Anne Bouie Interview, October 20, 2020

Primary tabs

  • SEGMENT SYNOPSIS: The following transcript is automated and may not provide an accurate transcription of the interview. There may be typos or inconsistent line breaks. Please refer to the attached document for a more accurate transcript. SUBJECTS: DC Black Lives Matter Artist; (Virtual Interview)
  • Joy Pierce
    All right, so Hello, my name is Joy Pierce. Today is
  • Tuesday, October 22, at 9:12am and I'm calling from my home in
  • Stephens City. Could you please introduce yourself, Anne, and
  • spell your name?
  • Anne Bouie
    Sure. Hi, my name is Dr. Anne Bouie, B as in boy,
  • O-U-I-E and I'm chatting with you from Washington, DC.
  • Joy Pierce
    Wonderful. And do I have your permission to record
  • this interview?
  • Anne Bouie
    Yes, you do.
  • Joy Pierce
    Awesome. So can you tell me a little bit about where
  • you were born and when?
  • Anne Bouie
    Sure. I was born in Birmingham, Alabama, and spent a
  • few years there before my family moved to Atlanta.
  • Joy Pierce
    Okay. Can you tell me a little bit about your
  • parents, their names and occupations?
  • Anne Bouie
    Sure. My mother's name was Anna Laurie. And she's
  • the youngest of 10 children born to Willie and Nicey Gaynor in
  • Jackson County, Florida, Marietta Florida. My father was
  • born in Easley, Georgia, another small town in and they met on
  • the train on the way to Atlanta.
  • Joy Pierce
    Wonderful. Um, can you tell me a little bit about
  • your family background? You said all of your family lived in the
  • south.
  • Anne Bouie
    My nuclear family? Yes, on both sides of my nuclear
  • family. My mother was the youngest of a farmer. My
  • grandfather was a farmer and his great grandfather was the land
  • was deeded to my great grandfather, great grandfather,
  • yes, who received the land upon being freed from enslavement.
  • And that land is still in the family today. And my mother's
  • father farmed it. And he sent his daughters to school so that
  • they wouldn't have to serve as domestics and he had his sons
  • working the land. My father came from a very small town, and his
  • mother did day work, as they called it. And his father was
  • ill and confined. So but they were both, as I said, they're
  • both origins are of the earth and of rural people.
  • Joy Pierce
    That's amazing. And can you tell me a little bit
  • about your childhood and growing up there?
  • Anne Bouie
    Sure. I'm one of those families that--or one of
  • those people that eventually has to share with you all of my
  • entire life simply to tell you where I'm from. Because we were
  • in Atlanta for a minute. My I believe my mother said my father
  • had a photography gig there or something. But we moved back to
  • Atlanta, and we went to school in Atlanta and lived there. My
  • mother was familiar with Atlanta, she left home from
  • boarding school. As a student at Nursing at Grady college--at
  • Grady Hospital which was at the time, still may be one of the
  • premier hospitals for training black medical professionals. And
  • so she was there and getting ready to graduate. Marriage to
  • my father interrupted that. He went to the Korean he served in
  • the Korean War, and came back and was able to enroll at Morris
  • Brown College and served as a tax accountant with H&R Block
  • for 35 years. My childhood was spent in Atlanta, my brother and
  • I were city kids. And the first time I saw the earth and saw the
  • country really was when we visited my grandmother, and my
  • cousins over the summer. Being a city kid, I was amazed at the
  • land and saw acres and acres and acres and acres of crops and a
  • big old barn and of course when you're a little child, it looks
  • huge. It looks absolutely huge. But it was there that I got
  • introduced to the earth and to the land and I really resonated
  • with it and loved it all the there. Even though Atlanta is a
  • green and was at the time a really Green City--trees and
  • lots and parks and little streams going through the city,
  • at least in the area where we lived. But the country is in
  • altogether different thing. So I love the time in the country.
  • Although we were there in the summertime in early harvest
  • time. So it was quite a bit of work going on, we moved around a
  • great deal. When my mother remarried, we we became an Air
  • Force, brat family, an Air Force family, which meant a great deal
  • of moving around. So I actually have been to school in Florida,
  • Georgia, Kansas, and Pennsylvania by the time I was
  • in fourth grade, so that we moved around a great deal. And
  • some of that was fun, and some of it was, as would be expected.
  • Joy Pierce
    That's so interesting. So what was it
  • like, constantly moving like that for you?
  • Anne Bouie
    Well, as I've thought about it, over the
  • years, the upsides to it, as I'm sure most Air Force brats would
  • say, army brat, whomever would say that you get to see a lot of
  • different places and a lot of different people. And for me,
  • that meant seeing lots of difference. And at the same
  • time, there's similar things go on at every place. And they're
  • similar people at every place and the thing that it taught me
  • was the ability to go into situations and discern who was
  • friend who was foe, get a sense of the lay of the land, get a
  • sense of what being the new kid on the block meant over and over
  • again. So you got pretty good at being the new kid on the block.
  • The positive thing about that is obviously, your discernment
  • skills are very finely honed, the thing that can become a
  • handicap is you really don't have the opportunity to learn
  • how to develop relationships outside of your family with
  • people over time. Because you know, you're not going to be
  • there very long. And so making connections to people, for
  • example, I can remember friends, even to this day, in every place
  • I lived, that I lost contact with as we moved around as
  • children. And I can also remember, people who did the new
  • kid on the block thing with me everywhere we lived. The
  • positive--you get if you want to, you get kind of a
  • cosmopolitan view of having simply been around a lot of
  • different places, that puts some kind of sheen on people or some
  • kind of mark on people whether they want it to or not. And if
  • you're conscious of it, and intentional about it as an adult
  • reflecting on it, then it really does help understand why a
  • person can flit in and out of so many different arenas and
  • maintain some kind of sense of self.
  • Joy Pierce
    Absolutely. That's so interesting to me, sort of
  • the adaptability that comes with that sort of constant change.
  • Anne Bouie
    Yeah, some people would snidely call it becoming a
  • chameleon and others would call it adaptability and flexibility,
  • depending on how--the extent I guess to which people actually
  • lose themselves in the process of becoming whoever they need to
  • become, at a certain point, versus being adaptable to
  • different situations.
  • Joy Pierce
    Mm hmm.
  • Anne Bouie
    Mm hmm.
  • Joy Pierce
    Can you tell me a little bit about school as a
  • child, if you had any favorite teachers or subjects growing up?
  • Anne Bouie
    As a child, school was obviously fun, in some ways,
  • and obviously challenging in other ways. I went to school at
  • a time when teachers were fairly rigorous and had very high
  • And they did it, they did a good job with that, in my experience
  • expectations of their students and really did not care about
  • too much except you didn't didn't factor in so many things
  • that are supposed to have meaning today about whether or
  • not children could learn or not. And I remember specifically, the
  • thing I remember most about schooling in the south was, how
  • rigorous the teachers were and how merciless they were. In
  • terms of you learning. That is what I remember most about my
  • childhood. teachers in the south I can still remember of course,
  • I can remember my second grade teacher Mrs. Davis, or her son
  • and her son had a crush on me. But the the thing that I
  • remember most is the rigor and the intensity of the extent to
  • which they were very serious about teaching you To the
  • extent, for example, that when we moved from Atlanta to
  • Pennsylvania, to Kansas, and to Pennsylvania in particular, that
  • math, which is not one of my strong suits, I was actually
  • ahead of kids in Pennsylvania in math coming from the south, and
  • so my experience is that Southern schools in spite of
  • having fewer resources, and having buildings that were not
  • as new and well, furbish, quote, unquote, as other schools,
  • still, the still created environment and taught children
  • and taught them very well. Plus, there was a sense of nurture,
  • that I remember, in southern schools. As I was sharing with
  • you the other day that my principal, Mr. Brown, every
  • Friday took a small group of us who were brownies precursor to
  • Girl Scouts, to the bank every Friday, and we deposit our
  • little pennies in the he would line us up and walk us in there
  • and the bank, people would say, "Hello, how are you?" and he
  • would beam and all of this and dare us not to act properly. And
  • we've put our little pennies in the bank, and he'd walk us back
  • to the school. Sometimes we got an ice cream, but he did that
  • every Friday with us. And I really missed that when I left
  • that school. And it's an indication to me of the way that
  • that Southern adults, nurtured their kids and, and tried to
  • create and did create a sense of self in them in the face of
  • very, very stringent hostility, actually from the larger
  • community.
  • of sheltering us as much as possible from the rigors of
  • Southern life for African Americans when they're
  • encountering the larger society there. I think I was sharing
  • with you that I didn't, there was a time in southern
  • communities, you could literally go from womb to tomb and not
  • deal with anybody outside the black community. And the first
  • white teacher that I had actually what I was in Kansas,
  • on military base at Salina, Kansas. And I still remember the
  • principal, Mr. Bowman, who was a really very fine and excellent
  • principal and person. And I mentioned that I don't remember
  • the chats he had, I don't remember a lot of what we did. I
  • simply remember energetically, he was a good guy. And he's an
  • example of what Maya Angelou says, when people might not
  • remember what you say, but they will always remember how you
  • made them feel. And I obviously still have warm feelings toward
  • him. When we hit Pennsylvania is when the reality of encountering
  • white people on a regular basis, people outside community basis
  • started to sink in and sort of hit because it's like, "Oh,
  • dear. These people really don't think I'm very smart," or "Oh
  • dear, these people think things of me that are not true."
  • And my mother having been fairly sheltered herself, all of her
  • life seriously sheltered. Because I remember my uncle,
  • Willie, her elder brother, telling her that he that his
  • father, my grandfather told him it was his job, to go to the
  • train station and pick my mother up from boarding school and get
  • her back home that that was his job to do. And so he would be
  • waiting for her at the train station. And that kind of
  • protective energy that many Southern families were able to,
  • and communities were able to give their children fortified
  • them when they were growing up and created a sense of
  • protection around them that was obviously quite dearly needed.
  • And obviously, something to counter the press of living in
  • the south living, in the north, living any place actually. I
  • enjoyed school and found it a place of repose actually from
  • having to move. The one thing that would be consistent is you
  • go to a school, you get some books and you get a teacher and
  • you start doing homework, regardless of where you are.
  • That is a consistent thing. And so that schooling I guess became
  • a staple of how I defined... I don't know, some kind of
  • structure and routine because you have structure and routine,
  • of course at home, but you're always moving. Your environment
  • of always moving means that you do indeed come--I can see just
  • When I came to California, I attended one school it was
  • listening here, that's probably why I enjoyed school so much
  • predominantly black, and I had Mrs. Haywood who was my fifth
  • grade teacher, who really, really, really encouraged ideas
  • because it was a place of routine, in a sense of routine,
  • and encouraged thinking and I'd go to or with any kind of idea.
