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Multitalented Choreographer Monica Josette Pays Homage with Theatre Under The Stars’ “Rent”

HOUSTON FORWARD TIMES — hough she was familiar with the musical, Josette had never worked on a production of Rent. “Being able to look at the text again and to really understand this story, and to be able to enhance the story with movement has been amazing. I’m really grateful to the director, Ty Defoe, and to TUTS for allowing that expression to be something that could be realized this time, with this production of Rent. I think it’s a different Rent than the Rent that we’ve seen before, but I’m really excited about it. I think that the movement, some of the vocabulary that I’ve included really speaks to the ‘90s,” she says.
The post Multitalented Choreographer Monica Josette Pays Homage with Theatre Under The Stars’ “Rent” first appeared on BlackPressUSA.

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By Terrence Turner | Houston Forward Times

Monica Josette began dancing at an early age. “I started dancing when I was like, three,” she says. “I broke my leg when I was one. My mother was a dancer as well, and so when I turned three, my grandmother suggested that my mom put me in dance classes to help strengthen the leg. Not as like, ‘Oh, we want her to be a dancer so bad,’ but to help have a little more usage and really re-strengthen that, because I learned how to walk with a cast on.

Choreographer Monica Josette (Photo By Forward Times Staff Photographer, Medron White)

“I took lessons from Sallie Bowie Daniels, who actually taught Debbie Allen and Phylicia Rashad. She taught my grandmother; she taught my mom. She’s taught so many people, a few of us who were PVA [High School for the Performing and Visual Arts] alums as well. And it was the Bowie studio.” The Bowie School of Dance was located on Tierwester, in Houston’s 3rd Ward. “I started there when I was 3. I started tap dance and ballet, and she was one of the first African American women to attend Juilliard. So she’s a historical being, and maybe like a year ago I dedicated a film, a tap dance piece to her and her passing [in 2012], because she’s someone who – as I continue to dance through time – is always dancing with me,” Monica expressed.

“She was a huge influence on the start of my experience training as a dancer – and the discipline too, because she was super old-school,” she recalls. “Back in the day when you still got hit with a stick or a lighter under your leg; if your leg wasn’t high enough, you’d feel the heat, so you would raise the leg,” she laughs.

She continued to dance as she entered high school, leading to her entry into High School for the Performing and Visual Arts, known as PVA. “I played several instruments, and I also was an actress as well, because I went to the Ensemble Theatre, too. When I auditioned for PVA I auditioned in theatre, as well as in dance, and also in instrumental music, as a flautist. I actually got in as all three, and I had to choose, so I chose dance,” she says. “I chose dance because I felt like that was the medium that allowed me to express most freely and naturally. I also felt like a natural actor, but I still felt like I wanted to have the codified training in dance as well so that’s where I went.”

She was involved in other dance productions and programs even while studying arts and academics at HSPVA. Was it difficult to balance? Monica admits, “It was. But it also meant that I learned discipline and time management really, really early on. So by the time I got to college, figuring out how to manage schedules and do lots of things at one time was easy for me because I had already been doing that for a long time.”

She continued to pursue dance in college. “I got a BFA, a bachelor in fine arts and dance pedagogy, from the University of Oklahoma,” she says. “I decided to go with pedagogy because I was still able to do all of the performance but I was also able to study pedagogy in a way that put me in alignment with being able to teach and transfer movement to people and to be able to – if I wanted to, at any point – teach on a university level,” she says. “At the time I wasn’t sure that I was aiming to do it; it was just kind of like a safety net. Like, ‘This would be great to have this. And so I should do this, because I’m going to get to perform anyway. So why not also have the pedagogy experience as well?’”

A variety of teachers and genres gave her a wealth of experience to draw on. In addition to Bowie and the PVA dance instructors, “I also had Priscilla Nathan Murphy, from Houston Ballet, who was so fantastic – I believe she’s still there. I was a student of Houston Ballet Academy for a little while, as well.” These experiences enhanced and broadened the skills she learned at HSPVA, making for a rich, eclectic learning experience.

