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Sojourner Truth: CLAIM YOUR SELF

CLAIM YOUR SELF for Sojourner Truth, perSISTERS print in the Female Power Project.
You can purchase this print here.

Presence and Representing

APPROACHING TRUTH
I have finally set myself to making some work for Sojourner Truth. Now, because over the course of two weeks at the Female Power hut at Eastern Market there have been at least four different people asking, Where is Sojourner Truth? One of these people was a filmmaker who made a documentary about Sojourner Truth (to be released in 2023). 

Sojourner Truth was a charismatic orator whose imposing presence and way of speaking made a strong impression on those who experienced her. Remembering her meeting with Truth, Harriet Beecher Stowe likened her to a sibyl, or ancient prophetess. Truth never learned to read or write, and every text we have of hers is mediated by other writers. Her power is her presence and her voice, the literal voice that disperses as sound. These factors made it hard for me to imagine how transformative she could be and I think that’s why it took me a while to turn my attention her.

The thing that fired me up is this photo I found of Truth. I could see right away that this was a creation of a master representer. She has a photo of her grandson on her lap. This is a photograph that includes a photograph, and now I have made an image out of the pixels I downloaded from the Library of Congress representing this photograph of a photograph. If you are reading this online, you are looking at pixels representing an image based on pixels representing a photograph of a photograph. 

The photo of Sojourner Truth is an example of a carte de visite, or visiting card, which was handed out to acquaintances and pasted into scrap books and albums. These inexpensive photographs exploded in popularity during this time in the US. This was especially the case during the war, since so many people were separated from those they loved. The intimate photos maintained connection and presence across distances, and also through time, fixing the image of a person at a particular state. However, the photo on Truth’s lap is a more permanent and expensive one, the kind intended to last.

On her lap is a tintype or a daguerreotype of Truth’s grandson, James Caldwell, who was a soldier in the 54th Massachusetts Infantry Regiment, one of two African-American regiments organized to fight for the Union during the US Civil War. Truth worked to recruit black men to fight in the war to end slavery. She was hugely proud of this grandson and she wished that she herself could fight in the war. In this photograph she is taking possession of her grandson and his acts, and re-presenting them to us.

Sojourner Truth sat for “at least twenty-eight different photographs, mostly cartes de visite, deriving from perhaps fourteen different sessions with a half dozen or so photographers,” writes Darcy Grimaldo Grigsby in Enduring Truths. And they keep turning up in personal archives. Truth printed her copyright on the back, something that was rare at the time, as usually it was the photographer who claimed the rights to an image. She also had printed at the bottom on the card, “I sell the Shadow to support the Substance.” Sojourner Truth sold images of herself to make money. She claimed ownership of her self such that she could sell representations of her self. She constructed and she controlled this representation.

In the introduction by Maurice O. Wallace and Shawn Michelle Smith to Pictures and Progress, they write of the chapter on Sojourner Truth written by Augusta Rohrbach:
“For Sojourner Truth … photography was part of a broader set of self-representational strategies she used to claim an authorized voice and an audience for her work. Augusta Rohrbach examines the ways in which the famous orator crafted her photographic portraits to signal self-possession. Rohrbach shows how Truth utilized the photograph to claim her embodied presence for an audience, a presence she also celebrated in her commitment to orality over print culture. As Truth promoted herself through print, and through the writing of others, she announced her ultimate control over those representations by marking her presence in photographs. However, as she drew upon the indexicality of the photograph to mark her presence, she also cannily manipulated the pose to produce a persona, playing with both the constructed nature of the photograph and its associations with unmediated representation. According to Rohrbach, Truth utilized a variety of representational forms to create a marketable persona over the course of her life, but her self-fashioning is most evident in her photographic portraits and her shrewd use of the photograph’s varied cultural meaning and power.”

SOMETHING SHE SAID
There is a lot to say about Sojourner Truth’s most famous speech, delivered on May 29, 1851, in Akron Ohio. It is mostly transcribed in the newspaper, Anti-slavery Bugle, of June 21 (“I am a woman’s rights.”) It was changed considerably (“And a’n’t I a woman?”) by Frances Gage and published in 1882 in History of Woman Suffrage. The first transcription is thought to be the most authentic. 

