Journalist Dena Takruri Reports on Conflict, Culture and Communities

By Jessica Semaan

Dena Takruri is an award-winning journalist, producer and storyteller who has built a brilliant career in digital news media. Known for her insightful video reports from conflict zones around the globe, Takruri covers the human impacts of natural and man-made disasters. She has reported on the devastation from wildfires in Northern California, hurricanes and environmental conditions in Puerto Rico, and the coronavirus pandemic’s toll in San Quentin prison. Curiosity, empathy and grit are her signature traits as a reporter. We are excited to share this very personal interview with Dena Takruri.

Journalist Dena Takruri sits down for an interview with Seismic Sisters.  Photo by Tumay Aslay.

Journalist Dena Takruri sits down for an interview with Seismic Sisters.
Photo by Tumay Aslay.

What inspired you to take the journalist path?

My desire to become a journalist was very much shaped by growing up Muslim and Arab in the U.S. and seeing the absence of fair representation of my communities. I grew up in a home where my Palestinian immigrant father basically had the news on 24/7. He was constantly monitoring the situation in Palestine because his plan had always been to pack up the family and move us “back home” once there was peace. Of course that never happened. What did occur instead was that I got an early crash course in media literacy. I observed how my people were regularly demonized and dehumanized. The basic denial of my people’s humanity motivated me to want to work in the media to reclaim our narrative and carve out a space to have a voice without having to compromise who I am. It fueled the fire to want to amplify the voices of the voiceless and speak truth to power. I’ve also always been a highly inquisitive person who asks a lot of questions. My parents jokingly nicknamed me “the FBI” when I was a child because of how many detail-oriented questions I used to ask about everything. I’ve always been curious about the world and love learning people’s stories, which made journalism a natural fit.

What has it been like to be a prominent female reporter in a male dominated space?

There are many challenges but also certain advantages to being a woman in this space. As is the case in most professions, discrimination exists. I remember pretty early on in my reporting career, a male manager passed me up on an assignment to cover a story about a far right movement in Europe and opted to send a male colleague instead. When I asked him why he didn’t send me and if there was anything more I could do to be considered for such opportunities, his reply was, “this story is gritty - it needs a man.” It was a slap in the face, but I’m proud to have later gone on to report from various conflict zones and found myself in many a dicey situation that demonstrated my grit. That said, after his comment, my femininity became something I grew self-conscious about while reporting in the field. I sort of internalized the idea that dressing a certain way or having too much makeup on could be disqualifying. I have to make considerations about my appearance that my male counterparts never have to think about. The rampant objectification I experience from men who comment on my videos online is another constant challenge, and one that’s been very demoralizing. I want to be judged by the quality of my work and the stories I’m telling and not by how I look. Unfortunately the internet can be a very degrading and hostile space for women in that regard.

Despite all that, I think that being a woman has been a huge asset to my success. Having compassion, empathy and emotional intelligence are intrinsic to who I am as a woman. And they’re qualities that are necessary to have while reporting, especially as I’m often meeting people during the most traumatic moments of their lives. I’m able to forge a connection with them that makes them feel safe to open up, be vulnerable and many times cry as they’re sharing their stories. I’ve also found that powerful men and/or men from the opposite side of the political spectrum are more inclined to talk to me because they’re disarmed by the fact that I’m a woman. That’s fine by me because it just makes it easier to hit them with the hard questions!

I’ll add that while the news landscape is certainly male (and white) dominated, it is in fact changing. That’s in large part thanks to movements like Me Too and Black Lives Matter which have drawn attention to systemic inequalities and have opened the way for necessary critique and change. There are conversations taking place within newsrooms now that would have been unimaginable just a few years back. My experience at AJ+, though, has been refreshingly unique in that my top boss, Dima Khatib, is a strong Palestinian woman who has worked to ensure that other women are empowered and thrive.

Dena Takruri Quote

What about your journey as a journalist do you feel most proud of?

I’m most proud to serve as a role model to younger women and girls from my community. It’s very humbling to hear them say that I’ve inspired them to speak out, or be brave enough to follow their dreams, or embrace their (Palestinian/Arab/Muslim) identity, especially as I remember how isolating it felt to grow up with virtually no role models who looked like me. One of the most touching moments I experienced was after I gave a speech at a Muslim American gala event. A college student came up to tell me that her father had been unsupportive of her desire to major in political science and was encouraging her to pursue something more “practical” like medicine and engineering instead. She said she played some of my videos for him, which changed his mind and made him get on board. I was really moved by that.

How does your identity of being Palestinian American influence the work you do and topics you cover?

I was born and raised in the U.S. but grew up visiting my relatives in the Occupied West Bank very regularly. The experiences of living under a military occupation with checkpoints, curfews, strip searches and the overall lack of freedom were transformative and shaped my political consciousness. Being Palestinian gives you a very personal and intimate understanding of injustice. I know what it means to be criminalized and dehumanized on the basis of your ethnicity and how it feels to be dispossessed from your land due to ongoing settler colonialism. It’s enabled me to connect the dots between the systems of oppression faced by other communities, whether we’re talking about Black Americans, Indigenous folks, or the undocumented. I’m driven to tell the stories of marginalized communities and people fighting for equality and self-determination and select my stories first and foremost through the lens of social justice.

What are forms of self-care you practice? 

I adopted a kitten two years ago and found that his companionship is very calming and healing and also brings me so much joy. I named him Shams, which is the Arabic word for sun and also the name of Rumi’s spiritual instructor and companion. My Shams has shown me that pet therapy is real! I also love riding my bike and dancing. Getting out of my head and into my body as much as possible is good for me as I tend to be anxious and overthink things. Reading and listening to audiobooks is another big self-care practice for me. And finally, knowing when to unplug from the news and social media is a form of self-care that I have yet to master but am steadily working on. It feels more imperative now than ever.

Dena Takruri, Journalist, Host and Producer. Photo by Tumay Aslay.

Dena Takruri, Journalist, Host and Producer. Photo by Tumay Aslay.

What advice do you have to give for young women wanting to use their voice for change but who are afraid?

You’re not alone. Patriarchy was designed to silence us, and that's exactly why we need to summon the courage to speak up and speak out. Every woman, whether she realizes it or not, is in the midst of a revolution against the patriarchy. It doesn’t matter whether she’s fighting for the right to vote, equal pay, autonomy over her body or the freedom to do or wear what she wants without getting catcalled, harassed or even worse. Every time a woman chooses to use her voice to stand up for herself, it benefits the rest of us. We’re living in a unique moment where we’re witnessing the power that social movements have to disrupt the status quo and aggressively push for gender, racial, and socioeconomic equality. These movements wouldn’t be around had women not used their voices to advocate for change.

That said, we must also be mindful of the fact that it’s inherently riskier for some women to speak up. Women of color, queer and transgender women, women who are less educated, and women of lower socioeconomic status are especially vulnerable. That’s why it’s incumbent on all of us, particularly those of us with more privilege, to support them with true allyship.

Twitter: @Dena
Instagram:
@denatakruri

Journalist Dena Takruri. Photo by Tumay Aslay.

Journalist Dena Takruri. Photo by Tumay Aslay.

A note from the interviewer.
Before I met Dena Takruri at an Arab Film Festival event, on whose board she was serving, I had watched many of her intelligent, captivating AJ+ viral videos on topics ranging from systemic oppression in the U.S. to the Israeli occupation in Palestine, read interviews with her online, and kept up with her Facebook page. Suffice to say, as an Arab woman myself, I was fascinated and inspired. The day I finally met her in real life, I almost fangirled her and asked for an autograph, until I remembered that I was also on the board of the Arab Film Festival, and we have friends in common who were present. Avoiding embarrassment, I went up to her and asked awkwardly for her name, trying to play it cool.

With time, and later a pandemic lockdown, we have become friends and I have gotten the privilege to know Dena Takruri behind the cameras and away from the noise of reporting zones. I got to see her deep care for the causes she reports on. I saw her attention to detail in everything she takes on. I saw her endless curiosity about humans, their stories, what drives them and even how could she help them. I witnessed her undying loyalty to her friends, family, community and her Palestinian roots. Dena's identities of journalist, activist, American, Palestinian, woman and human all are integrated and aligned around her core values. The Dena in front of the camera is the same as Dena behind the camera. She is the real deal. She is the authentic deal. And I am excited for you to get to know her too. 

Jessica Semaan

Jessica Semaan

Jessica Semaan is a freelance writer, book author, poet and performer. Chronicling her journey of healing from trauma, she has over 50,000 people following her writing on Medium. Jessica’s debut book Child of the Moon was published in 2018. She also is studying to become a psychotherapist.

The views, practices, information and opinions expressed in this article are those of the individuals involved in the article and do not necessarily represent those of Seismic Sisters.

 

Catching up with DJ heyLove* on Making Art in the time of COVID-19

By Polina Smith

COVID-19 is impacting all types of artists. It’s forcing them to get creative, get online, get on video, and reconnect with their family and friends in whatever ways they can. Seismic Sisters recently caught up with DJ heyLove* to find out how she is using Buddhist principles as she continues to be a DJ, artist, teacher, and mother during this time. 

 
DJ heyLove* spinning at inaugural ‘She the People’ summit held in the Julia Morgan Ballroom, San Francisco. Photo by Tumay Aslay

DJ heyLove* spinning at inaugural ‘She the People’ summit held in the Julia Morgan Ballroom, San Francisco. Photo by Tumay Aslay

 

What were you up to before the Coronavirus shut down live events in San Francisco? What kind of gigs did you have on the calendar?

DJ heyLove*: I had your ‘Seismic Power Shift’ conference, for one, which I was always really excited about! For Thousand Currents, a nonprofit that does work globally, I was supposed to do an event in June. And then wedding time was coming up. All of them have been postponed right now. I had a few corporate events, too. And then, of course, I have my residency at the Virgin Hotel three or four times a month. I also have a residency at Charmaine’s, which is a rooftop bar on top of the Proper Hotel in the city. I even had a kid’s party that was supposed to be in the city!

You had so much work lined up, yet you seem to be in bright spirits. I’m curious how have you been navigating this time?

I was a full-time DJ. I lost all my work. I had a couple of side jobs that I was doing at the time. I’m a trainer at a kickboxing gym and I also teach DJ lessons at Guitar Center. So those are my two little side jobs. But, I lost those as well because of Coronavirus business impacts. So I’m basically jobless. 

That’s definitely a hardship that hit home. Luckily, I saved a little for a rainy day. My husband is a full-time photographer. He is doing his ‘Shelter and Love’ social distancing photo project, which has been bringing some income because people have been giving him donations.

Not having Angel, my eight-year-old, in school has definitely been a challenge. He has two other brothers, but they don’t live with us at the moment. So he has no siblings to play with. I took on the role of mommy, play buddy and teacher. So that was a struggle for the first few weeks. We’re finally getting into the rhythm of doing schoolwork at home. That was difficult for a minute - to stay sane through it all - and I miss my family. I miss my friends and most everybody that I work with. Just that alone is also a struggle — to not be in the community. 

But I’m still in good spirits and I credit that to my Buddhist practice. We have our prayers and chanting. That has been helping me a lot — the spiritual meditation. It’s also about taking action. And if you’re not using your whole being and taking action to contribute to our created value, then you’re not really living to your highest potential. And that’s the whole point of a living being, a human being.

People have stressors inside, and they take it out in their home, environment, and things like that. But in order to keep the family harmony, you have to realize what’s real. And what’s real is that we’re alive, right? And that we’re well. That we’re together with one another. I pray for time with my family because I never really had enough time for my family. I was so busy working. And now I have it. So there are blessings everywhere.

There’s always something to be grateful for. My practice of having gratitude every day for being here has gotten me through these tough times. 

If you’re not okay inside, you can’t be there for anybody else. I really feel like it’s important that we all find a way to keep it together inside so that we can keep it together outside. I have a little home gym on my deck, and I’ve been making sure to work out at least three times a week. 

But I am so itching to DJ right now, I need to get into my music! Like I said, my spiritual practice has helped me remain happy inside. I’ve definitely been praying for the opportunity to hopefully bring some light to people and to DJ - I think that’s also going to help my spirit a lot.

 
DJ heyLove* spinning at a nightclub in San Francisco. Photo source: DJ heyLove*

DJ heyLove* spinning at a nightclub in San Francisco. Photo source: DJ heyLove*

 

What role can the artist play? 

This is going to be the time for artists to really shine through digital media. I’ve been seeing so many dancers, producers, vocalists, and DJs going live online, and it’s been awesome. The role of artists is to continue to remain creative and contributing beauty, keeping up that energy and positivity. Even if we can’t do it directly, at least we can do it live somehow on social media. It’s important for us to keep expressing ourselves and to keep wanting to give that to people.

Recently, I have become a Content Creator & Official Partner for TikTok’s Creative Learning Fund, which encourages education during the COVID-19 pandemic. From July 1st - August 31st I will produce 40 videos. People can follow me on TikTok @glowinglotus where I will post a series dedicated to sharing ‘Ways to Light Up Your Life’ with the purpose of keeping you “ALL GLOWED UP”! I’ve also created a brand new IG account where people can follow me @stillglowinglotus, where I hope to inspire and encourage you to elevate your life force. I’m also providing LIVE streaming DJ entertainment services for online gatherings, jumping on this trend.

Some people are sheltered by themselves and don’t have family that they live with or a roommate. It brings light and human connection when there’s somebody dancing or performing or playing music online. You can still feel that energy when people are doing it. Artists are here to bring life and light and beauty. It’s very important that we keep doing it because right now can be really dark. I think all of us have artists in us. This is the time to awaken the artist inside of us!

That’s so beautiful!

Of course, like my husband with his photo project — this is history happening to people right now, not just documenting what’s on the news, but documenting the people. Just everyday people who are also being affected somehow by this pandemic.

What would your message be to young artists right now?

Keep creating because if you’re creating your art form, you’re creating more than just art. You’re creating some sort of emotion. You’re creating freedom. You’re creating hope. You’re creating beauty. You’re creating love. 

The youth are what’s going to change the world. There’s some youth out there that are going to find some way to be reliable and revolutionary with their art forms and to really teach us as older people or teach the younger generation after them what is most important in life. We could get lost in everyday tasks and duties and our jobs and paying bills and all that, but art gives us a moment to stop and really reflect. For the youth, the art form needs to turn into something that’s revolutionary. That is going to change our way of thinking and the way the world is right now.

It’s really up to them because I think that COVID is teaching us a whole lot of things that I don’t think our world would see unless this happened. I truly believe that everything has profound meaning. This pandemic is showing us that we are all connected. One person can impact the world in a positive way. I feel like the youth right now - experiencing this at their age - hopefully, they will be able to create their art form to express a revolution of thought.

