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FILM REVIEW: New Wave of Black Films Crests at 2019 Toronto International Film Festival

NNPA NEWSWIRE — Black artists, filmmakers and films were a key part of the mix at the 2019 Toronto Film Festival. Big budget movies, small indie films, documentaries and shorts filled out the innovative programming. Check out the best of the best and the most noteworthy.

Published

5 years ago

October 3, 2019

Oakland Post

By Dwight Brown NNPA News Wire Film Critic

Nearly 500,000 film lovers flocked to the 2019 Toronto International Film Festival, screening hundreds of films from all over the world. Artistry and diversity, the hallmarks of TIFF, were on view.

Black artists, filmmakers and films were a key part of the mix. Big budget movies, small indie films, documentaries and shorts filled out the innovative programming. Check out the best of the best and the most noteworthy.

BLACK FILMS & BLACK FILMMAKERS

Atlantics (***)

An ill-fated romance in Senegal takes center stage in this visually stunning ode to passion and yearning. French actress-turned-filmmaker Mati Diop won the Cannes’ Grand Prix for co-writing this love triangle between a young woman (Mama Sané), an out-of-work construction worker (Ibrahima Traoré) she loves, and a wealthy fiancé (Babacar Sylla) she disdains. With Claire Mathon behind the camera, Dakar looks picturesque and the composition of each scene is as perfect as the lighting. Diop tells her story using lots of imagery and long scenes that test patience. The beautiful cast looks like they stepped out of Essence Magazine. Themes of class divide, spirits from beyond and girlfriends who like to party often crowd what could have been a simple love story. Still, the romance in this film prevails.

Clemency (***).

The debate over the death penalty gets a new spark with this very personal look at a humanistic warden (Alfre Woodard) who makes end-of-life experiences as compassionate as possible for those on death row. It’s as if Warden Bernadine Williams goes on cruise-control as she and her staff strap in inmates for that lethal injection. She thinks she’s fully prepared for everything. Then there’s an inevitable catastrophe that magnifies the toll her job takes on her psyche and husband (Wendell Pierce) and sobriety. Writer/director Chinonye Chukwu’s message is that executing criminals is inhumane. Slow steady drama builds and builds. Woodard creates a protagonist who is equally likeable and unapproachable. Her steely performance is complemented by supporting cast members: Aldis Hodge as the cop-killer next in line for death; Richard Schiff as the convict’s hopeful lawyer; Danielle Brooks as a person from the prisoner’s past.

Dolemite Is My Name (****)

When you need encouragement, comedian Rudy Ray Moore (Eddie Murphy) commands, “Put your weight on it.” It’s a mantra he takes to heart as he shifts his talent from struggling comic and spoken-word pioneer to novice DIY indie filmmaker. Moore’s alter-ego is Dolemite, a feisty, martial-arts-loving character he pushes to the front of his first movie. Under the guidance of director Craig Brewer (Hustle & Flow), with a hilarious bio/script by Scott Alexander and Larry Karaszewski, Eddie Murphy makes a splashing film comeback as the outrageously bold and determined artist who became an integral part of the 1970s Blaxploitation era. Never one to take no for an answer, the brash Moore gives Murphy a great opportunity to work his comic genius. And he does, along with a hilarious dream team who milks laughs: Keegan-Michael Key, Craig Robinson, Tituss Burgess, Wesley Snipes, Mike Epps, and the shameless scene stealer Luenell (I Got the Hook Up 2). Add in cameos by T.I. and Snoop Dogg and a plotline that leads to euphoria and this bit of hilarity becomes an amazing crowd-pleaser and an inspiring movie.

