Archive | Community Engagement RSS feed for this section

Name and Shame Them, Don’t Name a Street After Them

2 May

On Mother’s Day 1985, the City of Philadelphia, under the “leadership” of Mayor W. Wilson Sr., dropped a bomb in a residential neighborhood, killing 11 Black people, including five children. Wilson stood by as his police commissioner and fire commissioner decided to let the fire burn.

Adding fuel to the fire, we now know the remains of at least one of the children, Katricia “Tree” Africa, were stored at University of Pennsylvania Museum of Archaeology and Anthropology and shuttled back and forth between UPenn and Princeton University for research without the consent of the family. A week ago, retired anthropology professor Alan Mann said he had not seen the remains in more than a decade. Mann told The Philadelphia Inquirer:

I would’ve given them back years ago, if anyone had asked me. There’s absolutely no reason for us to keep them. They should be given back.

The “body snatcher” lied. Mann has turned the remains of Tree Africa over to a Black-owned funeral home. The Inquirer reports:

The remains of a young girl killed in the MOVE bombing were delivered to a West Philadelphia funeral home on Friday by an anthropologist who had been in possession of them.

Alan Mann, a former University of Pennsylvania anthropology professor hired by a city commission to identify the remains in the 1980s, confirmed Friday that he gave the remains — a pelvic bone and part of a femur believed to be from Tree Africa — to the Terry Funeral Home.

Gregory Burrell, the chief executive of the funeral home, said Friday morning he picked up the remains from Mann’s home in New Jersey.

In “A Message to Our Community,” University of Pennsylvania Provost Wendell Pritchett and Penn Museum Director Christopher Woods wrote:

The Penn Museum and the University of Pennsylvania apologize to the Africa Family and the members of our community for allowing human remains recovered from the MOVE house to be used for research and teaching, and for retaining the remains for far too long.

Reuniting the remains with the Africa Family is our goal, and I am in direct conversation with them. The Africa Family and our community have experienced profound emotional distress as a result of the news that human remains from the horrific 1985 bombing of the MOVE house were at the Penn Museum and this fact has urgently raised serious questions: Why were the remains at the Museum in the first place? Why were they used for teaching purposes? And, most importantly, what are we going to do to resolve this situation?

In 2018, Philadelphia named a street after the mayor who set in motion the MOVE bombing and the still unfolding disrespect of Black lives.

On May 7, 2021, Philadelphia City Council Committee on Parks, Recreation, and Cultural Affairs will hold a hearing on the city’s landmarks and monuments review process.

Street names are also reminders of anti-Black racism and bigotry. Goode is forever associated with the wanton disregard of Black lives. In this moment of racial reckoning and restorative justice, the City of Philadelphia should erase W. Wilson Goode Sr.’s name from public memory.

Black History Matters

25 Apr

I recently checked out SEPTA’s “Portal to Discovery” art installation on view at the subway station closest to Independence Hall. When it is safe to go maskless outdoors, I will lead walking tours to commemorate the 200th anniversary of the birth of William Still, the Father of the Underground Railroad. The starting point is right above SEPTA’s 5th Street/Independence Hall station so I was eager to see whether any of the historic figures that I talk about are depicted. I was happy to see many are, including Still, Jane Johnson, Frances E.W. Harper and Frederick Douglass.

My happiness turned to dismay when I noticed Douglass’ first name is spelled “Fredrick.”

Why didn’t anyone notice the misspelling before the mural was installed? As it turns out, Tom Judd learned about the misspelling in February. Judd then concocted a story that the misspelling was intentional so that he would not have to admit his mistake. In the midst of the national reckoning on race, a white artist effectively said eff it. The Philadelphia Inquirer reports:

Judd said he was upset about it. But he decided to let it go at that point because the error could be explained as “fitting into” a narrative that the chalkboard display had been written by a school student.

He voiced regrets for that decision. “I can see how it landed, like [it was] white people’s entitlement thinking that it [the misspelling] doesn’t matter,” Judd said.

For his “narrative” to make sense, the student’s teacher would not have caught the spelling error. To save face, Judd was willing to cast aspersions on Philadelphia’s teachers. This is white privilege in action. The real narrative is a story of indifference to Black history and the lack of diversity at the Philadelphia Art Commission which approved the design.

