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Women’s Suffrage Forged by Founding Sisters: Happy Birthday to Ida B.

CHARLESTON CHRONICLE — So proclaimed Ida B. Wells-Barnett, who fearlessly shined a light with words on the abominable dark days after slavery and into the 20th century. Journalist, publisher, author, activist, and suffragist leader, Ida B.’s spirit soars. July 16 marks the 157th anniversary of her birth. Blood, sweat, and ink sealed her legacy and the future of a nation still struggling to be whole.

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By Gwen McKinney

“The people must know before they can act, and there is no educator to compare with the press.”

So proclaimed Ida B. Wells-Barnett, who fearlessly shined a light with words on the abominable dark days after slavery and into the 20th century.

Journalist, publisher, author, activist, and suffragist leader, Ida B.’s spirit soars. July 16 marks the 157th anniversary of her birth. Blood, sweat, and ink sealed her legacy and the future of a nation still struggling to be whole.

Ida B. revered the Black press as an organizing tool. Though her newspaper The Memphis Free Speech was destroyed by racist mobs, she was never silenced. During her life, she would publish three newspapers and authored “Southern Horrors: Lynch Law in All Its Phases” and “The Red Record,” investigative reports that remain definitive sources on racist violence more than 100 years later.

Small in stature but huge in courage, Wells, an emancipated slave, joined a cadre of Black contemporaries – scholars, activists, and thought leaders – who pledged to change the trajectory of bondage and demand that Black women have a voice.

They defy the clichés and caricatures planted in popular culture with their searing voices. Their cadence would not be paraphrased or translated into the often quoted “Ain’t I A Woman” reprise. But forever burdened by their womanhood and Blackness, their path – then and now – is littered with obstacles.

Educator and writer Mary Church Terrell observed, “Nobody wants to know a colored woman’s opinion about her own status [or] that of her group. When she dares express it, no matter how mild or tactful…, it is called ‘propaganda,’ or is labeled ‘controversial.’”

Poet, teacher, and Baltimore abolitionist Frances Ellen Harper was among the suffragists who pleaded the case for linked fate unity. “We are all bound up together in one great bundle of humanity,” she said. “Society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul.”

These Founding Sisters forged civil rights organizations with Black men, sororities, and service clubs with their women peers, and joined “woke” White women against lynching and disenfranchisement and for education and economic development.

It was Ida B. and a coterie of Black women publishers, writers, and teachers of the era who led the movement for universal suffrage even when Black women were shunned and excluded.

Nonetheless, women’s suffrage, deeply rooted in abolitionism, is depicted in a single dimension as the jumpstart for the white feminist/voting rights movement.

Regarded as social reformers, White suffragist – many of them supporters of abolition – confronted a fork in the road, conflicted between the “Negro question” and universal suffrage.

With passage of the 15th Amendment in 1870 granting Black men voting rights, universal suffrage would be sacrificed on the altar of patriarchy and white supremacy. Defended or oversimplified, the words of Susan B. Anthony, crowned the mother of women’s suffrage, illustrate the entrenched stranglehold of whiteness.

Though she counted abolitionist Frederick Douglas as an admired cohort, Anthony’s contradictions can only be measured today in the context of racism and exclusion.

“I would sooner cut off this right arm of mine before I would ever work for or demand the ballot for the black man and not the woman,” she said. One might conclude that she was seduced by the divide-and-conquer tactics of the male proponents of the 15th Amendment. But Anthony’s view was widely embraced by the White women’s suffrage movement.

Her friend and suffrage leader Elizabeth Cady Stanton, arguing against the 15th Amendment, protested: “It’s better to be the slave of an educated white man than of a degraded black one.”

One year away from the centennial of the 19th Amendment giving women the right to vote, how much ground have we gained as women and a nation? How much of the conversation about gender equality denies the overlapping impact of white nationalism, patriarchy, and privilege? Where and when do the voices of Black and Brown women enter?

But first and foremost, when do Black women get the recognition that they have earned in their unbroken march to freedom?

Our compass should be guided by that path forged by Ida B. Wells and other courageous Black women whose intersectional quest to make America stand upright changed the world.

This opening salvo embraces Suffrage. Race. Power. Spurred by my collaboration with a small collective of women that is Black-led, cross-generational, and supported by “woke” White women, we’ve named ourselves “Founding Sisters.” This space will offer regular installments that honor our Founding Sisters of the last centuries and spotlight the unfinished business of Suffrage. Race. Power.

To kick it off: Happy birthday Ida B.!

Gwen McKinney is President and Founder of McKinney & Associates Public Relations, for which she is responsible for translating the vision of “public relations with a conscience” into a sustained, bold and tested suite of communications services and activities. She is also the founder and lead collaborator for Suffrage.Race.Power.

This article originally appeared in the Charleston Chronicle

The Charleston Chronicle

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

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Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.
Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith.  Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold.  No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.

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Activism

Oakland Post: Week of June 3 – 9, 2026

The printed Weekly Edition of the Oakland Post: Week of June 3 – 9, 2026

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Oakland Post: Week of May 27 – June 2, 2026

The printed Weekly Edition of the Oakland Post: Week of May 27 – June 2, 2026

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