Harriet (***)

The responsibility for getting Harriet Tubman’s legacy as an abolitionist and the history of the Underground Railroad told right is a weight few filmmakers could carry. Director Kasi Lemmons (Eve’s Bayou) is up to the task and has a vision. Her efforts are helped by Terence Blanchard’s emotionally charged musical score, John Toll’s evocative cinematography (he makes everyone’s complexion incandescent) and Paul Tazewell’s costumes. The script, by Lemmons and Gregory Allen Howard, pulls the characters into one epic tale of inhumanity, humanity and legendary acts of bravery. Cynthia Erivo (Tony winner The Color Purple; film Widows) plays “Minty” (Tubman’s nickname) with conviction. The evildoers (Joe Alwyn, Jennifer Nettles) and saviors (Leslie Odom Jr., Janelle Monáe) are perfectly portrayed. Lemmons can be heavy on the flashbacks (black and white clips of a family breakup seem redundant), and the footage looks like a cross between an art/indie film and a Lifetime network movie. But overall, she has accomplished a difficult mission that brings the life of an extraordinary liberator into full view. Finally the film medium has produced a public record of Harriet Tubman’s heroism. Now it’s time for Tubman’s image to be on the $20 bill.

Just Mercy (***)

Jamie Foxx and MIchael B. Jordan in Just Mercy

A young Harvard educated lawyer, Bryan Stevenson (Michael B. Jordan), could have his pick of law firms, instead he heads to rural Alabama to set up a small law practice that seeks to reverse death row sentences for wrongfully convicted prisoners. There are many in need, but one of his primary clients is Walter McMillian (Jamie Foxx), who was convicted of killing a white woman. The film is set in 1989 and stars Jordan, but if you close your eyes and imagine a young Sidney Poitier in the lead role, you’ll get a feel for the tone of this well-intentioned but typical crime drama. Director Destin Daniel Cretton’s approach to the genre is formulaic, but gets the job done. Cretton and co-writer Andrew Lanham use the real lawyer Stevenson’s award-winning non-fiction book Just Mercy: A Story of Justice and Redemption as source material to depict poor black men being railroaded into death sentences in the south—well into the late ‘80s. Foxx gives his best performance since Ray. Jordan breaks out of his normal hero-ish mold to play a goodwill attorney, and that’s refreshing. Supporting cast of Brie Larson, Rob Morgan, Tim Blake Nelson, Rafe Spall, O’Shea Jackson Jr., and Karan Kendrick are particularly interesting to watch. A very northern and stiff lawyer learns how to acclimate to a friendlier rural southern black community and it’s a startling juxtaposition that adds depth to the proceedings

Waves (**1/2)

The Cast of Waves

Filmmaker Trey Edward Shults made an impressive directorial debut with the ultra-realistic family drama Krisha. This return to familial themes focuses on a wealthy black household. A dad (Sterling K. Brown) and stepmom (Renée Elise Goldsberry)—helicopter parents—pressure their teenage son (Kelvin Harrison Jr, Assassination Nation), a high-school wrestling champion, to succeed. He, however, is clandestinely living large, beset with injuries and having major girlfriend problems. His younger sister (Taylor Russel) waits in the wings for the attention she deserves. Shults’ script and direction jump-start start this teen saga with a kinetic verve reminiscent of filmmaker Harmony Korine’s wild and debauched Spring Breakers. Quick, flashy MTV-like edits (editors Isaac Hagy and Shults), a heavy-bass musical score (Trent Reznor and Atticus Ross) and an envious playlist of hip artists set the tone. The look of the film is perfect: production design by Elliott Hostetter; set decoration by Adam Willis; cinematography by Drew Daniels; and costume design by Rachel Dainer-Best. The plotline in Acts I and II leads to a clichéd stereotypical interpretation of a young black man’s life, which would be suspect coming from a black filmmaker, and is almost insulting coming from a white one. Act III takes the film in a completely different direction, which is fraught with heavy emotion that doesn’t always ring true. Something like TV’s overly touchy-feely This Is Us. In fact, watching Sterling K. Brown shed tears on screen, like he does incessantly on the TV show, is like watching a rainstorm on a tropical island. It’s an event, but it’s no surprise.