Stay up-to-date with DJ heyLove*:

Website: www.djheylove.com
Soundcloud: www.soundcloud.com/heylove-1
IG: @djheylove and @stillglowinglotus
Twitter: @djheylove
FB: www.facebook.com/djheylove/
TikTok: @glowinglotus

This interview was lightly edited for clarity.

Polina Smith is the Executive Director of Crescent Moon Theater Productions creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and Seismic Sisters.

Reclaiming My Time: How to Identify Your ‘Professional Why’ for Your Lifestyle

By Alexandria Noel Butler

I have spent my whole career in the tech industry and so far, my career has been based on my ability to work on someone else’s dream and not my own. I have always been a small piece to a larger elaborate tapestry that has an original architect. Now this is not necessarily a bad place to be: I enjoy being a piece of thread to a great idea and I find power in working on cross functional teams to spin hay into gold. But this journey hasn’t been without its battles. I’ve navigated through a myriad of highs, lows, bad decisions, better decisions, thinking out loud and pretending to know what is going on. In order to keep my sanity, I have to always remind myself of what I am getting out of the tapestry. Why am I here? 

Five years ago, I had a conversation with my therapist about why I was at a particular job doing a specific role that was not fulfilling me completely. I told her that I needed to make money to exist and her response was striking, “You can make money at another place that fulfills you more than this.” It was the first time someone had given me permission to be intentionally selfish. I started to think: What drives me to succeed in my job? What pushes me to do my best work even when I disagree with the direction of the plan? What motivates me to continue spinning when I do not feel supported or appreciated by management? I left her large purple couch with a whole new outlook and promised myself that I would always seek my professional why. I realized, the more I know about me, specifically what I value and how I want to live my life, the easier it is for me to find career opportunities that cater to my actual wants and needs.

Alexandria Noel Butler, Founder of Sista Circle: Black Women in Tech and Unfiltered By Lexi B.  Photo source: Lexi B

Alexandria Noel Butler, Founder of Sista Circle: Black Women in Tech and Unfiltered By Lexi B.
Photo source: Lexi B

When you define your ‘professional why’ you begin to unlock your shackles to the opinions of others in regard to your career choices. Your professional why will come from four major categories, each one fulfilling a part of survival, thrift or joy. You choose a category based on your personal life and values. You should map a plan of action based on the specific category. It is quite simple when you think about it. Your professional why is your intentionality behind why you are working where you are working and the amount of stress and tension you are willing to deal with. As you create your personal why, here are the categories to consider. 

Coinage: Money makes the world go ‘round

We all are influenced by money to a certain extent but I can count on one hand the number of people who are truly and solely influenced by the dollar. Despite what capitalism tries to tell us, we all value money differently. The average person wants enough money to fuel their happiness - family commitments, hobbies, shopping habits, savings - the list is endless. But when you make the money that pays for your definition of a comfortable lifestyle, you don’t go searching for more coins. Professionally, there are many times when someone embarks on a new opportunity because of a larger paycheck. But the promise of a paycheck will only take you so far in times of stress and work tension. Your financial why cannot just be more money. The increase in salary needs to be attached to a personal goal. Paying off your student loans, a certain amount of money in your savings, savings for a large purchase such as a home, preparing for a new addition to the family. These are all personal reasons that have a large financial price tag. These reasons are what will keep you calm and collected in times of stress and uncertainty at work until you reach your milestone. 

Benefits: Non-Financial Perks That Smooth Out Your Life

In a full-time position, you will often find other powerful benefits that are not just your regular health care stipend, such as free or heavily discounted mental health benefits, opportunities to travel to different places, childcare stipends, and parental leave for up to six months. Depending where you are in your life, these benefits could support you tremendously. While you may be able to make more money someplace else, these benefits might keep you in your current role longer because they support your current personal goals. 

New Skills: The Lessons You Don’t Want To Learn But Know You Need

A new job can come with an opportunity to learn new skills. It is important to take inventory of the skills you have acquired in your career and the skills that you want to obtain. The best way to get these new skills is not a class or another certificate. It is to shadow someone who is great at that skill or be pushed off the diving board; therefore being required to learn as you go. You may find yourself in a situation where the job is offering you an opportunity. If you want to jump, just do it. Know that there will be times when you mess up or finish last. But be prepared to work very hard to become a master at this new skill. This new skill could offer you a promotion in pay and higher ranking job title. 

Breathing Room: #TeamTimeOut

I am in full support of #TeamTimeOut. It is a bench that you place yourself and opt into. It is a time when you are working to keep your lifestyle running without adding any extra stress or pressure. Life can be gruesome, especially for women of color. Sometimes you need a break from the long workdays and the pressure we receive from management and ourselves. #TeamTimeOut will not erase the microaggressions that we face. Those are systemic and date back about six centuries before us. But this time will give you the clarity to decide what is next. Also, #TeamTimeOut is a great opportunity to build your own tapestry while making enough money to support your lifestyle. Many famous world leaders, regardless of gender or color, have benched themselves in order to build their next great idea. To do this, you need mental and emotional bandwidth to prioritize your dream while doing your day job efficiently. You look at your current job as a clock-in/clock-out system. Go to work, do the job, come home. Do not bring the job home because your home is a place where the new dream is being cultivated. Do not worry about getting a perfect score on your annual review. You focus on getting an average score that keeps your finances exactly where you need them. 

Identifying your ‘professional why’ is one of the most important parts of your career journey. Your ‘why’ builds the foundation and mapping of your short-term goals. It is your guiding light as you decide what work battles to fight, what office politics to play and what type of leadership you value. The beauty of your professional why is that it can change at any time. The key is to always check in with your ‘why’. Is it still the same as it was when you started this new opportunity? Does it need to be changed? Have you changed? The continuous conversation surrounding your why will ultimately give you more peace in your professional and personal life and also push you to greater success. At the end of the day, you decide what success looks like for you. 

Your career is your job to manage. The questions are the following: Why are you doing what you are doing? What’s in it for you? How is this company, organization or manager helping you build your dream lifestyle? 


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Alexandria Noel Butler - ‘Lexi B’ - is a Senior Program Manager in the technology industry and the founder of Unfiltered By Lexi B, a lifestyle social media account giving career advice to young professionals. In 2017, she founded Sista Circle: Black Women in Tech. She holds a dual degree from Stanford University in Communications and Spanish. 

Activist and Media Maker Alice Wong Brings Us Moving Stories by Disabled Writers

By Karen Gullo

Touring the Deep South, a young Muslim woman visits Elvis Presley’s birthplace on a hot, humid day in Mississippi. The visit happens to occur during Ramadan and normally she strictly abstains from food and water until sundown (though she’s not required because she has a disability). But there was something about being in Elvis’ place that made it OK to break the fast. “I did not want to die where Elvis was born,” she explains.

A Black woman in the Midwest takes a job running an organization that helps disabled people live independently, despite warnings from friends that the place was a “lost cause.” She remembers being called a “lost cause” because of her autism, and struggled for years to hold down a job. But she rejects the warning and goes to work, turns the organization around, decides to run for state office, and is elected to the board of a national nonprofit, the first disabled person to hold an executive position there. “Lost cause, indeed,” she says.

These are snippets from just two of the intensely personal contemporary narratives in Disability Visibility: First-Person Stories From The 21st Century, an anthology compiled and edited by disability activist, media maker, and consultant Alice Wong. Raw, compelling, funny, and always deeply moving, the stories reveal struggles and triumphs of 37 writers and activists with disabilities who grapple with living everyday lives in an ableist society that often sees them as different and flawed.

Alice Wong - Disability activist, media maker, and editor of “Disability Visibility: First-Person Stories From The 21st Century.” Photo credit: Eddie Hernandez Photography

Alice Wong - Disability activist, media maker, and editor of “Disability Visibility: First-Person Stories From The 21st Century.” Photo credit: Eddie Hernandez Photography

It’s a struggle familiar to Wong, whose drive and belief in herself and her community has made her a leading voice advocating for disabled people in culture, society, politics, and literature.

“Staying alive is a lot of work for a disabled person in an ableist society, and that work has been a big part of my forty-six years on this planet,” Wong says in the book’s introduction.

Wong is the founder of the Disability Visibility Project in San Francisco, an online community about disability media and culture. No coincidence that the organization, which she runs herself, is also the name of the new book, illustrating the deep connection between the book’s celebration of the voices of writers who are disabled and Wong’s experience.

Born in a suburb of Indianapolis to Hong Kong immigrants, Wong has a neuromuscular disease that results in muscles weakening over time. She gets around in a powered wheel chair, and is dependent on a ventilator to breath and attendants to assist in everyday tasks like eating, dressing, and bathing.

As she told Vox in April, people are freaking out about health risks during the COVID-19 pandemic, but she and other disabled people have been living all their lives with uncertainty and have experience adapting to a health crisis—they’ve always had to adapt because the world “was never designed for us in the first place.”

She started Disability Visibility in 2000 as a one-year oral history campaign in partnership with Story Corp. It’s grown into an online community on disability media and culture, broadcasting podcasts, interviews and radio stories, hosting Twitter chats, and publishing essays about ableism and politics from the perspective of disabled people.

Wong’s advocacy for the rights of the disabled has been recognized by Time magazine, which this year named her as one of 16 people fighting for equality in America, and by Bitch Media, which named her one of 2018’s top 50 impactful activists in pop culture. In 2015 Wong was invited to the White House by President Obama for a celebration of the 25th anniversary of the Americans With Disability Act (ADA). She could not attend in person. Instead, she met the president using a telepresence robot, whose movements she controlled via her computer at home while her face and voice were projected on the robot’s “head”—a computer screen.

Wong has been speaking out frankly, and angrily, about COVID-19 and policy conversations about who deserves care as the pandemic spreads and creates competition for ventilators, masks, and hospital beds. Early in the pandemic, some states were drafting care guidelines that could lead to people with autism and other intellectual disabilities being denied access to lifesaving care.

Doctors treating COVID patients might look at the health history of a disabled person and decide that others with a better shot at survival are more worthy of getting a ventilator, Wong posits.

“I am angry seeing so many people outdoors not wearing masks or social distancing,” she said in a telephone interview. “They are going to create more infections, and more deaths,” and make it more difficult for high risk people to stay safe.

Disability Visibility, published by Vintage Books, an imprint of Knopf Doubleday Publishing Group, was released June 30 in time for the thirtieth anniversary of the ADA. “These stories do not seek to explain the meaning of disability or to inspire or elicit empathy,” Wong says in the book’s introduction. “Rather, they show disabled people simply being in our own words, by our own accounts.”

“Disability Visibility: First-Person Stories From The 21st Century” edited by Alice Wong and released in 2020. Book cover by Madeline Partner.

“Disability Visibility: First-Person Stories From The 21st Century” edited by Alice Wong and released in 2020. Book cover by Madeline Partner.

The book features essays, blog posts, Congressional testimony, and eulogies by writers who have very unique but also interconnected takes on life as disabled people in the U.S. Anna Kaufman, who edited the book for Vintage, calls the book an “urgent, vital call to arms.”

“These stories show how diverse the disabled community is, and that so many of the issues at hand are astoundingly intersectional -- there's something for everyone, and that affects everyone,” Kaufman said by email.

Contributors include Jeremy Woody, who was incarcerated in a Georgia state prison, and writes of the discrimination he experienced as a deaf prisoner in a system that offered no accommodations. “Prison is a dangerous place,” he writes, “but that’s especially important for deaf folks.”

Standup comic, actress, and activist Maysoon Zayid, in “If You Can’t Fast, Give,” says her cerebral palsy, which makes her shake “like Shakira’s hips,” finally forced her to stop fasting during Ramadan, a practice she misses dearly. Fasting is important, she says, but “it’s important not to die in the process.”

“I have participated in several other projects that highlight disabled voices, but the editors and decision makers did not identify as disabled and the compilation suffered because of it,” said Zayid in an email. “This anthology really does our community justice and serves as a great resource to our non-disabled audience so that we can stop educating them on Twitter.”

Throughout the book, contributors talk about being made to feel like they are people who are broken, in need of fixing, people who should be seeking a cure, a new medicine or therapy that will make them able. Through struggle and with courage, they write of rejecting the boxes they are put in and realizing that the mindset that identifies disabled people as broken is itself a sign of a society’s lazy disinterest in seeing them as people who are simply part of a world of diverse human beings.

“I felt like a piece of clockwork waiting to be fixed,” writes June Eric-Udorie, a journalist and activist who writes in the anthology about her life as a young woman of color living in London. Eric-Udorie was born with a congenital condition that causes her eyes to move involuntarily and partial blindness. Attending church at 15, her grandmother tells her to put the communion hosts soaked in wine on her eyes so that she can be cured. She was brought to many doctors, none able to cure her.

Nearing adulthood, Eric-Udorie writes, she goes by herself on a trip to Bath to see if she can overcome a fear of being independent, and “move through the world on my own terms.” Nothing bad happened on the trip. “I felt like a winner” sitting at a café on her own, she writes. Later, in London, she still attends church, not as someone “with a heart that is begging for the most special part of me to change,” she writes. “I come to church free. I come to church knowing that I am not a mistake waiting to be fixed.”

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Karen Gullo is a freelance writer and former Associated Press and Bloomberg News reporter covering technology, law, and public policy. She is currently an analyst and senior media relations specialist at Electronic Frontier Foundation (EFF) in San Francisco.

BLM Letter from the Heart – Activist Kaylah Williams on Black Lives Matter Protests in San Francisco

By Kaylah Williams

I was born and raised in Shreveport, Louisiana where the Black population is over 50 percent, but all the schools and neighborhoods are still segregated. I went to predominantly white public schools, and from a young age I learned to carry my blackness with pride even if I was the only Black girl in the room. The racism I faced growing up ranged from small microaggressions, “You talk so well for a Black girl” to more outright racism, “I just don’t feel comfortable having you handle those files, so I gave them to Rebecca.” After I graduated university, all I wanted was to leave the South and move to California.

Black Lives Matter protest in front of Mission High School in San Francisco on June 3, 2020. Photo by Tumay Aslay.

Black Lives Matter protest in front of Mission High School in San Francisco on June 3, 2020. Photo by Tumay Aslay.

It seems so foolish to even say out loud, but I really thought that moving away would mean I wouldn’t have to face overt racism again. But racism doesn’t just go away when you move. The systemic problems facing this nation are so insidious. The systemic inequities of San Francisco are just the same as Shreveport. Fewer Black communities just makes it easier for Black voices to be completely left out. I found my calling in fighting for the unheard Black voices of San Francisco through my political work. And it continues to give me strength even when I feel lost or alone in this city.

‘Enough!’ hand-painted sign at protest in Mission District on June 3, 2020. Photo by Tumay Aslay.

‘Enough!’ hand-painted sign at protest in Mission District on June 3, 2020. Photo by Tumay Aslay.

