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COMMENTARY: The Miseducation Of Black Public Intellectuals

THE AFRO — It was twenty-five years ago this week that I stood outside of the Elmina Castle in Ghana with a small group of friends and made a joint commitment to fight to help to co-create the type of world that we believe that we needed to live in. I was committed to fighting for a world where the very ideas of peace and social justice and equality and wholeness would be commonplace and wide-spread. I have always believed that every mountain wanted to be climbed, every ocean wanted to be crossed, and every dream once spoken out loud wanted to be realized. 

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Dr. Kaye Wise Whitehead (Courtesy Photo)

By Karsonya Wise Whitehead

It was twenty-five years ago this week that I stood outside of the Elmina Castle in Ghana with a small group of friends and made a joint commitment to fight to help to co-create the type of world that we believe that we needed to live in. I was committed to fighting for a world where the very ideas of peace and social justice and equality and wholeness would be commonplace and wide-spread. I have always believed that every mountain wanted to be climbed, every ocean wanted to be crossed, and every dream once spoken out loud wanted to be realized.

We laughed that night and talked about how we did not want to hide our work in an ivory tower, and we wanted to stay engaged. We said that we were going to be radicals, no matter the cost or where it took us. We wanted to be Black public intellectual radicals even if we did not know at the time what that meant. Back then, it meant that while our peers were starting their careers, we were climbing Mount Kilimanjaro and walking through the last place that captured Africans saw before they were kidnapped from their land. It meant writing and publishing our work in newspapers and chapbooks, compiling our books at the local Kinkos, and selling them out of our trunks. It meant wearing our hair natural, listening to The Last Poets, and trying not to sell-out and get a job where we had to sell pieces of our soul to stay alive.

Back then, it was about the show and not the substance; the flash and not the back-breaking work; and immediate gratification and not the slow walk to justice. It was about overthrowing the system from the outside and not trying to reform it from within. Today, 25 years later, it means something else. Mychal Denzel Smith wrote that the role of the public intellectual is to proffer new ideas, encourage deep thinking, challenge norms, and model forms of debate that enrich our discourse. For Black public intellectuals that work delves deep into questions around white supremacy, white nationalism, and White racism. For me, it means that I allow my activism to expand into every facet of who I am because, as Audre Lorde once wrote, the personal is always political.

In a 2015 essay for The New Republic, Michael Eric Dyson described a Black digital intelligentsia as a community of Black writers and activists who were engaging in critical thinking work online. He said that they worked to “contend with the issues of the day, online, on television, wherever they can.” I wrestle with this today as I work to reconcile the radical I was back then with the radical academic that I am right now. I am working within the system, still struggling, still fighting but bending my life a little bit every day to fit my job. I still wonder what the role of a Black public intellectual is. Is it to speak to White people about race or is about profoundly engaging with the questions that have plagued Black people since we first arrived in this country? Questions like, “who are we?” Who do we want to become? Why are we here? And what does freedom look like when it is defined by us and applied to us?

As a Black public intellectual, I know that I stand on the shoulders of all of those who have come before me—Ida B. Wells, Alice Dunbar Nelson, Audre Lorde, and Lucille Clifton Black women who loved Black people and challenged whiteness in their writing and in their lives. I stand taller knowing that I stand on truth as much as I can. I stand side by side with justice as often as I can. I stand up to questions about equality when I can. And, I stand ready to lift as I climb knowing that the view on the top is better if the space is shared with all who desire to see. I stand here because Harriet ran, Ella organized, Ida wrote, Bessie flew, Dorothy knitted, Mary taught, Fannie got tired, Sweet Honey sang, Assata resisted, Barbara spoke up, Rosa and Claudette didn’t get up, Angela couldn’t be stopped, Coretta picked up the dream, and Shirley brought her own chair, Constance argued and changed the law, and because I am a descendant of enslaved and freed Black women who chose to survive who decided to go forward rather than backward.

I recognize my privilege, and I embrace the complications that come with seeking and demanding and claiming space in this country, at this time. 25 years later, and one thing remains the same: I still believe that this country is a beautiful place and that we, collectively, can change it, shape it, coax it, and cajole it to be a better place. We can be the ones that we have been waiting for, and we must be the ones who take back our country, piece by piece, vote by vote, without ever stopping, relenting, giving up, or giving in. Baltimore is not Elmina Castle, but I stand here like I stood there ready to commit, ready to fight, and ready to engage.

