On Austin’s Black History and Acknowledging the Past: An Interview With Funmi Ogunro
Read our interview with Emmy-nominated filmmaker Funmi Ogunro about her upcoming documentary, Austin Black Freedom Communities.
Emmy-nominated filmmaker and previous BABES FEST exhibitionist Funmi Ogunro is making a feature-length documentary on the history of Austin’s Black Freedom Communities. As a native Austinite, Funmi is actively working to preserve and spread awareness about the oral history of these communities through the film. The history of these Freedmen’s communities is essential to note not only when talking about the history of Austin, but within the conversation of Texas Black History.
In conversation with bbatx staff member Margeaux Labat, Funmi recently talked with us about her filmmaking roots, the importance of learning Austin’s Black history, and her advice for aspiring Black women filmmakers.
PS: Funmi is leading a discussion on the history of Austin’s Black Freedom Communities in an event with us this Saturday. Head here to learn more about the event, our speakers, and to grab your RSVP.
ABOUT FUNMI OGUNRO:
Funmi Ogunro is a Nigerian-American Emmy nominated film producer and editor from Austin, Texas. Funmi is a producer for Austin PBS. Most recently she served as the director of photography for Reflections on a Legacy: East 12th Street, a short documentary about the history of East 12th street. Her online comedy web series, Nneka The Uber Driver, was an official selection of the Women of the Lens 2017 Film Festival in London, England. Her short film, Guess Who's Coming to Dinner: Naija Edition toured the United States and premiered at the 2016 Pan African Film Festival in Los Angeles. She is the creator of Art is Cool, a multi service organization specializing in photography, videography, documentary films. In addition to producing, Funmi Ogunro served as the host of Juneteenth Jamboree, a PBS production dedicated to the discussion of Texas Black History.
How did you first get into filmmaking?
After college, I started a children’s show called Funmi & Friends. The show was similar to Sesame Street, and the goal was to teach kids the importance of eating fruits and veggies and moving your body. It was a lot of fun. This was the start of my film career. You can read more about my film journey here.
Can you tell us a little about how Art is Cool—your multi-service organization specializing in photography, videography, and documentary films—came to be?
I started Art is Cool in 2015. Art is Cool started off as a documentary concept. I wanted to create a documentary series around artists of all mediums. My first episode was with artist Beth Consetta Rubel (you can check it out below). After I completed a few episodes, I decided to curate an art exhibition with the artists I interviewed. Over the course of a couple of years, we started doing more and more art exhibits. Then, a few years ago, I decided to include video production as a core service of the company.
For those who don't know, what is your documentary about? Why do you believe that it's an important story to be told and for people to know about?
Like many people in Austin, I grew up not knowing the history of Black people in our city. Only a few years ago did I learn about the 15 + Black Freedom Communities that were part of our city’s establishment after the Civil War ended in 1865. Clarksville, Wheatville, and Southside, for example. It’s time for these stories to be told. Black Austin History is Austin History. Black people created thriving neighborhoods from the ground up, from businesses to schools and churches. In the early 1900s, these same people were displaced from their communities because of discriminatory city mandates. Today, these same regions are some of Austin’s most prominent neighborhoods. Austin Black Freedom Communities is not just a feature length documentary. It is oral history preservation. Through interviews, cinematic shots, archival footage and photos, the film serves as an educational tool to educate the viewer on the rich history of over 15 Austin freedom communities. The film chronicles the time period between 1865 - 1928.
4. During your research process for the documentary, what have you discovered so far about the history of Austin's Black Freedom Communities that you have found to be especially interesting or that has stuck with you?
I am a native Austinite. I spent a lot of time in East Austin as a child because both my parents owned businesses in East Austin. Growing up, East Austin was known as the Black part of town. I never questioned it. I was in awe once I learned that there was a time when Black people lived all over the city: east, west, south, and north. That is especially interesting and fascinating.
Photo courtesy of Six Square - Austin's Black Cultural Arts District
5. What do you hope to be the main takeaway that people have from watching the documentary (once it gets made)?
The takeaway is that Black people, with limited resources, built communities throughout the city of Austin. Black people contributed greatly to the city of Austin. Black people are resilient. The city implemented racist policies that displaced Black people from their homes—their communities—and we need to acknowledge the past in order to move forward.
6. Do you have any advice for Black women looking to pursue careers in the film industry?
Network and work with other Black women in your community. Issa Rae said it best, “Effective networking starts with the people around you, not above you.”
7. Where can people keep up with you? How can people best support the documentary?
You can follow me on Instagram and visit my website. We are aiming to raise $100,000 by December 31st, 2020, for the documentary on GoFundMe. If you are able, make a donation or share the GoFundMe. Monies raised through our GoFundMe campaign will fund Phase 1 of production, which includes filming interviews with historians, archaeologists, native Austinites, and people with direct ties to Austin Black Freedom Communities. I would like to acknowledge the documentary team:
Funmi Ogunro - Director/Editor
Stephanie L. Lang - Creative Producer
Tamar Price - Producer
Rachel E. Winston - Archivist
Juan A. Izaguirre - Cinematographer
Cullen Cooper - Research Associate
Edward D. Floyd - Associate Producer
Odera Anyasinti - Research Associate
Hannah Roberts - Fundraising Consultant
I would also like to acknowledge our Community Partners:
WATCH THE TRAILER FOR FUNMI’S DOCUMENTARY.
On Learning How To Brag And Crate-Building: An Interview With DJ Arlini Martini
Enjoy this week’s interview and custom mix with bbatx resident artist DJ Arlini Martini.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with DJ Arlini Martini. In conversation with bbatx committee member Amanda Vaughn, DJ Arlini Martini talks about how she got into DJing, her sonic process for setting the mood and pace of her sets, and what she’s been listening to lately.
ABOUT DJ ARLINI MARTINI:
DJ Arlini Martini is an all-vinyl oldies, soul, garage and punk deejay originally from the Rio Grande Valley. She blends yesterday’s favorites with obscure forgotten songs to create frenzied dance parties.
Would you mind sharing your DJ origin story?
I am only a few years into the DJ game. My friend Dusty Brooks (DJ Bobby Hill) had a weekly residency at the Grand Social Club that focused on oldies and soul, and he invited me one night to come out and DJ with him. At this point I only collected records, so that night he had to teach me basically everything about the mixer while I was deejaying. I figured it was just a one-time invite, but he invited me back every week. When he started to add me to the lineup he asked for my DJ name, and I just stuck to my nickname, DJ Arlini.
After a few months of deejaying every Monday night with DJ Bobby Hill, I reached out to the 13th Floor and asked if I could DJ there—I was super stoked when they said yes. Ever since then, I have picked up more residencies and gigs, so now I average about one gig a week.
How has your DJ practice evolved over time?
