I am missing African Heritage Month already (smile). Next year on March 1, I will think about the space between – February 29 which we will not see again until 2024 the terminus year for the UNESCO International Decade for People of African Descent (2015-20024).

It’s amazing that women got the right to vote in this country just 100 years ago. I hope women are registered and exercising this right this important year.

Spirit is at the center of all African Movement(s), and this spirit, called Black Power is perhaps the reason for all social justice movements for African people in this nation from 1619 forward. Dowoti Desir Hounon Houna II Guely speaks of Afrophobia, what else could it be this racialized terror directed at African descendants? Since our sojourn in the west a little over 500 years ago once our usefulness was no longer legal Black people have caught what feels like more hell.

From France’s charging Haitian Blacks for their own liberation to the USA’s re-enslaving through targeted incarceration African American people here at home, to denying Puerto Rican victims of two natural disasters – an earthquake and a more recent hurricane, federal aid to allowing the level of displacement and homelessness in our nation’s cities to reach such unprecedented numbers people have gotten used to stepping over other people.

Black Movement has soundtracks, signage or visual documents not to mention creative writings to articulate and motivate those carrying the rifles and torches to continue forward to victory. The fight for legitimacy is one Africans continue to lose because the question is posed by what is illegitimate, an impostor not worthy of our energy or thought. How can that which is not human, legitimize what is? I was listening to a rebroadcast of Voices of the Middle East and North Africa (3/4/20), a show on KPFA 94.1 FM, about Libya and why France and other multi-Europeans nationals want the county to stay in chaos. All the mineral resources that run the west, including this nation, come out of Africa, with Libya an important source for France, which would cease to function if Libya cut it off. The same is true for all the other European nations. They cannot afford to let African nations have autonomy, but why is this their decision to make?

Rhonda Benin & Lucindy’s Music Presents: Just Like a Woman: A Celebration of Bay Area Women in Music, Saturday, March 21, 2020

Rhonda Benin’s highly anticipated concert: Just Like a Woman, which celebrates the music of women composers performed by phenomenal singers accompanied by the Lillian Armstrong Tribute Band, led by Tammy Lynn Hall.  Patrons dance into the Freight & Salvage theatre, 2020 Addison Street, in Berkeley, and dance out.  Family friendly, tickets are $20 in advance and $28 at the door which opens at 7 p.m. The show starts at 8 p.m. Ms. Benin will be joining me on the air, Wed., March 19. Congratulations are also in order for her recent birthday (Feb. 23) and the announcement of retirement from public school teaching. Here is an interview from 2018: https://www.blogtalkradio.com/wandas-picks/2018/03/31/wandas-picks-radio-show

On the Fly:
Black Choreographers Here and Now 2020, Feb. 22-Mar. 8; Ubuntu Theater Project opens at its new home, The Flax Building in Oakland, with Macbeth – an all-woman ensemble, Feb. 7-March 15 (extended).  Art of the African Diaspora continues at the Richmond Art Center, 2540 Barrett Avenue, Tuesday-Sat., Richmond, CA, 510.620.6772, with lots of satellite exhibitions throughout the great bay area. Visit http://richmondartcenter.org/exhibitions/art-of-the-african-diaspora-2020/  Rosie Lee Tompkins: A Retrospective — on view, Feb. 19-July 19, 2020.  African Film Festival 2020 at BAMPFA March 4-May 8, 2020. Soul of a Nation: Art in the Art of Black Power: 1963-1983 at the de Young Museum in San Francisco through March 15.  Afterimage: Souleymane Cissé  Retrospective in conversation 3/12, 3/14, 3/15,  with Nigerian writer and scholar Akin Adesokan, an associate professor of comparative literature and of film and media studies at Indiana University at BAMPFA.