Karsonya Wise Whitehead (todaywithdrkaye@gmail.com; Twitter: @kayewhitehead) is the #blackmommyactivist and an associate professor of communication and African and African American studies at Loyola University Maryland. She is the host of “Today With Dr. Kaye” on WEAA 88.9 FM and the author of the forthcoming book, “i speak for the unforgotten: a year of dispatches from Baltimore.” She lives in Baltimore City with her husband and their two sons.

Disclaimer: The views and opinions expressed in this article do not necessarily reflect the official policy or position of The Afro-American Newspapers.

This article originally appeared in The Afro.

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Activism

Call to Protect Geoffrey’s Inner Circle from Threatened High-Rise Development

Geoffrey’s, located at 410 14th St., is part of the city’s Black Arts Movement and Business District which was formed in 2016 by reso-lution of the Oakland City Council to protect Black-owned businesses and enhance a downtown district that would encourage the historic African American legacy and cul-ture of Oakland.

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By Ken Epstein

Geoffrey’s Inner Circle, a downtown Oakland Cultural Center that has featured live jazz and served music lovers and the Black community for decades, is now under threat from a proposed real estate development that could undermine the stability and future of the facility.

Geoffrey’s, located at 410 14th St., is part of the city’s Black Arts Movement and Business District which was formed in 2016 by resolution of the Oakland City Council to protect Black-owned businesses and enhance a downtown district that would encourage the historic African American legacy and culture of Oakland.

Now, the Oakland Planning Commission is considering a high-rise building proposed by out-of-town developers next to Geoffrey’s, which would jeopardize both the survival of the venue and the Black business district as a whole.

In addition to running a business that has been a crucial institution in the local community and the regional arts scene, Geoffrey Pete, founder, has utilized his business to offer meals for thousands of unsheltered individuals and hosted countless community events.

The following petition is being circulated in defense of Geoffrey’s and the Black Arts district (To add your name to the petition, email info@geoffreyslive.com):

“The African-American community in Oakland has been seriously damaged by developers and public offcials who are willing and sometimes eager to see African Americans disappear from the city. Black people comprised 47% of the population in 1980; now they make up only 20% of said population. In response to this crisis the 14th Street Corridor from Oak to the 880 Frontage Road was established as the Black Arts Movement and Business District by the City Council on Jan. 7, 2016, in Resolution 85958.

Tidewater, an out-of-town developer, is proposing to build a high-rise building at 1431 Franklin, which will damage the Black business district and the businesses in the area including the iconic business of Geoffrey’s Inner Circle at 410 – 14th St.

We demand that the Planning Commission and the City Council reject this predatory building proposal and proceed with plans to fund and enhance the Black Business District.”

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Bay Area

Popular Chief LeRonne Armstrong Placed on Administrative Leave During Investigation of Police Misconduct

In a press statement, Mayor Sheng Thao said that placing Armstrong on paid administrative leave was not punitive but was a standard procedure when investigating possible officer wrongdoing. “We must do what we need to do to get out of that oversight,” she said, explaining that she wants to show the public and the court monitor that there will be no favoritism. A rookie officer or the top officer will face the same investigative process.

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In his remarks, Armstrong defended OPD’s internal affairs department and fellow officers who were criticized in an independent report that found “systemic deficiencies” in the police department.

“I did nothing wrong. I violated no policies,” said Armstrong, speaking at a press conference

By Ken Epstein

Refusing to accept administrative leave during a police misconduct investigation, OPD Chief LeRonne Armstrong fired back with a press conference of his own this week, organized by a high-profile corporate public relations and communications firm.

“I should be the chief of police and remain in my position,” he said. “I did nothing wrong. I violated no policies.”

Mayor Sheng Thao placed Armstrong on administrative leave with pay while his role in an officer misconduct cover-up scandal is investigated by internal affairs. The case involves a highly paid police sergeant who was involved in a hit-and-run automobile accident in San Francisco and is accused of later discharging a gun in an OPD freight elevator and disposing of the shell casings by throwing them off the Bay Bridge.

At a press conference Monday at the office of PR consultant Sam Singer’s office in Emeryville, Armstrong did not blame Mayor Sheng Thao for placing him on leave but instead denounced federal monitor, Robert Warshaw, who oversees the police department and evaluates its reform efforts as a representative for the federal court that has overseen OPD for two decades.

