black community in Solano and Napa counties and challenges that are unique to black women.

In 2011, writer, political science professor, and former MSNBC talk show host Melissa Harris-Perry published a book, “Sister Citizen,” using the subtitle “For Colored Girls Who’ve Considered Politics When Being Strong Isn’t Enough.” She adapted her subtitle from Ntozake Shange’s choreopoem, “For Colored Girls who have considered suicide/when the rainbow is enuf.” According to Perry, Shange’s work is a representation of the experience of the crooked room.

Perry said black women have attempted to stand upright in a room made crooked by the stereotypes about African-American women as a group, warped images of their humanity, and derogatory assumptions about their character and identity. Black women have always had to attempt to preserve their authentic selves and to secure recognition as citizens. When confronting both race and gender, African-American women must strategize an upright position.

Some black women managed to tilt and bend themselves to fit the distortion, said Perry, that further exacerbated the distortions, resulting in self-inflicted wounds and justification. However, throughout black women’s political history, African-American women found a way to discern the distortion and shift the angle of the crooked room amid unspoken experiences of hurt, rejection, and their search for identity.

In an interview with Jones, after the BWOPA event, she said the political process is, therefore, not foreign to black women. African-American women have always been barred from achieving full equality as citizens. Yet many of the issues experienced impacts other communities and when black women are free, everyone else is free.

BWOPA does not exclude anyone, Jones said. She is excited about the new BWOPA chapter, and the appointment of talented and creative women to the board who have a passion for serving others and effecting change. Jones invites others to join in their endeavor to impact the Solano and Napa counties by attending the next meeting scheduled for Nov. 11.


Danette Mitchell is a social issues advocate, writer and a Vacaville resident. Email: damitchell@earthlink.net.

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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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