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From YouTube: Arts and Culture in the Black Community
Description
Listen to the panelists Coventry Cowens, Leesa Kelly, and Seitu Jones about the history of arts and culture in the Black community in Minneapolis.
A
C
C
This
is
the
Sixth
and
the
final
in
a
series
of
Minneapolis
African-American
Community
engagement,
a
city-wide
Community
engagement
for
Minneapolis,
African-American,
historic
and
cultural
context,
study
the
City
of
Minneapolis
hired
a
consultant
team
comprised
of
Lane
Johnson
development,
Equity
strategies,
LLC
and
106
group
to
conduct
city-wide
community
outreach
on
their
needs
and
wants
of
the
African-American
Community
relative
to
Heritage
preservation,
I'd
like
to
ask
Mr
Roberts
kolecki,
with
a
city
planner
with
the
City
of
Minneapolis,
a
historic
preservation.
If
you
could
speak
a
bit
about
this
project,.
D
Thank
you,
Dr
Antonia,
good
evening,
everyone.
My
name
is
Rob
scalakis
city,
planner
and
historic
preservation,
section
of
the
planning
department
with
the
City
of
Minneapolis
as
Dr
Antonia
mentioned.
This
is
a
project
that
has
been
ongoing
for
the
past
you're,
so
funded
by
The,
National
Trust
for
historic
preservation,
African-American
cultural
heritage,
action
fund
Grant-
and
this
is
actually
our
sixth
and
final
community
meeting
for
this
project.
So
it's
very
exciting
to
see
all
you
here
and
I'm
very
happy
to
be
here
with
you
all
tonight.
D
A
Thank
you.
Thank
you
very
much,
Dr,
wilcoxon
and
good
evening.
Everyone
we
are
continuing
on
our
journey
to
collect
information
about
building
places
and
people
regarding
the
story
of
the
African-American
community.
In
Minneapolis,
we've
looked
at
Fort
Snelling
we've
looked
at
the
Village
of
Saint
Anthony
we're
looking
at
early
Minneapolis
with
St
James
Amy
Church,
founded
in
1960,
we've
traveled
through
music
capturing
the
Minneapolis
sound
from
South,
Minneapolis
and
North
Minneapolis,
and
tonight
we're
looking
forward
to
talking
about
art
and
culture.
E
We
also
know
that
many
places
and
stories
have
been
excluded
from
that
narrative,
sometimes
due
to
the
restrictions
of
the
current
criteria.
So
as
we
go
through
these
sessions,
we've
been
collecting
information
and
we
hope
to
significantly
expand
the
narrative
and
we'll
also
provide
the
city
with
a
list
and
a
map
of
places
that
are
associated
with
African-American
contributions
and
events
in
history.
C
Thank
you,
man,
our
thanks
to
our
producers
of
this
evening
event
Mr
Emery
Carter,
who
orchestrates
the
music
we
hear
and
the
informative
slides
we'll
see
throughout
our
meetings
tonight.
Thank
you,
Emory.
Thank
you
all.
It
is
my
pleasure
to
introduce
you
to
tonight's
panelists
for
the
theme
your
experience
as
knowledge,
preservers
of
African-American
culture
is
very
critical
to
Minnesota
to
Minneapolis.
C
She
also
worked
in
the
computer
technology
industry,
Academy
and
Social
Services
Miss
Collins
has
volunteered
with
Camp
Friendship
and
the
International
Leadership
Institute
and
local
African
and
African-American
history
projects
memorialize.
The
movement
is
an
ongoing
initiative
to
collect
and
preserve
the
plywood
protest
art
that
was
created
in
response
to
the
murder
of
George
Floyd
in
Minneapolis
on
May
25th
2020.
C
Its
founder
and
executive
director
is
Miss
Lisa
Kelly
Miss
Kelly
is
a
Chicago
native
and
moved
to
Minnesota
in
2017.,
when
she's
not
collecting
and
preserving
the
pliode
mirrors
she's
writing
for
her
blog.
It
is
our
lives
or
facilitating
self-care
workshops
that
Inspire
and
encouraged
by
walk
to
Center
themselves
in
terms
of
crisis.
In
times
of
crisis.
C
C
My
work
is
a
testament
of
radical
love
for
our
Beloved
Community,
the
local
community,
our
ancestor
community
and
the
community
of
unit
Humanity.
He
says
about
his
work,
so
we
have
asked
the
panel
members
to
comment
on
their
experience
as
well.
As
answer
the
question:
how
can
the
Minneapolis
African-American
Community
identify
works
that
are
so
seared
into
the
consciousness
of
the
black
community,
that
there
should
be
formal
recognition
for
future
generations
and
visitors?
C
F
As
one
of
the
co-founders
of
the
African-American
Heritage
Museum
and
gallery,
along
with
Tina
Burnside,
who
is
the
other
co-founder,
we
tried
very
hard
to
begin
the
process
of
working
on
the
museum
at
a
Grassroots
level.
