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Greenlining's 25Th Annual Economic Summit
510.926.4001 tel The Greenlining Institute 510.926.4010 fax The Greenlining Institute Oakland, California @Greenlining GREENLINING’S 25TH ANNUAL ECONOMIC SUMMIT www.greenlining.org @Greenlining e come together for The Greenlining Institute’s 26th annual Economic Summit at a moment that feels special and pivotal. On the one hand, we face continuing attacks on communities of color and on others who are too often marginalized in this Wsociety. But in 2018, we saw that people of color will no longer just play defense against attacks on our rights; we will lead America toward a vision of equity and justice. That’s why this year’s Summit theme takes its inspiration from the words of Representative Maxine Waters – that famous “reclaiming my time” moment that so quickly went viral – in order to highlight the leaders, especially here in California, who refuse to stay silent in the face of injustice. We invite you to listen and be inspired by such stellar figures as Representative Barbara Lee, our Lifetime Achievement Award winner, California Public Utilities Commissioner Martha Guzman Aceves, She The People founder Aimee Alison, Dream Corps President Vien Truong, and acclaimed rapper, activist, producer, screenwriter and film director Boots Riley, among many others. But we also hope you’ll join our interactive Equity Lab in the afternoon and explore practical tools to move the struggle for justice and equity from thinking to doing. And today we will also be saying a very special farewell to Orson Aguilar as he transitions out of Greenlining after 11 years as our President. Orson first came to Greenlining through our Leadership Academy as a young leader more than 20 years ago. -
There Is an Aspect of Graffiti That Is Reverse Colonization. I Look at It As the People’S Media.” - Estria
Manifest “There is an aspect of graffiti that is reverse colonization. I look at it as the people’s media.” - Estria Overview Career Timeline Estria has been spray painting for over 26 years, and is recognized around the world as a 1984 graffiti living legend, valued historian, and leader on graffiti’s social and political im- Began spray painting pact. Hailing from San Francisco’s “Golden Age” of graffiti in the 80’s, Estria is a pioneer in painting techniques, and the originator of the stencil tip. Through graffiti Estria has 1993 become an educator, entrepreneur, and social activist, working with numerous non-prof- Began writing articles, teaching its, and high profile corporations. In 2007, Estria founded the “Estria Invitational Graffiti classes, & lecturing at universities on graffiti’s social & political impact. Battle”, a nationwide urban art competition that honors and advances creativity in the Hip Hop arts. Originally from Hawaii, Estria has called the Bay Area home for half of his 1994 life. His murals are known to be whimsical, cultural, political, and vibrant, with a focus Arrested for graffiti, appearing on and dedication to uplift the communities they serve. CNN, National Enquirer, San Fran- cisco Chronicle and, San Francisco Past & Present Clients Cities Painted In Examiner. Sega Italy 2000 MTV Mexico Co-founded “Visual Element”, the Toyota Japan EastSide Arts Alliance’s free mural McKesson Corporation Honduras workshop Visual Element develops Nokia Honolulu youth into the voice of the people. The Mills Corporation San Francisco Though no longer a part of the pro- McDonald’s New York gram, Visual Element continues to Oakland Museum Los Angeles serve at-risk youth. -
Tamaira, 2015
Frames and Counterframes ——————————————————————————————————— Envisioning Contemporary Kanaka Maoli Art in Hawai‘i Andrea Marata Tamaira February 2015 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Andrea Marata Tamaira All rights reserved 2015 Declaration —————————————————————————————— Except where specific reference is made to other sources, the work presented in this thesis is solely that of the author. —————————————————— Andrea Marata Tamaira February 2015 iii Dedication —————————————————————————— This thesis is dedicated to my husband Carl Franklin Ka‘ailā‘au Pao and our daughter Te Rerehau ‘Ailā‘au Helena Hanisi Pao-Tamaira, without