Soul of a Nation: Art in the Age of Black Power: 1963-1983 at the de Young Museum in San Francisco’s Golden Gate Park — through March 15

“Soul of a Movement: Art in the Age of Black Power” at the DeYoung museum is an opportunity for America to acknowledge the African presence at the heart of all that is human in this nation. Art articulates a vision; it is a language which negates artifice. Black Art specifically erases borders as it builds edifices which house spirit.  It is the welcome home – home a new color, a new shape, a new landscape.  Art is the language a people dispersed throughout the west speak to one another and in this exhibition organized by Mark Godfrey, Zoe Whitley, and Tate Modern, at International Art in London, and remixed by curators Timothy Anglin Burgard and Lauren Palmor at the DeYoung in San Francisco, patrons walk slowly through a landscape that is as varied as a people speaking from these walls, display cases, pages in magazines and books.  The exhibit which opened in November last year, closes with a community party, Sat., March 14, with Boots Riley, who will be giving a free talk in the Koret auditorium at 2 p.m.  Tickets to Soul of a Movement are discounted, $10 on Saturdays, https://deyoung.famsf.org/education/free-saturdays

What is remarkable about this exhibit is its currency and how the San Francisco Bay Area, while not completely eclipsed, is in a large part left out of the story narrated here. How is this possible? The San Francisco Bay Area with the Black Panther Party for Self-Defense reflected in so much visual design, from the music to Emory Douglas’s work as Minister of Culture for the BPP in the party newspaper. . . left out?

The Bay is so pivotal in the development of a social and political consciousness. This is one of the reasons why it is really important that you do not miss this iteration. When “Soul” opens in Houston next, the last stop on the tour, the stories that museum tells will be regionally specific and not include most of the art work curated for this stop.

When a body walks into Soul of a Nation, it cannot ignore the huge Romare Bearden work –a black and white collage. A founding member of the Spiral Movement, he is well known for his association with August Wilson’s century cycle – a work that looks at how over a period of ten decades, Black Americans crafted their lives, a task that kept unraveling because the thread was caught in a system meant to harm.

You might notice the similarities between the two men. Wilson’s storytelling looks a lot like Bearden’s work – characters reappear, themes consistent. There is balance and then there is a life explored just off kilter to be interesting. Both men are also inspired by Black music of the period- jazz.

Born at the time of the Civil Rights Movements for racial justice, Mr. Richard Mayhew, retired professor is another co-founder of Spiral. He said at a recent event that A. Phillip Randolph founded the group or at least gave the artists the idea to use their work to make a statement about the injustices Black people were experiencing. What is unfortunate is Mr. Mayhew’s absence from the catalog and the traveling exhibition. How could such a pivotal pioneer be ignored? As Soul toured the nation, Mr. Mayhew noticed his absence and told somebody: Sister Nashome Lindo, scholar and art collector, Mrs. Belva Davis, maverick journalist, Danny Glover perhaps and others, who collectively made sure Mr. Mayhew’s work – two black and white paintings, were included and that he was properly honored at the opening ceremonies which were full of pageantry and figurative fireworks. Mr. Mayhew, who gave many talks during the exhibition, gives background on Spiral in a wonderful audio tour created by the Fine Arts Museums and features, Belva Davis and Danny Glover as moderators.

Lauren Palmor, co-curator, and I have a wonderful conversation on Wanda’s Picks Radio Show, Tuesday, March 10, (http://tobtr.com/s/11690803) about the social movements covered by the exhibition and perhaps why the Bay was omitted. Besides Mr. Mayhew other artists with Bay Area connections are Ben Hazard, scholar, activist, artist who just made his transition in December. His piece “Medal of Honor” sits in a gallery that looks at the notion of heroism. When we think of “blackness” as a concept, heroism certainly comes to mind whether that is as a soldier fighting for a country that does not value one’s humanity or as Marie Johnson Calloway (1920-2018) shows with “Crossing Guard, 1970s,” African American women keep this nation’s children safe.  Raymond Saunders’s (b. 1934) “Jack Johnson,” boxer, a Black man who knocked out a white man.  Yep and lived.

Other artists with local ties are Elizabeth Catlett (1915-2012) whose “Black Unity” has the emblematic clenched fist carved from mahogany wood and then on the other side we see Black people. Together we are powerful. Many patrons do not know to walk around the work to see the opposite side. Betty Saar (b. 1926), “The Liberation of Aunt Jemima, 1972” has the stereotypical troupe as an nkisis. Auntie has a rifle in one hand and a pistol in her lap. There is much to commend the exhibition, I just noted works that might not travel given the regional flavor of some of the presentations.

Phillip Lindsay Mason (b. 1939), “Manchild in the Promised Land, 1968,” shows a little boy seated on a stoop, bulls-eye on his shirt. I thought about Claude Brown’s classic story of addiction, poverty and despair. Above the child’s shoulder we see a Pepsi logo. How does the commercial go? “Come Alive! You’re in the Pepsi Generation.” Interesting juxtaposition – the boy-child sits at the crossroads. Trayvon had Skittles and this child is associated with a beverage.  Both are quarry. In the catalog another painting by Mason is pictured: “The Deathmakers,” 1968. Acrylic paint on canvas 128.4 x 128.9. Whereabouts unknown.