I started off deejaying only oldies, mainly doo-wop, and even my first gig at the 13th Floor was all doo-wop. I wanted a name for my DJ night, and at the time I was really into female vocalists, so I picked the name “Where the Boys Are” from the Connie Francis song. Over time, my sound has changed to include more stuff I listen to, like power pop and garage, so perhaps I'll change my DJ night name to reflect my style, but as of right now, when people see that it's a Where the Boys Are DJ night, they show up expecting to hear my eclectic mixes.
You DJ using vinyl records, here in a town where we are blessed with such a diverse range of small, local record shops that each offer a unique musical niche. Where do you buy records?
My two favorite record stores are Antone's and Breakaway Records. Antone's has the largest 50's 45 collection in town, and Breakaway usually has great garage and soul records. I have definitely spent entire afternoons digging through their crates!
What is your favorite record?
My favorite record at the moment is one of my newest records. It's a 60's garage record from a Texas band called the Actioneers. It took me awhile to find it, but I finally found a copy for sale from a seller in France. It's actually pretty short - less than two minutes - but it is so frantic and wild, which is the kind of vibe I want my DJ nights to be like.
How did you build your crates?
I separate my boxes into decades, so I have 50's, 60's, 70's, and 80's (I don't have any recent 90's to 2000's 45's). Unfortunately, that is pretty much the extent of my organizing system, which is a huge pain when I am trying to build a crate for a gig. It means I usually have to go through most of my boxes to pull 50 or so records. However, I do have a few "crowd favorites" that I take with me to almost every gig, and I usually have certain times in the night I play them. Other than those records, the rest of the night is filled with whatever records appealed to me the night before. When I DJ, I usually start off "soft" with my 50's records, and then build up to wild garage and soul, and try to end with power pop and new wave songs. I've noticed this progression mimics the mood of the crowd—usually by the time I move to the "newer" more upbeat records, people are ready to dance!
How do you transport all that vinyl?
The only downside to being an all vinyl DJ is bringing my gear to gigs! I really appreciate when clubs or bars have their own turntables, since that means I only have to show up with my records. I used to carry my records in the white 7" storage boxes, which are heavy and difficult to carry. Luckily, I bought a travel case from a friend that is made out wood and has a lock, and is slightly smaller. It has just enough space for a full DJ night, and I don't feel so worried about someone accidentally bumping into it.
What are your greatest influences?
My greatest influence in life is movies. I absolutely am obsessed with movies, especially pre-WWII films. You don't get much of a soundtrack to early movies, but visually, everything is so well-crafted. I try to think of deejaying like a movie. I want everything, even down to my appearance (I try to dress very 60's/mod, but clash it with my piercings and other punk aesthetics, which also mirrors the variety in my DJ sets), to create an experience for people. I love how the music I play reminds people of certain clothes, dances, and time periods, so my crowds get to be fully immersed into my sets.
This season at bbatx, we're exploring the theme of RISE. What does that mean to you, and how do you find rise in your DJ practice?
I often view myself as a very complacent and slow to rise person, but others around me point out the things I have accomplished, and the goals I have been working on. Sometimes it is difficult to brag about myself, so I am trying to work on that this year. It aligns with the theme of RISE, because I really need to focus on lifting myself up. For example, I often downplay my accomplishments as a DJ, but it is something I really rose up to achieve in a short amount of time. I've been invited to play weekenders, and soul nights out of state. I've also had my own residencies, and have been asked to DJ really exciting events.
What are you listening to now?
I've been working from home lately, so I usually have the radio playing in the background. I love satellite radio, so I play a lot of 50's and 60's music to help me concentrate. It is also music that makes me feel happy and makes me dance, which are things I need at this moment in time!
LISTEN TO DJ ARLINI MARTINI’S BABES FEST RADIO MIX
ABOUT THIS MIX: "Frantic Romantic”
Experience the frantic side of early rock and roll with this high energy doo-wop mix (with a few haunting ballads thrown in). Heartaches and unrequited love never sounded so good.
On Bridging the Gap Between Art and Technology: An Interview with Lina Zuluaga
Enjoy our interview with bbatx resident artist Lina Zuluaga (aka Mural Nomad).
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with Lina Zuluaga, the visual artist and digital designer behind Mural Nomad. In conversation with bbatx committee member Diamond Hawkins, Lina speaks about how she got into front-end developing as a designer, persevering through mental blocks and the future of our relationship with technology.
Photo of Lina taken by Stefania Antonucci.
ABOUT LINA ZULUAGA (Mural Nomad):
Mural Nomad is a project by artist Lina Zuluaga, a Colombian designer & user interface engineer based in Austin, Texas. She is interested in our relationship with technology and uses a blend of hand & digitally made images to create abstract moments in time. She uses symbols and nonlinear storytelling and has been inspired by art history, technology, cartoons, music and new art processes.
Tell us a little bit about yourself. :)
My name is Lina, and I am originally from Colombia. I moved to the United States as a kid with my parents and was raised in North Carolina. I went to design school and that’s basically what birthed my love for art and design, along with the fact that my grandmother was a seamstress. I would draw with her all of the time, so that’s one of my big inspirations. And then, I got into a lot of technology through design. And I worked—I still work—full-time as a developer. I was a freelance graphic designer, but I always kept drawing. That was what I did when I was going through tough times. I would always be like, I can drink or I can draw!, so I’m glad that I had that, you know? It’s just something that releases creativity and stress. I’m still always trying to explore drawing, not just by hand but also digitally. That’s what keeping me sane right now in this time of isolation.
How do you bridge the gap between art and technology—both in your work and your everyday life?
I’m really into both extremes and exploring our relationship with technology. I’m learning augmented reality right now, and I’ve always said that my drawings are places that don’t exist, something that serves as an escape. To be able to say that I’m doing that actually feels like I bridged that gap. And then the other side of it is, How do I get away from all of this technology? How do I make friends without having to be on the Internet? Stuff like that, making community through the Internet. Which was something that I think everyone initially thought about the Internet. Oh, we’re all going to be connected, it’s going to be so easy. It’s not until times like right now when we’re all locked up inside of our homes and we have to video chat with our families. Like, I’ve never video-chatted with my family. I guess I could have everyday, but now I’m like Hey mom, want to Google Hangout? Or to my friends whom I used to text all the time, now I actually just want to see them. All of these digital concepts that are going on are so interesting to me.
I am still figuring that out how to get away from all of this, because I don't really know. One good way to get away from it while also simultaneously being in it is that game that everyone’s playing right now, Animal Crossing. It’s this island that you go into and you develop all of this… this stuff. It's like The Sims. So then I started looking at video games, and I'm like, is this what it’s going to be?
I mean, hopefully COVID goes away. I hope that we all make the right decisions so that it can go away faster. But it just makes me think about us here, in real life, while also being in another place that is built by technology or virtual reality. That seems so crazy, but now that we're all at home, everyone’s kind of getting used to communicating through digital means. I am obsessed with technology. I like to think that most of the friends that I've made in the community that I've built has been through a digital platform. I have friends that I've never met, but we FaceTime all the time. But it’s also important to try to find a way to stay away from it.