  • you knew it was going to happen, you knew was going to be
  • She said, "Yeah, go for it." And she would supply me with
  • equipment, and with books and all sorts of thing outside of
  • expected of you, regardless of where you went. And that was, I
  • the encyclopedias and stuff that I had at home to do all this
  • guess, in looking at it a part of why I stayed in school so
  • work. And she was very excited about it. And obviously, to have
  • friends from there to this day, from that encounter in Riverside
  • long. And why the structure of school really didn't bother me
  • when we got to California. And then I went to another school,
  • that much, because you need some kind of structure. Even outside
  • because we moved once again when I was in California. And that
  • of your home, you need some kind of structure and consistency
  • teacher was kind of the opposite of Mrs. Haywood, she really did
  • not have very high expectations for any of her students, we were
  • course your home provides it, but you have to leave your house
  • all black and Latino, she didn't have high expectations for any
  • sooner or later and encounter the real world.
  • of us. In fact, she very well communicated that she thought we
  • had a certain place or location, and it was her job to keep us
  • there. And to... not ever think that we could move or do any
  • better than that. So her energy towards her students was she'd
  • say things like, "You're going someplace and I don't want you
  • to act like you don't know how to act." And it's different from
  • when your parents say, "Don't forget who raised you. And don't
  • forget how you were raised." It's creating some kind of
  • expectation for you when you go someplace, was really, really,
  • really about don't embarrass me in the sense of who you are. And
  • she, I remember quite clearly taking ideas to her. And, as I
  • did with Mrs. Haywood and her simply dismissing them,
  • dismissing the ideas and really making it very clear that I
  • didn't know how to act. She was the one who, when I transferred
  • to junior high school, at the time, they had an overt tracking
  • system. Today, the tracking system is a lot more subtle, but
  • they had an overt tracking system of x, y, z and double x,
  • and she put me in y classes. And I remember being in those
  • classes, and I still remember the teacher, Mrs. Queenie Kales,
  • who at the end of um, I guess it had to be ninth grade said, "Now
  • Anne next year, I'm putting you in x classes, and I expect you
  • to act accordingly." And I really didn't know what she was
  • talking about until I got there in the x classes and saw. I
  • said, "Oh, this is what she's talking about," being the only
  • little black child in there.
  • Again, the teacher saying things like I used the word ambivalent
  • in a paper. And she called me to the front of the room and said,
  • "What does this word mean?" And I told her because my mother was
  • a psych nurse. So of course, I knew what the word ambivalent
  • meant. But she swore that I didn't and insisted that I write
  • the paper over again. So she was one of the people that created a
  • sense of "How dare you?" with me, and on the other hand, she's
  • countered with people like Mrs. Galbreak, who would work us to
  • death and say, "This is what I want you to do." And we did it.
  • And when I told her it was so much work, she just said, "Yes,
  • it is go do it." And other teachers there who did that. So
  • all kids encounter teachers who they don't like and who don't
  • like them. I personally believe if you have more than three
  • kids, you don't like one of them, but you love them and you
  • do what you're supposed to do with them and for them. And but
  • in the case of African American students, case of girls, in case
  • of poor, white students, whoever is on the bottom of the rung,
  • quote unquote, it is very important, and can almost be
  • life defining, the people that they run into or the people that
  • make the biggest impact on them and whether or not they run into
  • any advocates along the way. Because I used to reflect on it
  • even then that, why was I in all of these classes and none of my
  • friends were when I knew that most of my friends were as smart
  • as I was supposed to be labeled as and were just as competen but
  • none of them were in these classes. And that always
  • disturbed me, because why is that? And you certainly can't
  • make it into well, because I'm special and I'm different.
  • That's not the case. The case is a combination of any number of
  • factors that landed you there and did not land other people
  • there. And one can take that to mean that you think you're
  • somebody or something else and another way to approach it is to
  • be grateful and to be appreciative of that and
  • understand that in many ways, it's got it got nothing to do
  • with you personally. It does, and it doesn't.
  • And that's one of the things I've learned from very early on
  • that intelligence and creativity and humor and all that it's sort
  • of like this song that Gil Scott Heron thing some people don't
  • ever land in a place where they get to grow, they don't get a
  • chance to grow. And so when people do get a chance to grow
  • or land in some place where they do get a chance to grow, it's
  • very humorous to me when they really do start to think that
  • it's all about them and what they did and what they
  • accomplished and how they did it for themselves and nobody helped
  • them. That simply is not true. That is not true. In my
  • experience, if it hadn't been for some people along the way, I
  • wouldn't have made it into--Queenie Kales was a
  • deciding factor.She is the one--Mrs. Cooter decided I
  • should go into y classes which are dead end, academically.
  • Queenie Kales three years later said, "I'm going to put you in
  • this class." So that any number of the people along the way make
  • a profound difference in how the capabilities of anyone get
  • nurtured and deployed. So my schooling in high school--shared
  • with you the gamut from Mrs. Lawson to Mrs. Golbreck into Mr.
  • Shannon, had a hard time with the geometry, I took a class
  • from the same book in the same teacher for three years in order
  • to get a passing grade in it, because I had a very hard time
  • with it. And Mr. Peterson never made fun of me or never did
  • anything, said, "Okay Anne let's get at it again." And so those
  • experiences in school are making or breaking a difference. And
  • that is one reason that when I became an educator, that's part
  • of the reason that I did because most students are not unwilling
  • to learn. They are simply unmotivated to learn, and I
  • would defy anybody who goes someplace five days a week, for
  • seven hours a day and runs into people thinking that they don't
  • have home training or that they're not capable of learning
  • because of their skin color or the hue of their skin color, or
  • where they live and managed to continue to want to learn quote,
  • unquote.
  • Joy Pierce
    Absolutely. So can you tell me a little bit about
  • your journey from high school through college and becoming an
  • educator?
  • Anne Bouie
    Sure, um, we landed in Riverside when I was in the
  • fifth grade. And at the time, Riverside was a sleepy little
  • town that had more orange groves than people probably. Yeah,
  • really nice place to grow up in but not a good place to have a
  • lot of different kinds of experiences in and when I
  • graduated from high school, like a lot of us, I went to Riverside
  • City College and was taking classes there. And there too, I
  • ran into the extremes of a teacher who simply did not think
  • I could write and another one who, as I shared with you, whose
  • assignment was go watch the film, "Cool Hand Luke" and come
  • back and write on all the symbolism that is in the film,
  • which was a mind blowing experience. And I really
  • remember that film and that assignment to this day because
  • it opened up another set of neuron tracks in terms of
  • looking at the world and studying. At the time that I was
  • in junior college, the Watts Riots broke out. And one of the
  • responses in California was the creation of the Educational
  • Opportunity Program. And that experience reinforced my
  • realization of the disparities and the nature and the
  • implications of a kid's packaging as considering the
  • opportunities that they might have access to. Because the
  • Educational Opportunity Program came as a direct result of
  • policy and programmatic direct response to the inequalities
  • that were brought to light as a result of that urban rebellion.
  • And yet the people who were out there dying and confronting the
  • tear gas and all of that, their children, by and large, did not
  • wind up at UC Riverside and certainly did not wind up
  • graduating from UC Riverside, it was African American, and Latino
  • kids whose parents were already--who were already
  • placed, who had already been to junior college, who would
  • already had some economic and social currency, if you will, to
  • be in a position to take advantage of that. And the few
  • kids that did come from the urban arena, from LA and San
  • Francisco, and places that the resources were not as well
  • allocated, had a very hard time and many of them didn't make it.
  • And so I am one of the people who benefited from the sacrifice
  • and suffering. People in my own lifetime--I don't have to go
  • back to enslavement to talk about benefiting from the trials
  • of others. In my own lifetime, as a young adult, becoming a
  • young adult, I saw that. I wasn't out there in those
  • streets but I was one of the ones who got the benefit of that
  • program and of other programs. And there too.
  • And the other factor is that is while those programs might have
  • helped people like me get in the door, they certainly did not
  • ensure that I would get out with the paper so that a lot of times
  • people talk about African Americans and others taking the
  • place of other people, the whole affirmative action thing. And my
  • experience and observation of that is the affirmative action
  • and EOP program and other programs like that might have
  • gotten you in the door. But in some ways, they actually were a
  • hindrance in you getting out because you went in there with
  • people assuming that you did not belong there, and treating you
  • accordingly. And so you had to work very hard, if you will, to
  • demonstrate the fact that look, I did earn this and it just so
  • happened that the door opened, it's not anything to do with the
  • fact that I came in here unprepared, or that I came in
  • here unable to learn how to get prepared, learn how to make it
  • and do well there. And so on on both sides that really shaped my
  • views a lot. I really have a hard time with people talking
  • about I made it and I and I did it. No, you didn't. (laughs) I
  • have a hard time with people saying that, "Well, you got
  • there and you didn't deserve it." It's like, "Yes, I did. And
  • yes, I do. Because it was earned it was not given to me."
  • And most of the programs--we all know that the first year of any
  • grad school program, especially at the PhD level is about
  • weeding people out it really, that is what it's about. They
  • can say yes or no if they want to. But we both know that we all
  • know that. That's really what many, the first year many PhD
  • programs is about. In fact, that's the case with some
  • undergrad programs. I remember a woman telling me she went to
  • Spelman and her professor said, "Look to your left, and then
  • look to your right. And one of those people will not be here
  • when the semester ends." So no one can say that a person got
  • out of the place. And the bottom line is getting in is important.
  • But getting out with what you came for is also important in
  • the EOP program didn't guarantee that and programs that talk with
  • people about ethnicity or race--it doesn't guarantee that
  • they'll get out. And in some ways, the forces make it very
  • rare that you won't get out and that if you do get out, you will
  • have paid for it dearly.
