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A
And
we
welcome
you
back
to
another
episode
of
black
pittsburgh
matters.
Black
pittsburgh
matters
is
a
series
of
virtual
town
hall
meetings,
affirming
a
city-wide
agenda
that
black
pittsburgh
does
indeed
matter.
Black
pittsburgh
matter
means
that
black
lives
matter.
It
means
we
must
protect
the
health
and
safety
of
black
people.
It
means
that
black
communities
matter.
We
must
invest
in
them
and
rebuild
black
communities,
and
it
means
that
black
wealth
matters.
We
must
work
on
increasing
black
employment
and
entrepreneurship.
B
The
black
community
has
been
disproportionately
affected
by
concurrent
crisis,
the
kovic
19
pandemic
and
its
economic
crisis
and
racial
race
relations,
which
is
also
a
public
health
crisis.
Now,
normally
in
times
of
crisis,
and
great
change,
we'll
be
coming
to
you
as
the
black
elected
officials
of
pittsburgh,
having
meetings
across
the
city
with
our
constituents
partners
and,
alas,
since
we
cannot
do
that
safely
in
the
current
pandemic.
B
We
are
now
using
this
media
and
platform
to
come
to
you
in
the
ways
in
which
we
can
to
talk
about
what
we're
doing
and
discuss
policy
and
legislation
concerning
black
pittsburgh.
These
meetings
will
be
available
via
facebook
live
and
facebook
youtube
and
the
city's
cable
channel.
You
can
contact
us
tonight
on
the
black
pittsburgh
matters,
facebook
or
email
us
at
blackpghmatters.blackpleightsmatters,
gmail.com
and
either
that
or
through
the
facebook
live.
You
can
contact
us
and
ask
questions
and
we'll
try
to
get
them
on
the
air.
A
Historically,
in
the
black
community,
the
arts
has
acted
as
a
bellwether
for
the
black
condition
within
america
and
when
blacks
are
on
black
art.
Excuse
me
flourish
and
thrive.
The
black
condition
often
improves.
We
saw
it
during
the
harlem
renaissance
of
the
1920s,
and
we
saw
it
during
the
black
arts
movement
of
the
night
of
the
late
60s
and
70s,
and
we've
also
seen
it
here
in
our
city
in
the
30s
40s
and
50s,
when
the
black
arts
was
thriving
in
the
hill
district
community.
A
What
we've
also
seen
is
great
black
writers,
musicians,
performers
and
scholars,
offer
hope
and
invigorate
black
activist
movements.
The
black
arts
have
a
special
means
of
speaking
truth
to
power
in
times
of
great
hardship,
and
they
have
often
helped
lead
the
way
for
positive
change
for
black
americans
and
for
america
as
a
whole
in
our
current
period.
With
such
a
reinvigorated
push
for
protecting
the
health,
safety
and
well-being
of
black
people
on
black
communities,
we
think
that
arts
are
crucial.
B
The
black
arts
normally
help
us
to
understand
and
think
about
our
past.
They
help
us
envision
black
futures
as
we
councilman
lavelle
and
I,
along
with
a
city
government,
it
becomes
beginning
quest
of
rebuilding
black
communities
and
black
business
districts,
reimagining,
police
and
building
a
more
equitable
pittsburgh.
B
We
both
believe
that
the
arts
are
just
as
crucial
to
the
movement
now
as
they
were
in
the
past
to
the
civil
rights
movement.
In
order
to
have
this
conversation
about
the
role
of
black
arts
in
activism
and
the
future
of
black
pittsburgh,
we
are
joined
this
evening
by
pillars
in
the
black
arts
community,
those
with
roots
in
black
pittsburgh,
with
recognition
that
that
legacy
stretches
far
beyond
that.
That
being
said,
we
are
honored
to
welcome
with
us
tonight
dr
kimberly
ellis
poet,
playwright,
professor
and
performing
artist,
who
also
happens
to
be
august.
B
Wilson's
niece,
miss
janice,
burley
wilson,
president
and
ceo
of
the
august
wilson,
african
american
cultural
center
and
the
creator
and
director
of
the
pittsburgh
international
jazz
festival
and
miss
antweniek
kinsel,
a
vocalist
educator
and
director
of
programs
for
arts,
ed
collaborative
who
was
also
a
mentor
to
my
daughter.
Also,
a
singer
candace.
We
want
to
welcome
them
all
to
our
town
hall
meeting
this
evening.
A
So
so
I'll
begin,
and
maybe
I'll
begin
with
dr
ellis,
because
in
many
respects
I
think
you
you
are
an
artist,
but
you
also
are
a
historian.
You
also
are
an
activist
in
many
respects,
and
so
I'm
curious.
You've
won
for
people
who
don't
know
you've
produced
plays
that
sort
of
talk
about
activism
in
the
black
community,
and
so
I'm
curious
how
you
view
what
is
currently
taking
place
in
the
role
that
art
should
have
in
pushing
the
current
movement
forward.
C
Okay,
well,
thank
you
so
much
for
having
me
and
it's
a
delight
to
be
in
such
great
company
with
janice
burleigh,
wilson
and
anthony
clint
kinsel,
and
both
of
you,
reverend
burgess
and
danny
lavelle.
Thank
you.
So
I
think
that
the
arts
are
not
just
important,
but
they
are
pivotal
and
they
are
ceremonial
and
they
are
to
be
primary,
particularly
because
I'm
I
am
a
scholar.
C
I
define
myself
as
a
scholar,
artist
and
activist
and
I'll
take
my
glasses
off
just
so
that
I
won't
have
ring
light
reflection,
and
I
have
to
say
that
one
as
a
scholar
is
facts
matter
to
me.
History
matters.
It
is
so
important.
You
know
we
john
henry
clark
says
you
were
always
supposed
to
use
history
like
you,
you
use
a
clock
to
tell
you
what
time
it
is
you
know,
and
so
how
do
you
move?
If
you
don't
know
your
past?
C
If
you
don't
know
your
history
and
I
don't
mean
a
overly
romanticized
african
past,
I
mean
a
founders
of
civilization
and
mitochondrial
dna
african
past
that
shall
always
inform
our
present,
and
I
am
also
reflecting
upon
especially
a
lot
lately
into
sake.
Shanghai
poet,
playwright
korea,
poem,
you
know
producer.
C
She
said
that
during
the
black
power
movement,
which
you
know
coupled
with
the
black
arts
movement-
that
it
was
always
very
important
to
start
every
single
meeting
off
with
art
and
the
reason
why
you
do.
That
is
because,
even
if
you're,
at
the
height
of
political
tension,
racial
conflict,
gender,
gender
wars,
that
you
start
off
every
meeting
with
art,
because
that
is
your
goal-
your
goal
is
beauty.
Your
goal
is
peace
and
justice
and
to
build
a
beloved
community,
it
is
not
to
be
constantly
embroiled
in
battle.
C
It
is
not
to
stay
in
the
fight
forever.
You
do
want
to
fight
for
justice
and
you
do
want
to
win,
but
the
ultimate
goal
is
your
beauty
and
that
peace,
and
I
think
that
that
is
helpful
for
all
of
us,
especially
today,
to
help
inform
how
we
approach
our
protests,
how
we
approach
community,
how
we
treat
ourselves
even
in
the
midst
of
conflict,
and
so
to
be
honest
with
you
as
a
historian
and
as
someone
who
grew
up,
certainly
I.
I
grew
up
under
two
major
pillars.
C
The
first
one
was
betty,
love,
gibbs
and
her
love
school
of
dance.
That
was
right
in
the
ymca
in
downtown
pittsburgh.
That
was
my
introduction
to
the
arts.
I
know
that
many
people
well
outside
of
my
mother,
I
should
say-
and
actually
there's
three
pillars-
I'm
being
incorrect
here,
so
betty
love
gibbs
was
definitely
easily
one
of
the
first.
My
mother
took
me
down
to
the
ymca
when
I
was
seven
years
old
and
I
started
ballet
tapping
jazz
and
I
there
I
learned
catherine
dunham
pearl
primus.
C
You
know
we
we
did
queer
choreography
to
lionel
richie
and
debarge.
You
know
so.
I
had
culturally
competent
programming
from
the
moment
I
was
a
very
young
child.
Even
before
I
joined
her
dance
classes.
I
was
a
parishioner
going
to
church
with
my
mother
at
st
benedict,
the
moore
church,
which
is
really
important,
because
I
had
wonderful
elders
like
linda
lewis
and
veronica
morgan
lee,
and
they
had
us
just
reciting,
poetry
from
langston
hughes
and
we
had
to
perform
it.
We
had
to
perform.