How did YOU become a front-end developer?
One of the reasons why I wanted to go into developing is because my husband is a developer, and he was like, You can do this!, and I was like, I don't know. I'm more of a visual person, you know? But he encouraged me to go for it. So I went to a bootcamp, and it was the hardest thing I've ever done, but I pushed through it. I kept telling myself that I could do it, and I think that my emotional intelligence was what people really liked about me.
I'm still learning so much, though. It’s so weird to go from being the designer to being the developer; it’s weird how some developers talk. I have already had to work with some people who are just the worst. There's a stereotype around male developers and how they speak to female developers. I’ve had experience with the good ones and the bad ones. It’s just all about emotional intelligence—that’s all it is. It all comes down to communication style, empathy, getting together and problem-solving. That’s been very interesting to note as a visual person. Development has taught me to stick with something until I finish it. And I was eventually like, Wow, I see results!
I’m that creative person that will always give you your files on time, but at the same time, when I’m actually drawing something, I'm all over the place because I’m not interested in realism. I’m not interested in portraits. I think a lot of people do beautiful portraits, photographs and paintings. But I want to tap into something that’s not there but that you can still organize, that’s a little bit more chaotic. Because in real life, I need things to be organized.
Photo taken by Stefania Antonucci.
What are the main inspirations behind your work?
The project that I’ve been working on for a couple of years, Mural Nomad, started as me wanting to make drawings that weren't paintings, meaning that I didn't want to make work that you had to frame with a heavy frame. I wanted to make something that was big but easy to carry. So I was like, tapestries! I’ve never worked with textiles, but that’s how it started. It allowed me to just keep drawing. Once I was done with that process, I had questions like, Who's going to print them? How am I going to sell it? So I set up my store. But I think it was more for exploration of different mediums and how to get my drawings out of paper and into digital things or printing on different surfaces, just to see how it’d look.
I started printing scarves since you can use them for many different things. I was in the process of talking to a printer before all of this happened, so hopefully I'll still be able to do that—to actually print something physical and for people to not to be afraid to touch it. I would like to print out zines with my work and then tie that into the work that I'm doing with augmented reality. In a way, it’d be this book, but also an escape. That’s what I'm doing right now, so I'm excited. I’m excited to share it in the near future.
HOW DO YOU GET THROUGH MENTAL OR ARTISTIC BLOCKS?
I am very a curious person and that comes with having way too many lists and way too many things to do. To the point where it's like, Alright, I can’t do any of this, so I'm just gonna sit and stare at the wall for like, four days, and hopefully this will lead me somewhere. But I get through it.
If I don't feel like making anything, I just don’t. I can't force myself. When I started learning augmented reality, I went to a couple of workshops, but I just couldn't. When things weren't working for me, I was just like, Okay, I'm not even gonna try to figure this out. I'm done. But I've taught myself that when I get confused like that, it is because I'm actually learning something. I have come to realize that I just need to push through that feeling. If I just hold on for a little bit longer and push through, then it actually helps me to finish something. There's a lot of self-talk, like, Okay, you gotta do this, you gotta do this.
When I feel stuck, I just remember that life is also just about being here. It's not always about making something, producing something, doing something. I am a person that wants to do a lot. So I have to be like, okay, stop, relax, come back, and give it another try. Slow and steady wins the race is what I always tell myself.
WHAT HAS BEEN YOUR JOURNEY WHEN IT COMES TO PROGRESSING YOUR ART AND FINISHING WHAT YOU START?
I don’t know if anyone’s a genius, but I think that everyone has the potential to be if we just finish our ideas. And that’s the hardest thing ever. I look at my notebooks from college, and the ideas I was writing about back then are so similar to how I still feel. I always ask, Why didn’t I do this then?, but you can’t dwell on those things. You just have to note that it’s still present. A great painting doesn’t take a year to make, like a painting from The Renaissance. People used to work on the same painting for like, eight years, and that’s so crazy to me.
I had a drawing that I started while I was living in New York that I hated, so I put it away for three years or so. But then I took it out and realized that it wasn’t bad, so I started drawing on it again. I had never done that. I started going back to my drawings once I realized I can layer on top of them. But usually if I’m drawing something, I want that to be the piece, but going back to it is really good.
What would you tell your younger self?
I would tell my younger self to stop caring about where I'm going to end up as much as what I'm doing. Because that's going to be more important. Not so much about where you're going to end up, but to care more about what you're doing in the present. That’s so hard to remind yourself just because of the world that we live in.
Sometimes you’re just going and going and going and you don’t really think about why, you just kind of go wherever. Which is cool, because opportunities show up when you least expect them, and everyone says that you just have to be ready for those opportunities. But we often get so wrapped up in this, so much so that you miss opportunities.
A couple weeks ago, I got into an accident. This person ran a red light and smashed into our car. We were going to go get groceries and he totaled both of our cars. I was having a panic attack through the whole thing, but the whole time I was still thinking that I was overreacting. But this shit is crazy! I felt like something was shaken out of me in that moment. It made me think about how none of this other shit matters. I could’ve died.
The more I live, the more I’m like, Okay, I need to weed out all this noise and really just focus on not just me, but on life and living. And then, that would make what I make—my life and art—that much more meaningful.
Take a look at Lina’s visuals showcasing resources for Black folx and how to support Black-owned small businesses.
We’ll be showing Lina’s visuals during all of our virtual events in August, accompanied by a mix made by fellow bbatx resident artist, DJ La Moon. :) For more info on our upcoming events and how to RSVP, head to bossbabes.org/comethrough.
Apply For Crisis Therapy Support: A Resource For BIPOC Leaders
If you (or someone you know) has experienced a crisis event while organizing in the last few months, you deserve care and support. Submit a request for pro bono sessions with a licensed therapist.
NOTA IMPORTANTE: Por favor siga bajando en esta página para encontrar una traducción en Español de este artículo. // IMPORTANT NOTE: Please keep scrolling to find a Spanish translation of this post.
Activists and movement organizers are vital members of our communities. And throughout this pandemic, specifically in Austin, Texas, Black and nonwhite leaders have continued to show up, often putting their own comfort and safety at risk.
From coordinating mutual aid efforts to organizing protests against police brutality, community leaders of color deserve care and support. So, as we roll out our virtual programming in August and September, we’re partnering with therapist and social worker Sandra Olarte-Hayes to connect BIPOC community organizers and protestors in Austin, Texas with pro bono crisis therapy support.
Keep reading to submit your request for pro bono sessions with licensed counselors and therapists.
HERE’S HOW TO SUBMIT A REQUEST FOR SUPPORT:
1.) Who can submit a request for crisis therapy support?