Too
often
times
our
type
of
institution
is,
is
started
at
a
higher
level
through
private
art
collections
or
travel,
and
just
ends
up
being
a
public
space
where
everyone
can
come,
but
it
it
there's
often
a
disconnect
between
the
general
population
and
those
that
started
to
that
particular
Museum
or
institution.
F
I
know
that
part
of
the
slides
that
I
have
kind
of
talk
to
the
population
that
we
cater
to,
which
is
everyone,
frankly,
is
everyone
and
how
we
continue
to
have
a
vision
that
we
hope
to
grow
over
the
years
as
an
institution
and
become
more
embedded
in
the
way.
People
basically
look
at
Art
and
include
us
as
part
of
their
education
and
history.
F
F
F
F
We
also
have
a
history,
fellow
we're
supporting
at
this
time
and
we'll
be
showing
all
of
this
starting
at
the
beginning
of
next
year,
and
also
we
had
a
youth
curator
program.
This
is
key,
especially
in
the
African-American
Community,
to
encourage
youth
to
understand
their
history,
but
also
how
to
exhibit
it
and
to
present
it
to
the
public
and
to
understand
how
to
talk
about
it,
and
that
was
nine
weeks.
F
This
past
summer
and
12
youth
from
the
community
had
an
opportunity
to
hear
speakers
and
then
demonstrate
that
they
could
present
an
exhibit
at
the
end
of
the
year
or
summer.
So
we're
very
we're
small,
but
we're
very
busy
in
terms
of
everything
that
we're
trying
to
present
and
also
allow
others
to
contribute
to
and
part
of
that
in
Minneapolis
has
allowed
us.
F
Also
to
be
one
of
those
destination
points
which
for
Minneapolis,
we
we
get
people
that
are
going
to
see
Paisley
Park,
but
they
also
look
for
other
African-American
points
of
interest
and
the
museum
has
become
one
of
those.
We
get
a
lot
of
people
from
out
of
state
outside
the
country
and
they
want
to
know,
especially
after
last
summer.
F
What
is
Minneapolis
like
what
is
Minnesota
like?
What
are
the
people
like?
What
do
they
have
contributed?
What
is
their
history?
So
it's
it's
been
quite
fruitful
in
many
ways
to
be
a
part
of
this
project.
Tina
and
I
we're
in
meetings
constantly
trying
to
craft
the
next
exhibit
or
event,
especially
A
Soulful
holidays
event
that
we
have
with
meet
Minneapolis
downtown
right
now
for
the
holidays,
so
some
well-designed
Christmas
and
holiday
trees,
but
with
a
Twist
to
it.
F
I,
probably
should
wrap
this
up
in
terms
of
getting
getting
the
message
out
about
who
we
are
and
how
we
have
developed
and
we're
located
at
1256
Penn
Avenue
North
Minneapolis.
On
the
fourth
floor
of
the
RAC
building,
this
is
a
brand
new
building
on
the
corner.
There
we've
been
there
for
three
years
and
and
hope
we
can
see
more
people
there
coming
in
in
the
in
the
next
year.
C
G
Thank
you.
Yes,
so
I'll
just
start
with
a
small
background
about
memorialize
the
movement.
It's
a
Grassroots
organization
that
I
found
it
last
summer
during
the
uprising
in
Minneapolis
after
the
murder
of
George
Floyd
in
reaction
to
the
murder
of
George
Floyd.
As
a
lot
of
you,
as
most
of
you
probably
know.
G
During
that
time,
there
was
a
lot
of
plywood
going
up
on
businesses
and
storefronts,
who
were
trying
to
protect
their
windows
and
doors
from
being
looted
and
broken
into,
and
the
community's
response.
The
protesters,
the
writers,
artists,
people's
response
to
that
plywood
going
up
and
everything
that
was
happening
around
them
was
to
create
murals.
You
know
to
express
the
feelings
that
they
had
at
the
time
these
complex
emotions
that
spoke
to
their
anger,
their
grief,
their
hope,
their
love.
G
You
know
their
mourning
of
George
Floyd
and
everything
that
was
happening
at
the
time
and
for
me
I've
always
been
a
lover
of
museums.
I've
always
been
a
lover
of
history
and
I've
traveled.
You
know
extensively
across
the
world
and
I
always
start
with
the
museums,
the
history,
museums,
the
cultural
museums,
the
art,
museums,
and
so
when
I
saw
the
murals
going
up.
I
was
like
wow.
This
is
incredible,
because
this
is
history
being
created
right
before
my
eyes.
You
know
this
is
recorded
artifacts.
This
is
Art.
This
is
culture.
G
You
know,
and
so,
when
those
pieces
of
plywood
these
murals
now
began
to
come
down
as
businesses
felt
it
was
safe
enough
to
open
up
their
storefronts
again.
I
wondered
to
myself
what
would
happen
to
them
and
after
waiting
a
couple
weeks
to
see,
if
anything
would
happen
and
seeing
murals
begin
to
disappear,
seeing
rumors
of
murals
being
auctioned
off
or
stolen,
destroyed,
left
in
an
alley.