The misspelling has been corrected but “Frederick” sticks out like a sore thumb.

I recognize that 99.9% of those who view the mural will not notice the patch. But for me, it will remain a sore point. From the New York Times to student newspapers, misspelled names are routinely corrected. Yet a white artist, who was paid $200,000 in taxpayers’ money, apparently thought it was no big deal that he misspelled the name of a Black icon and seminal figure in American history.

The struggle continues.

2021 NEA Jazz Masters

18 Apr

Since 1982, the National Endowment for the Arts has awarded Jazz Masters fellowships, the nation’s highest honor in jazz, to individuals who have made significant contributions to America’s classical music. The 2021 NEA Jazz Masters include Philadelphia native Albert “Tootie” Heath.

Drummer Tootie Heath is the youngest of the three Heath Brothers. Back in the day, the family home was a welcoming space for jazz musicians. The legendary jam sessions in their parents’ basement attracted the likes of John Coltrane, Benny Golson, Dizzy Gillespie and Charlie Parker.

The NEA Jazz Masters Tribute Concert will be co-hosted by 2017 NEA Jazz Master Dee Dee Bridgewater and actor Delroy Lindo.

NEA Acting Chairman Ann Eilers said:

As part of our efforts to give all Americans access to the arts we are proud to partner with SFJAZZ on this virtual concert. It is an opportunity for audiences around the world to tune in and explore the honorees’ many contributions to jazz while also experiencing an evening of performances by an incredible line-up of jazz musicians.

SFJAZZ Founder and Executive Artistic Director Randall Kline added:

It is an honor to again partner with the NEA to celebrate these Jazz Masters. We are looking forward to all of these artists and our global communities coming together to honor these legendary jazz masters for their profound contributions to our world.

The free concert will be livestreamed on Thursday, April 22, 2021 at 8:00 p.m. ET/5:00 p.m. PT. on arts.gov and sfjazz.org, among other platforms. For more information, go here.

National Poetry Month 2021

11 Apr

April is National Poetry Month. It is also Jazz Appreciation Month.

It’s serendipitous the two art forms are recognized during the same month. The most celebrated jazz poet, Langston Hughes, collaborated with jazz musicians. In his 1926 essay, “The Negro Artist and the Racial Mountain,” Hughes wrote:

But jazz to me is one of the inherent expressions of Negro life in America; the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.

Hughes read his poem, “The Weary Blues,” on a Canadian TV program in 1958.

Hughes presented the history of jazz in a children’s book, The First Book of Jazz, published in 1955.

The Smithsonian’s National Museum of African American History and Culture (NMAAHC) is celebrating Jazz Appreciation Month and National Poetry Month with online programs, including “The Power of Poetry Blog Series.” For information on African Americans’ contributions to today’s jazz and poetry landscape, visit NMAAHC.

Billie Holiday’s Philadelphia

7 Apr

Billie Holiday, née Eleanora Fagan, was born on April 7, 1915 at Philadelphia General Hospital. “Looking for Lady Day,” hosted and written by news anchor Tamala Edwards, is a fact-based portrait of the iconic singer who changed the game on and off stage.

In the coming months, All That Philly Jazz Director Faye Anderson will lead a walking tour, “Billie Holiday’s Philadelphia.” The tour will start at the Bessie Smith Walk of Fame plaque and end at the Attucks Hotel (distance: 0.7 miles).

The stops include the Academy of Music, Billie Holiday Walk of Fame plaque, and hotels where Lady Day stayed, including the hotel where she and her husband, Louis McKay, were arrested. The arrest is depicted in the biopic United States vs. Billie Holiday.

Our next-to-last stop is the former location of the Green Book site where Billie Holiday performed four months before her death. Emerson’s Tavern is the setting for the Broadway play, “Lady Day at Emerson’s Bar and Grill.” Audra McDonald won the 2014 Tony Award for Best Performance by an Actress in a Leading Role in a Play.

The dates of the walking tour will be announced. To be added to the mailing list for updates, contact Faye Anderson at phillyjazzapp[@]gmail.com.