either of whom this work would not only not have been completed, but it would never have been started in the first place. iv Acknowledgements —————————————————————————— It was Plato who said that the “beginning is the most important part of every work.”1 While this indeed may be true, the statement does not account for the laborious process through which such work takes shape. Nor does it acknowledge the many contributions of kindness and support along the way by those who rally the worker toward completion. Yes, beginning is an important part of every endeavor, but the end is only ever reached through the committed assistance of a community of people. First and foremost I am indebted to my husband Carl F.K. Pao for his enduring support and encouragement over the course of not only this doctoral project but the many years of study that have preceded it. There was a time when I thought pursuing advanced study was an undertaking as impossible for me as flying to the moon. -
RECEIVED ·' ~ (-'2,O-( ""5" V Applicant Estria Foundation
House District 26 THE TWENTY-EIGHTH LEGISLATURE APPLICATION FOR GRANTS Log No: Senate District 12 CHAPTER42F, HAWAII REvlSEDSTATUTES Fot~'I UMOnly I Type of Grant Request: 181 GRANT REQUEST- OPERATING D GRANT REQUEST-CAPITAL "Grant" means an award of state funds by the legislature, by an appropriation to a specified recipient, to support the activities of the recipient and permit the community to benefit from those activities. "Recipient" means any organization or person receiving a grant. I STATE DEPARTMENT OR AGENCY RELATED TO nus REQIJESf(LEAVEBLANKIFUNKNOWN): STATE PROGRAM 1.0. NO. (LEAVEBLANKIFUNKNOWN): ------ 1 I 1. APPUCANTINFORMAnON: 2. CONTACT PERSON FOR MATTERS INVOLVING nus APPUCATION: Legal Name of Requesting Organization or Individual'. Name TODD JOHNSON (AKA ESTRIA MIYASHIRO) The Eslrla Foundallon Title Executive Director Oba: Phone# 808-638-4005 office. 510-325-6021 cell Street Address: 721-E Auahi SL, Honolulu, HI 96813 Fax# ___________ Malling Address: 721-E Auahi St., Honolulu, HI 96813 E-mail [email protected] 3. TYPE OF BUSINESS ENTrrY: 6. DESCRlmVE 11TJ.E OF APPUCANT'S REQUEST: 0 NON PROFIT CORPORATION INCORPORATED IN HAWAII 0 FOR PROFIT CORPORATION INCORPORATED IN HAWAII A MULTI-ISLAND NATIVE HAWAIIAN CULTURAL WORKS HOP, PUBLIC EVEm, AND 181 UMITED LIABILITY COMPANY MURAL SERIES FOCUSED ON Yotrrn I.EARNING AND SHARING TRADmONAL 00Tl-IER STORIES AND PRAcnCES. D SOLE PROPRIETORSHIPllNDMDUAL 7, AMOUNT OF STATE FlJNDSREQIJESTED: 4. FEDERALTAXID#: 36,.,3::.:90=-"13=------------ 5. STATE TAX ID#: ____ _ ________ FISCAL YEAR2016: $226,500 8. STATUS OF SERVICE DESCRIBED IN THIS REQIJEST: 0 NEW SERVICE (PRESENT!.Y DOES NOT EXIST) SPECIFY THE AMOUNT SY SOURCES OF FUNDS AVAll..ASlE 181 EXISTING SERVICE (PRESENTLY IN OPERATION) AT THE TIME OF THIS REQUEST: STATE $0 FEDERAL $0 COUNTY $27,000 PRIVATE/OTHER $69,n2 MR. -
1 December 13, 2012 Cultural Equity
1 December 13, 2012 Cultural Equity Grants Panelist Biographies Jordan Bass Managing Editor, McSweeney's Publishing Since 2004, Bass has helped to edit and design dozens of books, both fiction and nonfiction at McSweeney's Publishing. His main focus is McSweeney's Quarterly, a short-story journal which he oversees; McSweeney's has published work by George Saunders, David Foster Wallace, Stephen King, Lydia Davis, and hundreds of other notable writers. Several stories Jordan has selected and edited for the journal have gone on to appear in the Best American Short Stories, and to receive the National Magazine Award for fiction. He lives in San Francisco. Glen Helfand Independent writer, critic, curator, and educator Glen Helfand’s writings appear regularly in Artforum and at Artforum.com, and he’s contributed to the San Francisco Bay Guardian, ArtInfo.com, and many other periodicals and exhibition catalogs. He was the associate editor of the design magazine CMYK and a co-founder of the Bay Area arts website Stretcher.org. He’s a Senior Adjunct professor at California College of the Arts, where he teaches courses on contemporary art (including classes focusing on suburban aesthetics, commerce in art, and professional practices). He also teaches in the graduate and undergraduate art programs at Mills College, and at the San Francisco Art Institute where he organizes the Visiting Artists and Scholars Lecture Series. Helfand has curated exhibitions for the De Young Museum, San Francisco; the San Jose Museum of Art; the Pasadena Museum of California Art, Pasadena; Rena Bransten Gallery, San Francisco; Dust Gallery, Las Vegas; and the Mills College Art Museum, Oakland. -