G
Next
to
the
garbage,
seeing
interviews
with
institutions
like
Mia
and
the
Walker
who
were
deliberating
on
whether
or
not
they
should
collect
and
preserve
the
murals
I,
just
kind
of
sprung
into
action
and
began
going
door
to
door
speaking
to
these
businesses
and
then
ultimately
collecting
the
murals
and
that
started
in
June
of
2020.
And
since
then
we
have
collected
over
a
thousand
plywood
panels
which
is
somewhere
around
six
or
seven
hundred
murals
themselves.
G
Murals
can
range
anywhere
from
one
panel
to
14
panels,
depending
on
how
large
the
piece
of
art
is
and
we've
been
storing
them
in
an
orthoped
King
building
where
we've
been
preserving
them,
And
archiving
them
with
the
help
of
the
University
of
St,
Thomas's,
Urban,
art
mapping,
department
and
the
Midwest
art,
Conservation,
Center
and
huge
network
of
volunteers,
and
we
also
activate
them
at
exhibits.
There
was
a
picture
somewhere
in
the
slideshow,
a
couple
pictures
of
some
of
the
exhibits
we
did
this
year.
The
first
was
our
Ann.
G
Our
first
annual
Justice
for
George
exhibit
that
we
put
on
in
partnership
with
the
Minnesota
African-American
Heritage
Museum
in
gallery
to
commemorate
the
one-year
passing
of
George,
Floyd's,
murder
and
then
I
think
there's
another
photo
of
an
exhibit
that
we
did
in
collaboration
with
Miss
Carrie
Mae
Wiens
in
New
York
in
August,
and
so
when
we
talk
about
what
should
be
collected,
what
should
be
preserved
and
remembered
for
me,
everything
and
these
murals
are
such
a
vibrant
and
just
like,
in
your
face
representation
of
that.
You
know.
G
These
murals
are
not
just
beautiful
images,
although
there
are
several
stunning
pieces
really
elaborate.
Vibrant
murals
there's
also
just
messages,
there's
just
venting
people
who
literally
just
took
to
the
boards
to
express
their
feelings
so
that
they
can
go
home
and
sleep
that
night.
You
know
so
I,
don't
believe
that
you
know
we
have
a
right
necessarily
to
pick
and
choose
what
gets
preserved
and
what
gets
remembered
and
what
is
deemed
art
or
artifact
I.
G
G
It's
how
we
remember
you
know
who's
the
people
who
have
come
before
us.
It's
how
we,
you
know
talk
it's
how
we
understand
our
way
of
life
at
the
time.
It's
how
we
understand
our
culture
at
the
time
and
I
think
it's
so
powerful
that
they
have
that
they've
done
this
and
that
we
can't
I
think
it.
It
speaks
volumes
that
we
don't
have
artifacts,
necessarily
that
speak
to
what
our
life
was
like.
G
What
our
fashion
was
like
until
I
stepped
foot
in
the
Minnesota
African-American,
Heritage,
Museum
and
gallery
I
didn't
see
pictures
of
people
from
the
18
and
early
1900s
clothing
items,
hats,
jewelry,
glasses
and
other
small
artifacts
and
I.
Just
so
I
guess
going
back
to
the
question.
I
think
everything
should
be
preserved.
I
think
everything
should
be
recorded
and
I.
Think
as
we
as
we
think
about
the
present.
We
really
have
to
consider
every
little
aspect
of
what
we've
seen
and
record
it
all.
I
You
know
first
I
have
to
give
some
shout
outs,
some
love
and
respect
to
first
to
judge
Lang,
Aaron
and
Dr
Wilcox
for
pulling
us
all
together
to
talk
about
what
is
actually
sacred
work.
This
is
so
deep
and
so
powerful
and
something
as
Lisa
so
boldly
put
it
I
mean
it
has
to
be
done,
and
we
have
to
do
it
for
ourselves
and
also
to
give
a
big
shout
out
to
Lisa
and
Coventry
I
mean
you
are.
I
What
you
all
have
done
is
not
just
preserve
this
work,
embrace
the
work,
encourage
the
work
and
push
the
work
out
there
more,
but
you
all
have
actually
created
institutions,
and
that
is
even
more
important
to
create
these
institutions
that
truly
reflect
us
and,
and
our
work
is
Emery
still.
There
I
want
him
to
go
to
some
of
these
slides
of
of
my
if
he
can
absolutely
okay.
I
That
is,
trans
transitory
work,
that
is
permanent.
The
peace
on
the
right
is
a
portrait
of
Harriet
Tubman,
pointing
North
that
for
years
sat
outside
the
Tubman
Women's
Alliance
to
show
our
strength.
The
strength
of
black
women
in
particular
the
piece
on
the
left
is
the
meal
that
I
helped
curate
for
the
Indianapolis
Museum
of
Art.
Next,
one.
I
Okay,
we
can
go
to
the
next
one,
please!