I was always getting stuck on the first point, when she says “I am a woman’s rights.” It just didn’t make sense to me, almost like it wasn’t really in English. How can you be “rights” since they aren’t something you are, they are something you have. They are a potential. After this statement, Truth talks about how she can do the same work as any man: she’s talking about physical labor. 

It occurred to me that she may have meant “power,” which is, after all, related to rights. You likely don’t have the legitimized power to do something if you don’t have the right to do that thing. So if she’s saying, “I am a woman’s power” it makes sense that she would talk about the physical power she has, and other things, that make her as good as any man.

Furthermore, what does it mean for a Black woman, a former enslaved person, to say to a gathering of mostly white women, “I am a woman’s power”? I don’t think it means what is said in the later rewrite, that goes: “A’n’t I a woman?” That later version implies that Truth is asking to be included in the white women’s fight, to get the rights and privileges that white women have and will yet receive. That she is worthy to be included. As if they will represent her. But I propose that the first (more authentic version) implies that Truth is representing them, and their potential for strength, for power. She is presenting her self and her story to be a model for them. But I’m not sure her audience knew how to hear that. To them she becomes a magical “other,” a sibyl.  Even if Truth was not saying that (how can we be sure—we weren’t there) that is what I am hearing now. That the multiply-marginalized Sojourner Truth represents the power of all women, that she is a model for me. We know how to hear that now.

Her physical presence and her speech have perished, but her autobiographical stories and her carefully constructed photographs persist. As Suzanne P. Fitch and Roseann Mandziuk write in Sojourner Truth as Orator: Wit, Story, and Song
“[T]he power of Truth’s rhetoric came from her successful construction of an autobiographical character that coincided precisely with what audiences actually saw when she spoke before them. In her unadorned dress and turban, with her strong voice and haunting singing, Truth challenged audiences to consider the worth of herself and her experience. She asked them to broaden their perspectives, to mend their ways, and to be God’s servants in order to ensure justice and equality. She was not afraid to speak forthrightly and to answer a heckler with a stern admonition or to profess her faith and values through the performance of a song. In all, her narratives and her personal character blended seamlessly, such that Truth herself understood the correspondence and its persuasive force: ‘I will shake every place I go to.’ …
…she entreated women to be bold and assertive: ‘Be strong women! blush not! tremble not!’ Truth often implied that if women wanted their rights, they should just take them, rather than beg men for them.”

BIOGRAPHICAL OUTLINE

She was born enslaved, perhaps in 1797. Her original name was Isabella Baumfree. She was born and grew up in upstate New York.

She spoke Dutch as her first language, and although she later learned to speak English, she always spoke with a Dutch accent.

She never learned to read and write.

She was probably thirteen years old when she was sold by her first enslaver in 1810 for a hundred dollars (sheep were included in the sale) and separated from her parents.

She was beaten as a slave; she also lost a portion of her right index finger in a field accident. There are implications in her accounts that she was raped while she was enslaved.

She bore five children between 1815 and 1826, one of whom died.

She walked away from her last enslaver in 1826, at the age of thirty, after completing work that she felt she owed him, although he reneged on his promise to free her after she completed the work. Her freedom, and that of her babe-in-arms, was bought by the Quaker family who were sheltering her.

She felt a call to be a preacher, and participated in religious communities and preaching circuits during a time of great religious ferment in Western New York as part of the “Second Great Awakening” in a region later called the “Burned-over district” (set ablaze with religious fervor). 

She renamed herself Sojourner Truth in 1843 at the age of forty-six.

She chose to go to court three times and won all three cases. In 1828 she litigated to recover her son Peter who had been illegally sold into slavery. In 1832 she filed a slander suit. In 1865 she brought assault charges against a Washington, DC, streetcar conductor who tried to throw her off his car; he was dismissed from his job.

She wrote an autobiography with the help of two different women friends and paid for its first printing in 1850 on credit; she reissued the book in 1875, 1878, and 1881.

