Black History

Organization Sparks ‘Year of Return’

THE AFRO — With 2019 marking the 400 year anniversary of the first recorded slave ships docking on Western Shores, The United States Congress recently put into motion, {H.R. 1242}, a bill also known as “400 Years of African-American History Commission Act.” This initiative is an umbrella for a number of different projects, but more specifically, as it states in Section 3 of it’s doctrine, “This bill establishes the 400 Years of African-American History Commission to develop and carry out activities throughout the United States to commemorate the 400th anniversary of the arrival of Africans in the English colonies at Point Comfort, Virginia, in 1619.”

Published

5 years ago

August 16, 2019

Oakland Post

The Adinkra Cultural Arts Studio, under the leadership of Diallo Sumbry, helped spark the “Year of Return,” which encourages African Americans to visit Ghana as 2019 marks the 400 year anniversary of the first recorded slave ships docking in the United States. (Courtesy Photo)

By Nyame-kye Kondo

With 2019 marking the 400 year anniversary of the first recorded slave ships docking on Western Shores, The United States Congress recently put into motion, {H.R. 1242}, a bill also known as “400 Years of African-American History Commission Act.” This initiative is an umbrella for a number of different projects, but more specifically, as it states in Section 3 of it’s doctrine, “This bill establishes the 400 Years of African-American History Commission to develop and carry out activities throughout the United States to commemorate the 400th anniversary of the arrival of Africans in the English colonies at Point Comfort, Virginia, in 1619.”

Funded through donations and steered by a committee of volunteers, the Bill sets precedence on honoring the Black Experience in America, while also being open to international collaboration.

The bill is ” to look at the ways we can confront our history and ensure that the contributions of African Americans to society are never forgotten,” according to Wade Robinson of Civilrights.org.

The passing of {H.R. 1242} was the incentive that D.M.V based entrepreneur Diallo Sumbry, needed to further expand his business, fulfill his purpose, and to help diasporans build a new relationship with Africa, specifically, Ghana.

The founder of Adinkra Cultural Arts Studio (ACAS) in Mount Rainier, Sumbry is at the helm of the “Year of Return” movement that has many African Americans heading to Ghana for pilgrimage, immersion and enjoyment. Leading a handful of tours to Ghana over the last five years, Sumbry recognizes that immersion is apart of the reacclimation process.

“I came to Ghana for the first time in 2013, and in a short span of time I have been able to build an exchange between Ghana and America that is steeped not only in arts and culture, but the African Americans reclamation of the continent as a whole,” Sumbry said. “It is my hope that this movement will help to reconnect not only those displaced as a result of slavery, but the African Diaspora in general.”

Having more than a decade of experience in arts managing, directing, and facilitating, Sumbry has been a, “key figure in the planning and development of the year-long calendar of activities in celebration of the resilience of the African spirit,” reports {Business Ghana}.

Recently named the first African-American ambassador of Tourism by former Minister of Tourism and Culture, the Honorable Catherine Afeku, this year marks the third year that Sumbry will be facilitating his own tours. With the first tour featuring GoGo legends, Backyard Band, and the 2019 edition featuring singers Raheem Devaughn and Wes Ellington Felton, the tours are amplified by the fact that they are open to the community as well. Much like the classes and cultural activities that ACAS provides for the D.M.V area, it should come as no surprise that the “Year of Return” grew out of a grassroots organization like ACAS.

Nestled in the heart of the Mount Rainier Arts district, ACAS offers a number of African Dance and drumming classes, fitness classes, intensives, workshops, various pop ups and a slew of resources for the community. At the epicenter of a creative exchange with Ghana, ACAS also offers yearly tours to Ghana in the form of the “Back2Africa” movement. Partnering with a number of different entities to make tour happen, it was the Ghana Tourism Authority itself that officially proclaimed this as the “Year Of Return” on a global scale.

With ACAS establishing important relationships prior to the “Year of Return,” movement being fully established, the possibilities evolved when the idea was brought to the Ghana Commission of Tourism and Culture, and after the president of Ghana, Nana Akufo Addo gave his seal of approval, it took off.

“It all started with Birthright” said Sumbry, referring to an annual celebration of African dance and drumming that his organization produces each year. “It became more than an event, but a portal of discovery, and over time it evolved into the tours and a partnership with African Ancestry so that when everything lined up, we had a full package ready for the people.”