C
You
know
anything
about
the
virgin
mary
and
the
birth,
and
you
know
how
god,
the
creation
and
like
they
introduced
us
to
art
in
a
way
that
was
just
so
beautiful
and
so
wonderful
and
we
were
immediately
servicing
community
and
then
most
famous
and
most
people
know
that
I
am
the
niece
of
august
wilson
and
it
is
important
because
I
was
introduced
to
august
wilson's
works
at
a
very
young
age
at
10
years
old,
and
I
think
it's
really
important
for
people
to
truly
understand
that
august.
C
Wilson
was
a
he
was
in
political,
he
was,
he
was
in
politics,
you
know,
and
all
of
the
center
avenue
poets.
They
were
all
embroiled
and
engaged
in
the
black
power
movement,
and
so
his
art
is
heavily
informed.
If
not
totally
informed.
I
mean
he
even
said
himself
that
he
was
fired
up
in
the
kiln
of
the
black
power
movement.
C
The
politics
informed
the
art
and
then
the
quest
for
the
art
and
the
reminder
of
the
art
then
reflects
back
on
the
politics
and
what
your
goals
are.
So
today
we
are
in
contentious
times
not
only
in
the
city
of
pittsburgh,
but
all
across
the
united
states
we're
right
in
the
middle
of
the
black
lives
matter
movement.
We
are
right
in
the
middle
of
a
contentious
and
and
pretty
horrible
election
year
we're
battling
voter
suppression
and
yet
black
pittsburgh
is
still
struggling.
C
B
The
august
wilson
center
kimberly
mentioned
her
uncle
the
august
wilson
center
is
the
most
iconic
art
center
for
african
americans
in
pittsburgh.
I
was
part
of
that
conversation
about
where,
to
put
it,
we
decided
to
put
it
downtown
versus
being
in
african-american
community.
I
I
really
talked
a
little
bit
to
us
about
how
important
the
august
wilson
center
is
as
a
cultural
institution
and
a
symbol
of
black
pride
in
our
city.
D
Well,
I
would
echo
everything
that
that
dr
ellis
mentioned
about
history
and
the
importance
of
art
and
and
what
we're
doing
or
attempting
to
do
at
the
august.
D
And
to
that
end
we
present
artists
that
are
creating
through
that
lens
that
are
telling
our
stories,
and
I
would
say
that
in
the
last
six
months,
our
programming
has
really
focused
on
addressing
the
health
crisis,
coupled
with
the
ongoing
crisis
for
around
racial
inequality
and
social
justice,
and
the
artists
that
we're
presenting
are
creating
work
to
address
those
concerns.
D
Those
the
triumphs
of
that
come
from
working
in
within
that
lens,
and
I
think
that
I
personally
believe
that
the
work
of
the
august
wilson,
african
american
cultural
center
is
more
important
now
is
important.
Is
important,
but
now
more
than
ever,
with
the
the
the
discussions,
the
difficult
discussions
that
are
happening
around
the
city,
I
think
it's.
So
it's
a
really
important
time.
It's
a
moment
for
for
artists
to
kind
of
seize
a
lot
of
these
opportunities.
D
I
think
that
the
local
funding
community
understands
the
importance
of
art,
but
specifically
how
black
artists
can
help
to
frame
conversations
around
race
and
and
social
justice,
and
we
hope
to
be
a
home
for
those
artists
to
present
their
work
and
to
make
that
work
make
that
art
accessible
to
the
greater
community.
A
Can
you
just
follow
up
and
talk
a
little
more
about
how
we
can
continue
to
support
the
arts
in
the
midst
of
covid,
with
so
many
of
us
working
from
home
not
being
able
to
give
out
not
being
able
to
participate
in
the
arts
like
we
once
were.
I
know
I
received
an
email
from
you
I
think,
two
weeks
ago,
with
different
levels,
of
the
way
that
I
could
join
and
become
a
member
and
participate,
and
I
am
going
to
do
that.
A
D
I
think
that
a
lot
of
people
receive
emails
like
the
one
that
you
received
and
think
well,
there's
you
know
I
can't
I
can't
commit
to
an
investment
of
this
much
or
that
much,
but
every
every
dollar
counts
every
view
counts.
So
you
have
so
many
artists
that
are
taking
their
work
online,
they're
virtual
and
when
you're
viewing
their
work
and
giving
that
encouragement.
They
can
then
take
that
and
present
that
to
those
that
do
have
the
funds
to
support
their
work.
D
I
think
right
now
the
community,
and
especially
the
the
local
funding
community,
really
needs
to
invest
in
the
careers
and
support
the
livelihood
of
artists,
as
opposed
to
in
in
programs.
We
all
know
that
so
many
artists
are,
are
they
they
find
ways
to
create
this
incredible
impactful
art
with
limited
resources,
but
why
should
they
have
to
so?
I
am
of
the
belief
that.
D
Funding
organizations
foundation,
community
individuals,
like
you
and
like
others
that
have
the
ability
to
support
artists
should
support
an
operating
support
so
that
arts
organizations
can
invest
in
the
staff
they
can
hire.
A
cfo
can
hire
a
marketing
analyst
or
an
I.t
expert.
If
we
didn't
learn
anything
from
this
shutdown
with
to
cover
19
was
that
if
you
didn't
have
the
internal
infrastructure
within
your
organization,
you
were
kind
of.
You
were
cut
off
your
voices,
weren't
heard,
if
you
didn't,
have
the
ability
to
to
pivot.
D
You
missed
a
lot
of
opportunities,
and
I
also
believe
that
larger
arts
organizations
that
have
put
out
their
statements
of
support
for
diversity
and
and
equity
and
inclusion
really
need
to
do
more
in
the
area
of
hiring
black
people
to
have
leadership
roles
within
their
organization.
I've
had
a
number
of
organizations
that
have
approached
me
and
asked
us
the
august
wilson,
american
cultural
center
to
partner
on
a
diversity
effort.
D
But
my
first
question
is:
do
you
have
any
black
people
within
leadership
roles
within
your
organization,
and
I
mean
in
finance
or
marketing
or
development,
the
roles
that
determine
the
trajectory
of
an
organization
or
influence
the
brand
or
the
programming
or
the
the
the
emphasis
of
that
organization?
D
If
you
don't
have
that,
then,
as
far
as
I'm
concerned
that
that
commitment
isn't
isn't
ringing
true
so
back
to
how
can
individuals
support
art
organizations
providing
your
expertise
if
you
are
a
finance
person
and
you
can
volunteer
and
provide
some
support
for
local
artists
or
arts
organizations?
If
you
are
an
excellent
writer
and
can
help
with
grant
writing
these
are
the
kinds.
These
are
the
the
resources
that
arts
organizations
need
right
now
to
take
advantage
of
a
lot
of
those
opportunities
that
are
out
there.
D
I
know
that
when
covet
19
was
when
it
when
it
really
hit
and
people
realized.
Okay,
we
really
need
to
change
our
game
plan
and
a
lot
of
funding
opportunities
were
presented.
D
A
number
of
resources,
a
number
of
organizations
were
providing
opportunities,
funding
opportunities
for
artists.
If
you
didn't
know
how
to
write
a
grant
proposal.
If
you
didn't
have
the
time
to
invest
in
and
invest
in
in
researching
those
opportunities
you
missed
out-
and
I
think
that
that's
where
the
emphasis
really
needs
to
be
right
now
is
building
the
capacity
infrastructure
within
smaller
arts
organizations
and
providing
that
support
to
individual
artists
so
that
they
can
take
advantage
of
all
of
the
opportunities
that
are
out
here.
B
Thank
you,
edward
and
I
I
got
exposed
to
the
arts
as
a
young
man
in
kind
of
two
different
ways.
I
took
music
lessons
my
brother
had
played
before
me,
and
so
I
was
required
to
play
and
was
blessed
to
be
able
to
play
in
a
few
symphonies
and
got
exposed
to
classical
music
and
then
at
the
homewood
library,
with
the
old
33
in
the
third
albums
and
a
book
a
place.
I
stumbled
onto
a
play
called
the
royal
hunter
of
the
sun
and
I
was
mesmerized
by
it.
B
It
on
stage
but
had
she
just
heard
it
on
the
on
the
album
and
read
in
the
book
and
I've
spent,
maybe
the
last
40
50
years
since
then
trying
to
understand
theater
and
and
do
a
little
little
theater
myself
back
in
the
day,
and
so
I
you
spend
a
lot
of
your
time,
educating
young
people
and
encouraging
young
artists.
How
important
do
you
think
it
is
for
black
kids
to
learn
art
and
be
exposed
to
the
arts.