BLACK ARTISTS IN FILMS

The Goldfinch (*1/2) The novel of the same name by author Donna Tartt won the 2014 Pulitzer Prize for Fiction. This weakly developed screen adaptation will likely win a Razzie. Can’t blame the premise: A kid, Theo (Oakes Fegley), and his mom enter the Metropolitan Museum of Art. A bomb ignites. She dies. He is taken in by a friend’s wealthy mother (Nicole Kidman). Theo’s worthless father (Luke Wilson) wrestles him away, eyeing the kid’s money. A missing painting of a goldfinch—worth millions—is lost in the explosion. Who has it? Years later Theo (Ansel Elgort) can’t shake his tragic past. Director John Crowley endeared himself to audiences with his sweet, simple period film Brooklyn. In this muddled and overly complicated interpretation of the book (Peter Straughan screenwriter), a series of preposterous circumstances and an overabundance of characters stymies any plausibility. Fegley’s performance fails to make a lasting impression. The photogenic Elgort is handcuffed by a poorly written character. Veteran actor Jeffrey Wright gives the only spot-on performance, but even he can’t save a silly storyline from itself. And why cast a Canadian actor (Finn Wolfhard) and a Welsh actor (Aneurin Barnard) in a pivotal role as Theo’s “Russian” friend Boris (young and old) if they can’t master the accent? Tech credits are solid. Little else is.

Honey Boy (**) His public meltdowns were documented in the news. And now, it’s as if actor/writer Shia LaBeouf wants the masses to know that his erratic behavior is the result of an irregular childhood. Otis (Noah Jupe as the 12-year-old; Lucas Hedges at the 22-year-old), is a child actor being bullied by his ill-tempered father (LaBeouf). Life ain’t easy. Though first-time feature filmmaker Alma Ha’rel directs what’s on the page pretty well, the story, lead characters and their conflicts never gel. LaBeouf lays the bad dad persona on thick, making him appear cartoonish. Bryon Bowers (TV’s “The Chi)” plays an AA friend. Musical artist FKA Twigs portrays a neighbor in a rundown motel. Cast also includes veteran actors Clifton Collins Jr. and Laura San Giacomo. Well-intentioned project. Iffy results at best.

Hustlers (***) A group of industrious strippers bilk Wall Street men out of thousands of dollars during the money-raining days leading up to the great recession. Writer/director Lorene Scafaria (The Meddler) bases her script on a New York Magazine article that chronicles the con games run by Samantha Barbash, a scheming hostess at New York’s strip club Scores. The women swipe credit cards, charge up clothes, buy houses and set up an enterprise that is quite profitable. Sets (production design by Jane Musky), costumes (Mitchell Travers) and cinematography (Todd Banhazi) provide plenty of eye-candy. The pacing (editor Kayla Emter) is tight too. Your eyeballs will pop out of your head when 50-year-old J. Lo, as ringleader Ramona, shimmies down a stripper pole displaying the abs of a twentysomething. As she leads her robber posse on an excursion filled with peril, joy, riches and life lessons, you will be thoroughly entertained. Constance Wu, Mette Towley, Keke Palmer, Lili Reinhart and a cameo by ex-stripper Cardi B add magic as the women go from self-help, to self-employment, to self-infliction. Enjoy, and don’t forget to tip!

Knives Out (**) Who did it in this whodunit? And, who cares? Writer/director Rian Johnson (Star Wars: The Last Jedi) tries his hand at mystery writing, to little avail, and he must be an ardent Agatha Christee (Murder on the Orient Express) fan. A wealthy, elderly novelist (Christopher Plummer) dies. Suicide? Homicide? A southern sleuth (Daniel Craig) investigates. Johnson’s script is dull until the reading of the will, when family members’ greed and rivalries rage. The ensemble cast is impressive: Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette and Lakeith Stanfield as Lieutenant Elliott. There are plot twists aplenty, but none add up to much. Craig’s Alabama accent is atrocious. Does Johnson get anything right? The novelist’s grandson (Evans) drives a sleek 1960/70s silver BMW that is a work of art.

The Report (****) Tracking down the truth regarding the CIA’s Detention and Interrogation Program and the department’s use of torture is a sobering task for Senate staffer Daniel J. Jones, (Adam Driver). Yet, under the guidance of his boss Senator Dianne Feinstein (Annette Bening), he perseveres. Years of Jones’ research unearth wrongdoing, cover-ups and lies that may never come to light. Writer/director Scott Z. Burns (The Informant!) slowly turns a very wonky, fact-based political story into a thrilling drama that pits reality against deceit and the Senate versus the United States Intelligence Community. It’s a battle of wills. Driver’s very intense performances holds viewer’s attention as a barrage of facts, figures and names rain on them in a way that only CNN could decipher. What will stay with audiences forever is that a few people fought to have the CIA’s machinations exposed. An exceptional cast also includes: Jon Hamm, Corey Stoll, Evander Duck Jr., Maura Tierney and Linda Powell (House of Cards).