Download the Abstracts
THURSDAY, MAY, 17 Legislative Educational Activism in the NCAI, 1970s-1980s Brooke Linsenbardt, Texas A&M University 001. Women Leading Community Protection and Empowerment, This paper will explore indigenous women’s leadership and Since the 20th Century legislative educational activism in the National Congress of Panel American Indian during the 1970s and 1980s. In particular, these 8:00 to 9:45 am women helped create NCAI policies and views on education InterContinental: Beverlywood Room 520 issues, such as the support for bilingual education and This panel examines several ways indigenous women have and continue to indigenous-controlled schools. For example, the Education sustain their communities for survival during the mid-twentieth to early Committee wrote a policy paper against the transfer or twenty-first centuries. In particular, women’s leadership in the National dismantling of the Bureau of Indian Affairs (BIA) because it Congress of American Indians (NCAI) and the urban center of Dallas would reduce or eliminate the special trust relationships and exhibit their role as protectors of political and cultural sovereignties in the services between indigenous nations and the United States context of settler colonial termination, relocation, and environmental federal government. This paper also examines women’s policies. With the use of NCAI records and personal writings, two papers participation as a means to protect their respective nations and analyze the NCAI’s policies regarding treaty rights, the trust relationship communities by being representatives to the NCAI, a political, between indigenous nations and the United States federal government, transnational organization based in what is now Washington D.C. -
National Conference on Race & Ethnicity in American Higher
NCORE Program and Resource Guide 20th Annual National Conference on Race & 2007 The Southwest Center for Human Relations Studies Public and Community Services Division College of Continuing Education University OUTREACH The University of Oklahoma 2350 McKown Drive Norman, Oklahoma 73072-6678 The University of Oklahoma is an equal opportunity institution. Accommodations on the basis of disability are Ethnicity in American Higher Education (NCORE 2007) available by calling (405) 292-4172. Masks courtesy of Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman 20TH ANNUAL National Conference on Race & Ethnicity in American Higher Education May 29 through June 2, 2007 F San Francisco, California Sponsored by The Southwest Center for Human Relations Studies Public and Community Services Division College of Continuing Education F University OUTREACH THE UNIVERSITY OF OKLAHOMA EXECUTIVE COMMITTEE National Advisory Committee (NAC) The Southwest Center for Human Relations Studies National Conference on Race & Ethnicity in American Higher Education The Executive Committee of the Southwest Center for Human Relations Studies serves as the primary planning body for the Annual National Conference on Race & Ethnicity in American Higher Education (NCORE). The Executive Committee encourages direct, Appointment NCORE 2005—2007 Student Appointment NCORE 2007 broadly based input into the planning process from all conference participants through the conference evaluation process, discussion, and other written and verbal communication. Jason Minh Alt, Diversity Advocacy Coordinator Anita Hopson Malone, Student State University of New York—Purchase, New York The University of Oklahoma Norman—Oklahoma Richard Allen, Ph.D. George Henderson, Ph.D. Lotsee F. Patterson, Ph.D. Maricela Alvarado, Director Juan C.L. -
The Mural Art of Resistance in Oakland, California