Okay,
here,
you
know
right
now,
I'm
speaking
to
you
from
the
temporary
office
of
my
archive
I
right
now
am
cataloging,
and
it's
one
of
the
questions
that
you
asked
Antonia
and
that
Lisa
answered
so
well.
I
mean
what
should
we
collect
and
that's
everything
you
know
for
good
or
for
bad
I
saved
everything.
People
tell
me
I'll
save
your
receipts.
I
save
my
receipts.
People
said,
oh,
you
should
say
your
contracts,
I
saved
my
contract
and
so
I
saved.
I
This
is
a
lot
that
my
wife,
wife
and
I
bought
years
ago,
that
is
literally
down
the
street
from
where
we
live,
and
so
we're
plotting
and
planning
now
now
I
hope
to
be
around
to
work
in
that
studio
for
a
long
time,
but
we're
plotting
and
planning
what
will
happen
next
and
all
of
us
need
to
be
concerned
about
how
to
pass
on
that
work.
Can
you
go
to
the
next
side
here?
I
This
image
of
George
Floyd
could
go
out
to
the
world
to
be
able
to
document
now.
This
is
where
I'm
going
to
end
it's
important
for
us
to
rethink.
Now
we
use
terms
like
archive
archival
collecting
and
with
the
institutions
that
Coventry
and
Lisa
outlined.
We
need
to
rethink
those
terms.
We
need
to
think
the
way
that
African-American
Museum
musicians
did
120
years
ago
when
they
created
jazz
that
music
using
these
Western
instruments.
Here
we
have
these
Western
terms,
these
Western
instruments.
I
We
have
to
think
about
a
whole
other
way
of
of
preserving
our
memories,
and
we
have
to
think
about
the
institutions
that
will
help
us
do
that
in
along
the
way,
and
we
have
to
think
about
the
people
that
are
coming
behind
us
that
will
help
build
on
what
we've
created
so
far
and
yeah.
So
this
is
where
I
want
to
end.
This
is
op.
C
B
D
B
Each
each
session,
but
I
I
I,
have
noted
that
one
of
the
highest
response
answers
to
how
would
you
like
African-American
history,
black
history,
preserved
in
Minneapolis,
is
in
museums
and
institutions
like
you
all,
are
creating
and
curating
right
now,
so
this
is
live
and
in
action
what
people
have
desired,
according
to
the
data
Dr
Antonio
has
gotten
so
far
from
the
surveys.
So
this
is
beautiful.
Work
and
I
I
do
wish
to
be
able
to
visit
it
at
your
locations
and
I.
B
B
F
B
C
I
Folks,
don't
answer
questions
you
know.
One
thing
I
want
to
say
is,
unfortunately,
we
don't
have
enough
forums
like
this
for
us
to
come
together
to
share
ideas
to
share
a
meal.
I
mean.
Unfortunately,
we
can't
do
that
in
these
times
of
covet,
but
we
need
to
do
as
much
as
we
can
to
share
these
ideas
back
and
forth.
You
know
once
again:
I
can't
emphasize
enough
how
important
you
know
what
Coventry
showed
or
what
those
slides
showed
is
that
this
is
an
unconventional
Museum.
I
The
Minnesota,
African-American,
Heritage
and
Museum,
and
gallery
is
something
that
is
nothing
like
any
of
the
institutions
around.
Looking
at
the
work
that's
collected,
there's
there's
probably
no
other
institution,
no
other
formal
Museum
in
Minneapolis,
although
it
has
happened
in
Saint
Paul,
a
large
museum
has
exhibited
Robin,
Hickman's
work,
I
mean
and
embrace.
That
is
valuable.
I
You
know
the
work
that
you're
doing
Lisa
and
I
know
that
you've
heard
this
it
how
hard
it
is
to
preserve
plywood,
you
know,
and
and
and
it
is,
but
at
the
same
time
that's
what
we
worked
on.
So
what
do
we
do?
Do
we
just
toss?
It
I?
Have
actually
been
telling
folks,
you
know,
keep
that
plywood,
because,
unfortunately
we
may
need
it
again,
especially
looking
at
the
current
times
that
we're
in
so
your
Museum
might
offer
a
whole
other
kind
of
service.
The
next
Reckoning
that
we
have.
J
G
G
G
We've
come
up
with
better
methods
to
carry
them
and
tools,
and
now
we
do
not
carry
them
one
by
one
or
one
one-on-one.
We,
we
always
carry
them
two.
At
a
time
and
like
I
said
we
have
an
extensive
network
of
volunteers
who
are
always
willing
to
show
up
whenever
extra
hands,
so
I
haven't
had
to
live
in
a
while,
I
I
was
gonna,
say
I
haven't
had
to
work
in
a
while,
but
I
literally
just
went
and
picked
up
boards
this
morning.
L
L
F
F
When
you
see
a
group
of
25
high
schoolers,
who
are
feeling
not
trustworth,
not
trustful
in
their
High
School
somewhere
in
the
suburbs,
and
they
come
to
the
museum-
and
they
say
this
is
this-
is
home.