  • So that I transferred from when I was at UC Riverside. I was
  • getting ready to graduate and I had another one of those
  • professors on the Mrs. Haywood end who said,"You don't know
  • what you're going to do when you graduate. Fill this out." And it
  • was an application to Stanford to the secondary teacher
  • education program. So I rounded education, in fact, because Mark
  • Loman knew that I did not know what I was going to do, and saw
  • some notion that I might benefit from that program and at least
  • put me in an arena where I would learn a whole new--a whole lot
  • of different things and become exposed to a lot of different
  • things that I had not to been before. And part of the reason
  • that I know that my experiences are not unique, because I, all
  • of us ran into people like Mark Loman. And all of us, I can
  • remember in the tradition of rigor and excellence, and really
  • not caring about a whole lot of other things. I think I told
  • about one of my professors, Dr. Jacqueline Haywood at UC
  • Riverside, who was the first African American professor there
  • and inaugurated the black studies courses there. And I, we
  • all loved her, of course, and we're really glad that she was
  • there. And I remember her calling me into her office. And
  • we were talking, just as I shared with you, just as you and
  • I are talking right now. And she laid a paper that I had
  • submitted to her on the desk. And I knew what it was, it was
  • one of those night before B plus papers, or B minus papers that
  • you submit. And she put the paper on the desk, and she just
  • very quietly asked me, "Now about this paper, do you want to
  • talk about it? Or do you want to do it over?" And that was all
  • there was to that. So that those are the kind of professors I ran
  • into that shaped to me about, "Don't come in here playing and
  • thinking you're going to get over" because they call you out.
  • And that has been my tradition with with students, I will call
  • them out when--the problem is not misbehavior. The problem is
  • not even trying. And part of the effort issue is because why
  • would you try when somebody is going to put you in a y class
  • anyway? And you look at the work and the work is insulting to
  • your intelligence, which you know, you could but that's where
  • you are, and what do you do? And there are all kinds of ways that
  • kids revolt against being intellectually and psychically
  • insulted. And that is one of the things that they do is just
  • become disengaged, why would I engage with something that
  • daily, daily, daily tried to tell me who I was, and in many
  • ways, that's counter to the the message that I get from people
  • who do Love me, and who are supporting me, and who are
  • working in some cases, two and three jobs to get me those three
  • figure tennis shoes that I come with, because they know I want
  • them and who are working?
  • So I could go on and on with that. But I won't. In terms of
  • undergrad and graduate experiences and getting through
  • school and that's how I left Riverside after all those years,
  • from fifth grade to UC to graduating from UC Riverside, at
  • Stanford. And at Stanford, in some ways, as I shared with you,
  • I'm really glad that I did not walk into Stanford,
  • understanding the allure and the the reputation and the fact of
  • Stanford. I walked in there--It's another school that
  • I'm going to it wasn't until I got there that I realized what
  • people thought of the institution and how highly rated
  • it was, you were transformed into another kind of human
  • beings simply because you attended Stanford, and that too
  • was "Oh really?" to me. So I'm glad I walked in there with
  • that, and wasn't until I actually got into the the
  • teacher ed program, and started seeing what the implications of
  • being Stanford were about and looking at, "Well how did you
  • get here?" And looking at the assignments, but I had some fun
  • in that teacher ed program. And I learned a lot in that teacher
  • ed program that has stood me to the rest of this day. And that
  • helped shape me becoming an educator and go into grad school
  • because of some of the things that I learned and I did.
  • One of my formative core experiences when I was intern
  • teaching at Burlingame High School, was how much of what I
  • really needed to know I was not taught and in grad school at
  • Stanford University, and I realized--our teacher education
  • program was rated number one or two in the country. And so if I
  • wasn't getting it there, very few people were getting it
  • anywhere else, at least that so-called counted. And one of
  • those things was working with students, especially students of
  • color, because I walked into my African American history class
  • that I was teaching at Burlingame High School, and they
  • welcome to me the same way that we welcome Dr. Hayward UC,
  • Riverside, excuse me. And I walked in there and I asked them
  • per my Stanford training about involving students in learning
  • process, quote, unquote. And I asked them what they wanted to
  • learn in this black history class. And what my students
  • heard, and what many students hear is not, "I'm being open and
  • want you to learn new things." What they heard is, "This woman
  • does not know what she's doing and does not know what she's
  • teaching. Why should I respect her?" Because they came from a
  • place of wanting to know that whoever was in front of them,
  • was competent, and would be able to work with them not whether or
  • not they liked the person, quote, unquote. Initially,
  • liking had nothing to do with it. So I lost that class, even
  • though I was African American. And they liked me quote,
  • unquote. I lost that class. And it was, it's really humorous
  • today because my department chair, Aldo Priviney, who is
  • this really very suave, kind of high school teacher everybody
  • thinks about--camelhair jackets and black turtleneck and loafers
  • kind of teacher. I asked him to come to my class, to help me see
  • whether or not my assessment was correct. And he sat in that
  • class and he said, "Yep, Anne you've lost them. They're gone.
  • You've lost them." And but what he meant from that I had no
  • control of the class.
  • And I was, in all likelihood, not going to get control of the
  • class, because it's very difficult to get control of a
  • class, once you've lost them, the best thing to do is not ever
  • to have lost them. Because the work you have to do to reclaim a
  • class that you lost in terms of discipline and attention and
  • creating a learning environment is so, so arduous, that it's
  • all--I can understand why people give up, because it is extremely
  • difficult to reclaim a class whose discipline so forth has
  • gone out the window that you've basically lost control of. And
  • that was so humbling and humiliating that I have never
  • lost a class since then, because I learned a different way of
  • doing things with different kids. On the other hand, I had a
  • class, predominantly white, and it was contemporary problems.
  • And I had different kinds of experiences. Two of my favorite
  • students were John and Peter whom I remember to this day,
  • very wealthy kids. And one day, they came into my class with a
  • jar full of marijuana seeds, because I was young, African
  • American, cool da, da, da, da, da. And I told them, "I would
  • strongly suggest you take those out of my class. And if you do
  • it again, I will call the authorities on you. Because I do
  • know what you look like when you're high, you know, eyes are
  • red, and dilated. And you're coming here, almost as if you're
  • floating. Don't do that again. And in fact, I want to research
  • paper on the street names or drugs and medicinal names of
  • drugs and their uses. And I want footnotes on the paper." And
  • they looked at me quite shocked. And how and, "Who are you?" And
  • I said "Yes, indeed we will. Otherwise, there can be
  • consequences to this." And so looking at my approach in asking
  • kids, "what do they want" versus saying, "Oh, no, no, no, no,
  • no." John and Peter not only turned in excellent papers, they
  • gave me the first edition of a book, I guess they got from one
  • of their homes, Stanley Livingston's "In darkest
  • Africa," one of the first editions of it. And I still have
  • that book to this day.
  • I still remember Michael Brown, this little cowboy who put his
  • boots--took off his boots in my class and put them directly in
  • my walkway to see what I would do. So you ran into all kinds of
  • kids. And I learned a lot from Michael Brown. "Michael, would
  • you please put your boots on? Thank you." And from Little
  • Peter, who had gray hair because his parents expected him to go
  • to Harvard and the child had gray hair in the 10th grade.
  • Joy Pierce
    Oh my gosh.
  • Anne Bouie
    Yes, it was horrible! To the two very very
  • smart kids like Linda Savage who said, "You know, I really like
  • you but they don't think that you can control them. They don't
  • think you can teach them and that's why they're there like
  • that Miss Bouie." And having to regroup with that and
  • understanding that there are different cards, you have to
  • learn how to play. And any school that's going to send you
  • into an urban school if they don't teach you the complete
  • playbook, they're doing you a disservice because it's not that
  • children are uneducated or don't want to learn or behavior
  • problems. As I got out of grad school, and I worked, and I
  • learned even more, that was one pivotal experience losing that
  • class and working with John and Peter.
  • When I got to farwest laboratories upon graduating
  • from UC Riverside, I worked in a lot of urban projects around
  • educational dissemination and doing different kinds of work. I
  • worked on a project to reduce suspensions in Stockton,
  • California School District, and I had to work with a lot of
  • students and teachers there, that was a very rewarding
  • experience that I was given. And from working at farwest
  • laboratory, I moved to another educational project that worked
  • with reducing violence and vandalism at schools. That was
  • another seminal framing experience for me. And it was
  • there that I was able to put my experiences at Burlingame High
  • School into some kind of context, because the program
  • operated in urban schools all over the country, literally
  • North, South, East and West and dead center of the country. And
  • it brought together teams of educators, civic people, police
  • people, teams of--they tried to take this approach of
  • understanding that it was a community issue, not merely a
  • school issue, and invited these teams of people to come to the
  • sessions about how to reduce violence and vandalism in their
  • schools. And it was there that we hired different people to
  • come and make presentations and lead workshops, from mostly
  • local areas, or at least areas surrounding the city in which we
  • were in so that in the Bay Area, we worked with a lot of Bay Area
  • educators and civic people. And I started hearing from the
  • people who were effective, irrespective of packaging, the
  • same song. And that's what really struck me about being
  • effective in urban environments, and why I wanted to become an
  • urban educator, because they were saying, "It can be done.
  • And this is how you do it." And it's very powerful when you hear
  • dapper, trash-talking, junior high school principal from
  • Oakland, saying the same thing, as you see a little
  • straight-laced, proper African American woman to a Down to
  • Earth da, da, da, da, da Southern police person, all
  • saying the same thing about how you are effective within urban
  • schools, how you create rapport, how you raise expectations, how
  • you get kids and communities motivated and get engaged and
  • using their motivation, which they obviously have, in ways
  • that will help them in their lives. That was very, very
  • powerful for me that all these people were saying the same
  • thing. And I learned from them. I listened to them. And I
  • learned from them and talked with them extensively offline
  • about their experiences and how they did it.
  • So that when I applied to grad school, first time, I didn't get
  • accepted. And I taught for a year California University at
  • Stanford, San Luis Obispo. And there too, I was one of the
  • first African American professors that they had, and I
  • was in the Ed school and I was teaching urban ed and such. But
  • black students on campus were really thirsty for somebody with
  • their experiences. But I now had Burlingame's experience under my
  • belt. (laughs) And so I was able to know when to yield the carrot
  • and when to yield the stick with students inside and outside of
  • my classes. I learned to sense what they call the "Okey doke"
  • and the obvious--to some people--obvious lies of it all
  • versus the truth of it and learn not to be swayed by the stories.
  • Learn which stories to be swayed by and which stories not, learn
  • to discern when I was getting ready to--For example, this is
  • what I'm trying to share. When I was at Stanford, I was working
  • at Nairobi College in East Palo Alto, and I was teaching and
  • sometimes those were times when there was a lot of community
  • engagement. A couple times my students came in and said they
  • had court dates and they had to go to court. And they need to be
  • excused from class. And so of course, I said, "Oh, okay," I
  • assumed that this--and then somebody called me and, she
  • said, "Anne those are for parking tickets, they aren't for
  • anything civil." And soon I learned that that no, no, no,
  • don't come in here with a court date telling me that you have
  • something real going on, and you've got a parking ticket that
  • you want to take care of. So those kinds of things, a lot of
  • it was so that I was able to really be of real use to people
  • to students, because I was able to carrot and stick them.