E
Absolutely
I
think
it's
vital
you
know
in
my
world
art
education
is
essential.
It's
not
an
extracurricular
experience.
It's
not
this
fun
thing
to
keep
your
kids
busy.
E
It's
really
like
an
integral
part
of
the
learning
experiences
of
young
people,
of
all
children,
and
even
more
so,
I
think,
for
black
kids-
and
you
know
we're
talking
about
and-
and
I
try
to
talk
about
it
in
a
way
that
helps
people
understand
like
we're
talking
about
a
a
holistic
thing
from
from
birth
right
all
the
way
up
and
how
and
and
experience
with
art
throughout
your
life
can
really,
you
know,
provide
opportunities
for
you
economically,
financially
in
your
life.
E
You
know
your
generational
wealth
for
your
family
right
and
in
our
community.
So
we
talk
from
young
children,
we're
talking
about
you,
know,
speech
and
oral
skills
to
you,
know
fine
and
gross
motor
skills
and
all
of
those
things
that
that
help
in
the
early
childhood
space-
and
I
think
especially,
you
know,
while
we're
in
covin
and
having
this
uprising
and
all
the
things
that
young
people
are
experiencing
and
in
an
era
where
kids
have
so
much
access
to
information.
E
More
so
than
any
other
generation,
and
so
they're
unindated,
in
some
cases,
with
just
information
all
day,
and
so
even
the
social,
emotional
and
just
trauma-informed
space
for
for
young
people.
Arts
are
just
essential
and
just
absolutely
vital
to
to
their
learning
experience
and
and
into
their
lives.
E
So
and
personally,
for
me,
that's
been
true,
and
so
I
speak
from
a
place
of
you
know.
Art
has
been.
You
know.
I
was
a
child
of
the
afro-american
music
institute,
my
father's
a
musician,
so
art
has
kind
of
been
holding
my
hand.
You
know.
E
Music
has
been
holding
my
hand,
my
whole
life,
and
certainly
I
can
attribute
so
much
of
of
what
I've
been
able
to
do
and
in
the
places
I've
been
able
to
go
and
how
I've
been
able
to
do
my
work
to
those
educators
and
folks
that
who
have
who
have
just
really
shared
with
me
throughout
my
life
and
and
attitude
to
my
education
experience,
and
so
I'm
in
a
space
where
now,
where
I
just
want
to
do
that
same
thing
for
young
folks
on
on
various
different
levels,.
A
Yeah
on
that
note,
if
you're,
if
you're
able,
are
you
able
to
talk
a
little
bit
about
arts
within
our
schools?
My
children
are
currently
in
this
second
and
fourth
grade.
They
go
to
deal
worth
and
I
think
they've
actually
had
a
decent
exposure
to
the
arts.
A
E
Yeah
sure,
I
think,
that's,
I
think,
that's
a
great
snapshot.
You
have
a
lot
of
you
have
some
schools,
particularly
here
within
pittsburgh.
You
have
some
schools
who
have
been
able
to
do
it
well
for
a
long
time
and
have
a
great
history,
like
dilworth
of
you
know,
providing
pro
you
know,
providing
really
great
arts
opportunities
for
their
kids,
both
like
on
the
school
level
within
like
during
school
time
and
also
in
the
after
school
space.
E
But
then
you
have
some
schools
where
there's
like
almost
absolutely
no
arts
or
music
programs,
or
you
might
have
a
music
teacher
who
is
skipping
from
school
to
school,
so
they
only
see
their
students
once
a
week
or
once
every
two
weeks
or
once
every
you
know
six
seven
days
and
and
we
think
about
what
it
really
takes
to
to
connect
with
an
art
form
to
study
it
to
have
agency
within
it
to
like,
really
create
and
and
for
it
to
start
to
really
affect
your
life.
E
I
think
you
know
we
need
more
than
that
and
that
and
for
me,
as
a
musician,
it
goes
back
to
it's
like
how
many
kids
have
access
to
private
and
lesson
instruction.
You
know,
have
access
to
a
musician
who
will
sit
with
them
in
a
private
lesson,
because
for
us
as
musicians,
that's
a
lot
of
that's
a
big
part
of
how
we
do
what
we
do
and
learn
how
to
do
what
we
do
and
it's
certainly
different
from
discipline
to
discipline.
But
that's
one
of
the
things
one
of
the
markers
I
always
look
for.
E
Do
kids
have
access
to
private
lesson,
instruction,
whether
it
be
instrument
or
a
vocal
or
you
know,
arts,
arts
opportunities
with
our
teacher
and
so
on,
and
so
you
do
see
lots
of
organizations
and
we're
blessed
to
have
so
many
organizations
and
teaching
artists
and
artists,
who
are
just
talented
and
go
in
and
do
this
supplemental
work
for
schools
when
it's
not
equitable
across,
and
so
you
know,
I've
always
been
a
champion
for
teaching
artistry.
E
I
was
a
teaching
artist
myself
for
many
years,
and
I
see
that
I've
seen
it
work
in
my
life
and
the
lives
of
other
young
people
in
a
way
to
to
create
financial
opportunities
for
them,
also
just
to
to
learn
your
craft
in
a
different
way
to
share
your
work,
and
so
I
you
know,
I
think
it's
important
that
we
that
we
continue
to
to
lift
up
that
that
the
teaching
artistry
space
and
lift
up
opportunities
for
artists
to
get
in
there
and
really
influence
what's
happening
in
schools,
because
we
also
have
to
remember,
especially
here
in
pennsylvania,
that
90
percent
of
teachers
are
white,
folk
or
white
women
right,
so
even
even
within
just
a
regular
school
space.
E
You're
not
really
in
contact
more
often
than
not,
with
a
teacher
who
identifies
with
your
experience
and
and
that's
and
that's
also
true
within
the
arts.
Now
that
might
now
with
teaching
artistry,
you
might
be
able
to
have
access
to.
You
know
a
black
teaching
artist
or
a
black
artist
who's
performing
or
what
having
or
what
have
you.
E
But,
but
we
know,
there's
a
lot
of
lack
there.
So
I
think
teaching
artistry
is
a
way
to
to
really
expose
our
kids
to
you
know,
artists
who
are
coming
from
from
various
identities
who
who
who
reflect
our
students
and
and
what
they're
going
through
in
their
lives
and
their
experiences
and
are
able
to
to
connect
with
teachers
in
a
different
way
as
well
to
affect
how
teachers
do
do
their
work,
because
I
think
those
relationships
are
important
and
they
add
a
more
holistic
experience
for
the
young
person.
E
So
so
I
think,
there's
a
balance
that
has
to
happen.
I
think
it'd
be
wonderful
if
every
school
and
every
kid
had
access
right
to
the
deep,
like
the
deeper
learning
of
arts,
education,
right,
deeper
learning,
with
a
musician,
deeper
learning
with
an
artist,
but
I
think
it's
important
to
to
to
tap
into
those
assets.
E
When
you
have
really
impeccable
artists
in
your
community
who
can
come
in
and
bring
a
perspective
that
you
know
a
teacher
who
is
just
a
certified
teacher
and
may
not
be
a
practicing
artist
might
not
have
that
perspective.
So
there's
certainly
balance
there
and
we
have
to
do
more.
There's
more
and
more
more
to
to
be
done
and-
and
I
absolutely
I'll
just
say
that
our
black
children
just
deserve
the
best.
So
what
is
the
best?
You
know
that
we
can
strive
for
for
our
kids.
B
Dr
ellis,
I
want
to
start
with
you
to
have
this
kind
of
conversation
when
black
arts
have
done
well.
I
believe
the
black
condition
america
has
improved.
I
believe
the
arts
have
acted
as
a
bellwether
for
the
condition
of
black
people.
Examples
include
the
harlem
renaissance
in
the
20s
black
arts
movement
in
the
late
60s
early
70s.
So
I-
and
this
is
really
starting
with
you,
but
I'd
like
to
hear
all
of
your
thoughts
about
this.
C
Oh
absolutely
absolutely
you
know
we
are
an
african
people
and
so
in
african
philosophy
and
ideology,
and
it
doesn't
even
matter
what
the
ethnicity
is.
So
I'm
not
I'm
fully
aware
africa
is
a
continent
filled
with
at
least
52
countries
and
another
one
pushing
with
you
know:
800
languages
ethnicities
great
diversity
right,
but
in
all
of
africa
the
role
of
the
arts
is
always
to
be
functional,
not
just
abstract
and
and
removed
from
the
human
experience.
C
So
if
you
travel
to
africa,
especially
one
of
my
favorite
countries,
ghana,
you
see
very
clearly
that
the
door
is
it's
a
door,
but
it
is
one
of
the
most
intricate
beautifully
carved
outdoors.