Uncut Gems (****) “They say you can see the whole universe in an opal.” That makes perfect sense to Howard Ratner (Adam Sandler), a gregarious, Jewish NYC jeweler who is deep in debt to the wrong kind of people and hoping his next scheme will get him out of trouble. This time, his plan includes selling a massive opal—the size of a baseball. Brothers Benny and Josh Safdie (Good Time), New York City-based writer/directors, have an urban, guerilla style of filmmaking that mirrors Martin Scorsese’s early works. Now, with a big budget in hand, they get to use all the crayons in the box. Sandler strips away his sunny facade and plays an addicted gambler who chums it up with hip black clients (basketball player Kevin Garnett), holds it down at home with his wife (Idina Menzel), and juggles a hush-hush life with a secret lover (Julia Fox). Player! The film aptly captures the mayhem and noisy din of the Diamond District. Rarely do movies chronicle any synergy between Blacks and Jews who are both living on the same edge. Brilliant filmmaking. Sandler deserves an Oscar nod and an apology from past naysayers. Every dog has its day

OTHER FILMS OF NOTE

A Beautiful Day in the Neighborhood (**1/2)

Tom Hanks stars as Mister Rogers in TriStar Pictures’ A BEAUTIFUL DAY IN THE NEIGHBORHOOD. Photo by: Lacey Terrell

Mr. Rogers was loved. Like that uncle who came over for Christmas every year and brought the best presents. Ones you didn’t know you needed ‘til you had them. If you’re expecting a charming biofilm, don’t. If you want to witness how one kind person can positively affect other people’s lives, welcome. The script by Micah Fitzerman-Blue and Noah Harpster takes its cue from a true-life story about an emotionally tarnished Esquire journalist assigned to interview Rogers. IInstead, he becomes the recipient of the cardigan-wearing TV host’s healing powers. Director Marielle Heller (Can You Ever Forgive Me?) sensitively guides the cast through this loving fable. Tom Hanks, Matthew Rhys, Chris Cooper and Wendy Makkena (TV’s Judging Amy) handle their duties well. It’s easy to get caught up in the journalist’s redemption. Not all audiences will be thrilled that they’re getting a “life-coach” movie for the holiday season (release date 11/22/19), instead of the real skinny about the TV icon’s personal life. Some may say, “Where’s the beef?”

Bad Education (****)

Hugh Jackman in Bad Education

Thou shalt not steal. It’s a commandment that the characters in this true-life tale of debauchery and excess don’t heed. All is going well in Long Island’s Roslyn School District, until a high school newspaper journalist (Geraldine Viswanathan) starts investigating line items on the school district budget that seem, well, fake. Contractors and companies are ghosts. Certainly Pam Gluckin (Allison Janney), who handles the budgets doesn’t see anything wrong. Nor does the easy-going school district superintendent (Hugh Jackman). As the undeterred student continues to dig, the improprieties mount. The plotline (screenwriter Mike Makowsky) unravels in bits and pieces, causing increasing astonishment. Jackman is as wicked as he can be. Janney as the lady with more relatives on the payroll than Trumps in the White House, plays her sociopathic character to a T. Director Cory Finley (Thoroughbreds) doesn’t point fingers, doesn’t pass judgement. Instead he weaves extramarital affairs, weak school boards and betrayals into a web of insanity that is as outrageous as Janney’s other mayhem vehicle, “I, Tonya.” What’s the alternate spelling of embezzlement? P-R-I-S-O-N. A total delight in the most devious way.