THE PAINT MARKS THE PLACE: THE MURAL ART OF RESISTANCE IN OAKLAND, CALIFORNIA NARMEEN S. HASHIM A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2016 © NARMEEN S. HASHIM, 2016 ABSTRACT The Paint Marks the Place: The Mural Art of Resistance in Oakland, California In the context of both historical and current urban redevelopment schemes in Oakland, California that displace black, brown, and indigenous peoples, businesses, and communities, I examine the work of mural artists and activists to resist erasure and mark belonging. Specifically, this research explores the relationship between the practice of intentional community mural-making, projecting narratives of culture and resistance, and geographic concepts of place-making, and sense of belonging. The research was conducted through a critical feminist anti-colonial methodological process of artography. Through semi- structured in-depth interviews with artists, residents, and community activists, photography, archival media analysis and a case study of the Madre Maize (2012) mural by the Community Rejuvenation Project crew, I uncover how the process of mural-making is a means of place-making by allowing some of the most societally marginalized to author the landscapes in which they dwell, work, and live. This thesis argues that intentional community mural art is a means of counter monument, community justice, and an act of decolonization through embedding a decolonial aesthetic in the fabric of urban landscapes, uncovering hidden black, brown, and indigenous geographies and contributing to larger movements of social justice making. -
Estria Hawaii LLC OP Redacted.Pdf
THE THIRTIETH LEGISLATURE APPLICATION FOR GRANTS CHAPTER 42F, HAWAII REVISED STATUTES •.··· Legal Name of Requesting Organization or Individual: Oba: •· • •.· . j• '4'\ , • • ' - • ";...: .. .'l';'' - ..~ .~ . ' . ' ' ·. ~ •.•I~;:.· AIJlOUAt .of,Sta~e F:u~ds:Re.quested~$.,.;.1~65_.o.;.,;;. oo;.;;. '- .:....-...:;;:;:.;.=.~~ • -- . .! .: :.) -: . :- .j' •, ., • ;. "I" Brief Description of Request (Please attach word document to back of page if extra space is needed): Halau Paheona and Mele Murals Public Art Programs are the core programs of Estria Hawaii LLC. The collective goal of , our Halau Paheona and Mele Murals Public Art Programs for 2019-20 is to partner with students, educators, faculty and artists from the Kaimuki-Roosevelt-McKinley, Aiea-Moanalua-Radford, and Castle-Kahuku Complex Areas to deliver an arts-based program that inspires student's creativity, develops their leadership and problem solving skills that will culminate with them designing and creating a culture-focused large-scale mural within their community. Amount of Other Funds Available: Total amount of State Grants Received in the Past 5 State: $0 Fiscal Years: ----------- $226,500 Feder aI: $0 County: $_1_2s_.o_o_o-----------______ _ Unrestricted Assets: $1,596,857.81 Private/Other: $----------- 105,000 Mailing Address: 2705 Kaimuki Avenue, Building L City: State: Zip: Honolulu HI 96816 Contact Person for Matters Involving this Application Name: Title: Todd Johnson Executive Director Email: Phone: [email protected] 808-638-4005 Todd Johnson, Executive Director -
Marc Bamuthi Joseph the Break/S: a Mixtape for the Stage Thursday–Saturday, March 26–28, 2009
Marc BaMuthi Joseph the break/s: a mixtape for the stage Thursday–Saturday, March 26–28, 2009 Photo by Bethanie Hines mcachicago.org Marc Bamuthi JOseph— ThE Break/S: A Mixtape for ThE stagE By Marc Bamuthi Joseph World premiere productions of the break/s: a mixtape for the stage: 2008 Humana Festival of New American Plays at Actors for the Living Word Project Theatre of Louisville, Kentucky (March 11–29, 2008) and Walker Directed by Michael John Garcés Art Center, Minneapolis, Minnesota (April 10–12, 2008) Lead commissioning and development support: Actors Theatre performed by of Louisville; the Walker Art Center, with support from a Joyce Award; National Black Arts Festival; and Yerba Buena Center Marc Bamuthi Joseph for the Arts. DJ Excess the break/s was developed during residencies at Actors Tommy Shepherd (aka Soulati) Theatre of Louisville; Painted Bride Art Center in Philadelphia, Pennsylvania; University of Wisconsin at Madison; Walker Art Center; and Z Space in San Francisco, California. Dramaturgy by Brian Freeman The project has received generous support from The Wallace Video and co-set design by David Szlasa Alexander Gerbode Foundation