  • Whereas before, I was mostly using carrot and care and
  • concern, but without the kind of care and concern that Mrs.
  • Haywood evidenced, for example, or Dr. Mayhew evidenced when
  • I--he is a classic example of carrot and stick both in working
  • with students. And that's what I learned from grad school.
  • I'm sort of skipping ahead. If I go back to talk about my
  • experiences at Stanford, one of those experiences is, again,
  • under the press of, "Was I here legitimately or was like not
  • there legitimately?" I actually went to the chair of my
  • department and said, you know, "Did I get here--how much did
  • who I was play into to whether or not I got in here, and he
  • pulled out my class, the GRE scores from my class and said,
  • "Look at--" and he just threw them, he just put them on his
  • desk and said, "Look at these," and I saw my scores, and my
  • scores were, my scores were solid, they were good scores.
  • And that again, reinforced to me that a lot of times people like
  • many who wind up in those doors are not there, because they're
  • getting a favor done. They're there, because a door that was
  • normally closed to people with that kind of packaging all of a
  • sudden opened, but they were more than able to walk in there.
  • And on the other hand, there are many who, for whom the door
  • open, and they were not prepared and equipped to be there and
  • when they ran into--but at their schools, for example, I used to
  • run into a lot of students who were A and B students. And I
  • remember a story I read in a newspaper article about this
  • woman, who's a bank vice president working with a high
  • school student at Castleman High School in Oakland, which was
  • really renowned for its athletics and its students
  • spirit, but but its academics were quite low. And she had the
  • students who've gotten an A minus on a paper. (phone rings)
  • And the woman looked at the paper--Sorry, the woman looked
  • at the-
  • Joy Pierce
    You're okay.
  • Anne Bouie
    paper, and said, to herself, "Am I really going to
  • tell this child the truth about this paper?" And she decided
  • that she would tell the child the truth about the paper, she
  • asked the child, "Do you want me to really edit and tell you
  • about this paper?" And the child saying, "Yes, I do, of course."
  • And the woman took this A minus paper. And by the time she was
  • done with it, the paper was essentially would have been
  • about a D, in a class that had high expectations, it would have
  • been equivalent to a D. And so many times, the standards are
  • lowered, and the grades are raised. And kids come out
  • thinking that they really know something A or B, or C and land
  • at some place like UC Berkeley, or Cal State, or any place and
  • find out that the work that they've been told was an A was
  • really C if not actually failing work. And that is, those are
  • sort of the two ends of the continuum that many students of
  • color face. They're either very well prepared and not thought to
  • be prepared, and were able to enter the place because of doors
  • opening or doors open and the kids were not prepared at all
  • and were sent up like raw meat. So that many times that's where
  • students, all students, but particularly students who have
  • been traditionally underserved and underrepresented fall.
  • So going back to Dr. Mayhew, I went to him and said that I'm at
  • the end of my second year and my advisor had not told me about
  • preparing for the proposal, nor about the fact that I needed a
  • master's degree outside of the School of Education to graduate
  • and that that meant another 36 units that I had to pick up and
  • pay for. And that was one of the times I almost quit school.
  • After learning that and after having gotten through that
  • trauma, and decided that I would press on, solely by the the
  • grace of God I might add, and the spiritual support I got from
  • a church that I had become a member of. I went to tell him
  • that my situation, and he said, Come back in two weeks. And when
  • I went back in two weeks, he said, "Okay, this is the deal."
  • And he laid out the the proposal development guidelines and said,
  • "There are five chapters in a dissertation. This is what each
  • one of them does, dah, dah, dah, dah, dah, come back to me in a
  • week with an outline of each of the five chapters." And I was so
  • taken aback that I actually did it. And from then on, he became
  • my major advisor, and he hired me as a TA. And I was working
  • three jobs, counting his at the time working at Nairobi College
  • and working at American Institutes for Research, and
  • with him and taking a full load.
  • And he had assigned me to write some kind of policy handbook and
  • I called him one time and I said, "Dr. Mayhew, I'm really
  • got a lot of going on right now. Can I get an extension on this
  • assignment from the deadline?" He said, "No." And pretty much
  • goodbye and hung up the phone. (laughs) And so I was sharing
  • with you that the the grad school thing is as much about
  • the process as it is about the content of the work. And I don't
  • remember the contents of that policy handbook, per se, nor do
  • I remember in detail some of the assignments that I was given at
  • AIRA to work on. But I do remember that Dr. Mayhew said
  • no. And that meant that I had to get all of that stuff done. All
  • of it done.
  • And running into a professor when I finally accepted that I
  • was going to have to do this history thing went into a
  • professor like Kennell Jackson, who would assign you 500 pages
  • of reading this esoteric, African, African American
  • History, names with five and 10 syllables in them and countries
  • from places that you're just trying to get a grip on. And the
  • history of all of this and acting as if that's the only
  • class you had is his 500 pages of reading, and going to a
  • seminar. And hearing that--I missed that seminar. I'm so glad
  • I did. But as I shared with you going to a seminar, and I call
  • my friend to ask her, what did we need to do as a result of it?
  • And she told me the Kennell sent us home. She said, "We were
  • sitting around the table. And we started going through the
  • discussion at the seminar and Kennell just stopped and he
  • said, 'You guys have read. Go home.'" And send them home. And
  • so the press, those are the kinds of things that that stymie
  • people and cause them to give up not so much the work, although
  • the work is obviously arduous, but those are the experiences
  • that stuck with me about the kinds of standards you can hold
  • people to, especially if you know that they're also in your
  • corner.
  • As I shared with you about Dr. Mayhew, when I started this
  • internship at University of San Francisco. The prof that I ran
  • into was from UC Berkeley. And he invited me to his home in the
  • Berkeley Hills to discuss the assignment. And it didn't feel
  • right. And I went to Dr. Mayhew and I specifically remember
  • sayinh, "You never invited me to your house in the Berkeley Hills
  • to discuss anything." And he did his proverbial, "Huh. Get back
  • to me." And sure enough, I got back to him. And the next time I
  • talked to that Professor, we were meeting on UC Berkeley's
  • campus, not in his house in the Berkeley Hills. So that the
  • quintessential thing about being, I believe, a good
  • manager, a good educator is knowing when to hold 'em and
  • when to fold them. And Dr. Mayhew told me no on getting
  • that assignment done. And on the other hand, when I went to him
  • about an untoward approach by a professor, I'm telling you, that
  • man treated me with kid gloves from then on out. (laughs) He
  • treated me with kid gloves. And to this day, obviously, I don't
  • know what Dr. Mayhew said, but obviously he said something. And
  • that man left me alone. So that those are the kinds of people
  • that struck me, the kind that expected the absolute most out
  • of me and almost had no mercy. And at the same time would take
  • anybody who tried to harm you to the mat.
  • So those are lessons--this little trail as I look back on
  • things that taught me about how to be and help me examine how I
  • was treated and what helped me get what enabled me to keep
  • moving along, aside from the familial things, and my mother
  • who had just--if you come home with A's and B's and you get a C
  • or D in something, that's what gets emphasis, not the A's and
  • the B's, what gets emphasis is, "What about this, and dah, dah,
  • dah, dah, dah on that." And so between those two streams of
  • environment, I distilled out of it if you're going to jack
  • somebody up or be untoward, with somebody about something they
  • didn't do, you have to have their backs. And I had the same
  • experience with my mother, going all the way back to junior high
  • school, I was in the teacher's classroom. And she was very mean
  • to me, and had me standing out in the hallway and had me in the
  • back of the room when I didn't have my glasses, and sent me to
  • the dean's office. And the dean told me to come back the next
  • morning because she was going to talk to me, and I went home and
  • told my mother about it. And my mother went to the school with
  • me. And sure enough that Dean and my teacher in there waiting
  • for me to I guess, send me into my next incarnation. And my
  • mother took them to task. And she was a classic example of you
  • do not want to mess with an African American woman about her
  • child. You don't want to do that. And I witnessed my mother
  • put both of those women in their seats. And there too I got left
  • alone after that. So I've learned all these lessons about
  • observing things. And as I shared with you, when I got out
  • of grad school, and got my dissertation done, and Dr.
  • Mayhew was my chair, and he signed off on it. And you can't
  • ask for anything better than for Louis D. Mayhew to sign off on
  • your dissertation, that is a big deal and it meant a great deal
  • to me.
  • And going to work at those places where I got a chance to
  • start interacting with young people and when I started
  • getting a chance to having somebody concretize and almost
  • present a structure and almost a theory of how you work with
  • students who are disengaged, and so called unengaged and who give
  • off the appearance that they don't want to learn helped me
  • when I finally left both of those jobs. I got an opportunity
  • to start an after school enrichment program that was
  • written by the Northern California Council of Black
  • Professional Engineers. And it was housed at a large urban
  • church in East Oakland Allen Temple Baptist Church. And that
  • program dealt with kids, grades seven through nine who were
  • underachievers, and who were either failing in college prep
  • classes or wasting away in general math classes. And our
  • task was to introduce them to sciences and math and to make
  • sure that when they left, if they came in, in seventh grade,
  • when they left us, as going into school as sophomores that they
  • were enrolled in geometry and in biology, which according to
  • California state standards, that's where you're supposed to
  • be. In 10th grade, you're in geometry and you're in biology,
  • and that sets you up for the rest of the track. And we all
  • know that from ninth grade on, that's when it starts and if you
  • aren't on that track, it's very, very difficult for you to get to
  • get on it, if you're not on it by ninth grade.
  • And so our students were the kinds that would come in with
  • their homework folded up in little pieces of paper, lots of
  • them in their backpack, no date, no no class description, folded
  • up on these little grimy pieces of paper, and walk in and say,
  • "And?" about all of this. And it was our task to take these
  • bright kids who were very disengaged from school, and to,
  • if you will, help them transmute into kids who would feel
  • comfortable in biology and geometry in 10th grade. And this
  • was an opportunity for me to put into practice and see for myself
  • whether or not I could do what all of these people that I had
  • learned from in the violence and vandalism project and from my
  • own personal experiences with who got me to work and who
  • didn't and who took care of me and looked after me and who
  • didn't, put them into practice.
  • We worked with 50 to 80 junior high school kids, four days a
  • week, two hours a day after school and the staff were
  • college students who were math and science majors and/or who
  • wanted to become teachers. And by that time, I had learned
  • enough about process to understand thoroughly. And we've
  • already documented the fact that math is not my strong subject.