“My experience was very varied. I also come from a lot of cultural dance experience. So, because I am an actress, because I am a dancer that has technically been trained in ballet as well as a lot of the codified modern dance techniques,” she says, “with all of my experience in the cultural and ethnic dances and just in the world, period – in tap dance, musical theatre – my perspective and my gaze on movement is very worldly. I have a lot of information to access to bring to the table, depending on what I’m doing. I have also been a part of the pop world for several years as Santigold’s choreographer as well as dancer.” (Santigold is a Philadelphia-born singer-songwriter whose album Master of My Make-Believe hit No. 1 on the dance chart in 2012. She and Josette have worked together for over a decade.)

The cast of TUTS’ Rent

Monica also mentioned how her vast experience also led her to success in TV and film. “[Working with Santigold] and traveling to over 40 countries and being on tour with different artists, it’s brought even more perspective to the table in terms of movement, how the body moves. I also worked in TV/film. So being able to bring all of that information into that space, I think it’s really valuable for me as well as for the people that I’m working with because I’m not a one-note [performer]. There’s a lot of information over the last 20 something years as a professional to be accessed.”

Indeed. In Atlanta, she wrote and directed a cabaret musical called The Lipstick Junkies featuring Black Caviar and The Ray of Sunshine during 2013-14. That turned into an appearance on the Bravo TV show The New Atlanta. Josette appeared as “Sugar Cane.”

In L.A., she worked as an assistant director and did production work on several short films. But she left the genre “just because it was more clinical; I wanted to move back into artistic,” she says. Josette moved back to Houston after the birth of her son Micah (now 5) and taught dance classes, along with theatre production jobs. She worked on Dreamgirls last January & February for HSPVA. Last fall she worked with the assistant director for The Secret of My Success at TUTS.

Then she was approached about choreographing Rent. “I was super-excited about it,” she says. “I remember being at PVA, and at my high school graduation, the vocal department’s song for graduation was “Seasons of Love,” she recalls. “So it’s a full-circle moment.”

The cast of Theatre Under The Stars’ production of Rent during their first week of rehearsals. (Photo by Ruben Vela)

In more ways than one: two decades ago, her first professional show, Singin’ in the Rain, was at Theatre Under the Stars. Now she’s returning to TUTS as a choreographer —  “which is another full circle moment,” she muses. “It actually feels pretty surreal,” she says, “When I got that show 20 years ago, I never considered or even thought that 20 years later, I’d be sitting at the creative table implementing and bringing Monica Josette to any show here. So it definitely feels surreal. But it’s also pretty satisfying.”

Josette says the process included several interviews with the director, “trying to understand his vision, understand how he works. Him understanding how I work and what I bring to the table, what makes my gaze unique or different from others and how we might be able to work together, because we didn’t know each other.” But the collaboration worked.

“I think Ty [Defoe] has really great ideas,” she said. “I also love the way he works; he’s very collaborative and he allows my perspective, input and gaze to be part of his process, and I really appreciate that in him as a director,” Josette expressed.

Though she was familiar with the musical, Josette had never worked on a production of Rent. “Being able to look at the text again and to really understand this story, and to be able to enhance the story with movement has been amazing. I’m really grateful to the director, Ty Defoe, and to TUTS for allowing that expression to be something that could be realized this time, with this production of Rent. I think it’s a different Rent than the Rent that we’ve seen before, but I’m really excited about it. I think that the movement, some of the vocabulary that I’ve included really speaks to the ‘90s,” she says. “I think when people see this one, the first thing they will see that is obviously different is the set. That’s the first thing that’s going to be like an obvious shift. And I also think it’s going to be obvious, the way we’ve incorporated movement,” she adds. “You might even see people doing the butterfly,” she laughs.

Josette, whose older sister is part of the LGBTQ community, worked to incorporate dance forms like vogue and ballroom without appropriating them. “I have been very intentional in my research and the dramaturgy in terms of how people moved during that time,” she says. “There are all these moments to incorporate too, like house and ballroom and voguing. I had to do a lot of research, because I did not want to have a moment where I was imitating something that I was seeing or assimilating. I wanted to make sure that it was coming from an honest place and that the actors who were involved also had input in terms of what I was doing.”

Josette continued speaking about the importance of her intentionality and research: “I mentioned before in hip-hop culture how it was assimilated so much and appropriated. And you know that when you see it and it’s not coming from an authentic place, right then it becomes caricature. I wanted to make sure that that was not happening in some of the moments where I wanted to include some of that house [and] ballroom. I am an ally of that community, but that is not my community…As an African American woman, I understand very well what it means to be able to be an ally and make sure that that community’s culture is protected as it’s translated to stage.”