She campaigned on behalf of the abolition of slavery, the right of African Americans and women to vote, the right of emancipated slaves to education and property, the desegregation of streetcars, and the elimination of capital punishment.

She was a moving speaker. According to a Quaker abolitionist, she “poured forth a torrent of natural eloquence which swept everything before it.” A large part of her effectiveness was her physical presence: she was very tall and thin, and she had long bony fingers that she would point with rhetorical power. We do not have definite texts of her speeches because they appear to have been improvised, but we do have transcriptions and reports.

Her most famous speech was delivered on May 29, 1851, in Akron Ohio. It is mostly transcribed in the newspaper, Anti-slavery Bugle, of June 21 (‘I am a woman’s rights.”) It was changed considerably (“And a’n’t I a woman?”) by Frances Gage and published in 1882 in History of Woman Suffrage. This later publication has Truth’s voice rendered in a “Southern Colored” slang that is an inaccurate representation of the way Truth likely spoke.

She worked tirelessly from 1864 to 1867 on behalf of the thousands of emancipated Southern slaves refuged at the Freedmen’s Village in Washington, DC.

She filed petitions with Congress and paid to have petitions printed.

She tried to vote several times in advance of female suffrage, but was turned away from the polls.

She posed for photographic portraits, primarily cartes de visite, at least eleven different times, mostly during the years of the Civil War when she was in her late sixties, but also in the years immediately prior to her death in 1883.

She had a copyright filed in her name for her cartes de visite in 1864, which was unprecedented for a portrait sitter: usually copyrights were filed in the name of the photographer. The copyright appeared on the backs of her portraits; at the same time, she added her name and a caption to the front, “I sell the Shadow to support the Substance.” She sold her photographs at her lectures and through the mail in order to support herself.

She died at her home in Battle Creek, Michigan, November 26, 1883.

SOURCES
Sojourner Truth as Orator: Wit, Story, and Song (Great American Orators) by Suzanne P. Fitch, Roseann Mandziuk

Enduring Truths by Darcy Grimaldo Grigsby

Pictures and Progress edited by Maurice O. Wallace and Shawn Michelle Smith 

https://www.thesojournertruthproject.com/resources

https://blogs.loc.gov/headlinesandheroes/2021/04/sojourner-truths-most-famous-speech/

https://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery

PROTECT for Leydy Pech

PROTECT – perSISTERS print design for Leydy Pech, the Mayan beekeeper who fought the mega-agri-business Monsanto in court, and won. Purchase this print in the store.

Leydy Pech, an indigenous Mayan beekeeper, led a coalition that successfully halted Monsanto’s planting of “round-up ready” soybeans in southern Mexico. The genetically modified beans are not vulnerable to a specific herbicide, so the crop can be sprayed and only the weeds are killed. But the herbicide is carcinogenic and damages the delicate natural balance that supports the native stingless bees and also the Mayan way of life that depends on the bees. The Mexican Supreme Court ruled that the government violated the Mayans’ constitutional rights and suspended the planting of genetically modified soybeans. Because of the persistence of Pech and her coalition, in September 2017, Mexico’s Food and Agricultural Service revoked Monsanto’s permit to grow the soybeans in seven states. For her efforts, in 2020 Pech was awarded the prestigious Goldman Environmental Prize.

Leydy Pech’s powerful act is to PROTECT. She protects her bees, the environment that supports her bees, and her people who depend on the health and happiness of the bees. Read on and you will learn that these bees are remarkable and worth protecting. The stories reference a mode of value outside of money.

Purchase this print at this link: https://www.etsy.com/FemalePowerProject/listing/1251046874/protect-persisters-print-design-for

The following is a statement by 2020 Goldman Environmental Prize winner Leydy Pech:

Today is a historic day for the Maya people.

My name is Leydy Aracely Pech Martín. I am from the community of Ich-ek, municipality of Hopelchén, State of Campeche.

I am grateful to the Goldman Foundation for recognizing the work of the Maya communities of Hopelchén in defense of their territory against industrial agriculture and GMOs.