It took a long time for me to find the strength to watch the whole video of George Floyd’s killing. After I watched it, I laid in bed paralyzed with fear, anger and a profound sadness. I stayed in bed. I cried for George Floyd and the future that was robbed from him. I cried for my father who had a gun pulled on him only because he shared the same first name and skin color of someone else’s warrant. I cried for my brothers who were treated poorly by white elementary school teachers because little black boys are “aggressive” while white boys are just “rambunctious.” I cried for myself who had the police called on me on Election Day 2016 for being a suspicious person in the neighborhood when my only crime was campaigning while Black.

It finally feels like America is seeing the world the way that I’ve always seen it — America the free, for some. It’s like a light switch has been turned on. For the first time in most of our lives there is national attention on racial inequality and police brutality. Protests have happened in all 50 states and around the world. George Floyd’s daughter said, “Daddy changed the world” and she’s right. His killing feels like the catalyst to finally say, enough is enough. Now is the time to take to the streets. So I did.

In the blazing sun I marched alongside thousands of San Franciscans. I felt the power of my own voice rising from deep inside. I shouted “No Justice? No Peace!” echoed by voices behind me. Soon I was surrounded by chants in unison. I shouted so loud I felt tears swelling in my eyes. My mind could only hold focus on the families of Ahmaud Arbery, Breonna Taylor, and George Floyd. I zoom forward in my own history and think of my future children. When will the senseless killing of my people and my community end? By then I had tears running down my cheeks as I shouted again, “No Justice? No Peace!” After a few more rounds of chants I needed to rest my voice. In that brief moment of pause I was faced with a beautiful act of solidarity. Someone a couple of feet back picked up the chant, “No Justice? No Peace!” The chant grew louder and louder as far back into the crowd as I could see. This is the change America needed. This is just the beginning of a fight we will all join in. Change is coming.

It’s hard to be a Black woman in America. Our voices are tired of screaming for justice alone, but now finally it feels like we’re not fighting alone. There is a movement growing bigger and bigger every day. One protest does not change the world, but every protest, every rally, every conversation moves us closer. As Assata Shakur said, “Dreams and reality are opposites. Action synthesizes them.”

Young Black Lives Matter protesters in Mission District of San Francisco on June 3, 2020. Photo by Tumay Aslay.

Young Black Lives Matter protesters in Mission District of San Francisco on June 3, 2020. Photo by Tumay Aslay.


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Kaylah Williams is a social justice activist and political campaign manager in San Francisco, California. Williams founded the San Francisco chapter of AfroSocialists and Socialists of Color Caucus. She is also on the executive board of the Harvey Milk LGBTQ Democratic Club.

Black Lives Matter Protests in San Francisco - Demanding Change and Creating a New American Culture

By Kim Christensen, Editor of Seismic Sisters

No matter how bad the news gets, I look to the power and potential of this sisterhood to grab the opportunity to change the culture, redesign our society and create something better. This week exposed so much of the ugliness that exists in American culture. It showed the toxic legacy of slavery is still visibly with us, wholly unresolved and causing harm on a daily basis. Black people are still being killed by police – George Floyd in Minneapolis and Breonna Taylor in Louisville, an EMT shot in her own home by police in a midnight raid. Breonna Taylor was an aspiring nurse and is now the latest to join the tragic list of Black women whose unjust death is being spotlighted by the #SayHerName campaign.

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020 Photo by Tumay Aslay

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020
Photo by Tumay Aslay

The legacy of slavery is also what’s causing African-Americans to die from COVID-19 in higher numbers. And now we’re all getting familiar with the phenomenon of ‘Karening’ and how that can have deadly consequences or lead to the arrest of Black people – or in some rare cases for Karen to lose her job. #BlackLivesMatter has done so much work to educate white people about the reality of American culture, its deadly impacts, and how it has stolen opportunities, health and wealth from Black people.

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020. Photo by Tumay Aslay

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020. Photo by Tumay Aslay

Now it’s time for white people to ACT and change things. White people have a moral responsibility to learn about ‘white privilege’ and begin now to support local Black-led community organizations. As Kim Crayton says, white people. . .“We need you to not wait around looking for orders but to actively engage by asking ‘how can I help?’, ‘where do you need me?’, ‘who can I connect you to?’, and ‘how can I fund this?’ to name a few. ” 

We can take action TODAY! I just donated to one of my favorite local groups, Community Awareness Resources Entity, which is providing food deliveries and support to isolated seniors and families in public housing. Other Black-led grassroots organizations in the Bay Area you might consider funding include: Black Futures Lab or She The People.

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020. Photo by Tumay Aslay

Marchers at Justice for George Floyd and Black Lives Matter march in San Francisco on May 31, 2020. Photo by Tumay Aslay

Educating ourselves about the issues and what we can do is key.
Some helpful teachers and books include:

Confronting the damage caused by white supremacy and repairing our culture and institutions is the work we need to be doing right now. Fortunately, the crises we are in right now mean that we can solve many problems at once and create a joyful loving healthy future. A ‘Beloved Community’ as Dr. Martin Luther King, Jr. called it -- that is what we have the opportunity to create.

Periods Optional? Yes, Says Female Founder of Birth Control Delivery Service Pandia Health

By Karen Gullo

We’ve all been there. And it’s not fun.

You’re about to give a major presentation, or sitting on pins and needles before taking an important exam, or seeing your kids off to camp for the first time, and bam! You get your period.  Or it’s the night before you leave on vacation when you suddenly realize you forgot to run by the drug store to pick up birth control pills.

Such are the trials of womanhood. Women in the U.S. begin having their periods at 12 years of age on average, and have monthly periods (except during pregnancy and breast feeding) 12 times a year until menopause, which occurs, on average, around age 51. For someone who has two kids and breast feeds a few months for each, that adds up to about 440 periods. That’s a lot of bleeding, and a lot of trips to the drug store. And for some women it means monthly cramps, fatigue, depression, and mood swings.

Photo by nensuria/iStock / Getty Images

Photo by nensuria/iStock / Getty Images

The Curse. Aunt Flo. It’s just part of what we have to put up with as women.

Or is it?

Dr. Sophia Yen, CEO and co-founder of the doctor-led birth control delivery service Pandia Health, says no. Unless you’re trying to get pregnant, periods are optional, she says. Fewer periods, and birth control pills delivered to your door, would make life a lot easier for millions of women.

“If we don’t want to get pregnant, why the hell are we bleeding so much?” Yen asks in an authoritative and incredulous voice that has you asking yourself: yea, why the hell are we bleeding so much?

Yen began thinking seriously about this back in the mid 2000s. An adolescent medicine specialist and expert in reproductive health, Yen has been studying, teaching, and counseling patients about menstrual health for two decades. At Physicians for Reproductive Health, a New York-based organization focused on improving women’s access to comprehensive reproductive healthcare, Yen was on the faculty of its Adolescent Reproductive Health Education Project for more than a decade. A graduate of MIT, UCSF School of Medicine, and UC Berkeley School of Public Health, Yen teaches and speaks frequently to physicians, educators, and young women about menstruation, birth control, emergency contraception, and pregnancy prevention. In addition to running Pandia Health, Dr. Yen is a Clinical Associate Professor at Stanford Medical School, where she’s worked for over 17 years.

Dr. Sophia Yen, CEO and co-founder of the doctor-led birth control delivery service Pandia Health.  Photo source: Sophia Yen

Dr. Sophia Yen, CEO and co-founder of the doctor-led birth control delivery service Pandia Health.
Photo source: Sophia Yen

It was during a talk to a group of doctors that she was asked why women miss taking their birth control pills. Researchers estimate that as many as 40 percent of oral contraceptive pill users don’t keep up with the daily pill-taking regimen, partly because of the inconvenience of having to make frequent visits to the drug store for refills. Women have busy lives, Yen told the doctors.

“You’re chained to the pharmacy, you’re freaking out about getting your prescription filled,” she said. “It’s another micro-aggression stressor in women’s lives.”

Pandia Health delivers birth control pills by mail. Photo source: Sophia Yen

Pandia Health delivers birth control pills by mail.
Photo source: Sophia Yen

It was a desire to make women’s lives easier, and give them the opportunity to break free of monthly periods, that led Yen to start Pandia Health in 2016 with friend and entrepreneur Perla Ni. Pandia, based in Sunnyvale, California, is an online telemedicine service where women can get birth control pills, whether or not they have insurance, delivered to their home by mail. No trips to the pharmacy, and for most women, there’s no trip to the doctor required.

Pandia is unique among birth control home delivery services in that it was founded by women, run by women, and led by female doctors. Yen raised money from her family and friends to launch the service, and later raised $2 million from investors through startup accelerators Springboard Enterprises, StartX, and Women’s Startup Lab. The elevator pitch for Pandia Health was: telemedicine meets Amazon Prime for birth control or the Dollar Shave Club for Women but with birth control. 

The service is fairly simple. Women without a prescription fill out an online questionnaire about their general health and menstrual history and provide a blood pressure measurement from the past year. This is examined by one of Pandia’s six female doctors. The customer pays $20 for this. If everything looks good, you get a prescription, which is filled by Pandia Health’s partner pharmacies. Patients without insurance pay about $20 a month for one pack of birth control pills, or $15 each for a three-pack. Pandia Health can currently provide online doctor visits for customers needing new prescriptions in California, Florida and Texas. It can deliver to all 50 states, so if you already have a prescription, Pandia can move it from your current pharmacy to theirs and provide free delivery with automatic refills and some goodies like Hi-Chew, tea, and chocolate.

Pandia Health operates a nonprofit, the Pandia Health Birth Control Fund, which provides financial assistance to patients who need it for the doctor screening, the medication, or both.

Those with insurance and an existing prescription fill out the questionnaire, provide a blood pressure test, a copy of a government ID, and a selfie. Pandia bills the patient’s insurance, and makes money from the difference between the reimbursement and the price it pays to source the birth control pills.

Patients have absolute control over the frequency of their periods—they can have a period every month, every three months, every six months, or even once a year. This is accomplished by skipping the week of placebo sugar pills, or the ring-free week if you’re using a birth control ring, and just go right onto the next pack or ring. The primary side effect is spotting.

Typical use of birth control pills includes a week of taking placebo pills, which reduces hormones in the body, causing menstrual bleeding. Birth control pill inventor Dr. John Rock, a devout Catholic, designed the contraceptive that way—some say he wanted the pill, which was approved by the FDA in 1960, to be seen as a better way to practice the “rhythm method.” That was the only form of contraception approved by the Catholic Church, and Rock was seeking the Vatican’s approval for his invention (he lost that battle).

About a quarter of Pandia’s customers skip their periods. Dr. Yen and other reproductive health experts say that for most women it’s safe; period cessation slightly increases the risk of breast cancer, but lowers the risk of anemia, ovarian cancer, endometrial cancer, and colorectal cancer, and helps those with endometriosis and ovarian cysts.

Erin Macguire, a 20-year-old college student in Los Gatos, California, heard about Pandia from a friend. She’s been taking birth control pills since around age 15, when her doctor prescribed them to control frequent heavy periods that had caused her to become anemic. She started using Pandia last September and has opted for having periods every three to four months.

“It’s so easy and it saves money,” Macguire says. “If I don’t have to have periods, why do it?”

The average women spends between $150 to $300 a year on feminine hygiene products. Because tampons and panty liners aren’t considered a necessity, like medical devices or food (or Viagra—untaxed as a prescription drug), they are subject to state taxes, aka the “tampon tax.” California passed a law last year to end the tampon tax, but only for two years

Kelsey Ricketts, another Pandia customer, uses a specific type of birth control pill that not all pharmacies carry. She looked online and contacted Pandia, which said it could supply the pill she needed. An office manager at a chiropractic office in El Dorado Hills, California, Ricketts, 27, doesn’t have health insurance, and said the physician screening process at Pandia was much easier than trying to get a doctor’s appointment. “It’s made a huge difference,” she said. “It’s all done through text messaging, and someone gets back to me within five to 10 minutes.”

Fewer periods can be life-changing in more ways than one. Not having to deal with cramps and mood swings every 28 days can help woman perform better in school and in the work force, Yen says. Studies show that one in five women miss school or university due to period pain. Two in five report that menstrual pain affected their concentration or performance in class. Yen says she’s seen teens in her clinic miss two days of school each month because of their periods—that’s 10 percent of their educational opportunities at a crucial time in their academic lives lost because of menstruation.

Yen remembers getting her period the day she had to take a biochemistry final as a pre-med student at MIT. “I am flipping out, and I’m looking to my left and right,” she says. Sitting next to her on both sides were male classmates—they’ll never have to deal with this, she thought.

“Now that I have two daughters, I don’t want them to be in the middle of a test, or a performance, or doing a sport and have to worry about blood trickling down their leg,” says Yen. “This is personal, for me and for my daughters.”


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Karen Gullo is a freelance writer and former Associated Press and Bloomberg News reporter covering technology, law, and public policy. She is currently an analyst and senior media relations specialist at Electronic Frontier Foundation (EFF) in San Francisco.


Fighting Stigma of Psychedelics with Science - An Interview with Natalie Ginsberg, Policy and Advocacy Director at Multidisciplinary Association for Psychedelic Studies

By Jessica Semaan

After decades of being stigmatized, feared, and criminalized in the United States, psychedelics are getting a fresh look and being studied for their healing potential by scientific researchers and psychotherapists. With a growing interest in the use of psychedelics in medicine and as tools for healing trauma in guided psychotherapy contexts, we reached out to interview Natalie Ginsberg, Policy & Advocacy Director at the Multidisciplinary Association for Psychedelic Studies (MAPS), a “non-profit research and educational organization that develops medical, legal, and cultural contexts for people to benefit from the careful uses of psychedelics and marijuana.” Ginsberg shared her personal journey which brought her to work on this topic and ultimately to become a public face and advocate for MAPS.

Tell us about your path to becoming the Policy & Advocacy Director at MAPS, a job that I would imagine is highly coveted.

Natalie Ginsberg: While pursuing my master's degree in social work, I worked as a therapist with people arrested for prostitution at an alternative sentencing court, and I worked as a guidance counselor at a Bronx middle school located in one of the poorest zip codes in the United States. I noticed that so much of the trauma people were facing stemmed from oppressive policies and systems, especially related to mass incarceration and criminalization, and driven by racism and the profit-maximizing demands of capitalism. I was seeing firsthand how drug policy is used as a deeply racist tool and the largest driver of mass incarceration. During college, I had interned for the Brooklyn District Attorney’s office, and had to refuse to process the hundreds of cases that were coming in for black teenagers arrested for crumbs of marijuana, when my white classmates from Yale were smoking freely a few blocks away from the courthouse without a worry from the cops. My senior year in high school, a cop walked up to me smoking a bowl in a park and said, “Honey put that down, aren’t you going to college?” It was so clear that these thousands of marijuana arrests were not about the cannabis, but were an excuse to criminalize black people.