You
will
have
ever
seen
or
chairs
or
spoons
or
vases
or
just
even
how
the
grass
is
cut
or
trees
or
are
shaped.
I
mean
it's
really
a
beautiful
thing,
and
so
yes,
I
mean
we
are
art
and
and
quite
frankly,
the
way
that
I
I
want
to
give
a
shout
out
to
sister
shona
sharif.
C
When
I
started
to
explore
african
dance,
what
was
so
much
fun
is
that
all
of
our
teachers,
they
always
taught
us
like
the
exact
culture
from
which
the
dance
came
and
then,
as
dancers.
When
I
was
learning
and
teaching
at
the
artist
collective
in
hartford
connecticut,
I
was
in
grad
school.
We
had,
they
required
all
the
dancers
to
become
drummers,
and
so
that's
how
I
learned
how
to
drum-
and
I
understood
it
because
they
they
told
us
the
drum-
is
your
heartbeat.
C
You
have
to
understand
the
drum,
because
it's
directly
inside
of
you,
it
drives
everything
about
you
and
then,
if
you're
going
to
be
a
dancer,
you
have
to
be
in
tune
with
the
drummers
to
truly
understand
their
rhythms.
The
poly
rhythms,
their
breaks.
So
there's
no
way,
there's
absolutely
no
way
that
the
arts
is
somehow
and
black
art
is
somehow
separate
from
black
people.
It
is
our
literal
heartbeat
in
our
driving
force.
D
Sorry
about
that,
I
would,
I
guess,
follow
up
with
dr
ellis.
I
think
that
when
black
people
are
given
an
opportunity
to
dream
and
create
and
have
the
freedom
to
do
that
and
express
themselves
express,
their
frustrations
express
their
their
their
joys,
their
fears,
it's
it's
it's
all
about
healing,
and
so
it's
a
healthier
condition
for
people
to
to
have
those
opportunities,
and
I
think
that
truly
the
arts
give
people
an
opportunity
to
do
that.
D
I'll,
give
you
an
example,
just
a
recent
example:
we
have
a
a
writing
workshop
that
we
typically
do
in
the
summer
time
for
middle
school
and
high
school
students
and
with
the
pandemic
going
to
a
online
platform,
we
decided
to
to
offer
it
virtually
and
we
had
students
from
all
over
the
country
that
registered
for
this
program
and
they
had
so
much
to
say
and
so
so
much
that
we
added
three
more
workshops
over
the
summer
and
now
we're
doing
it
every
month
and
they're
talking
about
their
own
accomplishments.
D
They're
talking
about
their
fears,
they're
talking
about
social
justice,
they're
talking
about
lgbtq,
plus
issues,
they're,
given
an
opportunity
and
some
structure
within
which
to
create
and
and
as
ann
quinique
said,
our
young
people
deserve.
They
deserve
the
arts,
it's
it's
healing,
it's
uplifting
and
and
a
release,
and
so
I
think
when
people
have
that
opportunity
to
create
and
have
that
release,
then
they
can
focus
on
so
many
other
things,
and
that's
where
that
prosperous
condition
comes
from
is
the
ability
to
the
freedom,
the
permission
and
the
resources
to
create.
A
Real
really
quickly,
ms
wilson,
for
those
who
don't
know
what
is
the
writing
program
that
you're
speaking
of
and
how
can
people
find
out
more
about
it?.
D
D
We've
had
parents
that
have
said
that
they
were
willing
to
pay
for
it,
but
we
didn't
want
to
add
that
that
element
to
it
wanted
people
to
young
people
to
feel
as
though
they
were,
they
had
the
permission
to
sign
up
once
sign
up
every
month
and
literally
the
students
are
coming
from
they're
signing
up
from
all
around
the
country,
so
they
have
a
lot
to
say,
and
you
know,
as
I
think
I
forget
who
mentioned
the
fact
that
there's
so
much
content
media
coming
at
them,
but
and
they
use
their
their
social
media
to
express
themselves,
but
it's
not
the
same
as
some
structure
and
also
a
nurturing
environment
for
that.
D
So
it's
it's
very
welcoming
it's
very
I'm
talking
about
the
workshop,
just
the
the
the
the
vibe
around
this
workshop
and
it's
something
that
we'll
continue
and
we
won't
charge
for
it,
because
we
really
want
to
give
people
of
all
ages
an
opportunity
to
create
and
to
to
have
that
release
and
and
have
opportunities
to
express
themselves.
A
Okay,
thank
you
kim.
Well,
dr
ellis,
I
apologize
in
your
last
statement.
You
made
some.
You
said
something
I
found
very
interesting,
which
is
that
art
is
to
be
functional.
For
those
who
are
not
weird
are
not
aware,
you
do
a
a
podcast,
I
guess
of
what
we'll
call
it
that
black
politics
matter,
but
what
I
noticed
on
your
sort
of
banner
for
it.
You
have
a
picture
of
darren
seals.
A
Who
was
one
of
the
civil
rights
for
the
activist
protesters
that
was
killed
in
ferguson,
and
I
thought
it
was
interesting
that
you're
choosing
to
carry
that
image
into
the
political
realm,
and
I
would
I'm
just
curious
as
to
why
you
chose
to
do
that
and
why
you
feel
that
is
important.
I'm
assuming
it
ties
into
the
notion
of
art
being
functional
and
so
that
having
a
functional
relationship
to
politics.
But
if
you
could
talk
about
that,
a
little.
C
Sure
I
would
love
to
talk
about
it.
Councilman
lavelle
is
talking
about
my
background
graphic.
I
wish
you
know
what
oh
and
you
know
what
micah
has
it,
so
she
might
even
show
it
at
some
point.
So
I
just
want
to
clarify,
though
all
of
the
ferguson
activists
definitely-
and
you
know-
ferguson
emerged
in
2014
when
mike
brown
was
shot
and
killed
by
officer,
darren
wilson
and
it
sparked
a
huge
movement.
C
Largely
not
I
mean,
unfortunately,
we're
very
used
to
police
killings
in
that
way,
but
what
we
were
not
used
to
was
the
vociferous
militarized
police
reaction,
and
that
is
the
only
difference
that
we
can
see
that
made
ferguson
ferguson
right
and
it
was
very
interesting
because
it
was
like
you
know,
where's
ferguson,
who
are
these
people?
You
know
it
wasn't
like
los
angeles
or
new
york,
or
you
know,
and
so
that
put
fergus
on
on
the
map
was
just
like
basically
two
straight
weeks
of
like
militarized
type
of
repression
after
this
police
killing.
C
That
was
in
question
and
then,
of
course,
mike
brown.
Certainly
wasn't
the
perfect
victim
right.
So
I
I
all
of
the
activists
they
mattered
to
me
and
they
affected
me
and
at
the
time
I
was
care
giving
for
my
mother.
So
I
couldn't
physically
go
to
ferguson,
but
many
of
us
who
were
digital
activists
and
defending
the
humanity
of
trayvon
martin
in
2012.
C
We
were
all
called
trayvon
warriors
and
we
started
to
humanize
trayvon
long
before
the
the
jury
nullification
began.
You
know
with
with
the
the
case
of
george
zimmerman,
because
they
were
definitely
putting
trayvon
martin
on
trial
for
his
own
death,
okay,
and
so
we
had
experience
and
we
were.
C
We
were
very
sad
about
the
verdict
and
we
had
suffered
that
loss,
so
we
all
came
together
again
and
adding
more
people
when
mike
brown
was
shot
and
killed,
and
then
you
had
the
ferguson
uprising,
and
so
I
say
all
that
to
say
we
we
engendered
a
lot
of
digital
activism
around
ferguson
and
so
our
job,
especially
those
of
us
who
could
not
physically
be
in
ferguson,
was
to
make
sure
that
people
knew
where
to
watch
the
live
streams
whose
live
streams
to
watch
how
to
report
on
ferguson
correctly.
We
would
live
tweet.
C
The
live
stream
and
then
we
would
inevitably
wait
for
the
misinformation,
the
misdirection,
the
inappropriate
and
racist
media
narratives
that
came
out
in
the
morning
and
we
would
get
up
in
the
morning
and
we
would
correct
the
narratives
and
then
it
would
start
all
over
again,
because
the
peaceful
protest
always
happened
during
the
day
then
nightfall
would
come.
Then
there
was
those
high.
You
know
high
impact
collisions
with
the
police
and
so
on
and
so
forth.
C
Okay,
so
I
just
wanted
to
set
the
stage
for
that,
because
there
were
a
number
of
activists
that
passed
away
in
ferguson
and
darren.