In his remarks, Armstrong defended OPD’s internal affairs department and fellow officers who were criticized in an independent report that found “systemic deficiencies” in the police department.

“This to me, clearly, is a last-ditch effort to destroy the credibility of me…and to make the community believe that Oakland police is involved in some shady business,” he said.

He blasted Warshaw’s “ulterior motives,” accusing him and his team of seeking a reason to continue to be paid over $1 million a year to oversee the department, which was potentially set to exit from federal oversight at the end of May.

“It’s hard to say a mayor who’s been in the seat for just a couple of weeks would be able to push back against a monitor at this point,” Armstrong said, adding that some city officials might be “intimidated” by Warshaw’s team.

City Attorney Barbara Parker said in a statement that her office agreed that the recent report on OPD deficiencies “revealed failures that call into question the integrity of (OPD’s) internal investigation processes.”

Many observers and police accountability activists are saying that the present scandal and subsequent community uproar over Chief Armstrong is best resolved by removing police misconduct investigations from OPD and instead turning the cases over to an independent civilian body.

Defending the department’s internal investigation, Armstrong said the investigation that was conducted was “consistent with the findings that were presented to me.”

“To work and get to this point and have it taken away from you hurts. It doesn’t just hurt me, it hurts my community because every day I come into this job to try to make Oakland better,” he said. Prior to this incident, Armstrong has been widely praised for helping make significant reforms at OPD and paving the way for an end to federal court intervention.

Armstrong said the sergeant involved in the case, who was identified in the media as Michael Chung, was placed on leave following the shooting incident, but that the chief was unable to review the case because Warshaw had taken over the investigation.

Sergeant Chung, one of Oakland’s most highly paid employees, received total pay and benefits of $492,779.77 in 2021, including regular pay of $160,828.84 and overtime pay of $276,959.38.

Armstrong, who has deep ties in the Oakland community, was born and raised in West Oakland, California, and was a graduate of McClymond’s High School. He joined the OPD as a police officer in 1999, after spending four years with the Alameda County Probation Department. He has a bachelor’s and master’s degree.

In a press statement, Mayor Sheng Thao said that placing Armstrong on paid administrative leave was not punitive but was a standard procedure when investigating possible officer wrongdoing.

“We must do what we need to do to get out of that oversight,” she said, explaining that she wants to show the public and the court monitor that there will be no favoritism. A rookie officer or the top officer will face the same investigative process.

“I want to make sure that everyone understands that, under our administration, that we take these findings seriously and it’s important that we look at taking the corrective action that is needed to make sure that we stay on track to make sure that we get out of the federal oversight,” she said.

“My belief is that, by holding ourselves accountable, we can be safer and a more just city,” Mayor Thao said.

At a federal court hearing Tuesday, Judge William Orrick, not addressing the criticisms of Warshaw’s role, said he was “profoundly disappointed” by the findings of the outside report conducted by attorneys hired by the City of Oakland, which revealed “significant cultural problems” that still exist after 20 years of court oversight.

The oversight began as a result of the negotiated resolution to a civil rights lawsuit in the Riders scandal in which plaintiffs alleged that four veteran officers, known as the ‘Riders,’ planted evidence and beat residents, while OPD turned a blind eye to the police misconduct.

“This is the third time since I’ve been overseeing the implementation of the (settlement) that the city has seemed to come close to full compliance,” Judge Orrick said, “only to have a serious episode arise that exposes rot within the department.”

Mayor Sheng Thao said she takes this case seriously, not a minor fender bender as some have dismissed it, and that said those involved will be “disciplined appropriately.”

“This particular misconduct is serious because it provides fertile ground for other misconduct to thrive,” she said at the hearing. “I will not tolerate toxic subcultures that try to demonize or deter officers who do the right thing.”

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Arts and Culture

IN MEMORIAM: Autris Paige

Paige performed regularly at Four Seasons’ Yachats Music Festival in Oregon from 1983-2017, with artists from around the world. Puerto Ricans Ilya and Raphael LeBron, soprano and baritone, remember him: “He leaves us with a warm memory of the simplicity that made him great: as a human being, as a friend and as a masterful artist!” Baritone Anthony Turner of New York says: “Autris was the embodiment of class and elegance. He delivered every song with a warm silken tone and economy of gestures. Autris gave of himself, his truth, his joy and love.”  Pianists Dennis Helmrich and Gerald Hecht often collaborated with Mr. Paige said: “Autris Paige was among the most intuitively refined musicians we have encountered: a pure pleasure and a cherished memory.” Pianist Jeongeun Yom, pianist, responds,”Autris will be remembered for his kindness, cheerfulness, and above all for his voice, with which he touched  the listeners’ heart.”