Any and all Black, Indigenous and POC (people of color) community leaders, activists and protestors involved in community organizing in Austin, Texas can apply for one to two pro bono sessions of therapy support with a licensed mental health professional. This resource is designed for organizers who may have experienced a recent crisis event as a result of COVID-19 or racial justice organizing, but is open to any and all Black and nonwhite community leaders navigating a crisis.
2.) Who would I be meeting with once I apply?
This resource has been brought forward due to the organizing work of Sandra Olarte-Hayes (she/her/ella)—a bilingual LCSW, therapist, and circle keeper in Austin, Texas—in collaboration with fellow Black, Indigenous and POC colleagues and therapists, including the following:
Once you apply for a session, you will be placed with an available therapist in their network.
About Sandra Olarte-Hayes: Sandra Olarte-Hayes (she/her/ella) is a bilingual LCSW, therapist, and circle keeper in Austin, Texas. Her healing work has focused on working with formerly and currently incarcerated individuals, young organizers, immigrant youth and families, and individuals on both sides of domestic violence. She also works with clients undergoing family conflict, depression, personal and intergenerational trauma, and racial and cultural issues. Sandra's work is grounded in anti-oppresive, feminist frameworks and she dedicates much of her energy to healing justice initiatives which bridge the gap between healing work and social change movements. She is deeply passionate about restorative justice and bringing healing to individuals on both sides of violence and strongly believes all change, both systemic and personal, are grounded in relationships, connection, and community
Acerca de Sandra Olarte-Hayes: Sandra Olarte-Hayes (ella/she/her) es una Trabajadora Social Clínica, terapeuta, y guardián de círculo en Austin, TX. El trabajo de sanación de Sandra se enfoca en trabajar con personas previamente y actualmente encarceladas, organizadores jóvenes, los jóvenes migrantes y familias, y personas en ambos lados de la violencia doméstica. Ella también trabaja con clientes que experimentan conflictos familiares, depresión, traumas personales e intergeneracionales y problemas raciales y culturales. Sandra basa su trabajo en marcos feministas y anti-opresivos y dedica mucha de su energía a iniciativas de justicia de sanación que acortan la distancia entre la sanación y los movimientos de justicia social. Sandra es apasionada sobre la justicia restaurativa y en traer la sanación curativa a los individuos en ambos lados de la violencia y ella cree que todo el cambio, el cambio sistémico y personal está arraigado en las relaciones, conexión, y en la comunidad.
3.) Where do I submit my request for support?
Click here to fill out this form and submit your support request by September 15, 2020 at 11:59 PM CT. Your request is entirely confidential and solely reviewed by Sandra Olarte-Hayes, a well as other licensed therapists within the support network. (Responses to your request may take five to seven business days.)
Aplica a nuestra terapia de crisis: un recurso gratuito para líderes BIPOC (NegrXs, Indígenas, y de Color)
Los activistas y organizadores de movimientos sociales son miembros vitales de nuestras comunidades. Y durante esta pandemia, específicamente en Austin, Tejas, los líderes negros y de color han destacado y han seguido luchando. A menudo, estos líderes ponen en riesgo su propia seguridad y comodidad.
Nuestros líderes de color locales han trabajado para crear recursos para nuestra comunidad, desde coordinar esfuerzos de apoyo mutuo hasta organizar manifestaciones contra la brutalidad policial, y por eso se merecen cuidado y apoyo. Así que, mientras implementamos nuestra programación virtual en Agosto y Septiembre, también estaremos colaborando con la terapeuta y trabajadora social Sandra Olarte-Hayes para conectar a los organizadores comunitarios y manifestantes BIPOC en Austin, Tejas, con terapia para crisis gratuita.
Siga leyendo para enviar su solicitud y obtener citas gratis con consejeros y terapeutas autorizados.
CÓMO ENVIAR UNA SOLICITUD PARA APOYO:
1.)¿Quién puede solicitar para terapia de crisis?
Todxs lxs líderes comunitarios, activistas y manifestantes Negrxs, Indígenas y de color (POC) involucradxs en la organización comunitaria en Austin, Texas, pueden solicitar una o dos citas gratis de apoyo terapéutico con unx profesional de salud mental autorizadx. Este recurso está diseñado para organizadorxs que han experimentado una crisis reciente como resultado de COVID-19 o la organización comunitaria acerca la justicia racial, pero está abierto a todxs y cada uno de los líderes comunitarios Negrxs y no-blancos que están experimentando una crisis.
2.) ¿Con quién hablaría después de que presente la solicitud?
Este recurso se ha presentado gracias al trabajo de Sandra Olarte-Hayes (ella/she/her), una terapeuta y experta en justicia restaurativa bilingüe en Austin, Texas, en colaboración con colegas y terapeutas Negrxs, Indígenas y de color (POC) , incluyendo:
Una vez que solicite una cita, usted será asignado a un terapeuta disponible en su red.
3.) ¿DÓNDE PRESENTO MI SOLICITUD PARA APOYO?
Haga clic aquí para llenar este formulario y enviar su solicitud para apoyo antes del 15 de Septiembre del 2020 a las 11:59 p.m. CT. Su solicitud es completamente confidencial y será únicamente revisada por Sandra Olarte-Hayes, así como otros terapeutas autorizados dentro de la red de apoyo. (Las respuestas a su solicitud pueden demorar cinco a siete días hábiles).
Looking for more resources?
Head to our blog for therapy network recommendations, as well as virtual mental health resources.
On Standing Up for Yourself and Your Work: An Interview with Juanita Segovia
Enjoy our interview with bbatx resident artist Juanita Segovia.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with Juanita Segovia, the Austin-based designer and illustrator behind Shop Suerte. In conversation with bbatx staff member Margeaux Labat, Juanita talks about their artistic roots, how they remain connected to their younger self through their art, and prioritizing mental health during quarantine.
ABOUT JUANITA SEGOVIA:
Juanita Segovia (they/them) is an Austin-based creative specializing in design, illustration, and screen printing. Utilizing a stream of consciousness method of creating, Juanita’s drawings are often an unpredictable combination of reappropriated popular imagery and original designs and writing. Their work comes to life as limited edition zines, prints, apparel and other art objects— emphasizing a fun, accessible, and DIY approach to creating. You can keep up with Juanita at @suerte.universe and @goodluckjuanita on Instagram.
Can you tell us a bit about your background and how you got into making art?
I am a designer and illustrator in Austin, Texas originally from Tulsa, Oklahoma. Tulsa is a really small town and there wasn't a lot to do there when I was growing up, so my parents really wanted us to have hobbies so we wouldn't get into trouble. I was a really energetic kid so I wanted to try everything from dance to music to sports, but art was the only thing that really captured my attention. My parents signed me up for "urban" fine art outreach programs, and it was one of the few times growing up that I had access to art classes and art in museums. It taught me that art could be fun, accessible, and anyone was capable of doing it!