Josette further explained why it was important to include those dance forms into TUTS’ production of Rent: “I think that if you’re adding a movement character to a piece, then I have to think about, ‘Well, what movement was prevalent at the time?’ So you’ve got to kind of dive into the dramaturgy of what was popular at the time. What was popular in the Lower East Side [of New York] at the time? What was going on in the house and the underground ballroom scene? Also, what’s going on in the hip hop scene at the time? I took a ballroom class for like three months because I also had to incorporate some tango into ‘Tango Maureen.’ So while I was familiar, I went ahead and took an official class so that I could be more authentic about what things I was choosing to put on the actors.”

Teresa Zimmermann as Maureen and Simone Gundy as Joanne in Rent at TUTS. (Photo by Melissa Taylor)

The actors are working with challenging material: the show deals with sobering topics like poverty, homelessness, and the HIV/AIDS epidemic. “This is very heavy material. You have to be able to move the energy out of your body,” Josette says. She brought her meditation practice to the actors to help them do that. “I have my own practice called ‘The Magic of Movement,’ and the magic of movement is a movement meditation practice where I use somatic breathing and I use movement meditation exercises. Basically, I have three iterations. One iteration is to move pain and trauma through the body for pain and trauma release; another iteration focuses on the sacral chakra and our ability to tap into our creativity, our joy, how you make money…all of those things are connected in that space,” she shares. “I also have one for people who maybe have never done movement meditation before.”

All of this took place over an accelerated timeline. “I think we’ve had about 4 weeks,” Josette says. “Three weeks of rehearsal, and then we have one week of tech. So about 4 weeks total – which feels lightning fast when there’s so many things to do. It’s not just choreography; they’ve got to learn music, they’ve got staging…so it’s a lot of information to absorb in a very short amount of time,” she says. But the actors are “absolutely phenomenal, amazing storytellers. I can’t wait for the Houston audience to see these actors. And so many of them are local!”

Josette says she hopes the show will provoke hard but necessary conversations. “I’m really excited for Houston to see Rent 2023 in the space of what’s going on nationally; what we have going on politically, as well as what we have going on in our state, specifically,” she explains. “I’m excited for the conversations that are going to be happening and I’m also excited for them to experience the show with movement, more movement, and more ways for people to connect with the story. I’m excited to know what that impact is,” she says.

“Even in the sense of a younger generation maybe not having the same understanding about what was happening during the HIV/AIDS epidemic…But you understand how crazy it was during COVID, initially. Everyone was freaked out; no one knew what it was. If you had it, it was like no one wanted to come by you or touch you. So there are some parallels. It’s not the same, but there are definitely some parallels,” Josette explains.

Connect with Monica Josette on Instagram @monijomagic.

Catch TUTS’ production of Rent May 16 – 28 at The Hobby Center for the Performing Arts. Tickets are available at tuts.com/shows/rent-2

The post Multitalented Choreographer Monica Josette Pays Homage with Theatre Under The Stars’ “Rent” appeared first on Houston Forward Times.

The post Multitalented Choreographer Monica Josette Pays Homage with Theatre Under The Stars’ “Rent” first appeared on BlackPressUSA.

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FILM REVIEW: The Six Triple Eight: Tyler Perry Salutes WWII Black Women Soldiers

NNPA NEWSWIRE — The film features an all-star cast including Susan Sarandon as Eleanor Roosevelt, Sam Waterston as President Franklin Delano Roosevelt, Oprah Winfrey as Mary McLeod Bethune and Ebony Obsidian (Sistas, If Beale Street Could Talk)) who shows her acting chops by holding her own playing Lena, a bereaved private, opposite Washington.

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Six Triple Eight is now playing on Netflix.
Six Triple Eight is now playing on Netflix.

By Nsenga K. Burton
NNPA Newswire Culture and Entertainment Editor

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The Six Triple Eight tells the important yet often overlooked story of the 6888th Central Postal Directory Battalion, an all-Black, all-woman unit in World War II. The film chronicles the battalion’s efforts to clear a massive backlog of undelivered mail meant for U.S. troops, a task that was both vital and challenging. In a show-stopping speech atop a mountain of mail, Major Charity Adams, played fiercely by Kerry Washington, explains the importance of mail during wartime and its relationship to soldier morale. Adams, who is continuously denied promotions despite her impeccable professional performance, leads 855 Black women through 17 million pieces of mail in an abandoned, cold and drafty school rife with “vermin” to raise the morale of soldiers and bring closure to families who haven’t heard from loved ones in nearly a year.