  • So that I told them, "These are the tools you need to develop
  • really good learning activities." Creative, bright
  • kids who needed to understand what they need--to develop
  • learning experiences that would help kids who were unmotivated,
  • quote, unquote, and who were certainly performing below their
  • ability, and who citizenship you see--at that level one of the
  • things I learned, it's not the academic grades that I want to
  • focus on, it's the citizenship grades that are the teller. And
  • if your citizenship grades are poor, that tells me something
  • right there, that because all you have to do is go to class
  • and shut up and get a decent grade for citizenship. Now, if
  • you are doing something to get less than a decent grade for
  • citizenship, that tells me right that you are nowhere near doing
  • any academics at all. That's not where your attention. So the
  • first thing is, let's get your attention to academics, and then
  • the ability, and the mindset will kick in. So we indeed did
  • that.
  • I taught the project interface staff (sigh) the processes of
  • teaching, how you teach how you set up, what you do on the first
  • day, what you do in the first week, how you lay out the
  • groundwork, how do you get a sense of establishing leadership
  • in the classroom without coming off as a neo nazi? How do you do
  • the nurture without coming off as an earth mother who has no
  • damns whatsoever, and no boundaries whatsoever? How do
  • you design learning experiences and what do you need--content to
  • do learning experiences, so I was a process person, and they
  • were the content people. And in order to develop good content,
  • the tools that I gave them more the California State Standards
  • for math and science, which were among the best in the nation.
  • Massachusetts State Standards, were, I understand, the very
  • best. California State science standards were just a beautiful
  • work of art. And they also produced documents about what
  • classes needed to be taken at each grade level to assure
  • college entrance, what would be in those classes, and what they
  • needed to know year by year. And I shared with the college
  • students and the staff, you all have been through this but these
  • And you develop--you don't call yourself a tutor. You don't call
  • are the standards. This is what they have to know, this is what
  • they should have known. I need you to develop learning
  • experiences that cover what they should have known and that they
  • don't know, what they're doing now and what they will run into.
  • And I got taught by people not to give people lessons, Robert
  • Fullilove at UC Berkeley shared what you want to do, or you want
  • to do these worksheets, and you have students develop worksheets
  • and learning activities that address all three of those
  • different points in the learning process.
  • it remedial education. We never even use the word tutor. We
  • never used any of those words that have come to mean that
  • you're stupid and you need help. We never did one on one work, we
  • always did work in small groups, because for some cultures in
  • some communities, that is the way. You don't ever do anything
  • alone, you always do things in a small group, or with a group of
  • people. Even if somebody is braiding your hair and it's you
  • and the person braiding your hair, there are always other
  • people around talking and commenting in this kind of
  • thing. So that working with a person one on one whose context
  • and background, talk about working in a small group and
  • getting things done in that way is problematic in many ways.
  • That's not the way they best work. The same thing with you
  • know, used to observe a lot of kids and they'd sit up and move
  • their arms and do all this kind of stuff in order to get ready
  • to work. And a lot of times people think they're fidgeting
  • and all of that when there's a formal name for that stage
  • setting with kids and some kids do that. As much as I don't like
  • it. Some kids can do work well with music in the background. So
  • there were things that they needed to learn about how kids
  • work and who we were working with that made made for a
  • difference.
  • And we at that project for over nine years turned out kids every
  • year 66 to 75% of our students tested higher on the California
  • test of comprehensive basic skills, certainly than the
  • district as a whole and oftentimes from the schools that
  • scored the highest in the district, our kids were there or
  • beating them on this test. And it taught me a couple of things
  • that you do not need to teach to the test. And neither teachers
  • nor students need to be terrified of the test, you can
  • teach kids in such a way that they will be able to walk in
  • there and take the test without you teaching it to them or
  • without you falling out and connipting and devoting a whole
  • week to taking the test and whole year of designing lessons
  • that are tests related versus learning related to students.
  • And we documented that we had to go get the stats from the open
  • research department, because I used to tell our students,
  • "Look, people who fund us and who pay your salary and my
  • salary, do not care that we like little black children, they do
  • not care. And they don't care about a little person saying
  • that I came here and the people really liked me and I felt good
  • and I learned a lot." They want to see some bottom line results,
  • as in from 55th percentile to 75th, or to 80th percentile.
  • That's what they want to see.
  • And that's what we're going to deliver, and they delivered it.
  • And I was so proud of them. And so proud of the work because we
  • were working in a context that large church where people would
  • see--parents felt comfortable coming there, they felt
  • comfortable sending their kids there, because it was base in
  • the community. And they felt that they were a part of it. We
  • did things to incorporate the fact that parents were not a
  • problem, and that they were not seen as uninvolved and uncaring.
  • We thoroughly understood that given the way we were outlining
  • the work, that students would not do it. They simply would
  • buck and not do it and rebel if we did not have the support of
  • the adults that they respected in our corner. It was their
  • parents and their aunts and their older brothers and
  • sisters, excuse me (clearing throat), that said, "All right,
  • we hear you. And you better go in there and act like we taught
  • you how to act. You better go in there and listen to those people
  • and do what they say." That's how we got our students
  • initially. They liked the fellowship, they liked being
  • around with other kids, they liked meeting kids from all over
  • the city. They liked their study group leaders, excuse me
  • (clearing throat), the college students. They didn't
  • necessarily start out liking the work. And they didn't
  • necessarily think that they could do it or that they wanted
  • to do it. The reason we got traction is because from day
  • one, we got the endorsement of the people that they listened to
  • and respect. And that was their parents, their grandparents
  • their aunt, their older brother, or somebody who said, "You go in
  • there and you do what she says do and you listen to those
  • people and you do it."
  • And so when I would ask them, we got to have a series of
  • consequences for when when behavior problems come up. And
  • I'd invite them to give me some input because that's what
  • Stanford says you're supposed to do. You're supposed to get
  • student interest in all of this and that which is true. And I
  • said, "So if something goes wrong, I want to call your
  • parents the first time you do." They said, "Oh, no, no, no, no,
  • give us a chance at least give us one chance to do it, we
  • probably need two chances to do it." And so I said, "Okay, I
  • won't call them the first time. Can we compromise on the second
  • time that something goes awry, I call your parents?" Because
  • you're working with junior high school kids, and they can space
  • out because they got the phone call from whomever they have a
  • crush on, or they didn't get the phone call, or they just got
  • some new shoes, for whatever reason they space and they're
  • not completely well, so "Okay, I'll talk with you the first
  • time about the second time, we will call home. And we've
  • already established with your parents because we brought your
  • parents there. And we've told them what we're doing. And we
  • told them why we're doing it. And we told them who you're
  • working with. And our orientation was really thorough
  • about this is you're working with. And this is what we want
  • to do. And this is where we want to come out. And this is why."
  • So that we called we didn't get parents not wanting to work with
  • us or believing their child versus believing us quote
  • unquote, because we had already laid the groundwork that we are
  • in this together and that I realize I need you otherwise I
  • simply will not be able to do what I need to do. So we did
  • that.
  • And we were successful. And I did that for 10 years and then I
  • left to start consulting to urban schools on my own based on
  • my own experiences, not what I had read, not what I had seen on
  • TV, but what I knew personally could turn the corner. You were
  • going to say something?
  • Joy Pierce
    I was just going to say what you're talking about,
  • as far as you know, community engagement and support. My mom
  • is also a teacher. And I think that that's something that we
  • talk about all the time. So it's, it's kind of interesting
  • to hear that it's been a longer and more pervasive issue than
  • even we realized in our community. So I appreciate that
  • perspective.
  • Anne Bouie
    Well, thank you. No, of course, it is it with when
  • schools are seen as adversarial in institutions, one thing I had
  • to learn in school is seen as an adversarial institution. And
  • it's not that poor or their parents don't like education or
  • don't want, and don't value education. It's not education,
  • it's the educators that they don't like.
  • Joy Pierce
    Mm Hmm.
  • Anne Bouie
    And problem where the dissonance is, it's not
  • education in of itself. It's the way that they are treated and
  • perceived when they come to school, it's almost assumed, and
  • no child is going to respect you, when they're standing there
  • and watch you treat the person that they love and care about,
  • as if they don't know how to do anything. Or as if they are not
  • good parents and need to be taught, no child is going
  • to--they have to choose, they have to choose, it's clear who
  • they're going to choose without a doubt. And what we did is
  • make--there's not a choice here, we are all on the same team. And
  • we know that your mother--I ride the metro, I see women and men,
  • eyes blurred over working two and three jobs trying to get
  • things so don't tell me your definition of parental
  • involvement is the definition that is necessary in order for
  • you to get buy in for students. These women are already taking
  • their kids to the zoo, they're already buying those books at
  • dollar stores for kids to read. They're already sending--I've
  • seen him in the nail salons. I don't know what nail salons that
  • some people go to. But some of the ones that I go to the women
  • are in there and they cool the kid out with a book, those
  • little cheap dollar store books, they cool him out with books.
  • "Go read the book."
  • So I know, you see them at the zoo. So that I know that what
  • they are concerned about is educating their children just
  • like the schools are it's just the schools do not see them as
  • partners, as equal partners with something to say, and really do
  • not understand that there is an entire community around those
  • children and around those women, irrespective of the fact that
  • they're poor, that enables them, that prepares their kid to go to
  • school to be able to learn if that's the assumption rather
  • than they don't want to learn and their parents are not
  • involved and how can we get their parents involved? That's
  • not the problem. The problem is working with what you have where
  • people are, they don't want to come to school, for you to teach
  • them to teach their kids how to read, then fine, what you do is
  • you say okay, you don't have to take him to the zoo, you don't
  • have to take him to the Grand Canyon, you don't have to do any
  • of this. What are you doing and where can we work with because
  • we thoroughly understand that you love your children and that
  • you want the best for them, and we want the best for them to.
  • And what we do to contribute to that is this, what you do is
  • that and all we need is for you to tell them to come in here and
  • listen to us and cooperate with us.
  • And we can probably do something with at least 80% of them.
  • Because they're that 5% on either end, five to 10% on
  • either end. There's 10% of the kids will be orphaned, all their
  • families shot dead right in front of them, they have to walk
  • across the Sahara Desert barefoot with no water for six
  • months, and they come out someplace and then they make it.
  • There the other 10% that they do need the authorities and they
  • are beyond the pale for many of us and are certainly not needing
  • of some kind of outside--they're rough. The other 80% they're in
  • the middle, they can be had, they can be had. There's no
  • problem with that 80% being had. And the day that, with all due
  • respect to all the work and the energy and the money, it is
  • possible to turn out 75 to 80% of them at or above grade level.