Seals
is
one
of
them.
However,
that's
not
darren
seals
in
my
graphic,
that's
actually
an
activist
named
edward
crawford
and
that
picture
that
graphic
is
a
artistic
version
of
the
pulitzer
prize-winning
photo
taken
by
a
photographer
working
for
the
st
louis
american,
and
that
became
the
image
of
ferguson.
C
Okay,
the
sad
ending
to
ed
crawford
is
that
he
ended
up
committing
suicide
and
he
had
four
children
and
it
I
I
knew
him
I
reached
out
to
him
digitally
and
I
actually
tried
to
work
with
him
to
kind
of
change.
Some
of
his
branding,
because
quite
frankly
I'll
just
be
perfectly
candid
with
you
all
you
know
his
twitter
address
was
I
flood
panties
and
I
was
like
you
know
ed.
C
I
know
that
you're
trying
to
keep
it
real,
but
you're
not
going
to
be
able
to
fully
market
yourself
well
and
you're,
not
going
to
be
able
to
capture
and
benefit
from
your
own
photo
if
people
don't
know
at
least
how
to
find
you
as
ed
crawford
and
so
he's
like,
oh
sis,
you
know
I
got
to
keep
it
real.
I
said:
okay,
we'll
keep
it
real
and
create
another
account
all
right.
C
So
we
were
in
the
middle
of
those
types
of
conversations,
even
though
I
didn't
know
him
personally,
and
so
I
I
was
able
to
meet
him
during
the
first
year
anniversary
of
the
ferguson
uprising.
We
met
in
person
and
we
hugged
you
know
me.
We
talked
and
I
had
a
lot
of
high
hopes
for
him,
because
ed
was
a
very
absolute
sweetheart
and
when
you
see
the
picture
of
the
graphics
first
of
all,
he
has
long
beautiful
locks.
C
I
mean
just
beautiful
and
what
he
was
doing
and
he
actually
had
on
a
real
american
flag
t-shirt.
So
there's
not
really
much
that
that
graphic
designer
changed
at
all.
He
just
made
it
artistic
and
so
ed.
He
said
that
the
police,
you
know
because
the
here's,
the
other
thing
is
that
there
were
families
out
there.
C
You
know
it
could
blind
you,
it
could
kill
you
I
mean.
There's
you
know
if
you
have
asthma,
there's
just
so
much,
you
know,
tear
gas
is
so
he
he
really
is
a
hero.
In
many
different
ways-
and
the
other
thing
that
makes
this
so
super
black
which
we
laughed
about,
is
that
ed
had
a
bag
of
chips
in
his
hand
as
he
threw
that
tear
gas
canister
back
and
he
never
dropped
the
chips.
C
So
when
you
look
at
the
graphic,
I
just
want
you
all
to
know
that,
in
the
other
hand,
was
his
bag
of
chips,
and
that
is
so
black
and
so
funny,
and
we
laughed
so
hard
about
it.
And
so
I
used
that,
as
my
background
for
black
politics
matter.
C
I
can't
believe
like
why.
Why
isn't
the
connection
to
me
is
so
clear
that
you
know
art
and
resistance
and
politics
and
history
and
practicality
and
pragmatic
work
that
that
that
works
to
make
real
systemic
changes
in
our
lives?
They're
all
connected
to
me.
C
Black
people
were
over
taxed,
they
were
pulled
over
for
the
most,
the
most
minutes:
traffic,
offenses
and
or
no
traffic
offenses,
and
basically
their
build
up
and
their
constant
ticketing
and
then
them
not
being
able
to
pay
the
ticket
and
then
the
fines
on
top
literally,
all
of
those
unjust
fees,
fueled,
the
municipal
city's
budget,
that's
how
horrific
it
was
like
it
was.
It
was
a
crime
on
so
many
different
levels,
and
so
mike
brown's
death
exposed
a
whole
host
of
corruption.
It
wasn't
just
about
a
police
killing
all
right.
C
So
all
of
that
is
really
important
because
when
it
comes
to
black
politics
matter,
I
started
it
in
2014
because
black
politics
matter
and
you
cannot
excise
politics
and
legislation
and
policy
from
what
you're
protesting
about.
And
so
I
have
to
say
that
I
think
that
a
part
of
the
issue,
because
to
be
honest
with
you
all,
I
have
been
an
activist
since
I
was
a
teenager,
I
mean
you
can
ask
people
who
went
to
high
school
with
me.
C
I
created
the
first
all
school
assemblies
at
my
institution
at
the
time
it
was
saint
paul's
cathedral
high
school
because
they
didn't
honor
black
history
month
and
I
set
up
a
whole
campaign
and
we
won
that
campaign
to
the
point
where
the
entire
school
had
to
do
three
all
school
assemblies.
Because,
basically
you
know
we
were
told
that
catholic
schools,
you
know
breed
academic
excellence,
and
I
said
how
could
you
have
academic
excellence
and
you
don't
under
black
history
month
and
you
don't
teach
black
history.
C
I
mean
this
is
so
basic
to
me
right
so
being
an
activist
and
knowing
that
policy
and
systemic
change
is
so
important
and
then
also
growing
up
on
the
works
of
august
wilson
with
the
and
I'm
dancing
and
performing
with
betty
love,
gibbs
and
I'm
performing
and
reciting
poetry
in
saint
benedict
moore
church.
And
then
I
have
this
fabulous,
beautiful,
wonderful
mother
who
loved
me
unconditionally
and
was
an
artist
in
her
own
right
in
so
many
different
ways,
and
I
grew
up
in
a
home
improvement
project.
C
So
her
her
art
showed
up
in
tar
and
you
know
dirty
jeans
and
her
handkerchief
and
everything
that
she
did
in
our
house.
It
was
absolutely
amazing,
so
I
just
have
to
say
it's
no
surprise
that
I
am
an
interdisciplinary
scholar.
My
my
you
know.
My
degree
is
in
american
studies,
and
that
is
an
interdisciplinary
program.
C
So
I
see
no
difference
between
literature,
history,
politics,
art
and
I
sincerely
believe
that
is
the
way
that
we
can
change
the
landscape
of
this
city
and
definitely
maintain
our
our
center,
our
african
center,
our
black
center,
our
black
family
center,
our
black
cultural
traditions
and
values,
and
our
black
protest
tradition.
So
that's
why
I
have
the
graphic.
B
And
I
want
to
start
off
with
and
when
this
black
arts,
I
think,
speak
truth
to
power,
and
especially
in
these
turbulent
times,
it
always
has
right
from
the
spirituals.
They
were
a
reaction
to
slave
conditions.
We
saw
that
in
various
times
in
our
history,
and
so
I
guess
that's
really.
My
question
is
there?
Is
there
a
need
for
the
arts
in
this
time
when
we're
really
talking
about
racial
reconciliation?
B
And
you
know,
white
supremacy
racism,
inequity
can
and
how
does
the
arts
speak
truth
to
power?
How
does
ours
become
our
voice
and
and
antoine?
I
want
to
start
with
you
and
hear
your
thoughts
on
that.
E
Absolutely
I
just
want
to
thank
dr
goddess,
for
you
know
just
teaching
us
so
much,
and
you
know
what
I
mean
giving
that
greater
context,
and
I
think
you
know
one
other
thing
when
you
asked
the
question
earlier
about.
You
know
that
connection
and
I
thought
about
you
know
the
spirituals.
I
thought
about
our
connection
in
churches
and
worship
spaces
and
how
the
music
and
art
really
is
functional.
In
that
way,
and
I
think
you
know
when
we
talk
about,
I
was
just
in
a.
E
I
just
had
the
really
wonderful
privilege
of
being
in
space
with
sister,
aisha,
thomas,
and
she
was
talking
about
like
what
what
in
a
european
sort
of
center
space,
looks
like
versus
what
an
african-centered
space
looks
like,
and
I
think,
if
we're
going
to
really
move
past
and
move
away
from
these
white
supremacist
ways
that
we
live
and
have
been
forced
to
live
and
and
deal,
I
think
we
have
to
re
recalibrate
that
value.
E
You
know
what
I
mean
and
get
back
to
sort
of
like
what
what
moves
us
in
the
world
right?
What
moves
us
to
to
create?
What
moves
us
to
to
make
the
art
what
moves
us
to
change
our
communities,
and
I
think
for
me
it's
certainly
like
I
go
back
to
always
go
back
to
you
know
nina
simone.
She
said
it's
the
artist's
responsibility
to
to
reflect
the
times,
and
so
how
does
that?
How
does
that
manifest?
For
us?