The award gives me the opportunity to tell the world that the territories of indigenous peoples are being dispossessed by extractive megaprojects, agro-industry, tourism and others that strengthen a capitalist model that affects natural resources and our way of life.

I call on all governments and world leaders to rethink more comprehensive development models that respect and recognize human rights, autonomy, self-determination of Indigenous peoples and ancestral heritage.

Quoted from https://www.goldmanprize.org/recipient/leydy-pech/

Disrupting an Ancient Industry

The state of Campeche in Mexico’s Yucatan Peninsula features an ancient mixture of forests, beekeeping, local agriculture, and deep-seated Mayan culture. Mexico is the world’s sixth largest producer of honey, and 40% of the nation’s honey production originates from the Yucatán Peninsula. In Campeche, 25,000 families—especially within indigenous Mayan communities—depend on honey production for their livelihoods.

Beekeeping is also integral to Mayan culture and a key factor in the protection of Campeche’s forests. Recently, with the rise of industrial agriculture, the state lost nearly 94,000 acres of forest—the highest rate of deforestation in Mexico.

In 2000, Monsanto began growing small, experimental plots of genetically modified (GM) soybeans in Mexico. In 2010 and 2011, these projects were elevated to “pilot projects” by the government. The GM soybean used by Monsanto (now owned by Bayer) is known as “Roundup Ready,” a reference to the plant’s programmed genetic tolerance to high doses of the herbicide Roundup (also a Monsanto product). The main ingredient in Roundup is glyphosate, a probable carcinogen that is also linked to miscarriages and birth defects.

In 2012, the Mexican government granted Monsanto permits to plant GM soybeans in seven Mexican states, including Campeche and the Yucatán, without consultation by local communities. It was soon apparent that the GM crops were contaminating local honey in Campeche, threatening the food supply, environment, and livelihoods of the Mayan communities.

A Mayan Lady of Honey

Leydy Pech, 55, is a proud Mayan woman who makes her living as a beekeeper in a collective of Mayan women. She was born and raised in Hopelchén, where the practice of beekeeping goes back centuries for the Mayan community. Pech has focused her beekeeping practice on a rare native bee species, Melipona beecheii. She is also a promoter of sustainable development for rural Mayan communities as a member of Koolel-Kab/Muuchkambal, an organic farming and agroforestry cooperative composed solely of Mayan women.

Beekeepers Fight Back

In June 2012, in response to the planting of GM soybeans in the region, Pech brought beekeepers, NGOs, and environmentalists together in a coalition known as Sin Transgenicos (Without GMOs). That same month, Pech led the group in filing a lawsuit against the Mexican government to stop the planting of GM soybeans. Their case rested on the fact that neither the government nor Monsanto consulted indigenous communities before approving the permits—in violation of the Mexican Constitution and International Labor Organization’s Convention 169.

Pech reached out to academic institutions for assistance documenting the impacts of GM soy cultivation on honey, the environment, and people. As a result, the Universidad Autonoma carried out a study of GM soybean production in Campeche—where Monsanto had conducted a pilot project—confirming that GM soy pollen was present in the local honey supply. The Universidad Autonoma and the UN Development Programme also charted the impacts of glyphosate, finding traces of the herbicide in the water supply of Hopelchén, and in the urine of the town’s residents.

With this data in hand, Pech and her Mayan collective began an outreach and education campaign to local communities and government officials about the negative impacts of GM soybean production. They organized a series of workshops for activists and organizations to exchange information and research, launched petitions, and arranged simultaneous protests in seven Mayan ceremonial centers across the Yucatán Peninsula, with approximately 2,000 participants.

In November 2015, in response to the coalition’s lawsuit, Mexico’s Supreme Court unanimously ruled that the government must consult indigenous communities before planting GM soybeans. The ruling effectively canceled Monsanto’s permits and prohibited the planting of GM soybeans in Campeche and Yucatán. And, in September 2017, thanks to Pech’s organizing, Mexico’s Food and Agricultural Service revoked Monsanto’s permit to grow genetically modified soybeans in seven states, including Campeche and Yucatán. This decision marks the first time that the Mexican government has taken official action to protect communities and the environment from GM crops.

