By Lalita Perez Acosta

The Golden Gate Symphony Orchestra and Chorus proudly presents the world premiere of “Elijah’s Call: An Oratorio for an Abolitionist” on Sunday, Nov. 3, at 2 p.m., at the Palace of Fine Arts. Composed by the Bay Area’s Allison Lovejoy, the piece honors Elijah Parrish Lovejoy, a preacher and anti-slavery martyr.

Lovejoy, a distant relative of Elijah, draws on her ancestry in response to the killing of George Floyd by police in 2020. “The message of this piece is about coming together to cultivate a garden of love and grace,” said Lovejoy. “It speaks to the importance of unity—to heal, grow, and foster a stronger sense of community.”

“Elijah’s Call” invites audiences to reflect on the ongoing quest for civil rights and aims to inspire activism in the face of contemporary racial justice issues.

The world premiere performance will feature civil rights activist and attorney Walter Riley as narrator, with vocalists Michael Desnoyers (tenor), Melinda Martinez-Becker (mezzo-soprano), and Bradley Kynard (bass) delivering the oratorio’s evocative arias. The libretto is written by San Francisco historian, author, and journalist – Gary Kamiya and the Golden Gate Symphony will perform under the direction of Music Director/Conductor Urs Leonhardt Steiner.

In addition to “Elijah’s Call”, the program will include Symphony No. 4 by Florence Price, a pioneering African American composer whose work first premiered at the 1933 Chicago World’s Fair. This symphony, a landmark in classical music history, was the first by an African American woman to be performed by a major orchestra. The evening will also feature a moving performance by the Men’s Choir from Acts Full Gospel Church of God in Christ in Oakland, directed by Chris Poston, who will present a selection of African American spirituals.

Leading up to the world premiere, two free panel discussions will offer audiences a deeper look into the creation of “Elijah’s Call.” Composer Lovejoy, librettist Gary Kamiya, who is known for his contributions to local history with notable works published in the San Francisco Chronicle and acclaimed books like Cool Gray City of Love, and conductor Urs Leonhardt Steiner will share insights into the composition process, the historical research involved, and the ongoing relevance of Elijah Lovejoy’s legacy in the modern civil rights movement. Attendees will also hear musical excerpts from the oratorio.

The first panel will be on Saturday, Oct. 19 at 3 p.m. at the Project Artaud Salon Series, Sculpture Studio, 401 Alabama St., San Francisco, CA

The second panel will be on Wednesday, Oct. 30 at 6 p.m. at the San Francisco Public Library Main Branch, Koret Auditorium, 100 Larkin St., San Francisco, CA

Tickets for the Nov. 3 performance of “Elijah’s Call: An Oratorio for an Abolitionist” are available now at www.cityboxoffice.com/ggsoc. Tickets will also be available at the door, with discounts offered for seniors and students under 18.

This premiere is made possible with the support of the San Francisco Arts Commission Individual Artist Grant.

Lalita Perez Acosta is a communications associate for the Golden Gate Symphony Orchestra.

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By Tamara Shiloh

Augusta Savage was a prominent sculptor and activist of the Harlem Renaissance, known for her artistic talent and dedication to encouraging and supporting African American artists.

Augusta Christine Fells was born on Feb. 29, 1892, in Green Cove Springs, Fla. She later took the name of her second husband as her

Savage began sculpting as a child using natural clay found near her home. Her father, a Methodist minister, didn’t approve of her sculpting and did whatever he could to stop her. She once said that her father “almost whipped all the art out of me.” Despite her father’s objections, she continued to make sculptures.

When the family moved to West Palm Beach, Fla., in 1915, she encountered a new challenge: a lack of clay. She eventually got some materials from a local potter and created a group of figures that she entered in a local county fair. Her work was well received, winning a prize and along the way the support of the fair’s superintendent, George Graham Currie. He encouraged her to study art despite the racism she encountered.

In the 1920s, Savage moved to New York City, where she attended Cooper Union, a prestigious art school that provided free tuition. She excelled there, completing her studies ahead of time and receiving scholarships for living expenses. Despite being rejected for a summer program in France because of her race, she persevered, using the incident to highlight discrimination. She gained recognition during the Harlem Renaissance, creating sculptures of prominent African Americans, including W. E. B. Du Bois and Marcus Garvey.

In 1929, Savage received a Julius Rosenwald fellowship, which enabled her to study in Paris, where she exhibited her work at the Grand Palais, a famous exhibition hall and museum in the French capital.

When she returned to the U.S. during the Great Depression, Savage turned to teaching and founded the Savage Studio of Arts and Crafts, mentoring young artists like Jacob Lawrence and Norman Lewis. She played an active role in the Harlem Artists’ Guild and worked with the Works Projects Administration (WPA) to support struggling artists.

One of Savage’s most celebrated works was The Harp, created for the 1939 New York World’s Fair. Inspired by James Weldon Johnson’s poem “Lift Every Voice and Sing,” the monumental sculpture depicted twelve African American youth as the strings of a harp. Although it was highly acclaimed, The Harp was destroyed after the fair ended.

In her later years, Savage retreated to a quieter life in Saugerties, New York, teaching children and creating art as a hobby. She was married three times and had one child, Irene.

Savage passed away on March 26, 1962, in New York City after battling cancer. Although she was nearly forgotten at the time of her death, today Savage is recognized as a pioneering artist, educator, and advocate for African American art and artists.

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By Linda Parker Pennington

In a joyful community celebration attended by over 200 people, including Mayor London Breed, the highly anticipated ‘Portrait of a Phenomenal Woman’ monument to Dr. Maya Angelou was unveiled at the San Francisco Main Library on Sept. 19.

Oakland-based artist Lava Thomas created the 9-foot bronze and stone monument in the form of a book featuring a portrait and quotes from the celebrated author, poet, civil rights activist and former San Francisco resident.

The work was commissioned by the San Francisco Arts Commission in response to legislation passed in 2018 by San Francisco’s Board of Supervisors, requiring at least 30% female representation in the public realm.

Attending the unveiling were Angelou’s grandson, Elliott Jones, social advocate, philanthropist, and board member of the Dr. Maya Angelou Foundation; and Rosa Johnson, Angelou’s niece and family archivist, who spoke about the historic unveiling of this first public monument portraying a Black woman in San Francisco’s history.

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