The film features an all-star cast, including Susan Sarandon as Eleanor Roosevelt, Sam Waterston as President Franklin Delano Roosevelt, Oprah Winfrey as Mary McLeod Bethune, and Ebony Obsidian (Sistas, If Beale Street Could Talk), who shows her acting chops by holding her own playing Lena, a bereaved private, opposite Washington.

Lena is a highly sensitive and intelligent young woman who is distraught over the death of her Jewish “boyfriend,” Abram David (Gregg Sulkin), who is killed in the war. Instead of attending college, Lena enlists in the army to “fight Hitler.” En route to basic training in Georgia, Lena is joined with a group of women in the segregated battalion, all of whom are running away from a traumatic past and running towards a brighter future. What emerges is a strong sisterhood that bonds the women, whether in their barracks or crossing the big pond, which is one of the highlights of the film.

The Six Triple Eight has all of the tropes of a film set during the 1940s, including de facto segregation here and abroad, the mistreatment of Black women in and out of the service by any and everybody, aggressive white men using the N-word with the hard “R,” and older Black women whose hearts are free, but minds are shackled to fear that living in segregation and being subjected to impromptu violence, ridicule, jail or scorn brings to bear.

While the film elevates the untold story of the dynamic, pioneering, and committed Black servicewomen of the Six Triple Eight, the narrative falls prey to Perry’s signature style — heavy-handed dialogue, uneven performances and a redundant script that keeps beating viewers over the head with what many already know as opposed to what we need to know. For example, a short montage of the women working with the mail is usurped by abusive treatment from white, male leaders. A film like this would benefit more from seeing and understanding the dynamism, intelligence and dedication it took for these women to develop and implement a strategy to get this volume of mail to the soldiers and their families.

In another scene, the 6888 soldiers yell out their prior professions, which would prove helpful to keeping their assignment when they come under attack again from the white military men. Visually seeing the Black women demonstrate their talents would be far more satisfying than hearing them ticked off like a grocery list, which undermines the significance of their work and preparation for war as Black women during this harrowing time in history. The lack of emphasis on their skills and capabilities diminishes the overall impact of their story, leaving viewers wanting more depth and insight into their achievements.

While the film highlights the struggles these women faced against institutional racism and sexism, it ultimately falls short in delivering a nuanced portrayal of their significant contributions to the war effort. This is a must-see film because of the subject matter and strong performances by Washington and Obsidian, but the story’s execution makes it difficult to get through.

Tyler Perry is beloved as a filmmaker because he sometimes makes films that people need to see at a particular moment in time (For Colored Girls), resuscitates or helps to keep the careers of super accomplished actors alive (Debi Morgan, Alfre Woodward, Cicely Tyson) and gives young, talented actors like Obsidian, Taylor Polidore Williams (Beauty in Black, Snowfall, All-American HBCU) and Crystal Renee Hayslett (Zatima) a chance to play a lead role when mainstream Hollywood is taking too long. One thing Perry hasn’t done is extend that generosity of spirit to the same extent to the writing and directing categories.  Debbie Allen choreographed the march scene for Six Triple Eight. What might this film have been had she directed the film?

This much-anticipated film is a love letter to Black servicewomen and a movie that audiences need to see now that would benefit immensely from stronger writing and direction. Six Triple Eight is a commendable effort to elevate an untold story, but it ultimately leaves viewers craving a more nuanced exploration of the remarkable women at its center.

Six Triple Eight is now playing on Netflix.

This review was written by media critic Nsenga K. Burton, Ph.D., editor-at-large for NNPA/Black Press USA and editor-in-chief of The Burton Wire. Follow her on IG @TheBurtonWire.

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California, Districts Try to Recruit and Retain Black Teachers; Advocates Say More Should Be Done

SACRAMENTO OBSERVER — Many Black college students have not considered a teaching career because they have never had a Black teacher, said Preston Jackson, who teaches physical education at California Middle School in Sacramento. Those who consider a teaching career are often deterred by the cost of teacher preparation, taking required tests and unpaid student teaching.

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A Series by EdSource | The Sacramento Observer

Recruiting and retaining Black teachers has taken on new urgency in recent years as California lawmakers try to ease the state’s teacher shortage. The state and individual school districts have launched initiatives to recruit teachers of color, but educators and advocates say more needs to be done.