Pech and the coalition’s historic fight is precedent-setting for Mexico, and already a model for other indigenous movements struggling to preserve indigenous rights and land management. Carrying out a “lucha de la vida” (a struggle for life), she brought together a diverse group of activists and stakeholders and organized thousands of people through outreach, assemblies, and petitions. An unassuming but powerful guardian of Mayan land and traditions, Pech experienced frequent discrimination and was widely underestimated: upon seeing her in person following her court victory, a lawyer for Monsanto remarked that he couldn’t believe that this little woman beat them.

A story about Regal Lady Bees, or Xunan Cab

Quoted from https://www.atlasobscura.com/articles/meliponini-honey

EFRAIN CAB, A 34-YEAR-OLD BEEKEEPER who runs a hotline for stingless bees in need, stood in front of the wall of a hotel in Playa del Carmen, Mexico, with a hammer in his hand.

He had responded to an emergency text from 11-year-old Eugenia, who had secretly contacted Cab from her mother’s phone. She wanted to save the bees her parents intended to fumigate.

Eugenia now pointed at a small hole in a brick wall.

“Put pieces of tissue inside your ear, and do not squash them when they get entangled in your hair. They’re just defending themselves,” Cab said with a stern look.

With precise movements, he started hammering the wall. As he cautiously pulled out the debris, a swarm of stingless bees poured out, flying into his beard, hair, and ears. Undeterred, Cab surgically removed the alien-looking hive and placed it inside a wooden box he had brought along. Cab’s face soon took on a sheen of sweat, as he strove not to hurt the swarm. Before closing the lid of the box, he added in the dazed bees who had not left the shelter, one by one, and made sure the queen was in the hive.

“Now they have to rest,” Cab said, visibly exhausted.

There are around 500 species of Meliponini stingless bees in tropical and subtropical areas around the world. 47 live in Mexico, and the most famous bee in the Yucatán peninsula is Melipona beecheii, known by the Mayans as Xunan Kab, or the Regal Lady Bee.

Meliponini honey is rare and expensive. In the United States, 250 grams of Meliponini honey costs around $50. Stingless bees live in small colonies and produce just over three pounds of honey per year, while their stinging counterparts produce almost 20 times more. They store their liquid honey in small waxy pots built into their hives. Its flavor is an explosion of acidity and sweetness, paired with an intense flowery fragrance.

But Cab doesn’t aim to profit off the bees for their honey. Loading the hive into his car, he drove it back to his home in the Playa del Carmen suburbs, where he runs Trigonario Urbano Cab, a hospital for rescued stingless bees. The rescued hive would rest and recuperate amongst 60 other colonies, before Cab would take them to their final home: a sanctuary he has built in the middle of the Mayan jungle.

“Cab means bee,” Cab tells me, adding that he learned about bees from his father and grandfather, both beekeepers themselves. In fact, he claims that all his ancestors were Meliponini beekeepers. But it wasn’t until 2001 that he started taking care of his own hives. A friend working in construction asked him to pick up a colony that otherwise would have been destroyed. Then he saved a second hive, and then a third. News of his bee operation started spreading. Since then, Cab the beekeeper has saved more than 100 hives.

Jorge Gonzalez Acereto is a bee expert and former professor at the Autonomous University of Yucatán. A beekeeper himself with 40 colonies, Acereto notes that Meliponini bees were central to the Mayan cosmogony, or their vision of how the universe came to be.

“The Mayans believed that the bees were a gift from the gods,” Acereto says. Ancient Mayans thought that nectar was a concentration of the sun’s power, which bees transferred into their honey. Mayans cared for bees religiously, and the bees, in turn, gave them wax, honey, and pollinated crops.

Maria Luisa Dorantes, Cab’s mother, explains that Mayan descendants use Meliponini honey primarily as a medicine. “If you get a bad cut which doesn’t heal, you wrap the honey around it and it’s gone in three days,” Dorantes says. Daughter of a herbadera, a Mayan herbalist, Dorantes notes that the honey is also used to treat a variety of diseases, including cataracts, ulcers, and diabetes. Her claim is supported by bacteriologists, who have studied how Meliponini honey’s acidity and high levels of bacillus effectively inhibit pathogenic bacterial growth.

