Time to walk the curve

“Of all the races, there is no better stage for heroism than a marathon.”   George Sheehan, physician, athlete and author

 

For years, I’ve heard the expression, “It’s not a sprint; it’s a marathon.” That statement is typically voiced, as a reminder, to anyone working for social change. Change takes time.

Over the last five years, as I’ve worked in a concentrated and ongoing way on racial justice, I’ve learned that racial change is not just a marathon. It’s a marathon-length relay.

In my short leg of this race, I’ve learned this work is emotionally exhausting. Right now, I can’t read another racially charged news story about a persecuted, hurt, or killed Black person. I can’t watch another documentary shedding light on a little-known incident of racial terrorism. I still haven’t seen Judas and the Black Messiah. Even with Daniel Kaluuya’s Oscar-winning performance, I can’t watch a reenactment of what happened to Fred Hampton. And, as much as I admire the brilliance of Ibram X. Kendi, I haven’t read his collective assemblage, with Keisha N. Blain, of Four Hundred Souls. I just can’t right now.

Soon after the murder of George Floyd, Dax Devlon Ross, teacher and journalist, wrote A Letter to my White Male Friends of a Certain Age. In it, he said,

“You experience black death as repugnant, but not as a visceral,  perpetual threat to your own existence and violation of humanity.”

That’s it. Ross captured my feelings. Not always, just sometimes.

As I read and watch representations of 400 years of degradation, torture, and the murder of my people, I hurt. My existence and that of my immediate family and friends are constantly threatened. This is not a historical incident or a philosophical conversation. It’s a real… today… every day… life and death possibility.

Sometimes, I can continue my learning (I finished The Sum of Us a couple of weeks ago, right after reading Caste) or discuss history with friends, without pain, as we stand before a graffiti-redefined statue of Robert E. Lee in my hometown. But right now, my soul feels bruised, though nothing specifically happened.

I sometimes wonder if my white friends hurt, too, in a significantly different way. Is it painful to learn what your ancestors did or what people who look like you did? Is that part of what stops some white people from wanting a comprehensive history of America taught in our schools? I’m not only talking about a historical reckoning and reality check about how we got here but a today in real-time acknowledging of how the racial disparities in America are maintained. Do you turn away from the truth because the pain of complicity is too much to bear? That’s part of your privilege. I can’t turn away. We must all face this pain.

Those and other questions sit heavily on me, even without the weight of any answers to them. They’ve become a heavy baton to carry in this relay. I’ve heard that there’s a stage in many track workouts where coaches and trainers admonish you to: “Run the straights and walk the curves.” The straights, they say, stress you, building your wind and sprinting burst… the curves give you a moment to recover. I feel like I’ve been running the straights for a while, and now I must catch my breath—walk the curve—and take a break.

This month, instead of immersing myself in the pain that we—Black people—have experienced and still experience, I’m focusing on a musical celebration. Ever hear of the Harlem Cultural Festival or The Summer of Soul? No. I hadn’t either. Questlove, DJ, producer, and co-founder of the hip hop group The Roots, discovered footage from the 1969 Harlem Cultural Festival. Forty hours of film from six free events featuring performers as diverse as the Fifth Dimension, B.B. King, Nina Simone, and Mahalia Jackson. But even as I anticipate sinking into this happy space of the Black music of my youth, questions of racial justice still emerge.

1969.

Summer.

Music festival. Thousands of attendees.

Any bells ringing? I bet Woodstock came to mind. Everyone over a certain age has heard of Woodstock. Yet, the Harlem Cultural Festival, happening that same year with a similarly esteemed musical lineup, received no widespread attention for 50 plus years. History, even pop culture history, is written from a racially white lens. That’s what we still have to see… the pervasiveness of the white worldview.

So, now I’m off to watch The Summer of Soul, and I’ll try to keep racial justice from consuming me. My part of the marathon relay race is over for now. Just for a bit, I’m passing the baton.

Missing Pieces of American History

NMAAHC. behind TLC

The National Museum of African American History and Culture opened on September 24, 2016. When the date was announced six months earlier, in February, Black History Month, I marked it on my calendar. I had already planned two trips for the late summer/early fall, a friends’ outing to Spain and Morocco and another to Memphis to visit the National Civil Rights Museum. Living in Washington, DC, I had been watching the building of the museum and looking for the “opening soon” signage to become a definite date. Now that I had it, both trips would have to be planned around the opening. I wasn’t likely to receive an invitation to the festivities, but nothing would prevent me from being on the museum grounds that day. I had to be a part of this incredible event, a museum on the National Mall dedicated entirely to the history and culture of my people.

“I was sitting at home watching the opening of the National Museum of African-American History and Culture on TV. I could feel the energy and I, too, had been anticipating the opening. I started to wonder why I wasn’t there, then I told myself well it wasn’t my museum. That’s when I had the epiphany. Of course, it was my museum, my museum as an American.”

A white colleague told me that a few weeks after the museum opened. I don’t think he was alone in his viewpoint. Many white people were supportive of a museum dedicated to the African-American experience, but they weren’t sure where/how/if they were a part of it. Even I thought of it as my museum and, interestingly, was, at first, surprised by the numbers of white people during the firsts of my multiple visits.

That’s the problem.

The history of black America has never been a part of the history OF America. It always had a place, and one of significance, in black America, but little visibility in white America. My teachers and principal—all of whom were black—in elementary school made sure I knew it. Biographies of black Americans were prominent in the school library. Pictures and commentary on black people and achievements lined the bulletin boards in the classrooms and throughout the building. Not just for what was then Negro History Week, but throughout the year. And, the successes and milestones of black people were the everyday conversation at my family’s dinner table and readily available as both Life Magazine and Ebony Magazine were delivered to my home.

That wasn’t the experience for my white colleague. No focus was placed on teaching him about black America at any point in his formal education. Without his commitment to broadening his understanding of America, his knowledge would be driven solely by happenstance personal experiences and by the manner of coverage by the ubiquitous electronic, social, and print media.

Black history had been, and still is, compartmentalized, marginalized.

In 1977, many Americans, black and white, were riveted by the television miniseries Roots: The Saga of an American Family. Never had there been as mainstream, and as public, an examination of the history of black people in this country. Every episode became next-day conversations at metaphorical water coolers just about everywhere. But, today, four decades after recognizing how much Roots had revealed that we didn’t know, black history still is not fully incorporated into the American past that our sons and daughters learn in school. Black American history is still niche history, not yet seen—at least by those who control textbooks and our educational system—as a part of a comprehensive examination of our country’s history.

The jigsaw puzzle of America’s history continues to have too many missing pieces. But, for those who understand that gaps exist, and for those who want to understand the fullness, richness, and inequities born in American history, the resources today are many to take that powerful learning journey.

Note: Daughters of the Dream, a book I believe is one, small piece of that puzzle, will be released next month. More info coming soon.

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