In “Deathmakers,” two police as skeletons in their blue uniforms carry a Black man on a stretcher. An American flag is the backdrop for the picture, the stars below the dead man’s gurney, the stripes cover the sky, the canvas sphere shaped within a tight square (72). In the catalog the work is juxtaposed with Archibald Motley’s “The First One Hundred Years: Te Among You Who Is Without Sin Shall Cast the First Stone; Forgive Them Father For They Know Not What They Do, 1963-72.

The Motley work looks like something out of the Adams Family, but it’s no fictional scene here: Confederate flag is draped over a door with the Statue of Liberty standing next to a Black man hanging from a tree branch by a rope wrapped around his neck. Dr. King and Kennedy’s faces are hanging from the tree too like ornaments. Below there is a uniformed Klan member with rope in his hand and a hungry hound licking his lips. Perhaps patrons will leave with a better understanding of the trauma associated in Black American minds, an often unconscious association, when they see dogs, dogs everywhere treated better than they. Given more rights to public space than they.

A fireman with a hose is walking away from a cross burning. Signs stating: “We want freedom now!” “Black Power!” “America for Whites! Africa for Blacks!” behind him—there are no Black people, just an eerie fog or mist—more signage. White Only. Colored Only on opposite sides of the canvas which is large.  There is cotton, not clouds in the sky. Skulls and masks hang out in canvas corners. Perhaps this is what hell looks like.

I think this is the same room where Dana C. Chandler, Jr.’s “Fred Hampton’s Door, 1970, is also displayed. On the door where bullet holes are at center, there is a star and a label that says: USA government approved ’69” (71). A few pages before Emory Douglas has an order form for Revolutionary Posters. Fred Hampton, the slain Chicago BPP leader, front page (62).

Women artists, while not majority, they are represented in the exhibition.  Among the artists is Faith Ringgold who is known more recently for her story quilts; however, this early work (1970s) is a militant Ringgold — a Black family, mother, father and son, a study for a poster: “All Power to the People;” “Free All Political Prisoners.” The poster is solid red with subjects drawn in black and green. The parents have rifles,  the child a stick. The mother has a moderate Afro, dad a beret, bullets across his chest, the woman a green jacket, black dress, ankle length with black boots. Their features are drawn in green.  The characters fill the space, the woman’s foot on FREE and the man’s foot between POLITICAL and PRISONERS.  FREE ALL POLITICAL PRISONERS and ALL POWER TO THE PEOPLE stacked.

Another Ringgold work I like is “United States of Attica 1971-2. Offset lithograph on paper 55.2 x 69.9
In it she takes the map of the USA and divides it into quadrants. At the top she writes: The United States of Attica founded by the American People on Sept. 13, 1971 at Attica State Prison N.Y. where 42 men gave their lives in an heroic struggle for freedom. She then proceeds to pay tribute to pay tribute to those who were killed. She also documents all the state wars against indigenous peoples and invasions in other lands like Korea and Mexico, Vietnam, Indian Wars, Revolutionary War, Civil War, World Wars I&II. In each state the narrative continues in place. And at the bottom of the World Map which contains a single nation (USA) Ringgold writes: The Map of American Violence is Incomplete. Please write in whatever you find lacking.

Make sure you have time to sit and watch the wonderful slide presentation with murals from Chicago’s Wall of Respect to Dewey Crumpler’s iconic mural on the side of the African American Art and Culture Complex, formerly Wajumbe Cultural Center on Fulton Street in San Francisco. Cleveland Bellow’s billboard is in the exhibition, one of ten he painted and put in various locations in Oakland (1970). On the museum’s website you can read more about the artist and what he called “social reality.” The boy’s hands are over his head and he looks to be smiling—today Black boys with hands raised are alarming. Funded by the Oakland Museum and the Foster-Kleiser Billboard Company— the uncluttered landscape allows multiple interpretations.

There is a screening room (just outside the final gallery near the gift shop) where patrons can view Take This Hammer, a short film about James Baldwin’s visit to San Francisco after a young person (Bayview Hunter’s Point resident) was killed by police and the city was put under Marshall Law by then Gov. Reagan. Watts had just gone up in smoke. Black Resistance was in the air.