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AUTRIS T. PAIGE grew up in Oakland, California where he attended Star Bethel Church and graduated from McClymonds High School. He received a Bachelor of Arts degree from San Francisco State before pursuing advanced studies in musical theatre at the University of Southern California.
AUTRIS T. PAIGE grew up in Oakland, California where he attended Star Bethel Church and graduated from McClymonds High School. He received a Bachelor of Arts degree from San Francisco State before pursuing advanced studies in musical theatre at the University of Southern California.

August 17, 1938 – January 12, 2023

AUTRIS T. PAIGE was the youngest child born to Estella and Overton Paige in Sugar Land, Texas on Aug. 17, 1938.  He passed away on Jan. 12, 2023 in Oakland after a brief illness.  He was supported and comforted by his longtime companion Donna Vaughan.

Mr. Paige grew up in Oakland, California where he attended Star Bethel Church and graduated from McClymonds High School. He received a Bachelor of Arts degree from San Francisco State before pursuing advanced studies in musical theatre at the University of Southern California.

He served in the U.S. Air Force.

In 1971, he made his debut with the Los Angeles Civic Light Opera, appearing in Candide at the Los Angeles Music Center and at the Curran Theatre in San Francisco. He appeared with Ray Charles and the American Ballet Theatre and performed in several musical theatre productions on Broadway including Lost in the Stars; Don’t Bother Me, I Can’t Cope; as Walter Lee in Raisin; and in Timbuktu with Eartha Kitt.

Mr. Paige has also sung with the New York City Opera, the Houston Grand Opera, the Metropolitan Opera and with the San Francisco Opera. Other opera companies in which he performed include the Seattle Opera and the Glyndebourne Opera in England. He was featured in the PBS film and award-winning EMI recording of Porgy and Bess as well as the recording of the opera X, The Life and Times of Malcolm X.

When he returned to Oakland to “retire” he met Dr. W. Hazaiah Williams, Founder and Director of Today’s Artists Concerts (now Four Seasons Arts), who auditioned Paige and invited him to perform on his series. Mr. Paige began a new phase of his musical career.

He appeared many times under the auspices of Today’s Artists Concerts/Four Seasons Arts in New York’s Alice Tully Hall and in venues around the Bay Area in their Art of the Spiritual programs. He was featured in his own Spiritual Journey in 2009. His recently released solo CD, Spiritual Journey, based on this program, has received critical acclaim.

Paige performed regularly at Four Seasons’ Yachats Music Festival in Oregon from 1983-2017, with artists from around the world. Puerto Ricans Ilya and Raphael LeBron, soprano and baritone, remember him: “He leaves us with a warm memory of the simplicity that made him great: as a human being, as a friend and as a masterful artist!” Baritone Anthony Turner of New York says: “Autris was the embodiment of class and elegance. He delivered every song with a warm silken tone and economy of gestures. Autris gave of himself, his truth, his joy and love.”  Pianists Dennis Helmrich and Gerald Hecht often collaborated with Mr. Paige said: “Autris Paige was among the most intuitively refined musicians we have encountered: a pure pleasure and a cherished memory.” Pianist Jeongeun Yom, pianist, responds,”Autris will be remembered for his kindness, cheerfulness, and above all for his voice, with which he touched  the listeners’ heart.”

In 2011, Mr. Paige was featured in Four Seasons Arts’ annual W. Hazaiah Williams Memorial Concert with the Lucy Kinchen Chorale and later with soprano Alison Buchanan. In 2013, he performed his Spiritual Journey II in Berkeley with pianist Othello Jefferson. A second CD entitled Classics and Spirituals was released in September 2013. Pianist Jerry Donaldson of Oakland was a frequent collaborator with Mr. Paige, performing throughout the Bay Area.

A Celebration of Life for Autris Paige will take place Friday, Feb. 3 at 11:00 a.m. at Third Baptist Church of San Francisco, 1399 McAllister Street, San Francisco.

A repast will follow the service.

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