Acereto explains that beekeepers provided a central social service for the ancient Mayan community, by providing honey for free when the sick needed it. Beekeeping was a charitable activity, for which they could not ask for anything in return.

“This is the inheritance that I have, and I have to protect it,” Cab says. He makes his living as a construction worker, but spends all his free time with the bees. Cab doesn’t often sell his honey, and usually harvests it for his family and to help others in need.

With the colonization of the peninsula in the 17th century, the Spaniards introduced Apis mellifera, the common stinging bee, which aggressively invaded Meliponini territory. Many beekeepers began rearing the new bees for their higher honey production. Just a few domestic hives of Meliponini, kept in the remotest Mayan villages, survived the change.

Cab’s untiring efforts to rescue hives is essential work. Ricardo Ayala Barajas, a bee taxonomist at the Biology Institute of the National Autonomous University of Mexico, said that although there is a cultural push to protect stingless bees, they are still endangered. Barajas names pesticides, deforestation, and careless beekeeping practices as causes of the decline.

“We’ll reach a point of no return soon,” Barajas says.

Efrain Cab is not the only stingless beekeeper. Meliponini honey is highly lucrative. Acereto explains that as demand for the precious honey went up, foreigners and greedy beekeepers began venturing into the jungle to cut down trees to get to Meliponini hives. New beekeepers do not seem to understand the ancestral techniques used to harvest the colonies, which is key to keeping bees healthy. Many end up killing the fragile hives, Acereto adds.

Valerio, Cab’s father, says that not everybody is suited for the task of keeping stingless bees. Tradition requires a certain purity on the part of the beekeeper. “You cannot take care of the bee without being ready,” he says. “You cannot drink alcohol and you need harmony within the family. If bees feel the tension, they go away or die.”

After a period of rest and rebuilding, Cab took Eugenia’s hive back into the forest. A wooden canopy, constructed by Cab, shelters the harmless stingless bees. It is hidden deep within the jungle, where, legend has it, spirits and forgotten gods still roam.

Cab is now teaching his four-year-old son to care for the bees. His hope is that there will be someone to safeguard the bees, when he is gone. “This is what I will leave to my children,” Cab says. “Because I don’t believe in money.”

HOLD SPACE — perSISTERS design for the creatrices of Black Lives Matter

A digital original print design showing three women who started Black Lives Matter. "#BLACKLIVESMATTER" in the background; the largest type says "HOLD SPACE", and the smaller type says "In 2013, three radical Black organizers — Alicia Garza, Patrisse Cullors, and Opal Tometi — created a Black-centered political will and movement building project called #BlackLivesMatter." which is a quote from blacklivesmatter.com/herstory. The smallest type is the photo credit: "Photo credits, top to bottom: Alicia Garza, Citizen University, 2016; Patrisse Cullors (May 2015) and Opal Tometi (August 2015), The Laura Flanders Show" and the project credit and artist's website and the creative commons license.

Did you know that Black Lives Matter was started by three women? It was a hashtag at first, a technology for rhetoric, a verbal key that makes a place for an idea to aggregate. And what a large and multitudinous, profound and simple idea it is! The message I distilled for this artwork is “Hold Space.” These words come from the text on the Black Lives Matter website. You should all go there and read all the words there. They are clear, beautiful, powerful. Perfect.

“Hold Space” I think points to the openness that #BlackLivesMatter allows. It is a coalescing medium, a place that is not occupied the way Rosa Parks performed her rhetoric, whose message I stated as  “Take Up Space” in another perSISTERS print. I think it is interesting to contrast “Hold Space” with “Common Ground,” another phrase that seeks some kind of reconciliation between differences. “Common Ground” implies a defined space between determined territories, and I submit that this phrase claims space for the privileged, whereas “Hold Space” implies, among other things, a holding back of privilege. Clearly, this message is about history from within history — which is not clear — and time will allow us to name it.