and The William and Flora Lighting and co-set design by Hewlett Foundation Emerging Playwrights 2006 Initiative; The National Endowment for the Arts; Zellerbach Family James Clotfelter Foundation; Creative Capital; The James Irvine Foundation; Choreography by Stacey Printz Rockefeller MAP Fund; and Association of Performing Arts Documentary >lms by Eli Jacobs-Fantauzzi Presenters Ensemble Theatre Collaborations Grant Program, a component of the Doris Duke Charitable Foundation Theatre Musical score composed by Initiative. It was commissioned by Youth Speaks through the Ajayi Lumumba Jackson East Bay Fund for Artists (EBFA) at the East Bay Community Foundation. -
Sirron Norris.Com 172 Fairmount Street San Francisco, CA 94131 415-509-4041/[email protected] Museum Exhibitions
Sirron Norris 172 Fairmount Street San Francisco, CA 94131 415-509-4041 Email: [email protected] Website: SirronNorris.com City of Brisbane Public Art Program 50 Park Place, Brisbane, CA 94005 Selection Committee, My love with public art began sixteen years ago when I painted my first mural on 20th and Bryant in the heart of the Mission in San Francisco. Since then, I have had the honor to display my art in twenty more outdoor public spaces and 10 indoor public spaces in the city of San Francisco. My career goal has always been to tell stories through cartoons in order promote dialogue in the community. Sometimes my public art tells historical and current events. Other times, it allows for a whimsical escape into a world of make believe, as cartoons often convey. I am in love with our Bay Area, its architecture, and the nature that is offered by the Pacific landscape. I express that love by painting Bay Area nature views and diverse neighborhoods with vibrant colors, distortions, and a sense of playfulness to those scenes. Our Bay Area embodies cultural diversity, activism, inclusiveness, and adversity; all qualities, which make us unique, and I aim to convey these sentiments in my work. As an African American artist from working class parents, these virtues are important to me. Personally, I have felt the struggle of remaining in the San Francisco Bay Area as a full time artist and that is why an important aspect of my work involves my direct work in the community. In many of my public art projects, I hire and mentor young aspiring Bay Area artists to encourage them to stay the course, stimulate the local artist economy and build their artistry skills. -
11Th Annual Global Women's Rights Forum
Pre-Forum Event on Women’s Rights Thursday, March 1: Women in the Media 7:00 pm – 9:00 pm, Maraschi Room, Fromm Hall Screening of Miss Representation(Director: Jennifer Siebel Newsom) Followed by a discussion led by a panel of USF community members from the Program in Gender and Sexualities Studies as well as the Departments of Media Studies, Performing Arts and Social Justice, and Sociology. Refreshments will be served. Organizer: Sociology club S.T.E.P (Sociologists Together Empowering People). Co-Sponsors: Department of Sociology and Gender and Sexualities Studies Program. Program of the Global Women’s Rights Forum Monday, March 5: Economic Justice & the Occupy Movement 6:00 pm-8:00 pm, Maier Room, Fromm Hall This panel provides an opportunity to hear from women who have been organizing around issues related to economic justice for decades and how their work intersects with the Occupy Movement, as well as how to leverage the current momentum for action to implement lasting change. Speakers: Maria Poblet, Just Cause/Causa Justa María Poblet is the Executive Director of Causa Justa :: Just Cause. She is Chicana and Argentine, and has more than a decade of experience in Latino community organizing. At St. Peter’s Housing Committee, María was instrumental in transforming a service provision model into a membership and organizing structure, and a grassroots leadership development and political education program. In 2009, she helped lead the merger between St. Peter’s and Just Cause Oakland that created Causa Justa :: Just Cause, bringing together the organization’s respective work in the Latino community in San Francisco and the African American community in Oakland into a single, regional organization for racial and economic justice.