This
is
our
place,
then
you
know
you're
on
the
right
track
and
they
you
see
them
relax.
You
see
them
start
talking
with
each
other,
and
this
is
what
we
need
to
do.
We
need
to
make
a
place
that
we
can
call
our
own
to
display
our
own
narrative
and
artwork.
G
G
G
I
was
not
paid
to
do
this
work
until
May
until
June
of
this
year.
So
like
a
full
year
of
volunteering,
doing
this
work
and
then
boom
someone
saw
me
it
was
like
you
can't
go
on
like
this
and
I
literally
couldn't
so
I
mean,
first
and
foremost,
we
need
funding
currently
memorialize.
The
movement
has
a
space
at
the
Northrop
King
building
where
we
keep
the
boards
and
where
we
archive
and
preserve
them,
we
do
touch-ups,
we
bring
the
new
ones
in
there.
G
But
our
goal
is
to
have
a
permanent
space
and
come
to
the
space
and
see
the
boards
on
display
right
now,
they're
kind
of
stacked
up
like
like
a
deck
of
cards,
so
you
can't
really
come
and
see
them.
You
can
interact
with
them
as
you're
picking
them
up
and
helping
us
to
move
them
around
and
organize
them,
but
we
would
love
to
create
a
permanent
space
here
in
Minneapolis
where
people
can
sit
with
them.
Yeah.
K
G
G
What
we
talk
about
a
lot
about
the
socio-economic
status
in
Minneapolis,
based
on
where
the
murals
came
from
and
that's
something
we
want
to
teach
people
and
help
them
learn
about
so
funding,
definitely
so
that
we
can
get
our
permanent
space
and
so
that
we
can
continue
to
activate
the
boards
out
in
the
community,
but
also
in
a
space
that
we
can
call
our
own
volunteers.
We
have
an
extensive
network,
but
as
it
gets
cold,
then
people
start
to
dwindle
down
and
also
too,
as
things
have
settled
down.
D
G
You
know
when
I
first
started
this
work
somewhere
around
December
I,
reached
out
on
social
media
and
was
just
like
am
I
doing
the
right
thing,
because
I
don't
see
you
guys
coming
to
the
organizing
days.
I,
don't
see
you
showing
up
at
the
events
most
people
most
of
the
people,
interacting
are
not
black
people.
Is
this?
C
I
D
G
But
our
goal
is
that
by
the
end
of
well,
hopefully
before
that
but
long
term,
by
the
end
of
next
year,
we'll
have
everything
photographed
with
high
definition,
images
and
3D
scans,
and
then
we'll
also
have
all
information
cataloged
and
documented,
so
that
we
can
have
a
digital
archive
that
people
can
access
and
we
probably
will
end
up
partnering
with
Collective
access
on
I
forgot.
What
they're
front-facing
website
is.
It
could
be
MN
digital
and
having
all
of
that
available
in
free
online
for
people.
Okay,.
K
K
K
H
Sorry
for
interrupting
you
earlier
Lisa
I
didn't
realize
that
my
mic
was
unmuted,
but
so
I
also
work
for
106
group
along
with
Aaron,
but
I'm
I'm,
not
part
of
her
team,
technically
I'm
part
of
the
archeology
team,
but
your
your
preservation
methods
about
the
plywood
got
me
thinking
about
that,
and
not
just
the
plywood,
but
also
other
forms
of
media.
Since
you
guys
are
all
artists.
H
I
was
curious
if
you
guys
have
any
input
as
to
like
how
like,
like
dude
people,
normally
contact
like
how
does
one
contact
you
in
terms
of
acquiring
historical
artifacts
and
artwork
like
like
paintings
and
and
clothing
and
and
so
forth,
for
the
museum
like
do
they
do
they
reach
out
to
you
or
is
it?
Is
it
something
that
you
reach
out
to
the
community
or
both
and
then
also
like
you
know,
looking
farther
down
the
road?
H
Maybe
this
is
just
my
brain
getting
eager,
but
if
you
know
there
were
to
ever
be
excavations
done
on
significant
places,
or
you
know
something
of
that
nature.
Would
the
museum
you
know
want
to
you
know
house
like
be
a
source
of
a
place
where
these
artifacts
could
go
to
afterwards
if
they
specifically
relate
to
to
art.
F
F
And
right
now
we're
limited
in
our
storage
area,
so
we're
willing
to
look
at
pieces
and
make
the
determination
if
we
can
take
it
or
we
can
squeeze
it
someplace
and
and
box
it
up
and
and
make
notations
which
we
normally
do.
But
we
really
are
limited
in
our
space
and
and
part
of
our
vision
is
to
have
a
museum
that
has
its
own
storage
on
site
that
we
don't
have
to
drive
across
town
to
get
things
out
of
storage.
H
G
F
G
Yeah,
for
our
part,
it
was
a
mix.
I've
I
first
started
going
door
to
door
with
Flyers,
reaching
out
to
businesses
calling
walking
in
and
talking
to
people
I
put
flyers
on
every
surface
of
Minneapolis
and
St
Paul
until
people
started.