Hiring a diverse group of teachers helps all students, but the impact is particularly significant for students of color, who then score higher on tests and are more likely to graduate from college, according to the Learning Policy Institute. A recently released report also found that Black boys are less likely to be identified for special education when they have a Black teacher.

In the last five years, state lawmakers have made earning a credential easier and more affordable and have offered incentives for school staff to become teachers — all moves meant to ease the teacher shortage and help to diversify the educator workforce.

Despite efforts by the state and school districts, the number of Black teachers doesn’t seem to be increasing. Black teachers say that to keep them in the classroom, teacher preparation must be more affordable, pay and benefits increased, and more done to ensure they are treated with respect, supported and given opportunities to lead.

“Black educators specifically said that they felt like they were being pushed out of the state of California,” said Jalisa Evans, chief executive director of the Black Educator Advocates Network of a recent survey of Black teachers. “When we look at the future of Black educators for the state, it can go either way, because what Black educators are feeling right now is that they’re not welcome.”

Task force offers recommendations

State Superintendent of Public Instruction Tony Thurmond called diversifying the teacher workforce a priority and established the California Department of Education Educator Diversity Advisory Group in 2021.

The advisory group has made several recommendations, including beginning a public relations campaign and offering sustained funding to recruit and retain teachers of color, and providing guidance and accountability to school districts on the matter. The group also wants universities, community groups and school districts to enter into partnerships to build pathways for teachers of color.

Since then, California has created a set of public service announcements and a video to help recruit teachers and has invested $10 million to help people of color to become school administrators, said Travis Bristol, chairman of the advisory group and an associate professor of education at UC Berkeley. Staff from county offices of education also have been meeting to share ideas on how they can support districts’ efforts to recruit and retain teachers of color, he said.

The state also has invested more than $350 million over the past six years to fund teacher residency programs, and recently passed legislation to ensure residents are paid a minimum salary. Residents work alongside an experienced teacher-mentor for a year of clinical training while completing coursework in a university preparation program — a time commitment that often precludes them from taking a job.

Legislators have also proposed a bill that would require that student teachers be paid. Completing the 600 hours of unpaid student teaching required by the state, while paying for tuition, books, supplies and living expenses, is a challenge for many Black teacher candidates.

Black teacher candidates typically take on much more student debt than their white counterparts, in part, because of the large racial wealth gap in the United States. A 2019 study by the Economic Policy Institute showed that the median white family had $184,000 in family wealth (property and cash), while the median Latino family had $38,000 and the median Black family had $23,000.

Lack of data makes it difficult to know what is working

It’s difficult to know if state efforts are working. California hasn’t released any data on teacher demographics since the 2018-19 school year, although the data is submitted annually by school districts. The California Department of Education (CDE) did not provide updated data or interviews requested by EdSource for this story.

The most recent data from CDE shows the number of Black teachers in California declined from 4.2% in 2009 to 3.9% during the 2018-19 school year. The National Center for Education Statistics data from the 2020-21 show that Black teachers made up 3.8% of the state educator workforce.

Having current data is a critical first step to understanding the problem and addressing it, said Mayra Lara, director of Southern California partnerships and engagement at The Education Trust-West, an education research and advocacy organization.

“Let’s be clear: The California Department of Education needs to annually publish educator demographic and experience data,” Lara said. “It has failed to do so for the past four years. … Without this data, families, communities and decision-makers really are in the dark when it comes to the diversity of the educator workforce.”

LA Unified losing Black teachers despite efforts

While most state programs focus on recruiting and retaining all teachers of color, some California school districts have initiatives focused solely on recruiting Black teachers.

The state’s largest school district, Los Angeles Unified, passed the Black Student Excellence through Educator Diversity, Preparation and Retention resolution two years ago. It required district staff to develop a strategic plan to ensure schools have Black teachers, administrators and mental health workers, and to advocate for programs that offer pathways for Black people to become teachers.

When the resolution was passed, in February 2022, Los Angeles Unified had 1,889 Black teachers —  9% of its teacher workforce. The following school year, that number declined to 1,823 or 7.9% of district teachers. The number of Black teachers in the district has gone down each year since 2016. The district did not provide data for the current school year.