Blackbird (***) People deal with their last moments on earth in their own ways. Few, however, decide to throw a weekend party so family members can watch them commit suicide. That’s the premise of director Roger Michell’s (Notting Hill, My Cousin Rachel) warmhearted look at a clan who wrestles with cancer, mortality and conflict. Christian Torpe’s screenplay creates viable characters and sets their actions and reactions in motion. Mom (Susan Sarandon) is the weed-smoking matriarch, dad (Sam Neill) her life partner. Two daughters (Kate Winslet, Mia Wasikowaska) show up with their extended families along with mom’s best friend Liz (Lindsay Duncan). Jealousies, rivalries and inner turmoil brim to the surface as they confront mortality: ‘You’re here now. But tomorrow you’ll be dead,” says one daughter. Some moviegoers may wish the family was more down to earth blue-collar than whiny and rich. The wonderful ensemble acting comes under the guidance of Michell. Poignant life-affirming words by Torpe’s perceptive script endure: “The day’s go by so slowly. The years go by so fast.” Considering the gravity of the subject matter, what’s on view is surprisingly touching and disarming in the best ways.

Coming Home Again (***) The bond between a mother and her son is tested in this warm-hearted story about a young Korean American man (Justin Chon, Gook) who leaves his job and girlfriend behind to take care of his terminally ill mom (Jackie Chung, Grey’s Anatomy) in San Francisco. They connect through food and the recipes she passes on to him. Based on his own experience, director/writer Wayne Wang (Joy Luck Club) creates a very humbling and humanizing story in a low-budget, small-cast movie that is powerful. Chon’s sensitive acting plays well against Chung’s spirited portrayal. Their experience and culture are specifically Asian, but the lifecycle event is universal. Wayne’s illuminating script and restrained direction give a sense of authenticity and clarity to everything. When the camera focuses on Chon trying to putty up a crack in an old wall, it becomes a metaphor for the film’s very rich and gripping premise.

A Hidden Life (****) In this age of neo-fascism, writer/director Terence Malick (Days of Heaven) astutely reminds viewers that they can counteract evil in their own way. Austrian farmer Franz Jägerstätter (August Diehl) becomes a conscientious objector during World War II. His neighbors and town officials in his small village ostracize him, his wife Franziska (Valeri Pachner) and their three young daughters. The Nazis have a plan for him, and its bleak. Malick sets the location perfectly with wondrous shots of the Alps. Scenes of Hitler’s brutal officers committing atrocities reflect the era. The music (James Newton Howard), cinematography (Jôrg Widmer) and production design (Sebastian T. Krawinkel) are exquisite. Eerie parallels to modern times, echo again and again, as vicious leaders pray on the weak and instill fear in the masses. Franz to his spouse: “Oh my wife. What happened to our country, the land we love?” He adds: “If God gives us free will, we’re responsible for what we do.” A masterpiece of storytelling becomes a fitting tribute to those who remain principled and defiant.

Joker (**1/2) Why would a film company give a stand-alone origin project about the comic book villain The Joker to the writer/director of The Hangover series, Todd Phillips? Casting Joaquin Phoenix in the lead role, whose acting is ingeniously mercurial in the villain, is brilliant. Phillips? That’s a question mark. Arthur Fleck (Phoenix), a rent-a-clown loser who lives with his mom, is tormented by a defect that makes him laugh inappropriately and uncontrollably and is bullied by adults—and kids too. It’s no wonder the dude is angry at the world. Phoenix creates a snake of a man with few to no redeeming qualities and along the way he turns in a blistering performance that should get him a front row seat on Oscar night. Strong visuals and imaginative action scenes are absent in this crime thriller. Blame director of photography Lawrence Sher (Hangover) for the lapse in striking images. And Phillips gets no love for a dearth of cool fights and heated battles.

Judy (***1/2) No feature film could capture the entire troubled life of Judy Garland, who went from child actress (The Wizard of Oz), to deceased drug and alcohol-impaired adult in just 47-years. Smartly, director Rupert Goold and screenwriter Tom Edge pull from the stage play End of the Rainbow by Peter Quilter, which recounts the last six months of the star’s increasingly unsteady life. Credit Renée Zellweger for doing her own singing. Does she sound like Garland? No. Does she evoke her spirit? Yes—like a champ! The director, writer and actress make Garland look sociable, self-involved and weary of her superstardom all at once. Judy, knowing the burden she can be on others during her drunken episodes, proudly proclaims to her elementary-school-age son, “It’s wonderful to have a son big enough to carry his mother to the car.” The film’s only questionable element is a parallel storyline about her childhood, when she was groomed to be a pill-popper and emotionally abused by adults. Dramatic scenes, where she argues with an ex-husband at lunch or comes out drunk on stage, will make you wince. This is a solid interpretation of a life everyone knew would be cut short, while garnering millions of fans along the way. Very sweet. Quite tragic. Garland: “I still believe in it. The love you have with an audience.”

