By Jess Clarke

Today’s emerging resistance movements can draw on a long and varied history to challenge the reactionary US government. Racial justice organizing has been the leading edge of progressive change for generations, and lessons learned and leadership from Black liberation struggles are key to moving beyond resistance and toward revolutionary abundance.

(CLAWS) Collaborative Liberation Arts Workshop Series  Spring Session:

Movement Metamorphosis  

a 5-week workshop series using movement and dance to open to change from within.

Biodanza facilitated by Mirjam Krohne
Five Saturdays,  April 22 — May 20, 2017
12-2 pm

Studio FAB 2525 Telegraph Ave
Oakland, CA 94612

CLAWS is a workshop series in Oakland that aims to create a laboratory where we can:

• experiment with new forms of collaboration using writing, theater and movement arts.
• explore how race, class and gender oppression can be resisted and transformed.
• work with one another inside and outside of sessions to create performance, story, and movement that can energize and liberate—personally and socially.
• create a community of reflection, performance and action.

To register by postal mail download the pdf

Community college and low-income residents face big loss of public resource

By Marcy Rein and Christine Hanson

On weekdays the windswept lot next to the main campus of City College of San Francisco (CCSF) can hold close to 1,000 cars belonging to students and teachers. On weekends a motorcycle safety class practices there, as does the marching band from Archbishop Riordan High School. This lot, the Balboa Reservoir, is one of the largest tracts of public land in land-starved San Francisco—and a key arena in the city’s fight to stem displacement of its vulnerable communities and the institutions that serve them.

An Interview with Emory Douglas by Jarrel Phillips

Emory Douglas is the former minister of culture and revolutionary artist for the Black Panther Party, who continues to be a progressive artist dealing with social commentary in his artwork.

By Christine Joy Ferrer

Blanca Gotchez Melara remembers it well. The potent fragrance of basil, black melons and geraniums adorning Nativity dioramas in her hometown of Santa Ana, El Salvador.

The Nacimientos or Nativities were never just Mary, Joseph and the Baby Jesus but a more elaborate arrangement of clay, wax, wood, metal, fabric, and beads depicting the Christ birth. The main focus was the replication of a whole town with three-dimensional illustrations from one’s daily life in a variety of scales, symbolizing one’s connection to one’s environment relative to the Nativity. The dioramas could include, among the biblical scenes, figurines of women making tortillas, farmers milk