Collaborative Liberation Arts Workshop Series (CLAWS) will be creating and rehearsing an exciting fusion of storytelling, theater and dance, exploring ancestry and migration in a work provisionally titled Kindred Voices.
This interview and the excerpts that follow are portions of an on-going project called I Am San Francisco: Black Past & Presence (IAMSF). Created and curated by Jarrel Phillips, IAMSF was presented as an art exhibition at City College of San Francisco’s Rosenberg Library last year. The purpose of IAMSF is to recognize the depth, beauty, complexity and abundance prevalent within ‘Black Life’ in San Francisco—culturallly, communally and individually. For more information, visit avesidea.org.
Read other IAMSF Stories:
- I Am San Francisco: Black Past and Presence
Curated by Jarrel Phillips [RP&E Vol. 21-1]
- I Am San Francisco: (Re)collecting the Homes of Native Black San Franciscans
Curated by Kheven LaGrone [RP&E Vol. 20-2]
- About I Am San Francisco
- Introduction by Jarrel Phillips
By Jess Clarke
Today’s emerging resistance movements can draw on a long and varied history to challenge the reactionary US government. Racial justice organizing has been the leading edge of progressive change for generations, and lessons learned and leadership from Black liberation struggles are key to moving beyond resistance and toward revolutionary abundance.
(CLAWS) Collaborative Liberation Arts Workshop Series Spring Session:
a 5-week workshop series using movement and dance to open to change from within.
Biodanza facilitated by Mirjam Krohne
Five Saturdays, April 22 — May 20, 2017
Studio FAB 2525 Telegraph Ave
Oakland, CA 94612
CLAWS is a workshop series in Oakland that aims to create a laboratory where we can:
- experiment with new forms of collaboration using writing, theater and movement arts.
- explore how race, class and gender oppression can be resisted and transformed.
- work with one another inside and outside of sessions to create performance, story, and movement that can energize and liberate—personally and socially.
- create a community of reflection, performance and action.
Community college and low-income residents face big loss of public resource
By Marcy Rein and Christine Hanson
On weekdays the windswept lot next to the main campus of City College of San Francisco (CCSF) can hold close to 1,000 cars belonging to students and teachers. On weekends a motorcycle safety class practices there, as does the marching band from Archbishop Riordan High School. This lot, the Balboa Reservoir, is one of the largest tracts of public land in land-starved San Francisco—and a key arena in the city’s fight to stem displacement of its vulnerable communities and the institutions that serve them.
An Interview with Emory Douglas by Jarrel Phillips
Emory Douglas is the former minister of culture and revolutionary artist for the Black Panther Party, who continues to be a progressive artist dealing with social commentary in his artwork.
By Christine Joy Ferrer
Blanca Gotchez Melara remembers it well. The potent fragrance of basil, black melons and geraniums adorning Nativity dioramas in her hometown of Santa Ana, El Salvador.
The Nacimientos or Nativities were never just Mary, Joseph and the Baby Jesus but a more elaborate arrangement of clay, wax, wood, metal, fabric, and beads depicting the Christ birth. The main focus was the replication of a whole town with three-dimensional illustrations from one’s daily life in a variety of scales, symbolizing one’s connection to one’s environment relative to the Nativity. The dioramas could include, among the biblical scenes, figurines of women making tortillas, farmers milk