Marriage Story (****) As writer/director Noah Baumbach has matured, so has the subject of his films. His 1995 movie Kicking and Screaming reflected his 26-year-old view of life. His 2019 film Marriage Story captures the angst of a 50-year-old who has weathered a divorce. He doesn’t have to say that this story is coming from a very organic place. It’s obvious by the characters on view and the raw emotion they display. Charlie (Adam Driver in his best performance ever) is the head of a Brooklyn theater group. Nicole (Scarlett Johansson) is his wife and the troupe’s star. She’s offered a TV pilot in L.A., and that decision leads the two and their son Henry (Azhy Robertson) on a twisted road through divorce land, which turns them into adversaries with lawyers (Laura Dern for her; Ray Liotta for him.) who bully. There are screaming matches in this marital breakup parable that are as primal as the ones in Who’s Afraid of Virginia Woolf?” In 136 engaging minutes Baumbach relives every tortured moment and slight in the couple’s less than idyllic marriage. D-I-V-O-R-C-E!

The Personal History of David Copperfield (**1/2) No this is not about the magician. Think back further to 1850 and a book written by Charles Dickens: David (Dev Patel), is raised by his widowed mother and a loving housekeeper. Life changes when mom marries a wicked man. Soon after, the boy is kicked out of his house, into boarding schools, factory work and eventually to the loving home of his eccentric Aunt Betsey (Tilda Swinton). David’s refuge is his writing. Director Armando Iannucci (The Death of Stalin) uses Simon Blackwell’s script to form a storybook life that is as winsome and charming as it is boring and too British. Think British director Mike Leigh and his obscure movie Topsy Turvy, and you get the gist. Oscar nominee Patel is as magnetic as Swinton is eccentric. Iannucci’s decision to make 19^th century London multicultural is very progressive. Rosalind Eleazar plays David’s love interest, and she and Patel are quite disarming in a film with little appeal other than its acting and tech credits.

The Two Popes (****) It’s surprising to watch a film about two heads of the Catholic Church, who have vehement disagreements and opposing viewpoints yet find common ground. It’s as if Anthony McCarten’s (Darkest Hour) insightful screenplay is trying to teach polarized factions how to bond. Anthony Hopkins plays Pope Benedict, the traditionalist monsignor who is stodgy and not hip to the times. Jonathan Pryce is Pope Francis, a sociable, humble innovator more concerned with the good of the people than the strict rules of the church. The film is strongest when the two actors are center stage giving their diametrically opposed opinions. It’s less interesting, but still good, when it depicts Francis’ backstory. Directed deftly by the brilliant Brazilian filmmaker Fernando Meirelles (City of God), the dignity, humanity and humor of the two characters is quite appealing. Francis: “How does an Argentinian kill himself? He climbs to the top of his ego and jumps off.” Jump Popes. Jump.

These movies and artists, fresh from Toronto, will be on a screen near you before you know it.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com.

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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.

Published

1 week ago

December 17, 2024

admin

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.

Published

1 week ago

December 16, 2024

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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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PRESS ROOM: Trace and ARDN Join Forces to Promote the United Nations Sustainable Development Goals

NNPA NEWSWIRE — The African Renaissance and Diaspora Network (ARDN), a New York-based nonprofit, is committed to promoting the African Renaissance by strengthening ties between Africa and its diaspora through development and peace-building initiatives. Trace, an international multimedia platform focused on Afro-urban entertainment and youth success, is globally recognized for its contributions to Afrocentric cultures and its support of creators and fans from the African diaspora.