Natalie Ginsberg, Director of Policy and Advocacy at the Multidisciplinary Association for Psychedelic Studies. Photo by Tumay Aslay.

Natalie Ginsberg, Director of Policy and Advocacy at the Multidisciplinary Association for Psychedelic Studies. Photo by Tumay Aslay.

How did that lead you to MAPS?

I began a fellowship at the Drug Policy Alliance, where I was working on a campaign for marijuana decriminalization that focused on racially disparate arrests. After we succeeded in decriminalizing marijuana in New York State, I was moved to the medical cannabis campaign, and we also ended up legalizing medical cannabis in New York, though unfortunately Governor Cuomo personally removed the ability to smoke cannabis from the legislation, after the law had been passed by the legislature. While working at Drug Policy Alliance I started to read about MAPS, and their research struck a chord. Though I had enjoyed smoking cannabis, before my work on this campaign I never understood cannabis’ deep medical value. Now I was intrigued to read the research and learn that other plant medicines and psychedelics could help people struggling with addiction, PTSD, and depression — ailments I had learned had no cure in social work school.

What was the psychedelic therapy you read about?

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As a policy fellow at Drug Policy Alliance, I was asked to write an article about a MAPS LSD therapy study for the treatment of anxiety. I quickly discovered that the bulk of MAPS’ research was focused on MDMA-assisted therapy for the treatment of PTSD (post-traumatic stress disorder). Researchers and psychotherapists were finding that psychedelic therapy had the potential to heal or lessen a wide range of afflictions in only a few sessions. I figured psychedelic therapy must be addressing the root of the problem rather than suppressing the symptoms, which really resonated with me. I also understood that the research must have broader political implications regarding the way we approach medicine and treatment as a society. I reached out to the pioneering MDMA therapist Marcela Ot’alora after seeing her speak at a Drug Policy Alliance conference, and after a beautiful conversation with Marcela I connected with the founder Rick Doblin, who luckily needed some help on the marijuana-policy front.

You've been at MAPS for six years now. How have you seen the organization change?

Size-wise, we’ve more than doubled our team. In certain ways, the organization doesn't feel different internally, but things have changed significantly from the outside due in large part to the research that MAPS has done in the last 30 years.

What has changed from the outside?

Society has started to become more accepting of our work and MAPS’ goal of mainstreaming psychedelic medicine seems closer than ever to being achieved. The popularity of Michael Pollan’s book How to Change Your Mind, news coverage on the TV show “60 Minutes,” and other mainstream movements are helping to shift the tide. There are even ayahuasca jokes and MDMA-themed episodes on a bulk of mainstream TV shows these days! We are starting to see major policy shifts, such as the city of Denver decriminalizing psilocybin and the cities of Oakland and Santa Cruz decriminalizing all entheogenic plants.

Natalie Ginsberg, Director of Policy and Advocacy at MAPS. Photo by Tumay Aslay.

Natalie Ginsberg, Director of Policy and Advocacy at MAPS. Photo by Tumay Aslay.

What is something you are proud of in the past 6 years at MAPS?

A change I'm really proud of is our work toward more accessibility. Last summer we hosted our first MDMA therapy training for communities of color, which opened with a workshop called Psychedelic Medicine and Cultural Trauma. We're expanding our conversation around who has access to these medicines and where these medicines come from. The reality is that the highest rates of trauma exist within the communities that are most marginalized in our society, including communities of color and queer communities, and especially indigenous communities around the world, who are also the communities who have been in practice with plant medicine for millennia. A lot of marginalized communities don't have access to diagnosis or treatment. When trauma is constant it can be even more deeply traumatic, especially when it is compounded by the historical and intergenerational trauma that is often attached to social marginalization. It's important that we expand our understanding of PTSD, especially when considering who has access to psychedelic therapy and which therapists are best equipped to provide this sort of treatment to various populations.

You mentioned that you are working on the psychedelics in conflict resolution study. I'd like to hear more about it and share with our readers. It sounds very fascinating.

I’ve been working with Antwan Saca, a longtime Palestinian peace activist, and Dr. Leor Roseman, an Israeli psychedelic researcher at Imperial College in London, exploring how psychedelics might be useful in conflict resolution, peace building, and reconciliation between Palestinians and Israelis. We are curious to see if these contexts might be particularly helpful for healing shared intergenerational trauma. In our research, we started by interviewing 36 Jewish, Christian, and Muslim Israelis and Palestinians who had sat together in ayahuasca circles. Many of the participants reported powerful visions of historical trauma or flashbacks from time served in the military. One Palestinian man reported being in the body of an Israeli soldier and looking down the barrel of a gun aimed at a Palestinian man. Strikingly, this Palestinian man reported a noteworthy compassion for the Israeli soldier’s pain, saying “this is not an easy life after” pulling the trigger. He talks about how his activism changed tremendously after this experience, from being motivated by hatred, even in his nonviolence, to now being motivated by love and compassion, which he reports feels much healthier in his own body and mind. Multiple Jewish Israelis reported hearing Arabic sung during ceremony as one of the most impactful pieces of ceremony, as they were being able to release the fear and hatred they didn’t even realize they had associated so deeply with the Arabic language and Arab people — one Jewish woman describes how for the first time the language of Arabic was sending her “light and love.” I wrote an article about it titled “Can Psychedelics Play a Role in Making Peace and Healing Cycles of Trauma?” in the MAPS 2019 Winter Bulletin, and gave a talk presenting more of our research in Austin titled Can Ayahausca Promote Peace in the Middle East?

What does power mean to you as a woman?

I think a lot about what it means to be a woman in power and how to model feminine kinds of leadership in the context of our patriarchal society. One feminine approach to power that I employ is to work collaboratively, making sure that the power I have as a director is shared with others. I always include lots of perspectives and opinions in my decision-making, sometimes to a fault. Feminine power to me is about being reflective, listening to your body, listening to your intuition — the opposite of what our patriarchal society teaches us, which is to ‘power through’ and that your value comes from how hard you work. That's another big piece of feminine leadership that I'm trying to embody — operating from a place of what feels right and feels aligned in my body. If a masculine approach to leadership is more reactive and proactive, and a feminine one is more reflective and intentional, the most effective and healing modes of social change strike a balance between the two.

Is there something you find challenging as a female leader?

In my efforts to be more collaborative and build new ways of operating, I sometimes disempower myself. I always use the word “we” because I work with so many amazing people and we build together. I notice that so many men talk about their work using only the word “I.” But on the flip side, I can sometimes erase my individual contributions when I'm elevating others, so it's an interesting balance to strike. The reason I mention that is because the dynamic of men raising themselves up and women elevating others contributes to the issue of people not seeing women leaning into things.

Natalie Ginsberg in Los Angeles. Photo by Tumay Aslay.

Natalie Ginsberg in Los Angeles. Photo by Tumay Aslay.

Whether we like it or not, we operate within a patriarchal system. I wonder how not wanting to play into patriarchy might come at the cost of your contributions being taken into account.

I’m trying to model ways of living and working that are healthy, where I get enough sleep and eat well and take care of my mental health. In this hyper-masculine, hyper-competitive society we live in, I see people not sleeping, not eating, always being urgent. I understand that because our work is urgent, and people are dying and going to jail every day because they don't have access to therapeutic treatment. But I'm very inspired by thinkers like adrienne maree brown, who talks about how the best way of serving is to take care of ourselves so that we're best able to do our work for social change.

Do you have any self-care routines or tools that you could share?

I find yoga to be really powerful, not only yoga classes but the ability, wherever I am in the world, to feel into my body where I'm holding tension, and to stretch it out. Dancing also connects me to my body; it's very cathartic. I love to smoke a joint and dance to Beyoncé alone in front of my mirror. Smoking cannabis is very healing for me. It can be a really powerful, self-reflective, and therapeutic time for me where I process a lot. Quality time with friends, and spending time in spaces where you just feel nourished and inspired. Whatever feels good! Massages!

Any resources for people who are interested in learning more about psychedelics?

Absolutely. MAPS.org for information about studies, psychedelic harm reduction, and a wide variety of other documents related to psychedelic history and research. Cosmovisiones Ancestrales, co-founded by Paula Graciela Kahn, with the mission to “build bridges between indigenous communities, psychedelic researchers, mental-health professionals, drug policy makers, psychedelic consumers, and populations that have been acutely impacted by the legacies of colonialism, slavery, war, and forced migration.” Chacruna, founded by Beatriz Caiuby Labate, is another great resource for interesting articles about the social, cultural, and political contexts of different psychedelic plant medicines.


This interview has been lightly edited for clarity.

Jessica Semaan is a freelance writer, author, poet and performer living in San Francisco. Chronicling her journey of healing from trauma, she has over 50,000 people following her writing on Medium. Jessica’s debut book Child of the Moon was published in 2018. She also is studying to become a psychotherapist.

The views, practices, information and opinions expressed in this article are those of the individuals involved in the article and do not necessarily represent those of Seismic Sisters.

An Interview with Amber Julian and George “WuKong” Cheng from the Bay Area’s Legendary Embodiment Project

By Polina Smith

Embodiment Project is a San Francisco-based street dance theater company that “intersects hip hop, documentary theater, live song and choreo-poetry to illuminate narratives silenced by inequities and inspire critical conversations and healing.” But what happens when a thriving performing arts season suddenly comes to a halt? How do you pivot to using video conferencing and social media to communicate what is at your dance company’s very core? It has been challenging, make no mistake, but like with their art, Embodiment Project is handling it with resilience, creativity and grit. I caught up with dance company members Amber Julian and George “WuKong” Cheng to get their thoughts on the current situation for artists and what role art can play during the COVID-19 pandemic. 

Embodiment Project company members Dre Devis, Amber Julian, Nicole Klaymoon, Keisha Turner, Sammay Dizon, courtesy of Yerba Buena Center for the Arts.

Embodiment Project company members Dre Devis, Amber Julian, Nicole Klaymoon, Keisha Turner, Sammay Dizon, courtesy of Yerba Buena Center for the Arts.

Polina: What was Embodiment Project (EP) up to before the virus hit?

George: I think it was literally the night before the Bay Area called shelter-in-place, Amber, myself and Nicole were all together and EP was supposed to go to Akron, Ohio, for a one-week residency. We were in the lab working on our Yerba Buena Center for the Arts premiere of X RATED PLANET. We were pretty busy gearing up for that and in a really heavy rehearsal flow.

Amber, myself, and Poko teach at ODC in San Francisco. We work with the youth hip hop company, and we were also gearing up for their end of the year performances. So, we definitely had a good amount of things going on. Then overnight everything just changed.

Polina: I am curious what’s happening with the new show. Do you have a date rescheduled, are you waiting to see when it all ends or how it plays out?

Amber: It’s been postponed, which is good that it’s not completely cancelled. I think it’s just a matter of scheduling and seeing if everyone else is available and really how long this shelter is going to be happening. It’s supposed to be happening hopefully at some point either late summer or fall probably.

Polina: How else are you adjusting and adapting to this time?

Amber: It is very jarring for artists who’s crafts are so built on and around community. We are dancing at home and stay physically active however and whenever possible.

Embodiment Project company members Amber Julian and Keisha Turner. Photo by Alexa Treviño, courtesy of Yerba Buena Center for the Arts.

Embodiment Project company members Amber Julian and Keisha Turner. Photo by Alexa Treviño, courtesy of Yerba Buena Center for the Arts.

Polina: Are you rehearsing for the new show? What does an EP rehearsal over Zoom look like?

George: We are meeting once a week, and we see it really as a time to figure out what we can continue doing, what we can continue creating, and how we can apply our creativity to what’s going on right now and adapt in those ways. It could be rehearsing lines or just coming up with what our youth program will look like moving forward.

It’s a lot of behind-the-scenes type of work compared to what we normally do - being on the stage and things like that. Some folks in the company are still teaching once a week via online classes.

Polina: Is developing the youth portion of EP something you are putting more attention into now because you have this extra time, or was that always in the works at this level?

Amber: We are trying to see what’s possible with it now that it’s online, but outside of that there have been talks about how we can expand that program. I do anticipate that once things lift, it will probably be expanded in some ways.

Polina: I am curious if you could talk about the biggest challenges - as individual artists and as a company - that you are facing at this time?

Amber: The community aspect is very challenging. I think in some ways I have gotten closer to some community folks, conversing more, reaching out more, and connecting in that way. As far as going to events or battle and taking classes, it’s come to a screeching halt. 

Having that structure of meeting 3 days a week and rehearsing 3 days a week. To not have that structure - there are pluses and minuses to that. It allows our bodies to rest a little bit more. It allows us to be creative and find our own ways of navigating structure and being consistent with movement as that is our passion. 

George: I think some of the more obvious challenges are the income. Amber has already taught an online class with our youth company. Some other folks in the company have also done work online. Dance is a communally driven spirit - when you are with people face-to-face it really is a whole other type of experience.

Polina: What is the fundraising campaign you are doing?

Amber: We were getting paid for rehearsals, so that is a big financial hit. The youth program got cut significantly, so a lot of the things we anticipated financially, energetically, and emotionally have all slowed down or stopped. 

Our campaign is to help us financially in those ways. We also work with collaborators who are going to be in the show. We had our Ohio Tech residency that got cancelled, which would have been a significant financial help.

Polina: What do you think the role of art and the artist is in this time?

George: It’s interesting to see how art is really a reflection of the times, and really to remind people what’s going on. It’s helping us to connect, to be human and feel our emotions - especially at a time like this when there can be so many mixed emotions.

It can really help us to find our equilibrium within ourselves - that grounded place. It helps us really be able to acknowledge what might be going on outside or what is alive inside of us, and to be able to keep moving forward.

The really important thing is to help us maintain our humanity at this time when there is so much going on. At the same time I also think that art can really serve as our meaning to be that stand of resilience and celebration. 

We need to be able to tap into that creative spirit and let that energize ourselves and be filled with joy at times - even though society as a whole is really going through it right now. And just remembering to share that joy as well through art.

Amber: I think about my mom, because she always told me it’s so important to have a passion. I really feel that is so essential right now - to have something to look forward to that gives you life and sparks that fire in you. It helps to have art as an outlet and to look forward to doing something that makes you feel good. To have that outlet is like medicine.

Embodiment Project Company Member George "WuKong" Cheng, photo by Alexa Treviño. Courtesy of Yerba Buena Center for the Arts.

Embodiment Project Company Member George "WuKong" Cheng, photo by Alexa Treviño. Courtesy of Yerba Buena Center for the Arts.

Polina: During this time your role is to make a way out of no way. Art has such potential. What do you think, is the virus here to teach us something? What can we learn from it? Do you hold a spiritual perspective on this time?