E
E
Our
work
has
really
created
wealth
for
for
white
folks,
right
in
the
country
and
for
ourselves
in
our
own
communities,
and
so
you
know
we're
not
remembering
that
we
are
this
that
that
this
expression,
this
way
of
expressing
ourselves,
is
indigenous
to
us
as
ours
we
own
it,
and
that
we
have
power
within
how
we
express
ourselves
and
that
power
transcends.
So
when
you're
talking
about
you
know
just
just
that
image
and
the
whole
backstory
behind
that
image.
E
Dr
goddess,
when
we
talk
about
you,
know,
music
and
how
it
transcends,
and
even
august
wilson-
and
you
know
the
the
blues
right-
that
that
influence
all
of
these
things
are
threaded.
E
You
know,
through
our
experience
and
there's
so
much
power
and
what
we
can
do
in
the
lives
of
young
people
in
our
own
lives
and
our
communities
that
we
tap
into
and
own
that
power
and
and
start
and
and
and
do
that
work
as
the
artist
and
I
think
it's
important-
I
always
think
about
you
know-
are
the
creative
workers
and
that
our
trips,
our
skills,
are
transferable.
E
That
does
not
honor
that
power,
and
so
you
know,
I
think
it's
vital
to
to
to
be
thinking
creatively
about
the
solutions
to
to
continue
moving
us
forward
in
our
communities,
and
I
think
art
is
vital
to
that
both
whether
it's
you
know
reflecting
right
politics,
whether
it's
reflecting
what
we're
seeing
and
showing
us
a
mirror,
because
sometimes
we
don't
see
it.
Sometimes
we
don't
see
it
until
it's
right
up
right
up
on
us
like
that
and
showing
us
that
reflection,
whether
it's
you
know
the
artist
recalibrating.
E
You
know
our
way
of
looking
at
something,
and
certainly
as
we're
in
this
digital
space.
You
know,
I
think
art
is
all
up
in
it,
so
so
yeah
I'll
stop
there,
but
I
think
you
know
I
think
it's
so
important
and
and
it's
one
of
the
things
that
is
black
folks,
you
know.
Sometimes
we
get
into
a
space
where
it's
like,
oh
well,
you
know
we
always
get.
We
always
get
the
get
the
get
the
creative
rules.
E
We
always
get
the
we're
on
the
stage,
not
behind
the
stage
we're
on
the
right,
we're
not
in
the
leadership
space
like
we're,
not
making
the
decisions
and
all
those
things
have
to
happen
as
well,
and
you
know-
and
we
start
to
move
forward,
to
make
sure
that
as
black
folks
making
those
decisions,
while
black
folks
is
on
stage
and
black
folks
is
behind
stage-
and
you
know
folks
are
woven
throughout
all
of
these
industries,
and
I
think
you
know
that
goes
back
to
my
point.
E
I
was
kind
of
making
earlier
about
tapping
into
like
the
economic
opportunity
of
black
arts
and
of
black
artists,
sort
of
owning
their
art,
owning
their
work
and
and
really
tapping
into
opportunities
as
a
result
of
that,
and
when
there's
not
that
in
the
space,
like
that's
a
job,
you
know
when
we're
not
thinking
about
how
an
artist
can
contribute
to
something,
that's
a
job
for
someone.
So
there's
you
know
we're
doing
the
work
in
the
small
ways
you
know
to
make
to
make
big
change
as
well.
A
Thank
you,
so
I
want
to
bring
micah
campbell
smith
on
for
all
you
all.
She
is
our
intern
who
helps
us
actually
put
this
show
on.
So
we
want
to
thank
that,
but
she's
also
monitoring
the
live,
questions
that
are
coming
in
as
people
actually
watch.
I
want
to
afford
her
an
opportunity
to
ask
the
live
questions
before
we
run
out
of
time.
F
Yes,
we
have
a
few
live
questions
here
tonight.
The
first
was
for
miss
burley
wilson.
It
was
asking
how
individuals
can
donate
and
perhaps
across
the
board,
to
to
black
arts
in
pittsburgh.
Well,.
D
If
you're
talking
about
donating
specifically
to
the
august
wilson,
african
american
cultural
center,
you
can
go
to
our
website,
which
is
aacc,
awc
dot,
org
support,
but
I
feel
very
very
strongly
about
the
community
supporting
black
arts
community
black
philanthropy
is
key.
If
you
have
five
dollars
instead
of
buying
a
starbucks
coffee
or
whatever
give
that
send
that
to
the
artix
or
the
art
organization,
arts
organization,
that's
in
your
community!
That's
serving
your
community!
That's
teaching
your
children!
I
I
think
about
the
afro-american
music
institute
which
ann
quinique
mentioned.
D
So
many
musicians
have
come
through
that
that
organization
and
are
now
amazing
musicians
or
if
they
aren't
amazing
musicians,
they
still,
they
were
a
part
of
a
really
important
community
and
organizations
like
that
should
be
supported
by
the
people
within
the
community.
We
have
a
lot
of
power.
We
have
power,
as
ann
quinique
mentioned,
with
our
with
our
art
and
our
words,
but
we
also
have
financial
power
and
we
need
to
support
our
own.
So
I
encourage
everyone
to
support
that
arts
organization
that
you.
D
You
know
that
you
enjoy
that
you
you
go
to
their
shows.
You
you
enjoy
their
free
concerts
on
the
sidewalk.
Well,
the
art
isn't
free
it.
The
concert
might
be
free,
but
artists
deserve
to
be
paid,
and
I
don't,
I
personally
don't
believe
in
artists
performing
for
exposure.
D
I
think
that
artists
need
to
be
supported
as
as
much
as
possible,
so
support
those
arts
organizations
that
are
in
your
communities.
Those
artists
that
you
enjoy
that
give
you
life
that
give
you
inspiration.
F
Excellent,
thank
you
so
much.
The
next
question
that
we
have
from
constituents
is
how
has
art
education
been
affected
due
to
covet
19
and
virtual
learning
in
the
home
and
when
children
are
exposed
to
the
arts?
Do
you
feel
it
produces
creativity
as
a
driver
for
entrepreneurship
in
in
the
black
community?.
E
I'll
take
that
one
absolutely.
I
absolutely
do
believe
that
you
know
I
I
I've
seen
that
happen
time
and
time
again
and
I
think
a
lot
of
times.
E
You
know
I
always
say
that
models
are
important
and
so
for
young
people
being
able
to
really
visualize
and
see
someone
in
your
community,
someone
that
you
know
or
have
access
to
that
is
doing
art
that
is
making
it
that
is
selling
it
that
is
performing
and
active
and
and
doing
their
work,
how
they
see
fit,
and
so
often
I
think
you
know
for
us,
especially
in
our
black
community,
when
we
think
about
artists.
E
Sometimes
it's
like
you
know:
beyonce,
okay,
so
like
not
everybody's
beyonce,
right
and
beyonce
is
not
the
only
version
of
a
successful
career
and
a
successful
artist,
and
so
you
know
having
those
models
really
close
to
you.
I
think
is
so
important
and
that's
why
I
say
you
know
when
it
comes
to
you
know:
arts,
education
within
schools.
E
You
know
who
you
have
face-to-face
time
with
and
that's
why
those
teaching
artists
coming
into
your
school
or
coming
into
your
after
school
program
is
so
vital
and
I'll
just
say
to
the
first
question
in
terms
of
arts
education
during
covid.
You
know
this
is
like
it's
a
real
pickle.
So
so
it's
like
you
know
there
are
students
who
are
like
if
they're,
if
they,
if
they're
at
a
school,
that
has
an
amazing
arts
program
or
a
music
program,
then
covet
hits.
Now
you
don't
have
access
to
your
instruments.
E
You
may
not
have
access
to.
You
know
supplies
and
materials
and
many
students
don't
have
access
to
computers
or
internet
access.
So
there's
certainly
issues.
There's
certainly
need
across
the
city,
for
you
know,
supplies
and
for
students
to
be
able
to
access
arch
education.
E
Our
work
at
arts
at
collab
we've
been
really
battling
this
this
summer
and
really
stepped
in
head
first
to
try
to
tackle
this
issue
both
on
the
side
of
teaching
artists
who
had
lost
work,
because
organizations
had
to
stop
programs
almost
immediately,
and
then
you
have
parents
who
are
at
home
with
their
kids
and
have
no
idea
how
to
you
know
how
to
do
this
and
how
to
supplement,
and
you
have
schools
who
are
trying
to
figure
it
out
as
well
and
they're,
really
focusing
on
what
you
know:
core
academic
subjects
and
not
really
focusing
on
arts
education.
E
So
I
just
want
to
encourage
folks
to
check
out
the
website
creativelearningpgh.org.