Going to a fine arts college in Missouri and studying graphic design really tested me in terms of finding out what I was passionate about, and even made me question my ability and commitment to my craft. My design program was quite rigid and didn't allow a lot of room for exploration, to be honest it was also discouraged. Everything felt so boring and sterile after a while. As one of the few people of color at my school, who also happened to be a non-binary lesbian, I didn't always fit into these boxes other people wanted me to fit in for their own comfort. I had to learn how to stand up for myself and my work. Reflecting on my experience there now, I found it really difficult to go from growing up in a small town where I knew everyone and seeing people that looked like me to going to a predominantly white institution. It was kind of a culture shock. While there wasn't a lot of support from my peers or professors, the few friends I made there really inspired me to keep pursuing art. When I left school and moved to Austin, the ability to do whatever I wanted was so liberating. I was surrounded by other queer artists of color. I really enjoyed the freedom to be able to try everything at once without pressure or fear of critique. I love feeling connected to my younger self who enjoys creating just because it's fun.
From whom or what do you draw the most inspiration from?
I draw inspiration from literally anything and everything! Pop culture, having fun, being happy, feeling sad, and the promise that there are always better days ahead. I'm really interested in tarot, astrology, and numerology, so those things have also found their way into my work. I'm a big believer in signs from the universe and the power of manifesting. It might sound silly or naive but I really try to keep my work positive and happy, even when it's about something difficult or unsettling. Some artists I really love are Sonya Sombreuil, Jeffrey Cheung, Emma Kohlmann, Rachel Howe, Isa Beniston and Yumi Sakugawa.
How has your art evolved over time?
My art is constantly evolving because I like to try new things or else I will get bored. I am always coming up with new ideas, and I'm really fortunate to be surrounded by people who help bring those ideas to fruition!
Right before the lockdown, I got into screen printing on denim. I'm always trying to think of ways to make my practice more sustainable, and I really enjoyed the process of getting to make something new out of something that was already worn and loved by someone else. I'm hoping to work on screen printing and sewing original pieces once I'm able to get into the studio and print again. It's something I've never tried before and took a lot of trial and error. Trying lots of new things means some work and some don't. Most don't. I really enjoy that process.
Has your relationship to your art changed at all during this time of quarantine? If so, how?
When we were first put on lockdown, I had this idea that I was going to be productive and create something every day and post it on Instagram. But I was so burnt out after a few weeks adjusting to working from home, managing all of my side hustles, while navigating the pandemic and my personal life that creating began to feel like a chore for me. I really try to take time to honor my feelings and prioritize my mental health, and remind myself that it's okay to create just for me sometimes.
What is your ideal environment and headspace to be in when making your art?
Ideally, I would like to have my own studio or space to just create and explore. Right now my studio is everywhere (my kitchen, my sofa, my front porch) but I'm making the best of it. The most important thing is that I want my work to make me and other people happy.
On Creation, Stability and Refining Your Voice: An Interview with Aimée Everett
Enjoy an interview and virtual tour from bbatx resident artist Aimée Everett.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with Austin-based contemporary painter and artist Aimée Everett. In conversation with bbatx committee member A’nysha Aileen, Aimée talks about her adaptability to her respective medium, finding and refining one’s voice, and her advice for up and coming artists.
ABOUT Aimée Everett:
Originally from New Orleans, Louisiana, Aimée is a visual artist whose work employs abstraction and figurative work to explore communication, gender, race, psychology, and social commentary. Aimée M. Everett lives and works in Austin, Texas.
Aimée is interested in exploring and asking the question, “What lingers in the silences we hold between each spoken word?” She believes this is where our true emotions live. She aims to examine these silences, the ones that have been handed down generation after generation and the ones acquired as we maneuver through the world. As women we have been conditioned to bear and grin the challenges we face. As a woman of color, that silence is compounded and extends beyond misogyny. To explore these issues, Aimée attempts a new way to interpret the unsaid, attempting to reach viewers in ways words cannot.
Aimée has been refining this style and language since 2012. The exploration of this nonverbal language begins with her confronting and questioning her silences in writing. Aimée confronts experiences, feelings, and thoughts from life and those that have been shared from other people’s perspectives. Employing expressive minimalism as her vehicle; line making, atmospheric color, and texture, Aimée invites the viewer to investigate the unspoken silence that lingers between words.
Can you tell me about your background, and how it impacts your art?
I am originally from New Orleans, Louisiana. I think the vibrancy of the city impacts the way I see color and texture, which in turn influences the way I approach my work.
What do you want people to take away from your work?
I think that’s a question that should be answered by the viewer. I want the viewer to make a connection that is personal to them.
Do you have any favorite mediums? And are there any mediums you have yet to explore?
I don’t approach work that way. I create with the medium that I believe is going to help me deliver the message. Right now I am working with wood, oil, acrylic, and watercolor because it’s working for me at the moment. So, I guess I will evolve to another art form when I’ve exhausted all the possibilities with these materials. When I first began painting, I strictly painted with oil on canvas. I had a commission a few years ago that was last minute. Once I finished, the piece would need to be shipped out to New York. I was like “Well, I can’t do that in oil, it takes too long to dry”. That was when I made the decision to start using acrylic paint in my practice.
Let’s talk commissions. Beyond your own personal bodies of work, what have been some of your favorite client pieces?
I created a piece for a group show honoring the Little Rock Nine at the Sheen Center in New York. This was the show that introduced me to acrylic paint. This piece was important to me because I was asked to honor one of the nine Black students that integrated Little Rock Central High School in Arkansas in 1957. Segregation is something that my Mom and other family members have gone through. So for me, it was a way to connect to her and them. It was a way to connect to the people that allowed me to move about the world freely, and it was something that I could not pass up. The piece is called The Pursuit of Equality.
Do you have any advice for up and coming artists?
I would say, first and foremost you should just create. Create without looking for any awards or accolades, just create—and you will find your voice. Secondly, I am an artist that works in the “real world.” (I call it my civilian job.) I think that helps to keep the balance. I would say to keep your feet in both worlds. Have that stability, and then also have your art life. The art world can be a very strange world to navigate. Having a regular job gives me a reprieve from the art world, so it’s good to transition between both. It’s also good to have a steady paycheck.
Who/what inspires and informs your work?
Everyday people inspire my work. My work is the translation of words because I feel like words only measure so much of our emotions and our communication, which is why it’s great to have verbal and nonverbal communication. I am attempting to find and examine the residual feelings or emotions that our verbal communication cannot capture. For example, If we can only offer words as a measurement of our emotions, and find that there are still feelings that are left unsaid due to the lack of vocabulary, I am examining a way to bridge the gap by employing line, color, and texture. All of my work is derived from thinking “What do those words actually look like? Or what is left after all has been said?” How can you impact that statement even more? My visual representations are my way of attempting to answer that question.
How have your projects grown and changed since you started?
I think I am refining my voice. I have realized that less is more in my practice. The painting doesn’t have to be this bombastic thing that has a multitude of lines and colors. It can be one color and one line and one form. It doesn’t have to be so much, and sometimes it does. So I am learning how to turn my voice up and down when I need to.