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1 week ago

December 16, 2024

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Trace, a global multimedia platform dedicated to Afro-urban entertainment and youth success, and the African Renaissance and Diaspora Network (ARDN) have entered into a partnership to guide their joint actions over the next two years. The objectives and details of this partnership will be revealed during a digital press conference on Tuesday, December 17, at 3 PM (GMT+1). Main speakers will be Olivier Laouchez, CEO & Co-Founder of Trace, Djibril Diallo CEO & President of ARDN as well as Richard Gant, ARDN’s Art, Culture and Sports Chair and renown actor, screenwriter and director.

Mandatory registration here.

Two Organizations, One Shared Vision

The African Renaissance and Diaspora Network (ARDN), a New York-based nonprofit, is committed to promoting the African Renaissance by strengthening ties between Africa and its diaspora through development and peace-building initiatives.

Trace, an international multimedia platform focused on Afro-urban entertainment and youth success, is globally recognized for its contributions to Afrocentric cultures and its support of creators and fans from the African diaspora.

A Partnership for Global Impact

ARDN and Trace are collaborating to:

Advocate for equality and success,
Support the achievement of the United Nations Sustainable Development Goals (SDGs) by 2030,
Foster peace and security, and
Provide aid to vulnerable communities”Our partnership with Trace represents a significant milestone in our mission to rally support for Africa and its diaspora. Together, we will amplify our impact and raise global awareness of African cultural richness and challenges,” said Djibril Diallo, President of ARDN.

“We are proud to collaborate with ARDN to contribute to the SDGs, positively impact people and societies, and elevate African cultures,” added Olivier Laouchez, co-founder and Executive Chairman of Trace.

The ARDN Red Card Campaign: First Joint Initiative

A central focus of this partnership is the ARDN Red Card Campaign, which tackles gender-based violence and discrimination. Positioned within the “Pathway to Solutions” framework, the campaign features the Red Card Pledge—a global movement aligned with SDG #5 to advance gender equality and empower women and girls worldwide, serving as a critical step toward accelerating the achievement of the Sustainable Development Goals.

The campaign encourages individuals and organizations to symbolically raise a red card, taking a stand against discrimination and promoting actions to eliminate inequality. It underscores the indispensable role of women as agents of transformative societal change. With the support of Trace and its innovative Trace+ streaming platform, the initiative will scale globally, reaching broader audiences and galvanizing international efforts for change.

This launch marks the beginning of a worldwide collaboration aimed at mobilizing collective action through symbolic gestures like the red card. It is the inaugural joint initiative between ARDN and Trace.

Adding a dynamic musical element, Trace will contribute to the Afrobeat remix of the campaign’s theme song, AOFB (“Africa Open for Business”), produced by Mackadamion. Featuring a prominent Afrobeat artist, the remix will premiere on Trace networks, celebrating Africa’s emergence as a hub of innovation and opportunity through captivating rhythms and uplifting lyrics.

A Committed Partnership for Sustainable Change

The Trace X ARDN partnership reflects their shared commitment to inclusion, cultural pride, and sustainable development. Together, they aim to contribute to societal improvements benefiting the African diaspora and beyond.

For more information about this partnership and upcoming initiatives, please contact:

Trace Contact: press@trace.plus

ARDN Contact: angelauzoeme@gmail.com

About Trace

Trace is a leading multimedia and digital platform dedicated to Afro-urban music and cultures, as well as the success of youth and artists. Trace regularly engages 350 million fans in 190 countries through entertainment and empowerment platforms. Learn more at http://www.trace.plus | Download the free Trace+ app on the App Store and Google Play.

About ARDN

The African Renaissance and Diaspora Network (ARDN), founded in 1990 and headquartered in New York, is a non-profit organization with consultative status at the United Nations and representation in over 80 countries. ARDN works closely with the United Nations to champion sustainable development across Africa and its diaspora. Its flagship initiatives, such as the Red Card Campaign, address critical issues like discrimination and gender-based violence while celebrating Africa’s potential and empowering women’s leadership. Through strategic partnerships, ARDN is dedicated to advancing the UN Sustainable Development Goals and fostering meaningful global impact. Learn more at: http://www.ardn.ngo