George: It’s definitely the physical, the spiritual, the mental, and the emotional. Those are all connected. For those of us that have time and space to even be able to think about these things, because there are a lot of people who don’t have that space and that opportunity right now, this is really a good time to think about what is important and what’s not working in our system.

Thinking about things like that and the planet and nature. We are seeing all these animals come back, pollution is clearing, and you can see stars in the sky. I think that is a very total and obvious result of everything being put on pause. I definitely think that it is a really good opportunity for us to reflect on what's working and what’s not. How do we want to move forward coming out of all of this? 

Amber: Just having this extra spaciousness in time has really allowed more space to go introspective a little bit more. It’s like all the things are coming up because there is so much time, and my mind has so much more space that I can actually dive deeper into things. That’s definitely a thing.

Also I’m really counting my blessings. We’re just very blessed to have a roof over our heads, food, and music in our lives and to have able bodies to still dance. I’m holding a lot of compassion for those who may not have that access at this moment.

I actually have a lot of relatives and friends that are working in the medical industry, and they are on different lines. I am holding a lot of love and tenderness for them and wanting to take back responsibility personally to really do the sheltering and stay home. I want to be responsible in those ways, and to really hold those that are a little more at risk in our hearts and minds.

Polina:  What gives you hope during this time? 

George: Acknowledging that it’s such a difficult situation for a lot of people right now, and at the same time this type of situation can really bring out the best and the worst of people, so to speak. In terms of the acts of kindness and the way people are supporting one another, I think it is a touching thing to see. 

Mentioning looking to those elders and spiritual figures and communities all around, and just listening to what they have to say. And art - art gives me hope. My community. One thing is definitely seeing social media and the type of discussions happening and the amount of people that are acknowledging that some things are really not working anymore. It just feels like there is so much potential and momentum around people wanting something different. I think that’s one of the big things for me personally.

Amber: I do feel closer to a lot of folks at the same time. I am reconnecting with friends I haven’t spoken to so often and just making it a point to reach out to people more and check in with people. That in itself is a reminder that we are all in it together and that we are all around the globe in this together.

Also, nature. Seeing all these birds that I haven’t seen before. It’s so beautiful. The flowers are blooming. Those things make me feel really hopeful. Life is happening and these beautiful things are going to bloom from this.

Polina:  As a last question, I am wondering what message you would give to artists, especially to young artists, right now.

Amber: My message is just to remind them that we are all in this together, we are all learning. I don’t want to say, “Keep creating, keep dancing.” Some people might not be in that space, but I will say that art is so very healing. I know that it has saved my life many times. If there is any tiny bit of hope towards that, I’d say to really take that seed, to nurture it, and to see it grow. 

Whatever art can do for you - if you are feeling that spark, follow that spark. It doesn’t have to look like anybody else’s ways of doing it, but to know that it is always there, it’s always accessible in any way.

George: Even if you are having challenges, really try and push through and keep creating from that really raw place within yourself. Whether you want to express that joy and celebration for what you are grateful for, or whether you want to express that grief and that sadness and that anger and despair. Either way, as long as you are creating from that authentic place inside and to be able to share that and be felt. I think that’s the healing process for the individual and for the collective. I think that’s what we really need right now to get us through this time. 

Polina:  Thank you both so much. May beautiful seeds be planted during this time, even if we don’t know what their fruits are.

Help the Embodiment Project Artists thrive during this time, support their relief fund at http://tinyurl.com/epartistrelief


Embodiment Project is a San Francisco-based street dance theater company that intersects hip hop, documentary theater, live song and choreo-poetry to illuminate narratives silenced by inequities and inspire critical conversations and healing.

Help support Embodiment Project artists during this time: http://tinyurl.com/epartistrelief 

Polina Smith is the Executive Director of Crescent Moon Theater Productions creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and Seismic Sisters.



Art Making in the Time of the Virus: An Interview with Stella Adelman, Dance Mission Theater Managing Director

By Polina Smith

Navigating these times can be difficult, especially for professions that concentrate on the arts. With shelter-in-place restrictions and cancellation of live performances, it can be extremely difficult for businesses that rely on hosting classes and public events. One such organization, Dance Brigade​ is going through exactly that. We recently caught up with Stella Adelman, Managing Director, to see how Dance Mission Theater is making adjustments during this time of Coronavirus.

What was Dance Mission Theater working on before the shelter-in-place went into effect?

Stella Adelman: Dance Brigaderuns the venue Dance Mission Theater in San Francisco. We had shows booked every weekend, and we’ve had to cancel everything through the end of April. Now things are starting to seep into May and June 2020.

Things are changing so fast that it’s hard to know how to predict and how to plan. Everything pertaining to the theater has been closed through the end of April, and now people are cancelling for May and June little by little.

We had several projects coming up that we were doing off-site. We had a show May 8that Mission Cultural Center. We’re trying to figure out when we can do it. We want to do it again, but we don’t know - we don’t have a date yet. We have had so many programs either cancelled or postponed to a later date.

Another big unknown that we have is our Grrrl Brigadeshow, which is our youth leadership program. We have a huge show in the beginning of May every year. We were trying not to cancel it. That’s going to look very, very different than how we originally planned it, and we’re trying to do some online classes with the girls.

We had this festival, which we did two years ago. It’s an every other year event that was looking at inequity with health disparities and trauma, specifically HIV and AIDS. That was going to be in correlation with the International AIDS Conference, which has its 30thanniversary this year, in Oakland in early July.

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Robbie Sweeny

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Robbie Sweeny

And so, there are huge questions as to when - or if - that will be held. Everyone is in triage mode. No one can focus on working on our project now, even though maybe this is the time when it is really needed. Our partners have so many different priorities than what they originally had.

And what about your classes?

We’ve also had to cancel all of our adult classes and all of our youth classes at the studio, and then also classes that take place outside of our location. We offer free adult classes with a partner organization, and we have youth classes that we offer in a school.

Have these changes impacted your budget?

We’re having to re-figure the budget because we can’t predict anything. It felt very unwieldy to continue as normal. We are constantly readjusting the budget for all these new factors.

Are you moving anything online?

A lot of our teachers are offering adult classes online. Of course, you still need Internet access, and some people just don’t have a lot of space to move around because they live with a lot of people. But we’re all trying to set up adult classes online and maybe also some youth classes. As of now, we’re not planning on doing any performances online.

So, I imagine what would be most supportive for you right now is financial support?

Cash is first, right. We’re collecting donations online for our teachers and our independent contractors, so that we can give them support. This is a situation where artists are worried that this might be it for people - thinking that maybe they should just call it quits.

Are there other ways that people can be supportive of you as an organization?

There are other ways to support us, such as writing senators and representatives to make sure that the art community is included and also that freelancers and gig workers are included in the relief package in terms of unemployment. When you think about it, a lot of folks can’t call out of work, even if they are sick. Think of the safety net everyone would have if we had a universal healthcare system.

What do you think we can learn from this time?

One thing I am really thankful for is seeing how it is when things are shut down and everyone is willing to change their lifestyle. People are not going outside. Everyone - the whole world - has changed, right? The levels of carbon dioxide have plummeted, and think about how clear the skies have been.

So, the earth can clean itself, and there are ways that we can interact with the environment that can be helpful. There are ways that we can disrupt the systems enough to heal the planet. Hopefully, we can figure out a way to do it so that it will not be at the expense of all these lives - and livelihoods.

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Brooke Anderson

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Brooke Anderson

What do you see as the role of artists during this time?

I love that Toni Morrison quote: "This is precisely the time when artists go to work. . . We speak, we write, we do language. That is how civilizations heal." This is the time for artists to roll up their sleeves and not to despair. It is the role of the artist to imagine a new world - it’s a mirror oftentimes and draws the artist to inspire. Another quote I love is: “The role of the artist is to make the revolution irresistible.” I think this is a time that artists can do a lot of good and have a chance to rest a second.

So many times the hustle is so real. Artists are fighting to make it work and produce and meet a need and uplift your community. And uplift yourself. And to do all these things and agree they’re good. And so, you do have to put on your oxygen mask first, so that you can then put it on others.

At the same time we want to give the artist the permission to just rest a second, and see how their work can inspire themselves and others so that we don’t all collapse. Many people tried to move so quickly and figure out how to be even more creative. They figured out their medium and then had to decide whether to switch online or just how to respond.

For example, if you are being super creative and thinking about how to go mobile. A musician could go mobile and do music concerts. Such as driving from place to place and giving mini concerts. Amazing artists are creatives like no other, and they need creative thinking to think outside the box. I encourage that.

And also, if you need to rest, rest. I do want to acknowledge that a lot of people can’t do that because they have to figure out how to continue to make a living, how to pay rent, how to pay these bills. It’s a delicate balance. How can you take care of yourself when the reality of life hits? It could be really hard.

Stella, what would your message be to artists - especially young artists - right now who are thinking about how to get creative and resourceful during this time?

One thing that I really enjoy seeing is how people are showing up for one another. People are still trying to be connected. The minute I switched from emailing people to Zoom, it was life-changing because I need that connection with other people. You see their face and hear their voice and feel that there is an energy versus email.

I’m also still trying to reach out to folks. There are a lot of people who are trying to collaborate and share ideas. One thing that’s been really helpful in terms of art organizations is that everyone’s coming together and asking - how are you doing this? What do you suggest? We are all sharing our best practices.

It also helps to have somebody hear you out when you’re freaking out and to have somebody in the same boat. I think that is a really great way to prevent utter despair. It’s hard.

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Robbie Sweeny

Dance Brigade performing Butterfly Effect at Dance Mission Theater, photo by Robbie Sweeny

Is there anything else you’d like to add?

Sometimes I think about the 1918 influenza that wiped out so many people. I wonder what happened then. More people were killed by that flu than were killed in World War I. I also think about my great grandfather.

He was set to fight in the war. He was drafted, and then he got the flu so he couldn’t go. Then he got well. He was sent out again and that’s right when the war ended. So, for him, the flu saved his life. It makes me think - okay, how can we flip the script a little bit?

Also, we had this group visit us at Dance Mission from New Zealand. It was this amazing company that did a whole show about the 1918 flu in 2018, when it was the centennial anniversary. And so, I was looking back at that footage, because they were very inspiring. That wiped out 22% to 25% of Samoa’s population. It’s also just recognizing the devastation of everything.

People talk about a new world, and I encourage you to just keep dreaming into that possibility. That’s kind of anxiety-provoking but it’s much better than if it was only guaranteed f*ing doomsday. Also, I want to go surfing . . . I’ll still stay six feet away from people.

Thank you so much to Stella for chatting with us. We know times are hard, and we want to give a huge thank you to the creatives who have shifted gears so quickly. They keep us inspired, connected, and moving forward with their artistic offerings.

For more information about Dance Mission Theater head to theirwebsite.If you are an artist and need resources during this time, check here. If you are interested in taking online classes with Dance Mission Theater during COVID-19, see their offerings here.

This interview was lightly edited for clarity.

Polina Smith is the Executive Director of​ Crecent Moon Theater Productions​ creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and​ ​Seismic Sisters.​ ​

An Interview with Rhodessa Jones on the Role of Art and the Artist during the COVID-19 Pandemic

By Polina Smith

Rhodessa Jones is a legendary artist and activist based in the San Francisco Bay Area with a focus on theater and social justice work. Jones serves as co-artistic director of Cultural Odyssey and director of The Medea Project: Theater for Incarcerated Women, an award-winning theater company committed to women’s personal and social transformation. As a United States Artists Fellowship recipient, she expanded her work into jails and institutions around the nation and internationally. Jones has engaged with academic institutions through teaching residencies at Brown University, Scripps College Humanities Institute, and Dartmouth College. Rhodessa Jones is a vibrant and influential force for social progress through art. 

Rhodessa Jones at the African American Art & Culture Complex in San Francisco. Photo by Tumay Aslay

Rhodessa Jones at the African American Art & Culture Complex in San Francisco. Photo by Tumay Aslay

In the following interview, Polina Smith, who worked closely with The Medea Project for nine years, speaks with Rhodessa Jones to get her thoughts and insight on the role of art and the artist during the COVID-19 pandemic.

Polina Smith:  What was The Medea Project doing before the ‘shelter-in-place’ order went into effect?

Rhodessa Jones:  Well, we had just come back from the University of North Carolina at Chapel Hill. We had been invited by the Classical Literature Department to do a performance. It was very powerful! More and more we’ve been invited by classics departments to present at universities as they grapple with the questions: how do we make the classics relevant, how do they matter in the modern day?

The Medea Project has always worked with the classics, starting with the name. I knew the myth of Medea when I started working in the jails and I met a woman who had killed her baby. She had a big fight with her husband who wanted out. She was just getting addicted to crack, she smothered the baby in revenge. She had been a graduate of UC Berkeley. When I met her in jail, she was just ‘on the moon’ and I was trying to figure out who is this woman? She sat in the back in a cage all by herself. It just brought me back to my Medea.

As The Medea Project grew and became prominent, performers in the group started bringing in other stories. Demeter and Persephone was the other story I brought in. It is about a daughter being abducted and the mother having the power to stop the seasons. And so it began that the classics were showing up in the ‘matrilineage’ segment which we do at the end of each show. “I am Rhodessa, call me Persephone.”

I love the idea of the universal story, especially with incarcerated women. How do we bring in a story where everybody feels it? Then as director, my job is to instruct everybody to put yourself at the center of the story; what kind of Medea are you?

‘The Medea Project: Theater for Incarcerated Women’ performing at Blessed Unrest festival in San Francisco. Photo by Thatcher Hayward

‘The Medea Project: Theater for Incarcerated Women’ performing at Blessed Unrest festival in San Francisco. Photo by Thatcher Hayward

How has The Medea Project been adjusting since the ‘shelter-in-place’ went into effect?

We had a wonderful Zoom meeting the other night. We're going to be meeting now on Zoom every Tuesday at six o'clock. It's been really lovely. Everybody was so happy to see everybody. We started to talk about life and dreams. Everybody had a lot of ideas, and we got to laugh and just be together. Everybody checked in and then there were just some crazy conversations that happened!

What do you think is the role of artists during this time?

I think one, we have to be a symbol of hope and light and laughter. We also have to be, as Mister Rogers’ mother always taught him, to be a helper. To go where the people are helping and do something. I think we must keep busy. The artist’s role? I think it's hope, I think it's light, I think it's assurance. And I think that it's making a way out of no way. I think that is what the artist does.

What is your spiritual perspective on this time?

Well, you know, Sekou Sundiata has this wonderful line in one of his poems. He’s talking about racism and the culture, but he says, "In this long reign of the upside-down," and I feel like we're in the upside-down. We're free falling. I was talking to Medea yesterday and it just came out of my heart when I said to them, "You know, I lament the freefall, but I do know where my heart lies," because everybody was writing and everybody was just so supportive of each other, and we all swore to be sisters forever and ever.