Can you describe your creative process? What is the first thing you do when you start a piece?
The first thing I do is look at words and our use of language. I write a lot. So, I write out what I want to say, and then I go into creating the composition. Everything comes to me in words first. From there I start working on the piece.
What comes to mind when you read about our current themes: reset and revitalize?
I think every day I revitalize in forms of communication. Words are one of the oldest forms of communication that we have and I am actively trying to dissect and revitalize the way I communicate. With our communities being so multicultural, we have so many nuances when it comes to the approach of language and word usage. I find that color and texture is something that transcends all languages. Your tactile senses are more primitive than your understanding of words. I am attempting to revitalize how I’m speaking to my audience, how I’m speaking to my community. I try to use connections that are similar to us all.
TAKE A VIRTUAL LOOK AT Aimée’s latest body of work, “PAYING REVERENCE TO THE ALTAR OF MEMORIES”.
On Finding Joy in Sound, Space and Community: An Interview with Sonya M. Gonzales
Enjoy an interview and custom mix from bbatx resident artist Sonya M. Gonzales.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
To kick us off, we’ve got an interview and custom mix from Austin-based sound artist Sonya M. Gonzales. In conversation with bbatx committee member Liz Whitington, Sonya discusses her musical origins, collaboration and her experience as an artist during COVID-19.
ABOUT SONYA M. GONZALES:
Sonya M. Gonzales is a writer and sound artist from Austin, Texas, who just finished up a Masters in Music at Goldsmiths University, specializing in Sonic Arts. She has undergraduate degrees in English and Music and a graduate degree in Media Arts. Fascinated with self-organization and assemblage, she uses sound to research interactions within generative systems, utilizing media and technology.
Sonya has been published in literary journals, was a music writer for her college newspaper, followed music events and wrote about them for various music blogs and continues to write (for herself, mainly) out of necessity (both academically and creatively).
For her work at Goldsmiths, her sound pieces centered around ideas on improvisation and collage through various forms of media (video, radio, projections), utilizing various technologies (software/hardware). Her most recent focus centered around sounds and self-organization/assemblage, analyzing their interactions within generative systems, using Max MSP, Ableton and sensors.
Sonya has worked on various projects for Austin art group, Dadageek, and was awarded as a presenting artist for 2019’s South By Southwest UNESCO Media Arts Exhibition that was showcased in March for the conference. Sonya will be a Managing Director for local non-profit, Church of the Friendly Ghost (Austin, Texas) for 2020, helping to facilitate avant-garde & experimental events throughout the city.
Can you tell us a little about your background and how you got into your practice?
I get the music gene from my dad. He's a musician but it was always just a hobby to him. I definitely connect with it like him, but I've always wanted it be more present and consistent in my life. So I did music journalism for a while (which I even knew at the time wouldn't last) and then progressed to teaching myself guitar and playing in bands. But from that time I realized I wasn't too into performing and became more curious about the functionality of my instruments and effects pedals. From there I wanted to know more about sound processing and signal flow. I took a really great class on sound synthesis at ACC with Meason Wiley, and he introduced me more to Sound Art and really inspired me to think more about the application of sound and material. He also introduced me to Goldsmiths University (UK) and when I took one look at their Sound Art masters program, I knew that's what I wanted for myself. That program was the next shift in me when it came to music. I was introduced to Maryanne Amacher, Alvin Lucier, Pauline Oliveras, Daphne Oram, Pierre Schaeffer, LaMonte Young—all the big sound artists/composers from the last 50 years and it really pushed me towards this idea of creating art outside of something I'd thought I had known. Jazz is probably my favorite genre of music and to me, this was jazz. So, naturally, I'm now chasing that in conjunction with technology—another aspect of the Goldsmiths program that really influenced me.
Who or what are some inspirations that serve as a muse to your work?
MaryAnne Amacher is a big one. Her obsessions with patterns in sounds really inspired me to think more about the simplistic layering of frequencies. She was really into the placement of sound in a space. Being so considerate about the idea that the space could be an instrument really pulled me in. I'm really fascinated with how sound moves. It's a very natural occurrence but these days we think about sound in this really 2-D way—a sine wave on a computer screen. So I'm really into the more spatial aspects of sound and how it naturally progresses through certain materials and how it manifests our senses/perceptions.
In your various careers, you work on teams and have recently collaborated with a group of artists for this last EAST. How does collaboration impact your work?
I find so much joy in collaboration. I think a big part of my work is understanding sound through ideas that aren't in my perception, so paying attention to how sound affects others is a really important evolution in what I do. Art can be for yourself, but I find things hidden all the time when I share it with other people.
How important is it for you to see and work with other womxn artists working in sound art?
I had a few female tutors at Goldsmiths who are phenomenal artists (Iris Garrefls, Patricia Alessandrini and Jess Aslan), so knowing they had these amazing abilities really inspired me to have the confidence to aim for whatever I was curious about. And I feel like that's the area where I lack—just to have the confidence to say "I want to do this and I can." It's a really difficult place to arrive to for some in certain industries/environments, so seeing them doing the work they were doing was really essential in me finding my voice and confidence.
How do you see your practice and medium evolving with technology changing so rapidly? Will this play any role in your practice?
Technology is a way for me to extend myself beyond in music, so it's always been a big part of what I do, but it's more of a tool rather than the focus. I still appreciate the organic nature of sound and materials and creating work that questions our senses, which can be done without technology. But I feel now, more than ever, technology has a way of elevating a work into something more dimensional which can be found within a proper balance of non-technological ideas.
How has COVID impacted your work?
It's strange because I've been experiencing more art/music currently than I have in a long time. There has been this outpouring of work that has been moving around quickly since we're all hyper-connected. The convenience of it has overwhelmed me and I want to listen/watch/read everything now that I'm isolated. However, on the other hand, that convenience has also left me feeling stifled with my own personal work. I'm so interested in what others are doing now that I've run out of time to work on my own projects. But there's been such an outpouring of support for the arts that it has me excited and people are connecting in ways that wasn't happening before. For me, that has been the silver lining—having the space and community to collaborate with friends, which is what I've been doing.
LISTEN TO SONYA’S BABES FEST RADIO MIX
ABOUT THIS MIX: "Power Up"
A wide mix of genres from distorted RnB to bluesy-folk to lo-fi pop and even musique concrète, Power Up reveals the range of contributions women have had in music throughout history. Whether through innovative beats or lavish vocals, flawless mixing or original guitar playing, this mix captures each musician pushing their art through themselves and into an understanding of sound that could inspire us all.