The passing of the {H.R. 1242} was a catalyst for a number of important exchanges and activities that have taken place or will take place throughout the year. Members of the Congressional Black Caucus, along with Speaker of the House Nancy Pelosi, went to Ghana last week. In addition, there is the “Jamestown-Jamestown Tour” which is focused on the NAACP, and will travel from Jamestown, Virginia, to Jamestown,Ghana this August. Taking place on the actual date that the first ships carrying human cargo arrived, this tour like all of the tours that will happen this year, Is meant to honor those whose lives were irrevocably changed, and to welcome their descendants back to their continent of origin, forever changed but always connected.

This article originally appeared in The Afro.

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Activism

‘Donald Trump Is Not a God:’ Rep. Bennie Thompson Blasts Trump’s Call to Jail Him

“Donald Trump is not a god,” U.S. Rep. Bennie Thompson, D-Miss., told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.

Published

10 hours ago

December 18, 2024

Oakland Post

Congressman Bennie Thompson, D-Miss. Courtesy photo.

By Post Staff

U.S. Rep. Bennie Thompson, D-Miss., said he not intimidated by President-elect Donald Trump, who, during an interview on “Meet the Press,” called for the congressman to be jailed for his role as chairman of the special congressional committee investigating Trump’s role in the Jan. 6, 2021, mob attack on the U.S. Capitol.

“Donald Trump is not a god,” Thompson told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.

“He can’t prove it, nor has there been any other proof offered, which tells me that he really doesn’t know what he’s talking about,” said the 76-year-old lawmaker, who maintained that he and the bipartisan Jan. 6 Select Committee – which referred Trump for criminal prosecution – were exercising their constitutional and legislative duties.

“When someone disagrees with you, that doesn’t make it illegal; that doesn’t even make it wrong,” Thompson said, “The greatness of this country is that everyone can have their own opinion about any subject, and so for an incoming president who disagrees with the work of Congress to say ‘because I disagree, I want them jailed,’ is absolutely unbelievable.”

When asked by The Grio if he is concerned about his physical safety amid continued public ridicule from Trump, whose supporters have already proven to be violent, Thompson said, “I think every member of Congress here has to have some degree of concern, because you just never know.”

This story is based on a report from The Grio.

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Activism

Biden’s Legacy Secured with Record-Setting Black Judicial Appointments

His record surpasses previous efforts by his predecessors. President Jimmy Carter appointed 37 Black judges, including seven Black women. In stark contrast, Donald Trump’s first term resulted in only two Black women appointed out of 234 lifetime judicial nominations. The White House said Biden’s efforts show a broader commitment to racial equity and justice.

Published

11 hours ago

December 18, 2024

Oakland Post

iStockphoto.

By Stacy M. Brown
WI Senior Writer

President Joe Biden’s commitment to diversifying the federal judiciary has culminated in a historic achievement: appointing 40 Black women to lifetime judgeships, the most of any president in U.S. history.

Biden has appointed 62 Black judges, cementing his presidency as one focused on promoting equity and representation on the federal bench.

The White House said Biden’s efforts show a broader commitment to racial equity and justice.

Meanwhile, Trump has vowed to dismantle key civil rights protections, including the Justice Department’s Civil Rights Division.

“Having the Black woman’s experience on the federal bench is extremely important because there is a different kind of voice that can come from the Black female from the bench,” Delores Jones-Brown, professor emeritus at John Jay College of Criminal Justice, told reporters.

Lena Zwarensteyn of the Leadership Conference on Civil and Human Rights told reporters that these district court judges are often the first and sometimes the final arbiters in cases affecting healthcare access, education equity, fair hiring practices, and voting rights.

“Those decisions are often the very final decisions because very few cases actually get heard by the U.S. Supreme Court,” Zwarensteyn explained.

Biden’s nomination of Justice Ketanji Brown Jackson to the Supreme Court further reflects his commitment to judicial diversity. Jackson became the first Black woman to serve on the nation’s highest court.

Patrick McNeil, spokesperson for the Leadership Conference, pointed out that over half of Biden’s Black female judicial appointees have backgrounds as civil rights attorneys and public defenders, experience advocates consider essential for a balanced judiciary.

Meanwhile, Congress remains divided over the expansion of federal judgeships. Legislation to add 66 new judgeships—approved unanimously by the Senate in August—stalled in the GOP-controlled House until after the election. House Republicans proposed distributing the new judgeships over the next decade, giving three administrations a say in appointments. President Biden, however, signaled he would veto the bill if it reached his desk.

Rep. Jerry Nadler, D-N.Y., argued the delay was a strategic move to benefit Trump’s potential return to office. “Donald Trump has made clear that he intends to expand the power of the presidency and giving him 25 new judges to appoint gives him one more tool at his disposal,” Nadler said.

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Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

12 hours ago

December 18, 2024

Oakland Post

Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com