You can find this design for sale on my Etsy site, here is the listing. For this piece I am donating my creativity, time, and materials, so what you pay goes to Black Lives Matter DC and the US Postal Service (and to Etsy for fees).

The following words come from blacklivesmatter.com/herstory:

“In 2013, three radical Black organizers — Alicia Garza, Patrisse Cullors, and Opal Tometi — created a Black-centered political will and movement building project called #BlackLivesMatter. It was in response to the acquittal of Trayvon Martin’s murderer, George Zimmerman.

The project is now a member-led global network of more than 40 chapters. Our members organize and build local power to intervene in violence inflicted on Black communities by the state and vigilantes.

Black Lives Matter is an ideological and political intervention in a world where Black lives are systematically and intentionally targeted for demise. It is an affirmation of Black folks’ humanity, our contributions to this society, and our resilience in the face of deadly oppression.

As organizers who work with everyday people, BLM members see and understand significant gaps in movement spaces and leadership. Black liberation movements in this country have created room, space, and leadership mostly for Black heterosexual, cisgender men — leaving women, queer and transgender people, and others either out of the movement or in the background to move the work forward with little or no recognition. As a network, we have always recognized the need to center the leadership of women and queer and trans people. To maximize our movement muscle, and to be intentional about not replicating harmful practices that excluded so many in past movements for liberation, we made a commitment to placing those at the margins closer to the center.

As #BlackLivesMatter developed throughout 2013 and 2014, we utilized it as a platform and organizing tool. Other groups, organizations, and individuals used it to amplify anti-Black racism across the country, in all the ways it showed up. Tamir Rice, Tanisha Anderson, Mya Hall, Walter Scott, Sandra Bland — these names are inherently important. The space that #BlackLivesMatter held and continues to hold helped propel the conversation around the state-sanctioned violence they experienced. We particularly highlighted the egregious ways in which Black women, specifically Black trans women, are violated. #BlackLivesMatter was developed in support of all Black lives.

In 2014, Mike Brown was murdered by Ferguson police officer Darren Wilson. It was a guttural response to be with our people, our family — in support of the brave and courageous community of Ferguson and St. Louis as they were being brutalized by law enforcement, criticized by media, tear gassed, and pepper sprayed night after night. Darnell Moore and Patrisse Cullors organized a national ride during Labor Day weekend that year. We called it the Black Life Matters Ride. In 15 days, we developed a plan of action to head to the occupied territory to support our brothers and sisters. Over 600 people gathered. We made two commitments: to support the team on the ground in St. Louis, and to go back home and do the work there. We understood Ferguson was not an aberration, but in fact, a clear point of reference for what was happening to Black communities everywhere.

When it was time for us to leave, inspired by our friends in Ferguson, organizers from 18 different cities went back home and developed Black Lives Matter chapters in their communities and towns — broadening the political will and movement building reach catalyzed by the #BlackLivesMatter project and the work on the ground in Ferguson.

It became clear that we needed to continue organizing and building Black power across the country. People were hungry to galvanize their communities to end state-sanctioned violence against Black people, the way Ferguson organizers and allies were doing. Soon we created the Black Lives Matter Global Network infrastructure. It is adaptive and decentralized, with a set of guiding principles. Our goal is to support the development of new Black leaders, as well as create a network where Black people feel empowered to determine our destinies in our communities.

The Black Lives Matter Global Network would not be recognized worldwide if it weren’t for the folks in St. Louis and Ferguson who put their bodies on the line day in and day out, and who continue to show up for Black lives.”

The print says “#BLACKLIVESMATTER” in the background; the largest type says “HOLD SPACE”, and the smaller type says “In 2013, three radical Black organizers — Alicia Garza, Patrisse Cullors, and Opal Tometi — created a Black-centered political will and movement building project called #BlackLivesMatter.” which is a quote from blacklivesmatter.com/herstory. The smallest type is the photo credit: “Photo credits, top to bottom: Alicia Garza, Citizen University, 2016; Patrisse Cullors (May 2015) and Opal Tometi (August 2015), The Laura Flanders Show” and the project credit and artist’s website and the creative commons license.