TRACKLIST
1. Beatriz Ferrerya - "Echos" from Echos+
2. Polytrue - "Eight_28" [unreleased/untitled album]
3. Ana Jikia: "SZSS" from freezing of the universe, splitting of the sun
4. Klein - "B2K" from Tommy
5. Lucrecia Dalt - "Esotro" from Lucrecia Dalt
6. Ann McMillan - "Syrinx" from Gateway Summer Sound: Abstracted Animal and Other Sounds
7. Anisa Boukhlif & Sonya Gonzales - "Protractor" [unreleased/untitled album]
8. Annabel (lee) - "Breathe Us" from If Music Presents: By The Sea... and Other Solitary Places
9. Maassai - "MIND URS" from C0N$TRUCT!0N 002: The Caution Tape
10. Jasmine Guffond - "Post Human" from Traced
11. Pan Daijing - "A Loving Tongue" from Lack 惊蛰
12. Inga Copeland - "Advice to young girls" from Because I'm Worth It
13. Lealani - "Floating" from Fantastic Planet
14. Muzzy Fossa - "Florida Man" [untitled/unreleased album]
15. Françoise Guimbert - "Tantine Zaza" from Ote Maloya
16. Elizabeth Cotton - "Wilson Rag" from Freight Train and Other North Carolina Folk Songs and Tunes
On Professional Resilience And Bouncing Back: Evelyn from the Internets
To find some breathing room in the midst of global change, Evelyn From The Internets shared her thoughts on de-stressing, finding time for self-care and navigating the ebbs and flow of a creative career.
To find some breathing room in the midst of global change, we welcomed licensed therapist Davia Roberts and content creator Evelyn from the Internets (Evelyn Ngugi) in our virtual chatroom on May 30 to explore bouncing back. Throughout the talk, Evelyn shared her thoughts on de-stressing, finding time for self-care and navigating the ebbs and flow of a creative career.
ABOUT EVELYN FROM THE INTERNETS
Evelyn from the Internets is a video producer, digital storyteller and funny-girl based in Austin, Texas. On her Youtube channel, Evelyn has over 205,000 subscribers that she calls her #InternetCousins, all of which laugh with her and engage in numerous social justice conversations to water-cooler banter: from how to be a better ally for Youtube’s #CreatorsForChange to a passionate two-minute soliloquy on the excellence of Beyoncé’s “Lemonade” (which, by the way, Beyoncé loved so much she played it on every stop of her Formation World Tour). Currently, she co-hosts and writes “Say It Loud,” a PBS Digital Studios show about Black history and culture.
HERE ARE SIX TAKEAWAYS FROM EVELYN’S TALK ON BOUNCING BACK FROM PROFESSIONAL DISAPPOINTMENT AND BURNOUT:
1.) MAKE TIME TO FILL YOUR WELL.
“The things that I project to the world and give to people are like water, but I am the well. I am the source,” Evelyn says. Sometimes, it can feel like what we do is everywhere and anywhere—that in order to be good at our jobs and creative careers we must be ever-present. A key theme throughout Evelyn’s talk was remembering that you’re the source. You get to determine what you respond to and when. You get to give yourself breaks. You get to go offline. And when you’re feeling done, you deserve to fill your well.
2.) WE ARE HUMAN BEINGS, NOT HUMAN DOINGS.
As fulfilling as a creative career can be, we can often get a little lost (or consumed) in execution. How much time do we spend nurturing our creativity and curiosity? How much time do we spend meeting deadlines or trying produce as much as possible? For Evelyn, drawing her own lines around creativity, productivity and social media has been helpful.
“Inconsistency is now a little bit of my brand because it’s realistic. Not everyone is going to want to do everything all of the time, even if your job seems fun, cool or creative. After every video, I say ‘I’ll see you on the Internet somewhere’ just so that I know I’m always being honest. It might not be soon, but it’ll happen eventually,” Evelyn said. So, it’s okay to be bored, and it’s okay to feel like you’re not where you want to be. As Evelyn quoted, We are human beings, not human doings.
3.) RECLAIM YOUR TIME ON THE INTERNET.
So, how do we pull away from “the hustle” and find time to tune into our creative selves? For Evelyn, pulling back from her time online to determine what she wants has been paramount. “With the Internet, since it’s like endless almost, there is this feeling that we also need to be endless. And that’s just not true,” Evelyn said. Like a restaurant’s hours or a movie’s start and end time, you deserve to have on and off space, too.
4.) FIND A ROUTINE—AND ADAPT AS NEEDED.
Evelyn encouraged implementing a routine and centering what brings you joy, too. If you’re trying to figure out your career path or pivot out of a difficult work situation, a routine can help you start and finish the day, as well as get clear on what’s working and what isn’t. For Evelyn, this has become all the more important during a pandemic-induced quarantine.
“Everyday I have go outside, and it doesn’t mean exercise or anything other than having the sun touch my skin. I drink water throughout the day, wash my face, eat breakfast in the morning. If I don’t do certain habits, it makes it feel like one long day instead of seven separate days,” Evelyn said. Finding things that make you feel good are important for non-work hours, too. For Evelyn, this looks like everything from making Bon Appetit’s chocolate chip cookies to growing cucumbers in the community garden to binge-watching Avatar: The Last Airbender.
Evelyn also uses a hand-drawn bullet journal to stay motivated and organized. Photo via @evelynfromtheinternets
5.) TRACK YOUR FEELINGS AND CHECK IN.
Figuring out what we need and building those things into our day takes time, especially in a rapidly changing and volatile environment (like a pandemic). So, be patient with yourself, and take things a day at a time. The more you study yourself and your work, the more you’ll know when it’s time to quit or try something new.
“You can’t really pivot, unless you assess where you’re at. Realize what it is what you need or where you need to go. It took me a solid year to begin to understand that my worth was tied to my performance, and you can’t undo that in a month. It’s important to take that time to pause and understand that it’s about taking baby steps,” Evelyn shared.
6.) REMEMBER THAT CREATIVE CAREERS AREN’T LINEAR.
Our emotions, our goals and our careers are never linear. Sometimes, we might not feel good about where we are for a number of reasons. So, how do you know when it’s time to get a new job or make a change? These are a few of the things that Evelyn said pushed her to a pivoting point:
She didn’t want the position above hers.
Her full-time job schedule didn’t allow space for her passion projects.
She paid more attention to the things that made her feel motivated (or even jealous). She noticed that these things were signaling her next steps and interests.
She committed to setting goals and trying new things to explore her feelings.
She found that asking for help, brainstorming and taking breaks helped her look at her problems and negative emotions with a fresh pair of eyes—and eventually make decisions.
“Jealousy gives you a lot of information about what you’re feeling and why you’re feeling it. Use jealousy, or admiration, as a motivator,” Evelyn said. “And then, a little goes a long way. Think of some ideas to work on every day, even if it’s as you’re putting on lotion. It doesn’t have to take too long, but dedicate time to think about your business and prioritize those thoughts.”
Evelyn also recommended using an online organization tool (like Trello, for example) to break down your goals into realistic steps. Tackling a few things each day will make even the biggest of goals more tangible.
LOOKING FOR MORE?