  • I know that for a fact.
  • So that was a lot of my orientation, to work. And as I
  • shared with you, I worked as a consultant to urban schools all
  • around the country. Just as that project had taught me to work
  • all around the country to see that the needs were basically
  • the same, the concerns are basically the same. How do we
  • get them and their parents to come to the party? How do we get
  • them motivated, quote, unquote, to learn? And the key of it is
  • they don't need pity. They need a challenge. They need respect
  • that they are smart. They need to respect that we know you love
  • your children, and that we know that you care about them and
  • that you do want to get education. We will get out of
  • your way and stop saying things about you, that poverty is th
  • problem. Being poor is not an obstacle to being taught.
  • Otherwise, all these children all over the world that are
  • learning under bridges and having to use the dirt and a
  • stick to write on wouldn't learn if poverty were the problem.
  • Poverty's not the problem that's being poor is not a problem. And
  • I used to tell my staff, "Look, if they're poor, they need more
  • homework. If they're living under a bridge, they need more
  • homework, not less, to do that," and that's sort of a segwayed
  • into my artwork, because I've always seen myself as somebody
  • who understands the hidden transcript with why things
  • aren't going well.
  • And in 2006--2003, actually, my yellow brick road kind of ran
  • out with my consulting. It just wasn't happening. It wasn't
  • happening, I couldn't get contracts at all. And I
  • understand some of why that was the case. And is the case even,
  • but the bottom line is the doors weren't opening. And the other
  • bottom line is I had segwayed, into the art scene here in DC.
  • And I was at a black artist of DC meeting at Graham's gallery
  • over in Northeast. And they said that they were getting ready to
  • mount a show called "Found" and it was based on found objects.
  • And I said, "Well, I have this piece of wood that I brought
  • from California" because I've gathered found objects and
  • botanicals for years way before I even thought about doing art.
  • And they said, "Well put it in," and I got the help to fabricate
  • the piece of work, I put it in and it sold.
  • And all of a sudden all these art doors start opening while
  • the education doors were staying shut. The art doors are opening
  • opening opening and I had a neighbor, a friend who was in
  • Wharton MBA and one of the most dry, pedantic souls you can ever
  • meet, certainly not you would think spiritually motivated at
  • all or oriented at all. He said, "Well, Anne if the art doors are
  • the ones that are opening, and the other doors are not you
  • probably want to walk through the open doors."
  • Joy Pierce
    (laughs)
  • Anne Bouie
    And, and he said in such a "duh" way that I stopped
  • bemoaning what was I was being confronted with and start
  • getting into it. And that piece of work sold and I've never
  • looked back since that piece of work was about using found
  • objects and botanicals, which were something that I've been
  • always enamored with. And my style of work is rooted in a
  • southern sensibility of using what you have, of seeing the
  • beauty in earth and things and seeing the beauty and the
  • utility of things that people have cast aside and who don't
  • want. And understanding that art is more than simply art for
  • art's sake, that in my tradition, at least, beautiful
  • utilitarian things have been made beautiful and have a
  • certain aesthetic value, and that art is a functional aspect
  • of living and of orientation. It's not merely something that's
  • aesthetically pleasing, and it stops in that or it's not simply
  • art for art's sake. It's about functionality and art serves a
  • specific role in the culture and the context from which I
  • spri,ng. And that's the tradition and its sense of
  • aesthetics that I've carried into my work. The other sense of
  • aesthetics is the realization that pre contact cultures, their
  • orientation to the earth, to spirituality, to the cosmos, and
  • a relationships with the earth and other people. And the way in
  • which they use art as a part of their life experience, to teach,
  • to educate, to frame, to present is something that I really
  • value. And those are the two things that emanate from that
  • rest on my art, which brings you brings us to the noose.
  • (chuckles)
  • Joy Pierce
    Absolutely.
  • Anne Bouie
    Yeah, that's what brings us to the, to the noose
  • and to why I am still kind of amazed at the response to that
  • and what it meant. It was a--what's the word I want--a
  • lightning rod or trigger for all different kinds of reactions and
  • responses. And I put that--it was a vine. It's a kudzu vine,
  • that a friend and I went to some woman's house in Maryland, rural
  • Maryland, because she had found she had read that this woman had
  • all these different kinds of vines on her yard. And yeah,
  • she'd be happy to let us come down there and have some. And
  • that's what we did. And when I saw that vine that was in front
  • of my house, when I saw it, I said, "Oh, we know what this is
  • right here." And I had it at home, there were three of them.
  • I've had him at home, I had them at home for a long time. And
  • then when George Floyd was murdered, was murdered, executed
  • publicly. And the marches started, I was amazed at that
  • response to his murder, since it's nothing really new, to be
  • vulgar about it.
  • And the marches and the protest and the energy around it, and
  • the things that people were doing individually,
  • collectively, I wanted to be a part of because I do not March,
  • that's a period, dot. I do not do crowds, I do not do marches,
  • I am never any place, as I shared with you, that I do not
  • see and have access to a direct way out. I want to see the exit
  • sign and I want to be able to get to it. Therefore I don't do
  • marching. I don't do crowds. But I wanted to express my support.
  • And my support was putting out that noose. And what that meant
  • to me and how it was interpreted and how it was experienced has
  • been really edifying to me in terms of the response to it.
  • Because here in Columbia Heights, there was a serious
  • brouhaha around here for a couple of weeks on Next Door
  • Columbia Heights quote unquote, that people were responding to
  • it. And I got the gamut of responses to it, most of which
  • were horrified and appalled. And "this has no place in our
  • community." And "I hope for the day when this doesn't come to
  • be" and on and on and on.
  • So it's given me that art, that particular piece of work is
  • perhaps, excuse me, a more pointed or definitive, definite
  • piece of work that addresses the themes that I've been addressing
  • ever since I've been engaged in this journey in art and history,
  • which is that there is a subtext to American history, to the
  • African American experience that we don't deal with. And that
  • does not serve the--what's the word I want--does not serve the
  • public mythology and public interpretation of history. And
  • therefore, that hidden transcript is not one that is
  • articulated, and is not one that African Americans can draw from,
  • in particular, not only African Americans, but anybody who's
  • been on the downside of things, has a history that is not drawn
  • upon and is not acknowledged and that noose in my mind's eye is
  • part of the subtext of the African American response to our
  • experience that is not addressed, is not dealt with.
  • Because that noose means to me something very different than
  • how it was interpreted, even by a lot of African Americans. And
  • there's another way to get at that story, or there's something
  • else that you could have said, and that there are nicer ways to
  • talk about it than that was a lot. "And I've lived in this
  • community for 33 years, and I've never seen anything like that.
  • And it's horrifying to me to see it. And did somebody do that to
  • you? Are you okay? Are you being threatened yourself in some way
  • or another?" And I know that the noose is a trigger. If I saw a
  • noose, running around and I didn't understand it, I'd
  • probably feel the same way. Depends on who was hanging it
  • and why they were hanging it. But that was a vine as one
  • person said, "Well, it's not really a noose, it's just a
  • vine. It's not a noose tie knot and it's not rope. It's just
  • tied together with some yarn or something. It's not really a
  • slip knot for a noose," and on and on and on.
  • But the noose, that that piece of vine, and what it
  • represented, it's sort of like the spear point to what my art
  • and my historical work are about which is the resistance on any
  • number of levels to enslavement into oppression and the culture
  • of opposition to enslavement and oppression that developed during
  • enslavement by people who were enslaved. And what got them
  • through. Everyone is quite quite, quite, quite aware more
  • than aware of the horrors that they experienced and of the
  • terror that was experienced so many times and just the, the
  • need to deal with that. There is another side to that. The
  • "however" is how did they get over with their souls intact?
  • How did they get through and were not destroyed by that.
  • And that is what I'm interested in that yes, and I'm not
  • diminishing at all, because as I shared with one person I have
  • personal experiences, members of my family have personally
  • witnessed and or experienced and were present, when events that
  • that news represents occurred in their lives, personally, that
  • and these are not ancestors. These were my Uncle Willie and
  • his peers. So this, this happened, not in the 18th, 17th,
  • 16th, even 19th centuries, this is contemporary for all intents
  • and purposes. So don't tell me that I'm not aware of what that
  • means because my family members and I are aware of what that
  • means. And in fact, one time I asked my favorite uncle who was
  • essentially a surrogate father, who had never said, a coarse,
  • word to me in my entire life. I tried to probe him about the
  • history of Jackson County, and he went from zero to 60 on me,
  • and I had never experienced him doing that before and I was
  • taken aback. I think my mouth dropped open for him to talk
  • with me like that, because he had never, ever. And it took me
  • a while to know and understand why he went there. And yet, I
  • look at that man, he raised seven kids, he he took care of
  • the land that his grandfather, my great grandfather was deeded
  • that land is still in the family today. He had a marvelous sense
  • of humor. He could make you laugh until your stomach hurt.
  • He was a wise man. And he himself faced or experienced or
  • saw and witnessed some of the most horrific things that have
  • been a part of the African American experience in this
  • country.
  • So the the public myth of of African Americans and our
  • response to enslavement and to oppression are--we are
  • articulated as having been destroyed by enslavement. And
  • Daniel Moynihan's treatise of the reasons for the demise, if
  • you will, of the African American community are rooted in
  • enslavement misses the point entirely. The public narrative
  • on enslavement and on black people in this country, and to
  • this day it's based on three faulty premises. The first one
  • is that Africans had no culture and no history and no past of
  • note, they had nothing of that sort. The second is that they
  • were spiritually and religiously savages and heathens who ran
  • around trees and who had no concept or no knowledge of God
  • and needed to be saved. And enslavement was actually a
  • method of saving their souls. And so therefore, it was worth
  • it. And the third one is that we rolled over, that African
  • American is rolled over. And that interpretation, that public
  • narrative are still operative, and obviously, have had a
  • deleterious effect on African Americans and on the entire
  • country because they're simply not true. They're lies. They're
  • just so far beyond the reality of what happened, and how we
  • responded to that and how we got over. There's a spiritual sense,
  • sometimes I look back and I wonder how we got over. And my
  • work is about the "however, yes." And my work is about the
  • "however" and let us focus on the things that enabled us to
  • not merely survive but prevail oppression and enslavement to
  • prevail and come out with not only our humanity intact, but
  • our own skills and wherwithall and minds established, to be
  • able and to want to establish a life for ourselves. And that
  • life had been established beyond the respectability politics of
  • many sectors of the African American community, to make it.
  • So that's what the noose is about. And I guess I can pause
  • there to see if that's helpful or where you want to go from
  • here Joy.