Calling
me
back
and
that
worked
people
were
more
than
happy
to.
You
know,
allow
us
to
collect
and
preserve
their
plywood
because
they
had
no
room
for
it
and
they
didn't
know
what
to
do
with
it
and
they
didn't
want
to
do
the
wrong
thing
too.
G
So
they
were
happy
to
say.
Yes,
you
can
do
that,
but
over
time,
as
the
media
actually
really
helped
us
get
the
word
out,
especially
black
and
brown
journalists
and
reporters
they
found
us,
they
interviewed
us.
They
gave
us
Prime
Time
spots
on
TV
and
radio
so
that
we
can
get
our
story
out
there
and
talk
about
what
we
were
doing
and
by
January
of
this
year.
People
were
calling
us,
and
so
now
we
we
we
receive
emails
or
phone
calls.
G
We
have
an
information
section
on
our
website
where
people
can
send
us
a
message
if
they
have
murals
or
artifacts
or
art
to
donate,
and
then
we
schedule
times
to
either
have
them
drop
it
off
or
pick
it
up
and
for
a
moment
there
at
the
towards
the
end
of
fall
or
towards
the
beginning
of
fall.
Actually,
the
face.
G
So
we
are
still
taking
things
now,
because
we
have
a
lot
more
room,
which
is
wonderful,
but
we
also
have
taken
some
random
works
of
art
and
artifacts.
Some
people
have
emailed
us
about
donating
protest
signs
that
they
had
or
one
artist
who
was
completely
anonymous,
donated
an
incredible
work
of
art
on
a
broken
fence,
and
we
can't
move
it
because
it
is
a
broken
fence.
But
it
is
one
of
the
most
incredible
pieces
that
I've
seen
come
out
of
this
Uprising
and
he
insisted
on
remaining
Anonymous.
G
But
he
said
take
this
and
make
sure
that
it
stays
a
part
of
the
story.
And
so
we've
also
collected
a
couple
of
random
pieces
of
art
on
fence
or
Canvas
OR
paper
as
they've
come
in,
and
we
will
continue
to
do
so.
But
I
also
a
lot
of
times
if
it's
more
of
an
offering
or
if
it
was
directly
from
a
protest.
I
might
tell
people
to
contact
the
George
Floyd
Global
Memorial
over
at
GFS,
since
they
are
taking
in
smaller
pieces
and
have
the
room
for
that
since
they're.
I
I
We
encourage
you
to
visit
Pillsbury
house
where
you
can
see
not
only
this
collection
of
work,
but
you
can
see
the
preservation
process
that
folks
are
using.
You
know
we
not
and
really
that
is
when
I
talk
about
this
being
sacred
work.
A
lot
of
that
work
is
being
led
by
sister
Janelle
Austin,
who
is
a
theologian
by
training,
and
so
this
is
part
of
her
mission
to
do
this,
but
she
now
has
been
Consulting
other
folks
around
the
country
on
how
to
preserve
this
work.
J
H
J
I
You
know
having
this
thing
being
saved
and
but
now
here
are
groups
of
folks
who
are
saving
us.
In
addition,
you
know,
I
was
on
a
call,
a
part
of
a
zoom
Gathering
of
other
artists
and
cultural
institutions,
other
black
artists
and
cultural
institutions
around
the
country
that
are
formally
archiving
work.
I
In
addition
to
that,
there
are
enough
black
folks
now
that
work
for
the
Smithsonian
and
Physicians
of
responsibility
who
are
curators
and
producers
and
archivists,
and
you
know
all
kind
of
folks
that
that
now
are
pushing
the
Smithsonian
to
collect
in
a
way
that
they've
never
had
to
think
before.
I
mean
how
do
you
collect
this
information
that
was
created
as
part
of
this
Uprising?
That
happened?
B
J
D
B
I
I'm
just
I'm
just
because
those
are
those
are
direct,
quotes
there
direct
words.
My
work
is
a
testament
of
radical
love
for
our
Beloved
Community,
the
local
community,
our
ancestral
community
and
the
community
of
innate
humanity,
and
so
really,
what
that
is
is
you
know?
I
was
fortunate.
I
was
so
fortunate
and
so
blessed
I
mean
I
am
right
here
on
the
corner
of
Victoria
and
Selby
and
Saint
Paul,
my
grandparents
came
to
Old
Rondo,
just
a
few
blocks
away
from
your
actor.
I
This
is
part
of
the
old
Rondo
community
over
a
hundred
years
ago,
and
I
was
fortunate
to
grow
up
in
this
family.
That
demonstrated,
and
at
the
beginning,
before
we
came
on,
I
was
describing
my
crazy
family
and
I.
Have
this
crazy,
beloved
family
I
had
these
aunties
and
uncles?
Who
taught
me
how
to
watching
them,
taught
me
how
to
love
myself,
how
to
love
my
family
and
really
how
to
love
my
community
and
as
a
part
of
that
they
also
because
they
love
the
outdoors
I'm.