This
is
a
collaborative
project
with
art,
ed
collaborative
legacy,
arts
project
and
apost
allegheny
partners
of
out
of
school
time
and
on
there
you
can
have
access
to
tons
of
activities.
Videos
by
pittsburgh
based
teaching,
artists,
they're,
amazing,
and
if
you
are
an
artist
or
teaching
artist,
you
can
apply
for
a
stipend
to
get
to
send
content
for
the
site.
So
it's
paid
opportunity
for
teaching
artists
as
well.
As
you
know,
a
learning
opportunities
for
folks
who
are
at
home.
F
Excellent,
that
was
great
information.
I'm
gonna
try
and
scoop
that
in
the
chat.
The
next
question
was
the
opinion.
Some
opinions
on
the
removal
of
the
christopher
columbus
statue.
C
Well
so
this
is
interesting.
So,
okay,
wait.
Let
me
go
back
really
quickly
because
because
I
just
I
have
to
tell
you
all
that
when
I
was
in
college,
I
realized
that,
because
I
had
performed
through
my
church
and
then
I
performed
you
know
in
grade
school
like
during
our
black
history
month
programs
and
then
in
college.
You
know
any
and
all
clubs
are
supported
financially.
C
I
did
not
really
understand
the
concept
of
an
arts
entrepreneur,
and
I
remember
that
I
went
to
see
sonia
sanchez,
whom
I
absolutely
adore
right
and
I
knew
she
was
of
great
value.
I
knew
it,
but
I
think
that
as
a
student
I
was
a
little
spoiled
from
the
school
like
paying
for
all
of
our
speakers
and
artists
to
come,
so
I
never
had
to
personally
give
she
told
the
audience
one
day
she
said
you
know.
I
really
need
you
all
to
support
us
as
artists.
C
C
C
That
is
what
I
was
always
taught
and
always
taught
not
that
people
can't
contribute,
but
to
be
self-determined
and
to
be
self-reliant,
start
there,
and
then
your
energy
will
definitely
bring
people,
and
I
have
to
say
because
I'm
here
you
know
janice
burley,
wilson
and
demetria
bachela.
They
were
my
first
investors
in
dr
goddess.
One
woman
show
when
I
debuted
here
in
pittsburgh.
They
are
the
ones
that
authorized
the
grant.
I
believe
it
was
ten
thousand
dollars
and
when
I
tell
you,
I
used
it
to
the
wisest
extent.
C
I
absolutely
did,
and
I
was
so
grateful-
and
I
was
really
grateful-
that
these
black
women
would
support
me
as
a
young,
black
woman
and
a
young
black
scholar
who
had
not
actually,
I
hadn't
produced
a
play.
Yet
you
know-
and
they
invested
in
me,
so
I
am
to
this
day.
I'm
extremely
grateful.
So
thank
you
so
much
and
to
me
thank
you.
D
And
so
that's
and
that's
that's
that's
the
key.
That's
the
key.
There
is
investing
investing
in
yourself,
as
you
said,
and
investing
in
your
own
community,
whether
it's
five
dollars,
whether
it's
ten
dollars,
whether
it's
your
time.
Yes,
as
I
mentioned
with
earlier,
you
know
if
you
are
a
marketing
person
and
you
have
the
ability
to
help
a
young
artist
figure
out
how
to
reach
more
people,
then
you
know
offer
offer
that.
I
just
think
that,
as
as
enquinique
mentioned
earlier,
you
know
as
black
people,
we
we're
a
gentle
people.
D
You
know
we
care,
we,
we
genuinely
and
naturally
love
one
another
and
care
for
one
another,
and
it
isn't
really
a
stretch
for
us
to
reach
out
and
help
one
another,
and
I
just
think
that
that's
that's
what
we
really
need
to
be
focusing
on
in
at
this
this
moment
in
time.
C
Yes,
so
let
me
segue
really
quickly
to
like
the
arts,
entrepreneur,
christopher
columbus,
it's
okay!
So
I
started
my
own
company
called
a
trip
off
the
old
block
and
the
whole
idea
was
to
make
people
take
trips
literally
off
the
old
block,
because
I
found
out
that
pittsburghers
don't
really
travel
that
much
even
across
different
neighborhoods,
and
I
was
like
you've
got
to
be
kidding
me.
Not
only
should
we
travel
across
neighborhoods,
we
should
travel
outside
of
the
city
of
pittsburgh.
C
Jaquayah
may
is
the
beneficiary
of
my
initial
foray
into
taking
arts
entrepreneurs
and
when
I
tell
you
the
way
watching
her
be
so
wonderfully
received
in
switzerland
and
ghana
watching
her
become
she
be.
I
told
her
I
said
from
now
on.
You
are
the
international
performing
artist
kwame
from
the
usa.
All
right
so
watch
people
line
up
and
buy
her
cds.
C
You
know,
and
just
just
shelling
out
money
they
were
just
they
were
so
happy.
You
know
it.
I
just.
I
love
that
right.
The
reason
why
I'm
able
to
do
that
is
because
I
traveled
throughout
europe
in
honor
of
my
mother
beforehand,
which
leads
us
right
to
christopher
columbus.
One
of
the
places
that
I
traveled
to
was
sevilla
spain
and
I
ended
up
at
the
alcazar
palace.
C
Those
initial
travelers
to
to
the
to
the
to
the
americas.
Okay,
so,
should
christopher
columbus's
statue
be
removed
if
the
statue
is
still
in
tribute
to
and
if
the,
if
the
letters
and
the
writing
at
the
bottom
says
that
he
discovered
america
and
that
he's
responsible
for
america,
then
something
has
to
change
either.
You're
gonna
have
to
change
the
lettering
and
you're
gonna
have
to
change
that
super
victorious
pose.
He's,
probably
you
know
posted
up
on
some
horse
right.
C
You
know
high
up,
probably
put
you
can
put
christopher,
you
can
put
crystal
ball
in
a
museum
and
we
can
honor
his
expedition
and
we
should
really
be
honoring,
the
native
americans,
the
indigenous
people,
who
not
only
cultivated
the
civilization
that
we
experienced
even
today,
even
in
our
american
democracy,
the
iroquois
they
contributed
to
the
american
constitution,
a
lot
of
people
just
skip
over
that
they
don't
know
that
and
there's
a
way
to
honor
anybody.
We
can
even
honor
and
remember
and
understand
the
confederate
soldiers
in
a
museum.
C
There
are
no
public
art
tributes
to
the
nazis
because
they
lost
and
they
were
on
the
wrong
side
of
history,
and
that
is
how
america
must
treat
these
statues,
should
they
be
preserved,
sure
put
them
in
a
museum.
Let's
go,
let's
talk
about
them,
I
teach
about
them,
but
they
should
not
dominate
our
public
space
and
participate
and
perpetuate
this
white
supremacist
mythological
narrative
that
does
nothing
but
reinforce
the
degradation
of
people
of
color
and
elevate,
falsely
elevate
white
people
throughout
the
united
states.
We
cannot
do
that.
This
is
2020.
C
We
can't
tolerate
any
it
anymore
and,
as
you
all
know,
donald
trump
is
decided
that
he's
he
wants
to
push
forward
the
1776
commission
right
and
he
wants
to
perpetuate
that
false
narrative,
because
he's
upset
that
the
new
york
times
launched
their
16-19
project.
That
really
is
the
founding
of
america
and
here's.
The
other
thing
last
point:
the
founding
fathers,
particularly
thomas
jefferson,
right.
C
He
literally
wrote
in
the
notes
on
the
state
of
virginia
that
they
knew
that
what
they
were
doing
was
wrong
by
having
slavery
at
the
start
of
a
country
that
was
supposed
to
be
free
for
everybody.
They
knew
they
were
wrong
and
that's
why
he
wrote
if
god
is
a
just
god.
I
fear
that
type
of
judgment.
If
we
don't
end
slavery,
this
is
not
natural,
it
really
is
not.
C
Okay,
I'm
just
paraphrasing
him
right
now:
it's
not
okay
and
we
have
to
fix
it,
but
since
he
and
the
others
felt
like
they
couldn't
fix
it
right
then,
and
there,
because
they
were
so
economically
dependent
upon
slavery,
they
decided
to
make
sure
that
the
american
constitution
could
be
changed
in
the
future
and
that
we
could
have
amendments,
and
that
is
why
we
keep
talking
about
this
more
perfect
union
because
they
knew
it
was
imperfect.
They
knew
it
was
hypocritical.
C
C
A
Wow,
so
with
that,
I'm
not
sure
I
have
a
better
response
to
that
question,
so
I
will
probably
let
it
let
that
lie
there.