On one level, I think it's a good time to be still. I'm really enjoying those other places in my mind and in my heart. You know, lying in bed at night, when I finally turn off the television because in lockdown we are so (do we say blessed?) in this culture that we have stuff to distract us – and here we are on ‘Zoom’ talking - that I think we're gonna work through it, you know? But I don't know. I can't see through the darkness yet.

I call on my mother a lot. I call on my mother to tell me, to help me be still, to help me make sense of it, to help me be a better mother, lover, leader.

What gives you hope during this time?

I'm in lockdown, I'm at my house, it's just me, myself, and I. My nature is to enjoy the life, the light. My nature is not to be a somber dark person, but I try to prepare myself for the fact that we may be colliding. Somewhere somebody might be looking at Earth as this planet that's spiraling towards some great bang. That happens, but then I think, ‘Wow, it's too bad I can't feel the speed of it,’ versus like, ‘Oh God.’

So, I think what gives me hope is the fact that if I die tonight, I've had a good life, I think I've touched people. I still go out and talk to people because I think we must still honor the circle of life. These are traits and habits that I have, that my job, my directive from the goddess is to ‘Go do that.’ That's what happened with me with The Medea Project. She was like, ‘You go, and you do this.’ And I'm like, ‘Do what?’ She said, ‘You go, you're gonna see. You're gonna find out what you have to do.’

Rhodessa Jones opening Blessed Unrest at CounterPulse Theater. Photo by Thatcher Hayward

Rhodessa Jones opening Blessed Unrest at CounterPulse Theater. Photo by Thatcher Hayward

What would your message be to young artists during this time?

Work! Don't think about the work, just work. Just work and everything will be done in time. The alchemy of artistry, of art-making, has to do with keeping your heart open, keeping your eyes and your ears open. Right now, in the 21st Century, all these artists I know are doing stuff for each other online. Engage. Engage with each other.

Be ready to stand up for people you feel might be getting a bad deal. There's the Poor People's Campaign, you know, with Reverend William Barber. It popped up on my computer yesterday. This huge Poor People’s Campaign is underway because poor people are getting the short end of the stick.

They’re talking about this big deal in Congress, an emergency financial aid package, but if you do service work, if you have no identity in America. . . There’s people who are working their asses off, like my darling Roberto who worked three jobs. He took care of the restaurant, he served the food, but these people will be. . . The same ones that do the toilets, people who sweep up the bus station, where are they? How are they even going to be found?

We need to be stern and ready to take care of each other and to take care of those people who are less fortunate than us. My famous saying is “Politics don't work. Religion is a bit too eclectic, but art can be that parachute that catches us all.” I believe that. I really do.

Thank you so much Rhodessa Jones for chatting with us, we are deeply moved by the inspiration, leadership and vision you bring to so many during these challenging times.

For more information about Rhodessa Jones and The Medea Project: Theater for Incarcerated Women head to their websites. Also see our previous profile of Rhodessa Jones at Seismic Sisters.

Polina Smith is the Executive Director of Crescent Moon Theater Productions creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and Seismic Sisters.

Fitness & Wellness Community Navigating Through the Pandemic

By Tümay Aslay

The Coronavirus pandemic is changing everything around us and that includes our fitness routines. Mandatory shutdown of fitness and wellness studios in San Francisco has not only put their employees’ means of living in danger, but with all the stress and anxiety caused by Coronavirus, it feels like we need our favorite fitness and wellness programs more than ever.

Needless to say, I was pleasantly surprised when my social media feed started to fill up with inspirational at-home workout videos by some of my favorite trainers. “Tell me what you have, and I can design a personalized at home exercise routine for you” wrote Nia Fregoso, a HIIT and boxing trainer, under one of her Instagram videos. Brianna Colette, a life coach, captioned one of her Instagram posts “We’re all going through turbulent times right now and being stuck at home with NOTHING to do but THINK can sometimes feel like a prison. But there is a way out…”  as she announced that she would be offering her sound bath sessions via Instagram Live.

All of this creative entrepreneurship being born in such tough times is amazing, so I wanted to reach out to some of these fitness specialists and see how they are doing it and what are some of their biggest challenges.

Love Story Yoga in San Francisco’s Mission District. Source: LSY Instagram

Love Story Yoga in San Francisco’s Mission District. Source: LSY Instagram

Laurel Haslam is the Studio Manager at Love Story Yoga

Aslay - Love Story Yoga has been my sanctuary where I practice yoga and connect with the community around me. I know I’m not the only one! Could you tell me what the biggest challenges are that the Love Story Yoga community is facing through these tough times and the type of support you would need?

Haslam - I am so happy to hear that you feel connected to LSY:) Obviously a major challenge is that the overhead of running a business does not stop during this crisis. While there will be some programs to help along the way, at the end of the day there is a huge amount of costs to keep up with. We hope to retain community by offering classes online, but several events (workshops, trainings, etc) must be canceled and the reality is, we will not do the same volume of business online. We opened our doors 3 years ago to embrace a large community of yogis and the uncertainty of any type of group assembly in the near future is unsettling. Prolonged social distancing will greatly impact our ability to serve our community. Uncertainty is the largest hurdle to overcome as it's hard to clear something you cannot see in its entirety.

What are some of the tools that you are using to keep the community engaged and connected?

Haslam - We are streaming live classes via Zoom and have created a YouTube channel to keep free content coming. We are doing Instagram Lives to offer grounding practices to everyone.

What’s your hope for the future as a business and is there one piece of advice you have for your clients moving forward?

Haslam - Our primary hope for the future is that the world is able to heal from this and help those that have been severely hurt by this tragic pandemic. Our hope for ourselves is that we are able to adapt, grow and thrive into whatever the future is, however it may present itself.

My number one piece of advice for people right now is to commit to a routine that includes a practice that nourishes you and to stay in the present moment. Stay connected to people via technology available, move your body and try to calm and ground yourself throughout the day to avoid the frenzy that can be easy to get swept away with. Stay in the now until we can be together again. See you on Zoom!

Website lovestoryyoga.com Instagram @lovestoryyoga

Brianna Colette, Life Coach and Wellness Practitioner. Photo by Daniel Curtis.

Brianna Colette, Life Coach and Wellness Practitioner. Photo by Daniel Curtis.

Brianna Colette is a Life Coach and Wellness Practitioner

Aslay - I love following you on social media and tuning into your videos which are so uplifting. Can you tell us a little more about what you do? 

Colette - I am a life coach and sound therapy and meditation practitioner helping clients address underlying causes for anxiety and self-sabotage. I help people get “un-stuck” in life and connect to their inner power.

What are some of the tools that you’ve been using to reach your clients in a time where we are all homebound? 

Colette - I’ve been connecting with clients on Zoom and FaceTime. I’ve also been getting great feedback from people on Instagram Live. It has been so amazing being able to connect with people in a new way and I feel really lucky that I have a medium like this to share with people who need support right now especially. One new thing I’ve been doing are video ‘sound bath’ performances. A sound bath is a meditation using various instruments that ‘bathe’ you in sound to help recalibrate your nervous system and help alleviate stress, worry and anxiety.

You mentioned in one of your recent posts that we should be using social distancing as an opportunity to upgrade. Could you tell us a little more about what you mean?

Colette - In our regular day to day lives, we’re oftentimes stretched so thin that there’s little time left over for self-reflection. Now that we’ve all been forced to slow down, we have an opportunity to use this time to see what areas of our personal growth we might have neglected. We have time to be really honest with ourselves about which trajectory we’re on and whether we need make any necessary adjustments. It’s like we have this once-in-a-lifetime opportunity to lean all the way in to ourselves, to come out of this quarantine elevated and an upgraded version of ourselves like never before. 

What’s next for your brand?

Colette - I’d love to continue to grow my reach and share my story and message. Once we’re all able to be together again, I’m going to combine my love of travel and personal development and host retreats. I want to hold space for people wanting to get away, have fun and explore new places but come home fully rested and inspired with life again. 

Brianna Colette is a life coach and mental health advocate. She’s dedicated to helping others achieve personal freedom and relief from anxiety. 

Website www.BriannaColette.co  Instagram @Brianna.Colette     

Nia Fregoso is a personal trainer and boxing instructor based in San Francisco. Photo source: Nia Fregoso.

Nia Fregoso is a personal trainer and boxing instructor based in San Francisco. Photo source: Nia Fregoso.

Nia Fregoso is a Personal Trainer and a Boxing Instructor

Aslay - I love taking your bootcamp classes at the HITFITSF boxing gym! Your energy is contagious. I am very impressed how active you've been when it comes to creating online content and getting the community moving through this pandemic. Can you tell me a little about what you do and some of your tools? 

Fregoso - Thanks for wanting to interview me so I can emphasize the struggle that many fitness instructors are facing, but also trying to make the best of these unknown times. For example, in one of my classes I work with an older demographic who are all Parkinson’s patients, so before San Francisco went into lockdown, we had already cancelled our class that we usually teach 12 times a week for the safety of our students. Now I teach classes online and do my own personal training remotely on Zoom.

I sense that your mission is to empower and inspire your clients, and I love that. What is your hope for everyone who’s been tuning in to your online classes during such stressful times? 

Fregoso - Exercise is important for people with Parkinson's disease because it helps maintain balance, mobility and the ability to perform daily routines. I needed the green light from headquarters to be able to launch virtual workouts using Zoom. When we received the green light, I started volunteering to host three classes a week for them. At first, since my students are not all tech savvy, the classes were so cute! It was fun to see them try to figure out Zoom. I feel grateful for technology especially Zoom that I am able to keep my Parkinson’s community strong. I can see the spark in their eyes when we log on. They are looking forward to their upcoming exercise but mostly they probably just want to socialize since some of them live alone and have been quarantining alone. So, I give them a few minutes and we chat and share about what we’ve been experiencing. But then we have to get back to business and work out since the free version of Zoom only allows us to be online for 40 minutes. I also started to do my own private 1-1 classes via Zoom.

What are some of the challenges that you are facing as an entrepreneur and what kind of support do you need? 

Fregoso - I am facing many challenges as we speak. All the gyms I work for are shut down, therefore no money is coming in. Most of my personal clients have cancelled, since many have lost their jobs. I can’t file for unemployment since I’m a contractor. So, I need some financial guidance during this situation - like what am I able to receive and how do I apply. Also, virtual classes and training has gotten saturated and a lot of bad content has been circulating. I’m trying to offer virtual classes to my family, friends and clients, but scheduling a class has been challenging since I’m quarantining with my fiancé and he also has meetings with clients and my classes have to be loud as you know!

What's one piece of advice you’d give to another fitness professional who’s struggling to connect with their clients?  

Fregoso – I tell my people to find their purpose! What is it that they want to do here? Maybe they are freaking out about money, like I was in the beginning. But that doesn’t mean they should be training their clients outside right now - even from 6 feet away. Take advantage of the outlets offered but don’t allow someone to take advantage of your time. You might need the money but don’t let a company offer you nickels and pennies for 60 minutes of your time.

What’s next for Nia?

Fregoso - Well I’m actually very excited except having to think of how I will pay my rent. But I’m happy that I have time to do everything that I have been meaning to do but couldn’t due to lack of time. For me to grow as a human being, I want to get to know myself more, meditate, practice yoga, read, journal and master cooking recipes that I’ve been wanting to do. It’s a good time to take courses on business, administration and communication. So, taking a break from social media will be the best thing aside from hosting live fitness classes.

Website www.nia.fitness/ Instagram @niafitmitts  

Interview responses were lightly edited for clarity and readability.

Tümay Aslay is a photographer, social media specialist and web designer for Seismic Sisters. Her passion for fitness is connected to the deep sense of community she finds in yoga, cross-training, boxing and wellness classes.

Showing Artists Love During Coronavirus Pandemic | Organizations offer aid to artists facing event cancellations and emergencies

By Polina Smith

Artists are the heartbeat of the vibrant and dynamic culture of the Bay Area. From Rhodessa Jones and The Medea Project: Theater for Incarcerated Women, who put stories, too often untold, on stage, to the breathtaking collection at the SFMOMA and the eye-opening socio-political exhibits at YBCA, the Bay Area is a mecca of cutting edge culture because of our artists.

A member of The Medea Project by Tumay Aslay.

A member of The Medea Project by Tumay Aslay.

When it comes to the current conditions in the world surrounding the Coronavirus pandemic, everyone is appropriately giving their attention to washing their hands, flattening the curve, and keeping their distance. This shift in focus - and the new requirement to ‘shelter in place’ - leaves artists in a time of need, both to showcase their creativity and to continue earning an income.

But, if there is one thing that artists excel at, it’s creativity! Evidence of this was the Weird-Stream-a-Thon, which took place as an online alternative for those who were supposed to attend South by Southwest (SXSW). The live event was canceled due to COVID-19, yet the performers live-streamed their performances. The purpose was to raise funds for creatives who were impacted by cancellations.

A Colombian writer and performance artist Juliana Delgado Lopera by Tumay Aslay

A Colombian writer and performance artist Juliana Delgado Lopera by Tumay Aslay

As a consumer, there are many ways to help support creatives. Support their Patreon pages, start your Christmas shopping early or buy gift certificates to use in the future. If you are in financial distress, you can do a few things that cost nothing but your time. Share their work on Facebook, like and comment on their Instagram posts, or write them a note of encouragement. 

If you are considered a creative, there is help - and hope. It’s at times like these when communities and organizations rally to help others. And with the orders to stay at home, most of this help is found on the Internet. Here are a few helpful resources to check out during this time. 

  • Mayor London Breed Announces Art Relief Program- On March 23rd, San Francisco Mayor London Breed announced an Arts Relief Program that will provide $2.5 million in grants and low-interest loans to working artists and cultural organizations. Check out the full article HERE and follow the Mayor for updates!

  • The Safety Net Fund - Specifically for artists that reside in the Bay Area, this fund has been set up for those who are enduring hardship due to closings and cancellations during the COVID-19 crisis, which has affected many live performances and creative events. Head to their website to see if you are eligible for their maximum of $500/month per person. Qualifications include living within specific Bay Area zip codes and not being eligible for unemployment. If you are not an artist, you can help increase the amount of funding by donating towards this campaign. 

  • The Creator Fund - If you are considered a creator, then you may be eligible for part of the $50,000 that ConvertKit is offering up to those in the creative community during the COVID-19 pandemic. Funds are available for childcare, groceries, medical, and housing. There is a series of questions you must answer, but qualified applicants can receive one-time assistance of up to $500 to aid with necessities. Head to their site to read more about The Creator Fund.