Events:
Intergenerational Legacy: Poetry with “Swell Mel” Phillips
March 7, 2020, 11:00 am – 1:00 pm

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Piazzoni Murals RoomJoin guests for a morning of poetry readings with “Swell Mel” Phillips. Hear Melvin Phillps as we honor elders and ancestors through poetry and music. This is a free program. No ticketing required. Every Saturday, residents of the six Bay Area counties receive free general admission to the museums. For information email or call publicprograms@famsf.org or (415) 750-7624

Also Sat., March 7, 2 p.m.-3:30 p.m.

In Conversation: Music and Civil Rights with Marilynn Fowler

See KPOO Radio’s Marilynn Fowler live and in-person for a talk on music and Civil Rights in honor of the exhibition, Soul of a Nation. Fowler channels her DJ skills from KPOO’s regularly scheduled programming of jazz, reggae, salsa, blues, gospel, and hip hop into a discussion on the importance of music as a story-telling device for social change.

This event will be held in the Piazzoni Murals Room and is part of the De Young Museum’s Free Saturdays celebration of the exhibition, Soul of a Nation.

General admission and special programming are free on Saturdays at the de Young and Legion of Honor for all residents of the nine Bay Area counties. Seating for this program is limited and first-come, first-served. Purchase of a special exhibition ticket is required on this day to see Soul of a Nation.

For information: publicprograms@famsf.org or (415) 750-7624.

Free Saturdays: Talk with Boots Riley in the Koret Auditorium

March 14, 2020, 2:00 pm – 3:30 pm

Boots Riley is a provocative and prolific poet, rapper, songwriter, producer, screenwriter, director, community organizer, and public speaker. Boots Riley wrote and directed Sorry to Bother You, a comedy fantasy sci-fi film, in his directorial debut. It stars Lakeith Stanfield, Armie Hammer, Tessa Thompson, Steven Yeun, Jermaine Fowler, Omari Hardwick and Terry Crews.

The film premiered at the 2018 Sundance Film Fest and opened to strong critical acclaim in theaters nationwide later in 2018. He is the lead vocalist of The Coup and Street Sweeper Social Club. Fervently dedicated to social change, Boots was deeply involved with the Occupy Oakland movement. He was one of the leaders of the activist group The Young Comrades. He is the author of the critically acclaimed Tell Homeland Security-We Are the Bomb.

This is a free event and admission to the museum is also free. Admission to Soul of a Nation is not free and as this is the day before closing, advance ticket purchases are encouraged also early arrival, perhaps before the talk.

At the Roxie in San Francisco

System K from Kinshasaa  March 20-25 (times vary)

Kinshasa, the capital of the Democratic Republic of the Congo, is a vast, chaotic mega-city of 12 million. Water is privatized and the electric grid is capricious. Here, street artists’ performances are wildly creative, angry, irreverent, often shocking. With names like Kongo Astronaut, Strombo, and Kill Bill, they masterfully repurpose urban detritus (computer parts, TV sets, bullet shells, machetes) and work with fire and paint, wax and blood — to critique government corruption, Western exploitation (their nation was literally once the private property of Belgium’s King Léopold II), and entrenched poverty. SYSTEM K reveals a vibrant, raw, politically astute world of performance art the likes of which exist nowhere else on earth.  Here is the trailer: https://www.youtube.com/watch?time_continue=8&v=E3qGJO917ag&feature=emb_logo

Directed by Renaud Barret. 2019 (94 mins), in French with English subtitles, “System K” is a nod to “Soul of Nation: Art in the Age of Black Power” artists, an exhibition currently at the De Young Museum in San Francisco through March 15, 2020.  It also reflects the vision “Kwame Brathwaite, Black Is Beautiful” which closed March 1, at MoAD and is on its way to Columbia, South Carolina, June 26-Sept. 6, 2020.