If you’d like to keep up with Evelyn from the Internets, you can follow her on Instagram, check out her Youtube channel, sign up for her newsletter to become #InternetCousins, or go to her website to find out her upcoming events and what she’s currently doing, “somewhere on the Internet.”
Keep up with what we’re up to at bbatx—from virtual events to membership—here.
This blog post is by bbatx intern Divina Ceniceros Dominguez, a fourth-year Journalism and Entrepreneurship student at the University of Texas at Austin from Monterrey, Mexico. Currently, she's a happy Aquarius, plant mom and Texas-based writer. Click here to check out more of her writing and virtually connect.
23 Creative, Virtual Mental Health Resources for Black Women in Austin, Texas
For Minority Mental Health Awareness Month, bbatx has compiled a working guide of creative, virtual mental health resources for Black women in Austin, Texas.
July is Minority Mental Health Awareness Month, and now is a particularly stressful time for BIPOC. Holding space to pause, heal, and (safely) connect with others in the community is essential to taking care of one's mental health. Today on the blog, we’ve pulled together a list of creative and virtual mental health resources for Black women in Austin, Texas.
If you’d like to submit something to the list, email thebabes@bossbabes.org for consideration. :) We’ll be updating this resource weekly.
THINGS TO READ FOR SPACE, HEALING AND NEW ROUTINES:
THINGS TO LISTEN TO AND WATCH:
A Guided Meditation For Stressed Out Girls by Evelyn From The Internets and Black Girl In Om (National + Texas)
In Bold Company podcast: a digital storytelling platform and community for women of color to explore, thrive, grow, and connect
Women Sound Off’s Allyship Workshop: A conversation with Dr. Akilah Cadet and Brittni Chicuata on true allyship and anti-racism (National)
The R.O.S.E. Project’s Notes to a Black Girl Series: live every Wednesday on their Instagram (Texas)
DJ Shani’s Social Justice Mix (Texas)
ORGANIZATIONS TO LEARN FROM AND CONNECT WITH:
The Nap Ministry: Rest As Resistance (National)
Inclusive Therapists (National)
Directories for Therapists of Color from Davia Roberts (National)
YWCA Austin: The YWCA holds regular convenings and weekly discussions to explore the impact of racism and sexism within our society. Beyond that, they offer therapy options. (Texas)
Community Advocacy and Healing Project: Self-care resources for Black women and women of color (Texas)
allgo QPOCTX: Cultural arts, wellness and social justice programming for queer people of color (Texas)
Rosa Rebellion: Creative activism for Black women and women of color (National + Texas)
Conscious Coven: Meditation and healing circles centering Black women and Black voices (Texas)
Self-Care Fund for Black Womxn (National)
THINGS TO READ and watch FOR CRITICAL SUPPORT + MOVEMENT WORK:
Deeds Not Words: Racial Justice Support and Education Guide (Texas)
Women Sound Off’s Allyship Workshop: A conversation with Dr. Akilah Cadet and Brittni Chicuata on true allyship and anti-racism (National)
RESOURCES FOR PROFESSIONAL AND FINANCIAL SUPPORT:
Self-Care Fund for Black Womxn: Apply if you are a Black womxn in need of a financial distribution for self-care (National)
BIPOC Central Texas Creative Network: Add your name to this list for gigs, creative work and other job-related things (Texas)
HAVE SOMETHING YOU WANT IN THE GUIDE?
Reach out: thebabes@bossbabes.org.
Curious about what we do? Explore here and become a member.
How To Show Up At The Polls During A Pandemic: A Texas Voting Guide
With July 14 right around the corner, we’ve got a pandemic-proof guide to voting with some tips from local organizations and groups, as well a breakdown of how this election impacts criminal justice from bbatx committee member Sabrina Sha. Read up!
Early voting has officially begun for the Primary Runoff and Special Election here in Texas, with Election Day coming up on July 14. Voting in local elections is always an important part of showing up and checking abuses of power in our communities. But, this year, our voting power has a bit more weight than usual. In the wake of publicized civil and racial injustices in Austin, a call for defunding APD, as well as the community’s demand for a redistribution of city budgets, your informed vote can change policy and create a different world for us to live in.
That being said, we’ve all been guilty of missing an election or walking into the voting booth with no idea who is on the ballot. So, with July 14 right around the corner, we’ve got a pandemic-proof guide to voting with some tips from local organizations and groups, as well as a breakdown of how this election impacts criminal justice from bbatx committee member Sabrina Sha. Read up!
OKAY, SO WHAT EXACTLY IS THE TEXAS PRIMARY RUNOFF? HERE’S A 101 ON EVERYTHING YOU NEED TO KNOW.
It’s important to know who’s who in the primary runoff and special election. If you’re showing up at the polls on July 14, here’s a rundown of what’s on the ballot and what you may need to consider courtesy of The Austin Common and Community Resilience Trust ATX.
All images above have been created by The Austin Common.
HOW CAN I VOTE SAFELY?
If you plan on voting early ahead of or on July 10, here are some steps you should follow from the Travis County Clerk:
Download your personal sample ballot (you can do so at votetravis.com).
Download a list of Early Voting polling locations (see below for the list we’ve provided).
Bring an approved form of photo ID with you to your polling location.
Remember to wear your mask and bring an umbrella to shield yourself from the sun should you have to wait in line outside.
While it’s important to vote in local elections, the city of austin recommends continued safety practices during thE COVID-19 pandemic. Here are some essential health tips to follow while at the polls:
Maintain social distancing by six feet while waiting in line.
Wear your mask!
Bring your own pen.
Wash and/or sanitize your hands upon entry and exit of your polling location.
Poll workers will be equipped with PPE, such as face masks, hand sanitizer and finger covers.
The above graphics are courtesy of the Travis County Clerk.
so, WHY IS THIS ELECTION IMPORTANT FOR ISSUES OF SOCIAL AND CRIMINAL JUSTICE?
You’ve protested, you’ve signed petitions, you’ve donated, so you may be asking yourself—what happens next? What else can I do?
When it comes to challenging our criminal justice system, the officials you’ll be voting for in this primary hold the power to implement change regarding cash bail, officer misconduct investigations, and what these forms of justice should and will look like. Yes, the voter fatigue is real, but it’s important to know what you’re voting on and toward—and which issues matter most to you. To this end, bbatx committee member Sabrina Sha has drawn up an educational, nonpartisan guide, examining the role this election plays in local criminal justice (click to view).
HERE ARE SOME ADDITIONAL RESOURCES FROM ORGS WE LOVE AND COMMUNITY PARTNERS. :)
League of Women Voters Guide Austin: Non-partisan information on elections and voting in Austin, Texas
The Austin Common: A local nonpartisan news site dedicated to civic engagement and sustainability
Personal and Professional Resources for Anti-Racism Work: A list from bbatx with organizations to follow, civic education opportunities, mental health resources and more
This blog post has been edited and condensed since its original publication. It will be updated regularly with nonpartisan guides and tools as they are made available.