I
B
J
B
B
Lisa
I'm
struck
by
this
photo
there's
a
black
arm
and
a
white
arm
and
they're
touching
fingers,
but
there's
blood
streaking
all
over
both
arms
and
I'm
I'm
certain.
This
has
something
to
do
with
George
Floyd.
But
if
you
have
some
more
insights
on
the
artist
and
what
this,
what
drove
them
to
draw
this
image.
G
G
G
We
have
a
lot
of
work
to
do
still,
there's
still
a
lot
of
Destruction,
there's
still
a
lot
of
racism.
There's
still
a
lot
of
hate
and
obviously
so
much
Bloodshed,
and
maybe
we
want
to
get
to
this
point
where
we
can
come
together
and
build
something
build
new
life,
build
something
Beautiful
Something
Positive
build
real
Community,
that's
not
rooted
in
our
oppression.
B
Amen,
thank
you
and
then
then
finally,
I'd
like
to
thank
you
for
putting
the
website
up
in
the
chat
for
the
Minnesota
African-American
history.
Museum
I
did
notice
that
we
can
scroll
down
and
there
is
a
donate
section
on
there.
So
I
just
tried
it
out
with
a
small
donation.
It
it
works.
The
money's
gone
out
of
my
checking
account.
B
H
H
C
A
You
for
your
question:
we
will
be
continuing
to
reach
out
to
stakeholders.
We
will
have
some
other
less
formal
engagements,
we'll
be
having
some
one-on-one
interviews.
We
have
television
pieces,
one
was
on
Fox
news
last
night
and
we
will
continue.
The
city
has
put
a
website
up
where
people
can
make
comments,
make
suggestions
on
sites
to
preserve
or
people
to
recognize.
So
the
effort
is
ongoing
and
we
really
appreciate
that
your
interest
continues
because
we
are
just
getting
warmed
up.
B
B
I
I
You
know
there
has
been
this
black
presence
in
Minnesota
since
a
long
before
statehood,
and
there
aren't
enough
markers
to
there
aren't
enough
markers
to
to
share
that
experience
or
to
let
folks
know
that
that
experience
it's
there
are
some
folks
and
I'm
fortunate
to
have
this
personal
tie
all
the
way
back
to
my
great
grandfather
who
came
to
Minnesota
in
the
1870s
sometime
and
settled
in
Red
Wing.
Now,
that's
just
one
story.
I
There
are
so
many
other
stories
that
need
to
be
told
there
were
black
churches
in
in
towns
and
other
parts
of
Minnesota.
There
were
black
churches
in
in
Minneapolis
and
St
Paul
that
no
longer
exists.
These
institutions,
you
know
homes
that
folks
fought
over.
There
have
been
just
a
handful
of
designations,
so
it's
nice
to
see
the
tilson-built
homes
being
recognized
in
South
Minneapolis
part
of
my
old
Homeland,
where
I
grew
up.
I
You
know
I,
we
kind
of
at
least
my
generation
kind
of
just
took
that
for
granted,
and
now
we
need
to
recognize
those
steps
that
all
these
folks
took
before
us.
How
can
they
be
marked?
How
can
we
let
other
folks
know
and
in
particular
other
folks
in
our
own
Community,
know
about
that
history?
How
can
we
Embrace
that,
and
so
this
is
a
shout
out
for
the
106
group.
I
I
Know
like
this
is
an
idea
and
something
that
I've
done
now
all
over
the
country,
but
this
is
an
idea
that
I,
hope
to
share
and
and
folks
are
taking
up
on
it.
In
addition,
you
know
it's
not
like
I
created
dinner,
it's
an
idea,
I
stole
over
and
over
and
over
again,
but
you
know,
I
have
just
been
fortunate
to
be
around
long
enough
to
have
witnessed
this
period
of
time.
I
J
I
You
know
I'm
gonna
shout
out
I'm
going
to
throw
something
out
to
you
as
well
too,
and
one
of
the
things
I
asked
you
about
and
being
a
part
of
this
panel
and
I'm,
not
sure
if
you've
mentioned
it
before,
but
your
work,
along
with
the
work
from
with
Tina
Burnside
from
the
Minnesota
African-American
Heritage
Museum,
and
gallery
to
recognize
this
early
black
lead
fire
station
in
South
Minneapolis
on
Hiawatha.
You
know
people
pass
that
thousands
of
people
pass
that
in
a
day
and
no
one
knows
it's
history.
H
They
do
I,
don't
know
if
you
know
how
big
of
a
smile
you
put
on
my
face
talking
about
the
other
sites
in
Minnesota
that
haven't
been
looked
at
closely
yet,
and
your
call
out
to
106
group
the
whole
reason
I
joined
106
group
in
the
first
place
was
to
be
able
to
basically
work
on
exactly
that.
I
got
my
bachelor's
out
in
Pennsylvania
and
and
studied.