  • Joy Pierce
    Yeah, that was wonderful. That was really
  • powerful. And I think I have yet to hear someone state, sort of
  • the the big myth so succinctly with those three points. That
  • was very helpful. So I think my my follow up question for all of
  • this is, it's clear that you see the role of art, of your art
  • particularly, in countering that narrative and saying, "No, you
  • know, we have agency and there's been resistance in this sort of
  • thing." Do you think that there's a particular place for
  • art specifically within the Black Lives Matter movement and
  • what's happening right now? Do you see any sort of parallels
  • there? I know you said you don't March but you make your art.
  • Anne Bouie
    Right. Yeah, well, art has served a functional
  • purpose in the African American--well throughout the
  • aesthetics. The aesthetic of art being functional, and as a part
  • of integral part of society, is certainly rooted in African
  • aesthetic and, and a context. But it's also a pre contact
  • context as well any pre contact culture or civilization across
  • space and time. Since came out of mine, art has served as not
  • only ascetically pleasing, but functional. It has had a role in
  • teaching and healing, in defining who people were,
  • telling people the cultural mythology, mythological and
  • cosmological and religious stories about themselves. Art
  • has been a major tool for how that's done. So it's functional
  • and a part of people's lives. One of the things that we often
  • forget is that all the so called African art, all African art
  • that's collected in a Museum, the beautiful masks, the
  • statues, the carvings, the iron work, all of them, those were
  • not merely art to hang. They were functional and they were
  • used by people and by individuals and by groups. And
  • that's why you'll hear a lot of collectors of African art tell
  • you how careful they are about which pieces they select,
  • because some of those pieces are not to be used or displayed in
  • many contexts, because they're simply too powerful, or the uses
  • to which they were used were very, very secret, very, very
  • sacred, and don't need to be in the hands of people who do not
  • understand that. So I have a lot of African art, but I kind
  • of engage with every piece to see even if I don't know the
  • depths to which it was use to have a sense of understanding of
  • it and not only that, whether or not the piece is something that
  • would feel comfortable with me and that I would feel
  • comfortable with. And that it's even appropriate for me to have.
  • And I've encountered pieces of art in museums and in displays
  • and for sale. And that's like, "Oh, no, no, no, no, no, that's
  • a little too--no, no, this one, no."
  • Anne Bouie
    "But this one, no." So we don't understand the
  • Joy Pierce
    (laughs)
  • extent to which art is functional and serves a purpose
  • and is loaded with meaning on any number of levels. That
  • cultural continuity is a part of what my work is in assuming that
  • there had to have been visual cues on the Underground
  • Railroad, there--
  • Joy Pierce
    Mm Hmm.
  • Anne Bouie
    And that means that art was a tool of resistance,
  • and was intentionally used as a tool of resistance to
  • enslavement and as a tool of agency, quote, unquote. So that
  • my work builds upon that stream that pre contact cultures had a
  • relationship and an understanding of the earth that
  • is only now just being barely recognized and only because it's
  • absolutely essential to do to do it. This point, for example, in
  • Australia and in Northern California's both in both of
  • those places, scientist and forest rangers and all of that
  • have started to work with Aboriginal people in Australia
  • and with Native Americans in this country because they know
  • about using fire in controlled burns, they know about how to
  • work with fire. And they know how to work with the earth in
  • such a way that these kinds of tragedies do not happen with
  • Aborigines and with Native Americans. The things that they
  • know about the earth and about how to work with the earth and
  • the land and respecting it are things that are now being sought
  • out by people, because what do we do about these fires that are
  • cataclysmic that are just simply cataclysmic and will
  • destroy--fires in California are still burning after months. And
  • some of that is because traditional pre contact methods
  • of dealing with the earth have been completely ignored. So that
  • I really have come to value the fact that there are universal
  • principles and uses that transcend time and space, and
  • every single pre contact culture on the planet, every single one,
  • Europe, Africa, Asia, South--everywhere. And I like
  • those cosmological things. I like the fact that all of them
  • used art as functionality. We all know, for example, that the
  • plaids, Scottish tartans, simply by looking at the plaid in
  • somebody's kilt or somebody clothes in Scotland could tell
  • you their tribe, could tell you their affiliations within that
  • tribe, could tell you their age, could tell you what they do,
  • could tell you where they're from simply by looking at
  • someone's kilt. The same thing is true in Africa, that if you
  • look at a woman's head dress. Headdress in particular, it can
  • tell you whether a woman is single, whether she's married,
  • whether or not she's had her first son, all of those things
  • can be shown simply by the clothing and embellishment that
  • a woman wears, her hairstyle, her clothes, all of that can
  • tell you that and and we photograph these photographs of
  • these women in their beautiful clothing and hair and carriage
  • and all of that. And we do not realize that basically that
  • woman is a book to anybody that can read it, can tell you
  • everything about her. There are, for example, I have a piece of
  • art, that is a very beautiful piece of work. And I've learned
  • that it when it's hung on the outside of the house, it means
  • that there is a single woman in there who's available for
  • marriage, just by that.
  • Anne Bouie
    Just a piece of art, I have another piece that I got
  • in Namibia, that the woman told me is quite old and that it is
  • used in the head man's house, it is that it is looked for that's
  • who you go to when you first arrive in a village or a
  • community because they are the person that you sort of check in
  • with. And that's what you look for when you look to people's
  • houses and it's very beautiful. All of the work is very
  • beautiful. But it's also quite functional and has a role to
  • play. And that's what motivates me, and certainly motivates the
  • work from two strains of work, ancestry and the code, visual
  • cues on the Underground Railroad. And since then it's
  • led me to explore and contextualize that with the use
  • of material culture and visual art as tools of resistance in
  • enslavement, and that's where my research has gone. And that's
  • where the studying has gone. And that piece with the vine is
  • rooted in a combination of ancestral meaning as well as,
  • functional meaning. There are things on that piece that if you
  • know what they are inferred to, tell you something that counters
  • the vine itself, the noose itself, all of the adornments
  • and embellishment on that piece of work, for example, convey
  • words and meaning that to someone looking at it who
  • understood would disempower the power and terror of that vine.
  • It would refocus their attention on the "however," that that
  • Joy Pierce
    Wow
  • noose signifies. The terror and demoralization and fear and
  • horror of it are, if not neutralized, are certainly put
  • into a place where they can be dealt with and that they don't
  • destroy, and that there are tools that were involved in the
  • community, either mentally, physically, spiritually or
  • actually on this plane that counter that terror and that
  • horror that made sure that the people did not fold. It is not
  • to say that they were not wounded and they were not
  • scarred. How are you gonna not be? It also says, however, that
  • people were not destroyed by that the culture was not
  • destroyed, their humanity was not destroyed their family
  • units, blah, blah, blah are not destroyed. And that's what my
  • work focuses on.
  • And Black Lives Matter is focusing on the fact that we are
  • of value. And, clearly, we'r of value and that it's
  • not appropriate to continue to s oot people on the street like
  • ogs in broad daylight. And art has played a role in that t
  • a major extent. There have b en too many artists who h
  • ve responded to that, and just as with the Black Panthers w
  • th Emory, who was an artist for he Black Panthers, who used art
  • to tell the story of liberat on, contemporary artists acro
  • s the board have been usef l and have been involved in illu
  • inating and depicting that stru gle.
  • I wouldn't say a problem, but one of my concerns is that we do
  • not focus enough on the "however," of George Floyd. The
  • "however" of every single family in community whose lives have
  • been ripped and sliced and stabbed by these deaths. You
  • don't hear of any of them falling out and laying down and
  • rolling over, I have yet to hear of one family that has rolled
  • over and given up because of that. Every family that--I might
  • be wrong on this but every family who has suffered that
  • tragedy has responded in a way to stand up and to fight and to
  • keep it moving. Which is not to say that every single member of
  • that family does not go someplace and roll around in
  • snot and cry and moan and ask why and be an incredible pain
  • every day. It's horrible to think of somebody you loved and
  • think about the way they die. Dying is enough even if you go
  • to sleep and die in your own bed with your loved ones standing
  • around you. It's going to cause pain and have you hurt and roll
  • around the floor snotting and crying and almost unable to be
  • consoled. Just death alone does that. But to die and to see your
  • child or your husband or your friend or your daughter be shot
  • down like a dog and their bodies literally laying in the street
  • for half an hour before somebody comes to do something about it.
  • It's almost beyond the pale.
  • And yet people have gotten up and Black Lives Matters is a
  • result of seeing somebody's body lay in the street uncovered for
  • 30 minutes, dead and bleeding before somebody comes. That was
  • an impetus for Black Lives Matter. And that alone says
  • something about the response of African American people to
  • trauma and destruction in this country. And that is what I
  • believe needs to be focused on as much as the actuality of the
  • event. The response to that is very powerful to me. And that's
  • my "however," being a southern person and listening to the the
  • ways that Southern people are described that southern men and
  • women are described that they were Samboes and clowns and
  • scratched when they didn't itch and laughed when it wasn't funny
  • and shuffled along and their religion was nothing but about,
  • "On the other side of glory, I'll get saved. And there's
  • nothing to look for on this side of the water." That does not
  • match my experience of my father, of my uncle, of my
  • father's friends. No, it's a direct contradiction to my
  • personal feelings of many of the black men and women that I know
  • that's not them. These are them not that. And so my work focuses
  • on these are them not that, which is not to say that that
  • did not exist. Of course it did because we all know who gave up
  • Denmark Vesey and Gabriel Prosser and probably Nat Turner.
  • They were other black people that gave them up, especially
  • with Gabriel and Denmark. Basically that prevented what
  • probably would have been successful revolts that nipped
  • them because other black people gave them up. And other black
  • people were the ones who went 500 miles into the interior of
  • Africa to drag people out to take to the coasts so that they
  • could be put on ships and sold away. Europeans weren't 500
  • miles into the interior of Africa. They weren't allowed to
  • get off the coast, much less go into the interior. Other black
  • people rounded them up and got them there. So it's not to say
  • that, that the the scope of humanity is not found in black
  • people. Yeah, black people sold other black people, just like
  • white people sold other white people, we have no monopoly on
  • humanity or that sort of thing. And nobody gets out alive.