We've
also
gone
over
our
hour,
and
so,
unless
our
guests
have
one
last
remark,
we
will
wrap
up
seeing
none.
D
I
just
I
thank
you
for
the
opportunity
to
for
this
forum
for
an
opportunity
to
talk
about
the
importance
of
art
and
specifically
the
art
of
black
artists
and
the
impact
that
our
contributions.
I
I
don't
consider
myself
to
be
an
artist,
but.
C
D
Well,
I
just
fee,
I
feel
very
fortunate,
very
blessed
to
be
in
a
position
to
give
to
amplify
the
voices
of
black
artists
and-
and
I
also
feel
very
privileged
to
be
in
this
room
with
dr
goddess,
dr
goddess,
dr
ellis
and
ann
quinny,
quinzel,
brilliant
women
who
have
said
so
much
today,
and
I
hope
that
the
audience
walks
away
with
the
appreciation
for
what
these
two
women
bring.
And
so
many
artists
in
our
community.
E
E
I
just
like
all
of
you
doctor
got
dr
goddess
councilman
lavelle,
reverend
burgess.
Thank
you
so
much,
and
I
just
wanted
to
say
you
know,
because
one
of
the
things
I
think
we
didn't
totally
get
to
was
there
are
so
many
things
happening.
Black
artists
are
moving
shaking
making
things
happen
here
right
now
today,
2020,
regardless
of
not
regardless
of
but
in
even
even
in
the
midst
of
covet
19
and
the
uprising.
E
You
know
I
just
wanted
to
shout
out
to
you
know
because
couple
of
things
that
have
happened
this
summer.
I
think
that
have
just
really
been
transformative
for
our
arts
community
things
like
the
hotline
ring
collaborative.
E
You
know
fundraiser,
that
you
know
arts
organizations
led
by
black
folks,
queer
folks
and
women,
and
one
of
the
things
that
was
really
special
in
that
space
too,
is
that
I
wanted
to
just
name
that
you
know
they
as
a
as
a
collaborative
decided
that
the
two
organizations
led
by
black
women-
and
you
know
thinking
about
this
report
right
that
we've
just
recently
read-
should
receive
a
higher-
should
receive
a
higher
payout
of
the
of
the
fundraiser
than
the
other
organizations
and
that's
what
we
did
and
I
think
when
we
start
to
think
about
what
we
want
the
change
we
want
to
make
and
how
how
our,
how
our,
how
the
arts
and
our
arts
living
with
the
arts
living
within
us
is
different
right
from
that
white
supremacist
space.
E
How
do
we
just
make
changes,
and
you
know
to
offset
some
of
the
really
you
know,
horrible
experiences
that
we
know
black
folks
have
had
traditionally
here
in
pittsburgh
and
also
just
celebrating
our
rich
history
and
our
legacy,
and
I
just
also
want
to
shout
out
to
boom
concepts,
not
just
because
that's
my
spot,
but
also
because
again,
like
an
organization
that
has
been
able
to
pivot
and
really
support
artists
in
real
ways
through
residency
through
public
art
projects.
E
E
So
you
know,
and
should
we
remove
the
statue
you
know,
but
what
what
goes
there
and
what?
What
statues
can
we
create?
What
other
spaces
can
we
can?
We
really
show
you
know
our
arts
legacy
here
in
pittsburgh,
throughout
our
city
on
the
walls
and
all
the
places.
So
thank
you
again
so
much
for
having
me
tonight.
This
has
been
wonderful.
It's
beautiful
to
just
see
faces
and
be
in
space
with
folks.
Thank
you
so
much.
C
And
thank
you
all
as
well.
I
have
thoroughly
enjoyed
your
company.
I
really
appreciate
all
of
you
for
each
of
your
individual
contributions
since
I'm
wearing
my
artist's
head.
I
am
dr
goddess.
I
everybody
calls
me
that
is.
I
have
no
problem
with
it
and
it's
a
lot
of
fun
actually
being
dr
goddess,
because
being
dr
kimberly
ellis
in
the
academy
can
be
a
little
boring
like
doctor
got
his
whole
life
she's
so
exciting.
You
know,
I'm
like
okay!
C
Well,
let's,
let's,
let's
do
it,
so
you
can
find
me
and
please
do
support
my
work.
I
still
need
to
support
you
all
just
because
I'm
related
to
august
wilson,
I
mean
he's
passed
away.
It
is
what
it
is.
You
know
I'll
get
in
trouble.
Also,
if
I
don't
mention
that
my
brother
is
the
executive
director
of
the
august
wilson
house
and
you
should
definitely
and
celebrate
go
visit.
The
augustanaugust.com,
which
is
the
virtual
festival
that
the
august
wilson
house
did.
They
did
a
wonderful
job.
C
I
mean
I
participated,
but
I
still
say
they
and-
and
I
also
love
the
virtual
festival
by
the
august
wilson,
african
american
cultural
center.
That
was
also
awesome,
so
like
just
enjoy,
so
you
can
find
me
at
dr
goddess
everywhere
on
the
internet,
I'm
dr
goddess
and
I
definitely
live
on
twitter.
Please
do
support
my
still
in
progress
documentary
because
I
don't
have
enough
money
to
finish
it
you're
beautiful
to
me,
which
is
about
the
journey
of
my
mother's
dementia
and
that's
at
your
beautifultv.com.
C
Please
do
support
my
latest
play
that
has
not
been
produced
yet,
but
we
did
have
a
reading
in
memphis
in
atlanta,
in
ghana
and
in
pittsburgh
it's
called
afro-roma
a
love
story,
and
so
we
are
across
the
internet
as
well.
I
think
you
can
go
to
afroaroma.com
for
that,
and
then
I
did
have
to
launch,
because
dr
goddess
is
so
popular.
I
had
to
launch
my
own
site,
my
other
own
site,
to
talk
about
my
other
professional
work,
which
is
at
dr
kimberlyellis.com.
C
Now
that's
still
under
construction,
but
we
do
have
a
page
up
all
right.
So
that's
how
you
can
support
me.
I
would
greatly
appreciate
it
and
definitely
come
to
blackpoliticsmatter.com.
We
have
to
participate
in
this
election.
Let's
use
the
arts
to
inspire
us.
Let's
always
be
artists
and
activists
and
pragmatically,
wonderful
humanists
that
are
going
to
build
and
continue
to
build
a
beloved
community
for
ourselves
and
everyone
else.
So
thank
you
so
much
for
having
me.
A
And
thank
you
all
for
participating.
This
was
really
enlightening
for
me.
I
learned
a
lot
I
was
actually.
I
took
some
notes
for
some
things
I
can
do
with
my
children.
Dr
goddess,
you
educated
me
a
little
as
well,
so
I
really
appreciate
you
all
I'll
have
a
simple
request,
which
is
to
ms
kimzel's
point.
As
you
know,
of
opportunities
for
government
to
promote
artists.
Please
let
us
know,
as
we
take
down
statues,
please
remind
us
that
we
need
to
engage
you
on
what
should
go
back
in
that
place.
A
Just
please
hold
us
as
government
and
elected
officials
accountable
to
supporting
the
black
arts
movement
with.
That
being
said,
I
do
want
to
thank
all
our
guests
for
being
here
with
us
this
evening.
I
want
to
thank
dr
kimberly
ellis
a
poet,
a
playwright,
a
historian,
an
academic
and
a
performing
artist.
A
I
want
to
thank
miss
janis,
burleigh
wilson,
the
president
and
ceo
of
the
august,
wilson,
afro-american
cultural
center
and
the
curator
and
director
of
the
pittsburgh
international
jazz
festival,
and
I
want
to
thank
miss
anquinique,
kinzel,
vocalist,
educator
and
director
of
programs
for
artist
collab
and
in
order
to
have
and
really
rebuild
a
strong
black
community.
We
must
have
our
centered
in
it
and
both
myself
and
reverend
burgess,
in
collaboration
with
you
all,
are
committed
to
rebuilding
black
communities
in
pittsburgh,
for
black
people
by
black
people
with
our
partners
and
allies.
B
I
want
to
also
thank
all
of
you
who
are
watching,
and
those
of
you
who
ask
questions
in
ways
participated
in
this
town
hall
meeting.
Remember
you
can
watch
this
town
hall
meeting
on
facebook,
the
city's
youtube
channel
and
the
city's
cable
channel,
a
new
town
hall
will
occur
every
wednesday,
and
I
also
want
us
to
remember
by
working
together
united
purpose.
We
can
transform
our
city
strengthen
it
from
for
for
for
all
of
its
residents,
not
just
some
of
this
residents.