  • Musicians Foundation - Musicians living in the US that are in acute need can fill out an application to receive aid. It includes any genre of music. To be eligible for funds, you must have had music be your primary source of income for the past five years. If you are curious if you meet the requirements, check out their site here

  • CERF+ The Artists Safety Net - Reserved for “career-threatening emergencies,” the Craft Emergency Relief Fund offers assistance through their safety net for artists. There are criteria to receive funds, and they ask that you review their eligibility requirements before filling out the form. Another point of note is that these funds are designated for makers and those who handcraft items. 

We are living in a different age suddenly, but the good news is that people want to help! Organizations and individuals sense the needs of creatives, and new programs are continuing to pop up. To keep updated on these and other resources for artists, head to Creative Capital’s list of artist resources, the CBCA site, or the COVID-19 Freelance Artist Resources page. No matter what, keep pressing on in thinking of creative ways to pepper our world with color. We all need it now more than ever!

 

Polina Smith is the Executive Director of Crescent Moon Theater Productions creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and Seismic Sisters.

Photography by Tumay Aslay.

Native American Dr. Leslie Gray practices psychotherapy informed by principles of indigenous healing

By Jessica Semaan

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

There are times when you listen to someone speak, whether through a book or in person, and you resonate with every word, yet you realize that you could have never articulated them, or connected the dots to get to them. 

This was me, that Thursday morning, during my Transpersonal Psychology class, when Dr. Leslie Gray, a visiting instructor, came to share with us the Native American medicine wheel. As soon as she entered the classroom, I was jolted awake. Her powerful posture and fast movement captured the class’ attention. Her eyes that feel as if she is looking through your soul, and the no nonsense, preciseness and wisdom of her words, left many of us still talking about that three-hour experience weeks after it happened. 

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

She had asked us not to take notes, as in her tradition teachings are transmitted orally. Suffice it to say, this is the class I remember the most. I felt compelled to ensure that her words and her wisdom reach more people, especially women, so I proposed to interview her for Seismic Sisters. We met up at her office in San Francisco. 

Dr. Leslie Gray is a Native American psychologist who has studied with medicine people and elders from various tribal backgrounds. Based in San Francisco, she is also the executive director and founder of the Woodfish Institute

 Q&A

Jessica Semaan: Can you share a little bit about your path to where you are now, specifically starting from a clinical fellowship at Harvard to practicing psychotherapy informed by principles of indigenous healing?

Dr. Leslie Gray: Though I was pursuing an education in social sciences, I had been around indigenous healing and always had both going on in my head at the same time. A turning point was when I read a book by H.F. Ellenberger titled, “The Discovery of the Unconscious: The History and Evolution of Dynamic Psychiatry”, in which the author purports to trace contemporary psychiatry from shamanism to hypnotism to mesmerism to Freud. The book starts with the description of a great Kwakiutl healer. As I read on however, it began to dawn on me that what was being described was not an evolution but a de-evolution—moving away from a sophisticated application of the spectrum of consciousness for healing to a binary notion of "conscious and unconscious".

I presented a paper on shamanic healing in my first year of graduate school, and I was fortunate that the professor understood it because my classmates laughed nervously at what they perceived as primitive. Oddly, tolerating the temporary discomfort of their laughter seemed to clarify for me my own indigenous background and worldview. I decided then and there to seek out traditional healers and learn from them. I was lucky that the first healer I learned from was wise, gifted and highly skilled. That provided me with a standard that I applied in subsequent years of studying with elders and healers from other tribes.

Semaan: What does it mean for women to come into their power? Could you speak about how you define power in that case?

Gray: In this conversation we are limited by the English language, which makes it difficult to discuss situations with equal distribution of power. In English the word "power" is used equally for personal strength and for dominance over others, unlike the case in some other major languages. In the U.S. right now when a woman talks seriously about power, she is often responded to as if she were seeking to be authoritarian, whereas when a man talks about power he is simply responded to as an authority. And then women are made to fear the dreaded B word, and begin to behave in ways that weaken them in order to avoid being seen as controlling or dominant. In the West, fear of being labeled and rejected goes a long way toward stunting women's dreams and accomplishments, whether within the realms of business or healing.

Semaan: Many of our readers are actually women in the workplace. What do you have to say to them about their own power and how that could look?

Gray: That's where indigenous spirituality comes in. The indigenous relationship to spirit is immediate and personal. It employs a broad array of consciousness alteration techniques including contemplation, ritual movement, trance states, direct hypnosis, plant medicine, et al. that can allow ordinary reality to recede long enough to directly access spirit. Male controlled state religions basically tell you that access to that which is holy should be mediated by a cleric, a priest or guru or rabbi, etc. and those are usually men. With indigenous methods, a woman can strengthen herself directly, can receive power directly. When she has that rock solid center of spirit, she becomes less dependent on external approval.

Semaan: Do you think men are afraid of our power as women?

Gray: I don't think there is a shred of benefit to be derived from trying to look into male heads or hearts. You can't rely on someone identifying as a man, or having male genitalia, as accurate predictors of their respect for women's power. Nor can you rely on females to respect it. We need to make direct changes to a system which is permeated with misogyny. And we need to do so now. You cannot wait for an oppressor to take their foot from your neck, you must throw it off. On the societal level this means political elections and institutional promotions, but it starts with the individual woman getting in touch with her own ground of being and infusing the power that comes from that into her specific interests and abilities.

At the core of all that is finding your courage. Courage starts in the heart. The word comes from the French word for heart, "coeur". This is not something you acquire from academia or social ranking or work. You need to get to a still place in yourself to access the strength that is our inheritance from Mother Earth.

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

Dr. Leslie Gray is a Native American psychologist and executive director and founder of the Woodfish Institute. Photo by Tumay Aslay.

Semaan: I wanted to touch a little bit more on a different topic, on chronic pain, for over 70% of the people who suffer from chronic pain are women. I've been reading a lot about how women’s pain is diminished or silenced. I was wondering if you have some thoughts about where could the chronic pain come from, especially when there is no clear medical explanation. 

Gray: Over the years I've had many referrals for chronic pain, partly because I had some success in turning around chronic pain in myself that was the result of a car accident. It's a complex topic that is physical/psychological/ecological/legal/pharmaceutical. Long term pain particularly highlights our divorcement from nature, because its remedy is often less about technical interventions and more about healing over time, which is not the focus of Western medicine. It involves the complexity of doing what it takes for the immune system to maintain equilibrium after reparative interventions. Also, powerlessness results in pain which becomes expressed somatically. It would be very interesting to see the degree to which women suffer from chronic pain in comparison with men once women have equal power in the U.S.

Semaan: I recently watched a documentary called “The Edge of Democracy” by Brazilian filmmaker Petra Costa. She's documenting what has been happening in Brazil with the imprisonment of Lula da Silva and the fall of president Dilma Rousseff, the rise of their equivalent of Trump and how the new president is pulling back on enforcement and environmental protection of the Amazon, leaving it open to increased exploitation. The film suggests we are at the end of democracy. 

Gray: Democracy is so much older than the handful of years in which European hierarchical values have attempted to overrule Indigenous egalitarian values in the Americas. In the U.S., the brilliance and endurance of Iroquoian democracy led to it being studied and copied by the European colonists. By 1776, Benjamin Franklin had attended the governmental meetings of the Iroquois for 13 years and his accounts of these proceedings were among his most popular books. Key to the Iroquoian system was equal governing power between women and men and the prohibition of slavery. In my opinion, the "Founding Fathers’" disparagement of those who devised this ingeniously balanced democracy as a group of “ignorant savages" led to terrible errors from which the U.S. still suffers hundreds of years later.

We were telling those who were trying to form a union like ours that you need to have a "spiritual center" to your democracy for it to last. Unfortunately, the European colonists reduced this noetic insight to "religion" insisting on "separation of church and state". It is in fact about reverence for the principle of balance in the universe. They created a democracy built on the subjugation of women, indentured servitude and slave labor. Moreover, the spiritual void was then filled with profit, rather than balance, as the core value. In this they created a system similar to communism in that they both rest on economic determinism.

Semaan: We often stick to systems we have because the only alternative to democracy is fascism or communism.

Gray: It's a false alternative. The concept of balance of power goes by the wayside in both. We've had a chance now to look at communism in practice, and its forms of government seem to lead to similar tyrannical tendencies, i.e. dominant hierarchies with women as second class citizens. They both engage in uncritical and usually unspoken acceptance of a pyramid model of human relations rather that the model of a circle. It is important for all structures of governing, and of political activism, to examine the underlying model of their endeavors. 

This interview has been lightly edited and condensed for readability.


Jessica Semaan is a freelance writer, author, poet and performer living in San Francisco. Chronicling her journey of healing from trauma, she has over 50,000 people following her writing on Medium. Jessica’s debut book. Child of the Moon was published in 2018. She also is studying to become a psychotherapist.



Dr. Leslie Gray, Executive Director and Founder of the Woodfish Institute, is a Native American psychologist who has studied with medicine people and elders from various tribal backgrounds. She advocates and embodies a new vision of health care—the integration of ancient healing and modern medicine. Dr. Gray has a private practice in San Francisco, California, teaches workshops and seminars worldwide, and conducts travel/study programs to ancient sites. She has lectured at universities including the University of California at Berkeley, Institute of Transpersonal Psychology, and California Institute of Integral Studies. Telephone: (415) 928-4954, San Francisco, California. Email: lgray@woodfish.org

  • The views, practices, information and opinions expressed in this article are those of the individuals involved in the article and do not necessarily represent those of Seismic Sisters.

 

The World We’re Dreaming: A night of art, poetry and sisterhood

By Casey Loosbrock

SAN FRANCISCO – Four visionary artists grabbed the mic at “The World We’re Dreaming,” a Seismic Sisters night of art and poetry on April 14, 2019 in San Francisco. The event featured artists who are creating culture in turbulent times and dreaming up a new world filled with art, love, respect, and justice. Performances by Jessica Semaan, Samsara Shmee, Juliana Delgado Lopera and ASHA sudra showed what art and social justice look like when lived together.

The World We’re Dreaming - produced by Polina Smith, video by Mister WA.

The Bindery, a unique venue on Haight Street, created an eclectic ambience for the event with its high ceilings, walls covered in books, vibrant art and tchotchkes. The lounge was cozy and intimate, the mismatched chairs, warm lighting, and vintage bar cart added to the scene.

Jessica+Semaan+for+Seismic+Sisters

The first artist, Jessica Semaan, performed two poems from her new book “Child of the Moon” entitled, ‘To become the woman I am’ and ‘I am not mentally ill.’ The former is a reflection on her evolution as a woman and her struggles within overlapping cultures and systems of oppression. “I had to see that my head is full of voices that are not mine. Voices of systems of whiteness, colonialism, patriarchy. And every day I must purge,” she said. This poem was performed accompanied by a heavy and hypnotic hand-drum beat. The second poem was performed along with Semaan belly dancing. This piece hones in on the idea of collective responsibility. It begs the question: how can you not be mentally ill when you live in a world ravaged by war, famine, and climate change? She concludes, “If one of us is ill, our whole world is ill.”

Asha for Seismic Sisters

ASHA is an artist, educator and revolutionary. She shared from her new book of poems titled “Crawling in my Skin” and rhythmically performed her pieces. She spoke about how she used to feel ashamed of her heritage, but now feels the need to wear her lineage on her sleeve, quite literally, referring to her tattoos as “cultural graffiti” and understanding it as a sacred art form. ASHA’s work is influenced by hip hop music, from the way she phrases her stanzas to the way she referred to ‘Ants’ - her favorite poem from the book - as “the single if this were an album.” The poem is a reflection on how the artist sympathizes with ants, how colonies of ants move throughout homes because they are forced from one place to another, their numbers dwindling because of poison, and how habitat destruction has taken away their historical places. She finishes with, “I might give up and just let the ants win.”

Bindery Event  (29 of 42).jpg

Shmee, the next artist, is a storyteller and performed a spoken word piece about their identity. They explored the idea of their own name, referring to the classic “rose query,” which was made even more relevant due to the setting—Romeo and Juliet was displayed prominently on a nearby bookshelf. They touched on the power that comes from choosing a name, explaining that ‘theirs’ is what feels good to say, as well as the combination of ‘she,’ ‘me’ and ‘he.’ They explained that self-acceptance has required time and experience, and though it was not easy, it was worth it. Shmee concluded with, “My growth is a resurrection.”

Bindery Event  (31 of 42).jpg

 The last performer was Juliana Delgado Lopera, a Colombian writer, historian, speaker and performance artist who has written three books, “Quiéreme,” “¡Cuéntamelo!” and “Fiebre Tropical.” Lopera told deeply intimate stories about her experience growing up in a matriarchy in Colombia and how the performance of female sadness was a huge part of her cultural upbringing. She spoke about the art of finding the humor behind everyday sadness and often sprinkled slang used in drag circles, like throwing shade and spilling tea, among others. Lopera told the audience about how Catholicism’s prevalence in Colombia has made the Virgin Mary the only female role model women have, making martyrdom the most sought after form of female sadness.

After the performances, there was a panel discussion in which audience members could interact with the artists. The talk soon focused on the artistic process. Shmee emphasized the need to attentively listen and observe in order to make art that means something to everyone. Semaan spoke to the need to embrace the uncomfortable, saying “screw the silence, let’s talk about it.” Intuition in young people is what ASHA draws inspiration from, stating that their passion is contagious. Lopera said that today’s political climate makes her feel the need to just create more art and to make sure more people feel seen and heard.

Kim Christensen, founder and editor of Seismic Sisters, summed up the evening like this, “Resistance is important, but we can’t just resist. We need to be in creative mode too.” She explained, “We are here creating new culture—creating the world we want.” This is the world we are dreaming.

 

Casey Loosbrock is a freelance writer. Photos by Tumay Aslay.

Women’s Caucus draws crowd at California Democratic Party convention

By Kim Christensen
Photos by Tumay Aslay

SAN FRANCISCO – Christine Pelosi brought out star power and her cool mom – House Speaker Nancy Pelosi – to fire up the Women’s Caucus event at the California Democratic Party convention on Saturday in San Francisco. Under the theme #MyChoice, the protection of Planned Parenthood and abortion rights were highlighted as top political priorities and got big cheers from the room. Squeezed in tight, the crowd heard speeches from Speaker Nancy Pelosi and other key Democratic party leaders. 

Christine Pelosi and House Speaker Nancy Pelosi surrounded by a crowd at the Women’s Caucus event at the California Democratic Party convention, on June 1, 2019, in San Francisco. Photo by Tumay Aslay

Christine Pelosi and House Speaker Nancy Pelosi surrounded by a crowd at the Women’s Caucus event at the California Democratic Party convention, on June 1, 2019, in San Francisco. Photo by Tumay Aslay

Three 2020 presidential candidates showed up - Senators Kamala Harris, Amy Klobuchar and Bernie Sanders - to tout their commitments to fight for reproductive rights. Senator Kamala Harris rode a wave of cheers on her way to the microphone, remarking, “This Women’s Caucus is so damn badass!” Harris talked about fighting for women to make decisions about their own bodies and about her equal pay plan that would require companies to show that they are paying workers fairly. 