Robert Whitman, director of the Educational Transformation Office at LA Unified, attributed the decrease, in part, to the difficulty attracting teachers to the district, primarily because of the area’s high cost of living.

“Those who are coming out of colleges now, in some cases, we find that they can make more money doing other things,” Whitman said. “And so, they may not necessarily see education as the most viable option.”

The underrepresentation of people of color prompted the district to create its own in-house credentialing program, approved by the California Commission on Teacher Credentialing, Whitman said. The program allows classified staff, such as substitute teachers, paraprofessionals, administrative assistants and bus drivers, to become credentialed teachers while earning a salary and benefits at their original jobs.

Grow-your-own programs such as this, and the state’s Classified School Employee Credentialing program, and a soon-to-be launched apprenticeship program, are meant to diversify the educator workforce because school staff recruited from the community more closely match the demographics of the student body than traditionally trained and recruited teachers, according to research.

Los Angeles Unified has other initiatives to increase the number of Black educators in the district, Whitman said, including working with universities and colleges to bring Black teachers, counselors and psychiatric social workers to their campuses. The district also has programs that help school workers earn a credential for free, and channels employees completing a bachelor’s degree toward the district’s teacher preparation program where they can begin teaching while earning their credential.

All new teachers at Los Angeles Unified are supported by mentors and affinity groups, which have been well received by Black teachers, who credit them with inspiring and helping them to see themselves as leaders in the district, Whitman said.

Oakland has more Black teachers than students

Recruiting and retaining Black teachers is an important part of the Oakland Unified three-year strategic plan, said Sarah Glasband, director of recruitment and retention for the district. To achieve its goals, the district has launched several partnerships that make an apprenticeship program, and a residency program that includes a housing subsidy, possible. A partnership with the Black Teacher Project, a nonprofit advocacy organization, offers affinity groups, workshops and seminars to support the district’s Black teachers.

The district also has a Classified School Employee Program funded by the state and a new high school program to train future teachers. District pathway programs have an average attrition rate of less than 10%, Glasband said.

This year, 21.3% of the district’s K-12 teachers are Black, compared with 20.3% of their student population, according to district data. Oakland Unified had a retention rate of about 85% for Black teachers between 2019 and 2023.

Better pay, a path to leadership will help teachers stay

Black teachers interviewed by EdSource and researchers say that to keep them in the classroom, more needs to be done to make teacher preparation affordable, improve pay and benefits, and ensure they are treated with respect, supported and given opportunities to lead.

The Black Educator Advocates Network  came up with five recommendations after surveying 128 former and current Black teachers in California about what it would take to keep them in the classroom:

  • Hire more Black educators and staff
  • Build an anti-racist, culturally responsive and inclusive school environment
  • Create safe spaces for Black educators and students to come together
  • Provide and require culturally responsive training for all staff
  • Recognize, provide leadership opportunities and include Black educators in decision making

Teachers interviewed by EdSource said paying teachers more also would make it easier for them to stay.

“I don’t want to say that it’s the pay that’s going to get more Black teachers,” Brooke Sims, a Stockton teacher, told EdSource. “But you get better pay, you get better health care.”

The average teacher salary in the state is $88,508, with the average starting pay at $51,600, according to the 2023 National Education Association report, “State of Educator Pay in America.” California’s minimum living wage was $54,070 last year, according to the report.

State efforts, such as an initiative that pays teachers $5,000 annually for five years after they earn National Board Certification, will help with pay parity across school districts, Bristol said. Teachers prove through assessments and a portfolio that they meet the National Board for Professional Teaching Standards. To be eligible for the grant, teachers must work at least half of their time in a high-needs school. Teachers who qualify are also given $2,500 to cover the cost of certification.

This incentive will help teachers continue their education and improve their practice, said Los Angeles teacher Petrina Miller. “It’s awesome,” she said.

Teacher candidates must be actively recruited

Many Black college students have not considered a teaching career because they have never had a Black teacher, said Preston Jackson, who teaches physical education at California Middle School in Sacramento. Those who consider a teaching career are often deterred by the cost of teacher preparation, taking required tests and unpaid student teaching.

“In order to increase the number of Black teachers in schools, it has to become deliberate,” Jackson said. “You have to actively recruit and actively seek them out to bring them into the profession.”

Since starting in 2005, Jackson has been one of only a handful of Black teachers at his school.