H
I
You
know
and
I'm
putting
106
out
there,
I've
done
a
lot
of
work
with
106
group
as
well,
and
so
you
know
I'm
putting
this
challenge
out
to
the
leadership,
in
particular
your
boss,
and
on
ensuring
that
the
106
group
looks
more
and
more
like
the
rest
of
the
community
that
it
works
in
and
that
you
have
this
commitment
to
training
and
working
with
other
folks
to
pass
on
that
skills.
Pass
on
those
skills
and
knowledge.
C
Thanks
everyone
I'd
like
to
call
attention
that
Aaron
has
posted
a
website
about
this
study,
the
African-American
historic
cultural
context.
There
is
a
link
there
on
this
chat
box
and
there
is
also
a
link
if
you'd
like
to
offer
additional
feedback
and
suggestions
of
sites
or
stages
or
places.
Also
in
the
chat
box
and
Lisa,
you
have
placed
a
couple
of
links
there.
Would
you
like
to
talk
about
those
what
they
are.
G
F
G
I
C
Okay,
as
memory
mentioned
a
few
minutes
ago,
we
have
a
short
surveys,
just
three
questions,
just
so
that
we
get
your
feedback
and
we
are
collecting
the
responses.
If
you
scroll
down
you'll,
be
able
to
see
the
rest
of
question
number
three
that
you
can
see
when
you
open
the
survey,
so
the
first
Salon
asking
about
whether
it's
important
or
not,
how
should
we
Preserve.
C
A
C
B
C
There
you
are
so
100
that
it
is
important
to
document
honor
and
preserve
African-American
arts
and
culture,
and
then
a
hundred
percent,
the
recordings
and
88
both
statues
and
museum
in
Minneapolis
to
a
hundred
percent
exhibit
status
or
monuments
tours
of
historic
homes
and
African-American
registry
came
second
75
and,
lastly,
tours
of
historic
homes.
A
63
percent.
C
It's
a
non-profit
organization
that
does
an
online
archiving,
they
have
interviews
they
have.
They
try
to
create
a
parallel
curriculum
of
African-American
presence,
both
here
in
Minnesota,
but
also
Nationwide
about
the
history
and
social
studies,
and
it's
based
here
in
in
the
state
of
Minnesota
in
Minneapolis,
actually
more
simple.
E
Everyone
knows
also
that
we
are
the
virtual
engagement
sessions
are
ending
but
we'll
be
compiling
summaries
of
the
event
and
information
gathered
in
a
report
that
will
be
completed
in
the
spring
of
next
year
and
I.
Think
one
thing
that
we're
particularly
excited
about
is
the
the
list
of
places
that
we've
been
generating,
largely
thanks
to
judge
Lang's
own
brain
and
extensive
knowledge
of
the
history
of
Minneapolis,
as
well
as
through
conversations
with
panelists
and
suggestions
from
community
members.
C
A
And
also
to
answer
say
to
the
International:
Leadership
Institute
has
been
working
extensively
on
the
all
black
fire
station
at
4501,
Hiawatha
Avenue.
Our
work
continues:
we're
working
with
the
black
firefighters,
we're
working
with
Community
we're
working
with
the
city
to
take
that
whole
fire
station
and
the
information
about
the
lives
of
the
firefighters
to
the
next
level.
So
you'll
hear
more
about
that
from
the
International
Leadership
Institute
and
the
International
Leadership
Institute
and
the
Lang
Johnson
development
are
committed
to
continue
to
work
with
the
106
group
on
other
sites.
A
Other
activities
in
the
community
other
preservation
efforts,
because
this
is
only
the
beginning
in
terms
of
daylighting,
our
history,
people
who've
been
waiting
in
the
shadows
for
us
to
say
their
name
for
over
a
hundred
years.
We're
getting
the
chance
St,
James,
AME
church
is
so
happy
that
they're
not
forgotten.
A
They
were
founded
in
1860
and
they
are
have
become
almost
invisible,
and
now
they
see
themselves
on
the
news
and
they
have
renewed
hope
that
their
own
Community
hasn't
given
up
so
we're
just
beginning
in
terms
of
what
we're
doing
with
the
study
and
what
we're
doing
to
inspire
the
community
to
take
it.
Take
on
the
task,
foreign.
A
M
Yeah
I
can
thank
you
guys
for
all
of
your
participation.
Sorry
I've
been
out
on
maternity
leave
and
I
am
I've,
got
the
baby
with
me
right
now,
which
why
I
don't
have
my
camera
on
at
the
moment,
but
thank
you
guys
again
for
for
holding
all
these.
This
has
been
interesting
to
listen
to
and
I
really
look
forward
to
the
report
that
comes
out
of
this,
but
this
has
been
good.
This
has
been
very,
very
interesting
to
hear.
C
A
I
I
agree:
Let's,
you
know
working
with
Keith
Ellison
before
he
became
part
of
the
legislature
and
then
congressman
and
when
he
was
doing
community
work
and
now
attorney
general
and
he's
doing
community
work.
He
would
cut
off
meetings
at
different
points
because
he
would
say
you
know
the
best
way
to
kill
a
movement
is
to
meet
too
long,
and
we
need
to
remember
that.