Minnesota Senator Amy Klobuchar emphasized that she is a successful Democrat who could win in red states and she absolutely believes a woman can beat Trump. At the end she quipped, “As we like to joke . . . may the best woman win!” Bernie Sanders arrived with a mini-parade of supporters, spoke about fighting abortion bans, and made a promise only to nominate Supreme Court justices who are “100 percent in favor of defending Roe v. Wade.”

Senator Kamala Harris (center) and Calif. Lt. Governor Eleni Kounalakis (right) at Women’s Caucus event June 1, 2019, at California Democratic Party convention at Moscone Center, San Francisco, CA. Photo by Tumay Aslay

Senator Kamala Harris (center) and Calif. Lt. Governor Eleni Kounalakis (right) at Women’s Caucus event June 1, 2019, at California Democratic Party convention at Moscone Center, San Francisco, CA. Photo by Tumay Aslay

California’s Lieutenant Governor Eleni Kounalakis, State Treasurer Fiona Ma, and Controller Betty Yee spoke to the energized crowd of activists, as did San Francisco Mayor London Breed. Kimberly Ellis, former Executive Director of Emerge California and candidate for California Democratic Party Chair, made her pitch for the leadership job. She called out the need for a “culture shift” in the party and an end to corruption and sexual harassment. Ellis ultimately was not successful at the Convention, which elected union leader Rusty Hicks to lead the state party.

Christine Pelosi was re-elected Chair of the Women’s Caucus at this event, which was co-sponsored by Planned Parenthood in keeping with the #MyChoice theme. Christine Pelosi noted that Planned Parenthood is widely popular and well-respected in the country, but their “opponents are trying to ruin the brand of Planned Parenthood.” 

Elizabeth Warren for President supporters with “Warren Has a Plan for That” t-shirts and signs, June 1, 2019, at California Democratic Party convention at Moscone Center, San Francisco, CA. Photo by Tumay Aslay

Elizabeth Warren for President supporters with “Warren Has a Plan for That” t-shirts and signs, June 1, 2019, at California Democratic Party convention at Moscone Center, San Francisco, CA. Photo by Tumay Aslay

Speaking out against the wave of abortion bans flooding the states in the South and Midwest, House Speaker Nancy Pelosi said, “These bans cannot stand!” “Here’s the thing, we just have to win the elections,” Speaker Pelosi said. “These are desperate people. I don’t know why they have a problem with women advancing.” 

Her speech was interrupted by a few calls from the crowd to “impeach!”- but she continued focused on the theme of protecting abortion rights and Planned Parenthood. “Tip O’Neill said all politics is local. No, it’s very personal,” said Pelosi strongly. “They are saying to women, we are going to control your bodies.” 

Speaker Pelosi urged women in the room to “know your power” and also to “elect a Democrat president of the United States, a pro-choice president of the United States!” The theme of this Women’s Caucus was on point, as abortion rights are quickly becoming a driving political issue in the 2020 campaigns.

Oakland’s Radical Monarchs Spreading Their Wings and Raising Fists for Social Justice

By Karen Gullo

A group of young girls of color wearing brown berets and brown Girl Scout-style sashes across their chests look at a photo of author, activist, and model Janet Mock. Their eyes grow wide when they’re told Janet was assigned male at birth and is transgender. Earlier, the girls had been asked to describe how gender roles of men and women are depicted in entertainment and advertising. 

Males are always the superheroes, women are housewives, said one. Males control women and women seldom control men, said another, adding that men have cool secret handshakes. “Society says women have to have big breasts, long hair, and small noses,” offers a 10-year-old.

The discussion about gender stereotypes is part of a journey for the young girls, who meet regularly to discuss racial and gender equity, share experiences about growing up as people of color in tumultuous times and, importantly, become activists for social justice.

This is heady—and heavy—stuff for 8- to 12-year-olds. But this is the Radical Monarchs, an Oakland-based activism organization for young girls of color with a mission to empower girls, teach social justice and equality, and make radical contributions to their communities.

“It’s really important to create these spaces for girls of color because their voices haven’t always been heard,” said co-founder Anayvette Martinez.

Radical Monarchs at San Francisco International Film Festival after the screening of “We Are The Radical Monarchs” documentary film. Photo by Karen Gullo

Radical Monarchs at San Francisco International Film Festival after the screening of “We Are The Radical Monarchs” documentary film. Photo by Karen Gullo

The organization’s story is the subject of the documentary film “We Are The Radical Monarchs,” recently screened at the San Francisco International Film Festival. Directed by Linda Goldstein Knowlton, the film follows the group from its founding in 2014, through its earliest years with a core group of 10 girls, two founders, and no budget, to a successful and celebrated force for social justice activism in Oakland with new troops planned for San Francisco, Berkeley, and Richmond.

“We Are the Radical Monarchs” chronicles the young girls—particularly Lupita Martinez, Amia Carillo, and DeYani Dillard—as they march, fists raised, for LGBTQ and women’s rights. They are seen organizing to raise awareness about racial injustice. They discuss how it feels to be left out and made to feel different. They support each other, and talk about what ‘pride’ means. They each do something that expresses their appreciation for their culture—Amia performs a traditional dance, and Lupita models a traditional costume.

They make posters and banners, and participate in rallies protesting discrimination against and detention of immigrants and other people of color. They speak at San Francisco City Council meetings and knock on lawmakers’ office doors in Sacramento to advocate for affordable housing (an issue directly affecting the girls living in Oakland). They earn badges for Radical Pride, Radical Bodies, Radical Roots, and Radical Beauty that they display on their signature brown vests. They learn about Black Lives Matter from co-founder Alicia Garza, who speaks at their graduation ceremony. They hear about the work of the Black Panthers from former member Cheryl Dawson.

They also go camping, learn to set up tents, and journal about how they’ve changed since school started. Their feelings of empowerment grow, replacing doubts about themselves.  

“I used to worry about how I looked,” said Amia. Now she feels proud of her culture. “You don’t have to try to change yourself to make everyone like you.”

The film also stars the group’s two founders, community organizer Anayvette Martinez and educator Marilyn Hollinquest. The organization’s curriculum of building confidence, self-love, power, beauty, independence, and activism is their vision for an alternative scouting club for girls of color.

Martinez first came up with the idea when her daughter Lupita, then a fourth grader, expressed interest in joining the local Girl Scouts troop.

“When I saw what the troop liked like, I said, ‘I don’t think that’s for you,’” Martinez said. She wanted her daughter to be part of a group that focused on issues that specifically affect young women of color, and talked to her daughter about starting a new kind of troop. Lupita was excited about the idea, and kept reminding Martinez, a single mother working 60 hours a week, about pursuing the idea. Martinez knew she needed a partner, and reached out to Hollinquest—the two had met years before at San Francisco State University, where they both obtained graduate degrees in ethnic studies. 

Both are strong females who grew up in conservative families. Martinez was born in San Francisco; her mother was from Nicaragua and her father from El Salvador. In the movie she talked about struggling in school, and being told by a high school counselor that college wasn’t for her. Her father said she should stay home until she got married. Martinez followed her own path, attended UCLA and SFSU, and got into community organizing in a big way, sometimes ruffling the feathers of men who didn’t easily accept females in leadership roles.

Radical Monarch parent Jessica Allen (left) and Monarch Neveah Kelly after the screening of "We Are The Radical Monarchs" at Castro Theater. Photo by Karen Gullo

Radical Monarch parent Jessica Allen (left) and Monarch Neveah Kelly after the screening of "We Are The Radical Monarchs" at Castro Theater. Photo by Karen Gullo

Hollinquest, who is African American, is from a mostly white Tulare County farming town and said she was raised in a Pentecostal, patriarchal, conservative family.

 “Women were in the background,” she said. Looking back, “I would have loved a troop like the Radical Monarchs.” With an undergraduate degree in community studies from UC Santa Cruz, and a masters from SFSU, Hollinquest went into teaching, community organizing, and nonprofit work.

When it was founded in December 2014, the Radical Monarchs was called the Radical Brownies, but the name changed after the Girls Scouts of America said it was causing confusion with its group. The girls who formed the first troop chose the name monarch.

The group’s founding came on the heels of the shooting death of Michael Brown, an unarmed black teenager, by police in Ferguson, Missouri, and the death of Eric Garner, after a New York City police officer put him in a headlock. Studying those incidents and the Black Lives Matter movement, and discussing how communities can respond and affect change became the troop’s first unit of inquiry.

“Social justice is optional at schools, but it should be required,” Hollinquest said during a presentation to educators. “If we want to evolve this society we need to teach social justice now.”

The group has earned praise from activists like Black Lives Matter co-founder Alicia Garza and criticism from Fox News pundits, including one who said the girls should join the Brownies and learn to sew rather than be turned into “little racists.”

The praise is greater than the criticism. The troop has been profiled in The Guardian (reading the piece gave Goldstein Knowlton the idea of making a documentary film about the Monarchs), PBS, SF Weekly, BuzzFeed, HuffPost, and The Real. “We Are the Radical Monarchs” premiered in March at South by Southwest in Austin, Texas, and has been screened at film festivals around the country.

The group has received a multi-year grant from NoVo Foundation (co-founded by Peter Buffett, son of investor Warren Buffett), is hiring new troop leaders, and plans to form new troops in San Francisco, Oakland, Richmond, and Berkeley.

Martinez and Hollinquest have faced questions about whether an activism group only for girls of color is excluding others. They are unabashed in their commitment to and belief in their vision.

“The reason that we have a separate girls group as opposed to joining the existing ones is because we didn’t see anyone talk about social justice,” said Hollinquest in the film. “And also talk about young women of color’s experiences explicitly, like specifically address them as opposed to doing a general girl culture, all girls’ experience. It’s important to have this.” 

Karen Gullo is a freelance writer and former Associated Press and Bloomberg News reporter covering technology, law, and public policy. She is currently an analyst and senior media relations specialist at Electronic Frontier Foundation (EFF) in San Francisco.

Sol Sisters Brought Female Empowerment, Art, Music, and Wellness to Oakland for Its Third Annual International Women’s Festival

By Nicole Masaki

The Sol Sisters International Women's Day Festival in Oakland was the place to be for anyone wanting to spend a Saturday in the Bay Area celebrating and honoring women's achievements. The atmosphere at the March 9 event was creative, inspiring, and supercharged with the work of women and girls from all backgrounds intent on taking control of their destinies. The festival honoring International Women’s Day (IWD) showcased women-owned businesses, singers, dancers, rappers, artists, wellness workshops, and other activities to nourish the heart, mind, soul, and body.

International Women’s Day is a celebration that dates back to 1911, when women were fighting oppression, inequality, dire working conditions, violence, and discrimination. The first IWD events were held in Austria, Denmark, Germany, and Switzerland, and soon spread to Russia, Europe, the U.S. and beyond. While we live in times very different from the era that saw the first IWD celebrations, gender inequality and female oppression are still ever present around the world. IWD is just as important today as it was in 1911, and is observed with marches, protests, rallies and teaching events in small towns and big cities around the globe. The holiday has no boundaries based on country or single person or single group. Rather, it has always been about collective efforts to fight for gender equality.

Sol Sisters is a nonprofit organization founded by mental health clinician Christine Coleman. As she worked as a counselor to low-income students, Coleman realized that families were reluctant to engage in therapy, which was considered taboo due to culture stigmas. She began working with other professionals to bring wholistic health, healing, and empowerment services outside of traditional therapy settings to women and girls of all backgrounds. Sol Sisters partners with local nonprofits to provide workshops about wellness, love, beauty, and self-worth to under-resourced women and girls. Each year the organization offers community events in fitness, beauty, mentoring, and mental health. Sol Sisters’ mission is to provide holistic health services to enrich, empower, and evolve women of all backgrounds.

Tahitian dance team. Photo by Tumay Aslay.

Tahitian dance team. Photo by Tumay Aslay.

Sol Sisters’ IWD expo-style festival was held at Oakland Impact Hub, a co-working space on Broadway. The venue is known for hosting events that celebrate and empower the community, as well as providing a welcoming space for many tech and local business entrepreneurs. A wide variety of women-owned businesses were on hand. From young entrepreneurs making their first sale, to women who have made their passion a profession, the festival represented women from many different backgrounds and stages of life. Attendees had the opportunity to sample foods from bakeries and professional chefs, learn and embrace holistic healing methods, pick up empowered women clothing, and collect original art from local Bay Area artists. But better than just purchasing products, attendees had the opportunity to interact with entrepreneurs and creators, and ask about their stories, their backgrounds, how they came up with the idea for their business, where it has taken them, and share their own thoughts on the Sol Sisters’ experience.

The expo itself was only half the experience at the festival. Sol Sisters also had a showcase of artists performing on stage, including slam poets, a young all-girl dance group, singers, and a competitive Tahitian dance team. Performers came from all over to share their talents. The main headliner, music artist Samiere, travelled from Los Angeles to perform. A singer-songwriter, activist, author, and San Francisco native, Samiere shared a part of her own story in every song she sang. The performances really exemplified that there’s no age requirement to feel empowered or empower others. Girls aged 12 to 17 formed the dance group Mini Mix’d and used dance to connect to the community and build respect for each other and themselves. While each performer brought a unique perspective to the event, I could use the same words to describe all of them—empowered and unstoppable. Artists shared not only their talents but also their stories and inspirations.

Leilanii Rose, a community based performance artist. Photo by Tumay Aslay.

Leilanii Rose, a community based performance artist. Photo by Tumay Aslay.

Throughout the day exhibitors ran four separate workshops, each with a different focus. Entrepreneur London Wolfe inspired women to show up and be fully present by aligning masculine and feminine energies within themselves. Her mission was to help others break through to the life they desire most. Regina Evans led a workshop based around healing for survivors. Shahidah Al-Amin Zareef led a workshop dedicated to empowering mothers and addressing the unique self-care needs of mothers. The final workshop of the day was led by Ris Tena, who talked about ways to balance masculine and feminine energies, the importance of nurturing both, and ways we can challenge ourselves to use these different energies more.

Stephanie Archayena, Expressive Arts Coordinator of Sol Sisters . Photo by Tumay Aslay

Stephanie Archayena, Expressive Arts Coordinator of Sol Sisters . Photo by Tumay Aslay

Stephanie Archayena, Expressive Arts Coordinator of Sol Sisters, was the one to meet for this event. For her the best part was, “witnessing how devoted, beautiful women can just come together and collaborate, and seeing the teamwork—it really does take a village to bring something about like this.” And I would agree with Stephanie there. It is truly incredible what we can accomplish as individuals, but what is more powerful is what we accomplish when we work together.

Nicole Masaki is a freelance writer.