In System K, visual and performance artists frame what is unpalatable, make injustice not only visual but encourage resistance. With rhythms that captivate and trigger what’s hidden— System K band activate or call in ancient mediums, ancestors from spirit realms.  The work charges audiences as streets are taken over from the tops of buildings to halting traffic in the street. It is wake up time.  This visual creative response to tyranny encourages those quaking with fear to stand up; hearts are released from captivity minds, freed from tangible philosophical and ideological violence—The visual artifice that ensnares as it oppresses and smothers possibility is challenged lyrically.  System K just like the Black Arts Movement, the Harlem Arts Collective Spiral, Carlos Cooks African Nationalist Pioneer Movement (1941), Kwame Brathwaite and Elombe Brath’s African Jazz-Art Society – is art as articulation, art as vehicle for change, and again art as people’s resistance movement.

Afterimage: Souleymane Cissé
March 12–15, 2020

Come One Come All
Her Majesty Queen Mother Dowoti Desir Hounon Houna II Guely is in town

This is a joyous gathering dedicated to welcoming Her Majesty Queen Mother Dowoti Desir Hounon Houna II Guely. This is the kickoff for a week of events in honor of her majesty’s visit and of the beauty of the African Traditionalist Community in the Bay Area. This social gathering will allow the Bay Area to extend a warm welcome to the Queen Mother as well as give people the opportunity to mingle with her and the other luminaries who are participating in the events of the week. Be sure your Ile and/or your community is represented at this event. All are welcome. Come out to enjoy good people and good energy in a loving and welcoming environment.

About Her Majesty the Queen Mother

Aside from being the Kpodjito of the Royal Palace of DaDa Daagbo Hounon Houna in the Republic of Benin, she is an independent scholar, human rights activist, author, photographer, and faith leader of African Religious Traditions. She is the Founder of the AfroAtlantic Theologies & Treaties Institute, and the Chairperson of the NGO Committee for the Elimination of Racism, Afrophobia & Colorism located at the United Nations.  https://www.hounonhouna2.org/  and www.lulu.com/spotlight/Dowoti

Special Presentation by: Rara Tou Limen Dance Company – Haitian Vodou + Ritual Theater. Learn More at www.raratoulimen.com

Welcome Reception, March 4th – 6:30-9 PM, The Greenlining Institute – 360 14th Street  Oakland: https://www.eventbrite.com/e/her-majesty-the-queen-mother-welcome-reception-registration-91577409497

In Search of Voodoo Film and Panel Discussion, Friday, March 6th – 4-6:30 PM at the Berkeley Art Museum and Pacific Film Archives – 2155 Durant in Berkeley. Visit https://bampfa.org/event/search-voodoo-roots-heaven

Full-Day Workshop, Saturday, March 7, 8 AM-2 PM at the Movement Strategy Center, 436 14th Street 5th Floor Oakland. Register: bit.ly/2StxQA0

Closing Panel Event: Beyond The Narrative: Accessing Ancient Wisdom for Contemporary Healing & Empowerment. Sunday, March 8th 6:30 – 9pm at Red Bay Coffee Roasters – 3098 East 10th Street Oakland

Eventbrite Version: https://www.eventbrite.com/e/beyond-the-narrative-accessing-ancient-wisdom-for-contemporary-healing-empowerment-tickets-95039895887?aff=ebdssbdestsearch

Special Performance by Oakland’s Very Own Warrior Woman: Osunfemi Wanbi Njeri osunfemiwanbinjeri.org

Reception Wednesday evening in Oakland
At the welcoming reception, which was HM Queen Mother’s 60^th birthday, she resplendent in a gown and robe, said Oakland was medicine to her soul, the welcome and the performance by Portsha T. Jefferson’s Rara Tou Limen Dance Company, whom she’d met in Benin, brought tears to her eyes as she also participated in the libation and dance for the ancestors.

The procession and dance for the loa or deity for the water, protecting her children on the journey on the boat across the oceans was represented by a small chair the dancers carried. The journey was treacherous as indicated by loud powerful drumming, yet our ancestors landed and we — their descendants, are still landed, present, here.

Friends of HM Queen Mother Dowoti Desir Hounon Houna II Guely were in the audience, as well as panelists for the upcoming events this week: Dr. Wade Nobles, Yeye Luisah Teish, Iya Nedra, and many members of Ile or spiritual houses who at Tracy Brown’s request called out their names. Calendars from HM Queen Mother’s ordination were available as well as posters for the evening event and “goud kase goud: Conjuring Memory in Spaces of the AfroAtlantic,” her second book which is a catalog for the exhibition, “wòch kase wòch: Redlining a Holocaust, Memorials and the People of the AfroAtlantic.”