“And for almost every single one of my kids, I’m the first Black teacher they’ve ever had,” said Jackson. “…  And for some of them, I’m the first one they’ve ever seen.”

Mentors are needed to help retain new teachers

Mentor teachers are the key ingredient to helping new Black educators transition successfully into teaching, according to teachers interviewed by EdSource. Alicia Simba says she could have taken a job for $25,000 more annually in a Bay Area district with few Black teachers or students but opted to take a lower salary to work in Oakland Unified.

But like many young teachers, Simba knew she wanted mentors to help her navigate her first years in the classroom. She works alongside Black teachers in Oakland Unified who have more than 20 years of teaching experience. One of her mentor teachers shared her experience of teaching on the day that Martin Luther King Jr. was shot. Other teachers told her about teaching in the 1980s during the crack cocaine epidemic.

“It really helps dispel some of the sort of narratives that I hear, which is that being a teacher is completely unsustainable,” Simba said. “Like, there’s no way that anyone could ever be a teacher long term, which are things that, you know, I’ve heard my friends say, and I’ve thought it myself.”

The most obvious way to retain Black teachers would be to make sure they are treated the same as non-Black teachers, said Brenda Walker, a Black teacher and president of the Associated Chino Teachers.

“If you are a district administrator, site administrator, site or colleague, parent or student,  my bachelor’s degree, master’s degree, and my special education credential are just as valuable and carry as much weight, and are as respected as any other educator,” she said.

“However, it’s just as critical for all those groups to acknowledge and respect the unique cultural experience I bring to the table and acknowledge and respect that I’m a proud product of my ancestral history.”

Black teachers: how to recruit THEM and make them stay

This is the first part of a special series by EdSource on the recruitment and retention of Black teachers in California. The recruitment and hiring of Black educators has lagged, even as a teacher shortage has given the task new urgency.

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Christmas Travel: When is the Best Time to Take Your Trip

BIRMINGHAM TIMES — When planning for your trip, the thoughts of hitting the road or boarding a flight can be stressful. You envision not “sugar plums dancing in your head”, but crowded airports, long lines and very heavy traffic because Christmas travel can be notoriously difficult. It’s a time of high demand and volume with millions traveling during the winter weather, which is often synonymous with snowstorms, icy roads and delayed flights.

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By Samuetta Drew | Birmingham Times

Christmas is one of the busiest travel seasons of the year. It’s a time when people schedule trips to visit family and friends, take that winter wonderland vacation or simply enjoy a festive getaway.

When planning for your trip, the thoughts of hitting the road or boarding a flight can be stressful. You envision not “sugar plums dancing in your head”, but crowded airports, long lines and very heavy traffic because Christmas travel can be notoriously difficult. It’s a time of high demand and volume with millions traveling during the winter weather, which is often synonymous with snowstorms, icy roads and delayed flights.

This safety article is meant to help you dodge the busiest crowds and make your trip as stress-free as possible, but also not to lose focus on practicing good safety measures. It will identify the best travel dates and times.

Most travelers wait until closer to Christmas, so plan your trips this year earlier in the week – specifically Monday, December 16, through Thursday, December 19. This is ideal for several reasons:

  • Lower Crowds – airports and highways are less congested.
  • Cheaper Flights – airlines often offer lower fares earlier in the week before the rush begins.
  • Less Stress – with fewer people on the road and shorter lines at the airports, your travel experience will be much smoother.

The least busy days with fewer travelers during Christmas are:

  • December 24 (Christmas Eve)
  • December 25 (Christmas Day)

While not as bad as the days immediately before, Christmas Eve still poses some challenges, such as:

  • Last Minute Travelers – many people wait until the last minute to travel.
  • Shortened Hours – some businesses and transportation services close early.
  • Higher Stress Levels – the pressure to arrive on time can add a little additional stress.

Avoid peak times at the airport. Opt for the late or early morning flights. The red-eye flights and early morning flights are generally less popular but offer significant advantages such as:

  • Fewer Delays – airports are generally less busy during these times, reducing the risk of delays.
  • Faster Security Checks – shorter lines at TSA means you will get through the airport faster, especially if it’s a large airport.
  • Affordable Options – airlines sometimes offer discounts on less desirable flight times.

Hopefully this article will help you Keep an Eye on Safety when traveling over the 2024 Christmas season by decreasing your holiday chaos, which could result in your lack of focus while traveling.

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