This second book documents Maafa sites in the western hemisphere like the USA, Haiti, Brazil and other Caribbean nations, as well as Europe. The photos are beautiful, yet it is the interpretative writing about these crime sites or sites of mourning which add depth to the work. HM Queen Mother Dowoti Desir Hounon Houna II Guely is a wonderful writer and told us she has another book which is about to be released very soon, maybe this weekend.  Listen to a Special Broadcast interview with HM Queen Mother with Yeye Teish on Wanda’s Picks, Tuesday, March 3, 2020.

The film, which is at center of the conversation at Berkeley Art Museum, Pacific Film Archive, Friday, March 6, is “In Search of Voodoo: Roots to Heaven,” dir. Djimon Hounsou, United States, Benin, 2018.  “In Search of Voodoo” is Djimon Hounsou’s personal reflection on his life. Hounsou, best known for his portrayal of Joseph Cinque, who with others led a revolt on the ship Amistad. After capture and arrival in America, his suit against this country was successful and he and the other Africans were released and returned to Sierra Leone. John Quincy Adams, 6^th president, represented the Mende Africans. It is unfortunate that missionaries returned with the new Christians. Perhaps this was a colonial compromise.

It was an unprecedented victory, that is, the courts find in favor of Africans suing for liberty.  This liberty stirred in the actor, he says in the film, his own story—and the shame associated with Vodou and Benin, Land of Vodou.  The journey or resulting film unpacks the propaganda and ties it to the enslavement of Africans and the colonization of indigenous Africans not stolen or enslaved—the bible is more powerful that a canon in its complicity in demonizing of traditional African ways, beliefs and practices.

Luckily there are culture bearers like Djimon Hounsou, Her Majesty and others who will be in conversation following the film. Often voices are silenced and traditions are lost to antiquity when demonized in conquest. In conversation with a friend of mine after the film and panel expressed disdain for the film which did not go deep enough or allow his audience to see him in ritual. We’d catch him just afterward which Iya Susheel Bibbs (panelist) said made the film as a whole fragmentary. A person without knowledge of the spiritual practice or religion would not be that much wiser after the screening.

Panelists spoke of this contradiction on the panel Friday afternoon at BAMPFA. Moderated by Tracy Brown, the panelists were: Her Majesty Queen Mother Dowoti Desir Hounon Houna II, Iya Susheel Bibbs, Ph.D., Yeya Luisah Teish and Dr. Wade Nobles.   The panelists addressed the Maafa or Black Holocaust and the way traditional spiritual guidance is the way back to self. Just as Hounsou makes the full circle in a story which takes the viewer through the misconceptions and the misuse of spiritual powers into a literal light, so can African Diaspora people who embrace all of themselves.  Granted the lens is popular culture given the directors position here presently. Nonetheless, I would not throw the film away and think it has its uses because it takes people from misconceptions shaped by media and unpacks them via gorgeous cinematography.   “In Search of Voodoo: Roots to Heaven” is a lush film and the narrator, tour guide, director Hounsou is both attractive and compelling in our search for more– heard in many of the questions posed afterward by viewers present that afternoon in the theatre.

An Observed Conversation: Lifting Up Black Female Leaders in Education
https://www.eventbrite.com/e/5th-annual-blackfemaleproject-conversation-with-black-teacher-project-tickets-91081580459

Black Teacher Project and BlackFemaleProject invite you to join us for our 5th annual Women’s History Month conversation. Each year these fishbowl-style events have been called ceremony and sacred. Why? Because we center the voices of Black women, with intention. This year, the women around the table will discuss leadership in the education sector. Whether a classroom teacher, principal, or superintendent, Black women are bringing indispensable gifts to campuses and our communities. Let’s explore our shared vision for the future, clarify narratives about teachers, and elevate the power of our profession.

Please note: this event is open to EVERYONE, this is not an all-Black affinity space.

March 11th, 2020 at the National Equity Project Office, 1720 Broadway (Fourth Floor) Oakland, CA, at 5:30pm to 8:00pm

Cost? Free for Black Teacher Project and Black Female Project members, $10 for non-members Childcare will be provided. Please let organizers know at least 2 weeks in advance if you need childcare.

1619-2019 Project at UC Berkeley, Friday, March 6, 12 p.m. to 1:30 p.m.

Location: Social Science Matrix Conference Room, Barrows Hall 8th Floor