  • But the point is of the "however," that yes, I was on
  • those ship stripped, inspected, finger stuck in every orifice in
  • my body, and branded and all of this. And however, the "however"
  • is what within me enabled me to get up and not give up. And I
  • would contend that what, Joy, is about spirituality. It's not
  • about my substance and my strength and my character, it's
  • about being able to tap into something that is greater than
  • myself, that enables me to get back up. I don't get up all by
  • myself when the deal goes down. And when my son has been shot
  • down like a dog. I go someplace to a power that is greater than
  • myself. And that, to me is the underpinning of the art and the
  • music and the protest. And so art, my art is based on a
  • spiritual premise, I see making art as a spiritual process. And
  • that artists at their best are allowing themselves to be used
  • as channels for something higher and greater, that can serve
  • people in some way. It's simply not a self absorbed act. I see
  • art as a spiritual process, because it's making something
  • invisible, become visible, and it needs to be treated in that
  • way. That's the way I approach art, I approach art as a
  • spiritual process. And I'm very grateful for being able to be
  • the channel through which some of my better work (laughs) has
  • come through. And so the art that is made that references
  • that not only needs to speak to the horror, it also needs to
  • speak to the transcendence and transcendence is about
  • spirituality.
  • And every movement that's about something that has lasted and
  • had some depth has had an overt, articulate, explicit spiritual
  • dimension to it, not religious but spiritual. It just so
  • happens in modern times that spirituality is often presented
  • in the context of organized religion. They're not the same
  • thing. But that is how spirituality is marshaled and
  • presented, and so with Black Lives Matter to me in the
  • spiritual dimension says, "Yes, we matter." It also says more
  • importantly, is this is how we transcended and this is how we
  • overcame. And it's about understanding that that's a
  • spiritual process. It's not an intellectual process. It's not
  • an intellectual process, for sure. It's not personal
  • psychological construct it is a spiritual construct. And I think
  • that all protest and all desires for a better life are rooted in
  • a sense of the spiritual and the spirituality and value of human
  • beings and the earth, and their spiritual dimension, not merely
  • their political, social or cultural dimension. And I think
  • that movements that acknowledge that explicitly probably have a
  • deeper root system than those that do not. You need a root
  • system. And for me, the root system for African Americans,
  • clearly in this country has always had a spiritual
  • dimension. And all movements, if they're going to be successful,
  • over the long haul, have to have some kind of spiritual dimension
  • to them.
  • And art is one of the ways of, for me anyways of dealing with
  • that spiritual dimension. And it says something not only about
  • what we have suffered, it talks about how we have transcended,
  • and you do not transcend without a spiritual dimension to your
  • work. For me, that is my experience and my opinion that I
  • have been places in my life and times that I know I did not get
  • up from as a result of my own will or from you telling me that
  • I could make it. I got up from them because of the
  • acknowledgement there is a source of strength and power and
  • guidance and all that that is greater than my own and greater
  • than your own intellectual powers. And that's the way I
  • work and believed in carry it. Sort of like that thing, there
  • are no atheists in a foxhole. (laughs) And the other point is
  • that Bob Dylan, in one of the songs he sings, that you're
  • going to serve somebody, you're going to serve something. It's
  • not whether or not you're going to serve somebody or believe in
  • something or somebody or something. It's who and what
  • that is, is the question not whether, because everybody
  • believes in something, and calls upon something. And my
  • experience is the only well that does not run dry and the only
  • well does not depend on my own resources is a spiritual well.
  • And I see that spiritual well, coming through in pre contact
  • cultures very clearly, I see that spiritual well, coming
  • through the religious figures of many people who have been
  • engaged in the movement. One of the things that is kind of
  • disturbing to me these days is that the extent to which
  • religious figures, overt religio s figures, are disdained, and
  • in some ways consciously exclu ed from social movements across
  • he board. And in many ways, tha 's totally understandable.
  • Mm hmm.
  • t's really hard to grasp the f ct that the human beings who go
  • nto religious organizations re just like the human beings t
  • at go into commerce, or b siness, or food cuisine, or far
  • ing or anything else. They're n t any different. The institution
  • in many cases have become suc that are not any difference,
  • the interpretation f the spiritual principles upon
  • which most religions are b sed, are serving power and money
  • and not the growth and the s rvice of people. None of
  • hat can be denied. None of tha can be denied. One person said
  • That is, the experience and the time of religion and so it's
  • "You know, people don't much appreciate religion and spirit
  • ality and the cross whe it's accompanied by a
  • un." (laughs)
  • very, very hard for a religious person, quote, unquote, to be
  • seen and heard as espousing spiritual principles. Because
  • there is not a single major denomination on the planet
  • today, who does not need a Madison Avenue campaign to
  • restore its image.
  • Joy Pierce
    (laughs)
  • Anne Bouie
    There is not a single one and some of the
  • things that you could say about the people in formal religious
  • organizations, it would make you think, like Diogenes going
  • through the streets, looking for one who is honorable. Just can I
  • find one religious figure, that's honorable, please? It's
  • that bad across any denomination. That does not deny
  • the fact that spirituality is not religion, and that you need
  • to find somebody who can articulate spiritual principles
  • for you. And I know for a fact, in Black Lives Matter movement,
  • every single one of the people involved has a very deep
  • spiritual practice, from my reading and of interviews and
  • that kind of thing. Every single one of them has a profound and
  • deep spiritual practice. What the movement collectively needs
  • is that is spiritual undergirding from somewhere,
  • from somebody that everybody can say, "Yes, that we are drawing
  • from a spiritual source and a spiritual well." And in this
  • society, it's very hard for that not to be couched in religious
  • terms. Otherwise, people think you're running around trees
  • under the full moon, when you say spirituality. But that is
  • what sustains movements. That is what sustains the 60 million
  • people who were out in the street because George Floyd
  • died. If that stuff is going to come to anywhere, it has to
  • become beyond "Well, I've done my service. I've been in the
  • streets and marched," or "Yes, I've been outraged. And then I
  • express that and I get a catharsis and I can go sit
  • down." No, it's spirituality that says, that was what I
  • needed and what's done next, and gives people the energy and the
  • power and the will and the faith to keep going, because that work
  • is too hard. That work is too hard. It's too draining. It's
  • too painful to think that people can go through it sustained on
  • their own will they simply cannot, it cannot how many
  • bareaved mothers can you go to and talk to without becoming
  • overwhelmed after a time and without just drained and full of
  • despair? And how do you get up from that? You don't get up from
  • that because you go on a cruise to Baja for two weeks. You
  • don't. You get up from that from being connected to a spiritual
  • source and art is spirituality. All of the art talks about
  • intangible things that helped us get over, help anybody get over.
  • So I've certainly had my hands on my hips about that, haven't
  • I?
  • Joy Pierce
    No, I really enjoyed it. That was extremely profound.
  • And I appreciate sort of the framing, the spirituality as
  • well as like the long term trajectory, the utilitarian
  • purposes of art. I think it sort of gives me a more comprehensive
  • view than I had before. And so shifting gears a little bit, but
  • it's kind of related, I kept thinking about the big mural in
  • Black Lives Matter Plaza in DC, as well as other ones that have
  • sprung up across the US, after George Floyd specifically, and
  • then Breonna Taylor. And knowing that you see these very explicit
  • links between spirituality and art, what is your reaction to
  • big murals that are sort of spearheaded by, you know, local
  • government officials to make these statements? And, you know,
  • what does it say when that sort of like an official
  • representation, that art is sort of like co-opted by the
  • government to say something, even if the people that work on
  • are, you know, local DC artists, and there's a lot of support for
  • it? What's your take on that? I'm just curious.
  • Anne Bouie
    Well, first of all I think that it's really good when
  • the arts are funded by government, local, national, all
  • of that, because artists need to be paid for our work, and we
  • need money for it. And it's good that they are funding the arts.
  • For example, when we put "Black Lives Matter" in 12 foot letters
  • in yellow on the plaza, and do that, and it's done by the--yes,
  • it does. But what I get concerned about is, does
  • government back that up with any kind of real structural change
  • and addressing real structural issues? Because all too often
  • Black Lives Matter is reduced to "Well, I'm not being racist" or
  • "I support black people" or "As a black person, I can't take
  • this anymore, and I won't deal with it anymore. And yes, I'm
  • angry, and I'm not going to sit down." But the core of it is is
  • that it's not about personal feelings about whether or not
  • I'm prejudiced or biased or racist, and it's very
  • disconcerting when people say that they are not a racist or
  • not prejudiced or something or other because my challenge to
  • anybody about how they feel about anybody else is would you
  • like your thoughts in your mind, recorded over a three to five
  • day period, recorded every thought every word, and then
  • print it out for anybody to read? And I don't know a soul on
  • the planet who would say yes. I do not know a single soul that
  • would say yes to that. I know I certainly wouldn't because I
  • think some horrible things about people and everybody else does.
  • So don't say that I don't have any biases or that I'm not--I've
  • had adults say to me that they were not aware that they had
  • biases. It's like what?
  • Joy Pierce
    Yeah.
  • Anne Bouie
    So that the issue is not whether or not I'm a racist,
  • quote, unquote, the issue is that it's like being in LA. The
  • air in LA is brown. You can see it. Now the air in LA except for
  • the Santa Ana winds in the wintertime is brown. Period.
  • They have the air in Shanghai is dark brown. You can see it the
  • air in Mexico City and the air in Houston. Now, if you live in
  • Shanghai, or Mexico City, or Houston, or LA, you are
  • breathing brown air. If you live in America, metaphorically
  • speaking, you are breathing brown air. There's no way around
  • it. Everybody has been affected with it. Xenophobia is quite
  • real. I think in some ways it was necessary when people were
  • running around stabbing mastodons and saber toothed
  • tigers. They were them and we were us. So probably DNA--but to
  • say that I'm not is part of the proble really. Yes, you are and
  • it's okay. You're not going to die and go to hell. You're not a
  • bad person. Nobody's going to kick you out of the spring
  • jack's tournament. You still get to play marbles. But yes, you
  • are. We are. And so the personal dimension is one thing that gets
  • in the way of the willingness to look at the structural aspects,
  • because one of my favorite lines is from James Brown, he said, "I
  • don't want nobody to give me nothing, open up the door, and
  • I'll get it myself."
  • So that when the city pays for a mural that espouses the
  • principles and supports of Black Lives Matter, and at the same
  • time, that very city's budget has $86 million allocated to the
  • Department of Youth Rehabilitative Services, and it
  • serves 250 clients and their budget is $86 million. The
  • budget for the jails is $200 million. And it serves 1000
  • people, a little more, not even 1500 people annually. So their--
  • Anne Bouie
    [inaudible] almost $300 million allocated for less
  • Joy Pierce
    Wow.
  • than 2000 people. And yet that same city's budget for the arts
  • is $34 million. For the Parks and Recreation Department. It's
  • around $30-40 million. For the libraries, it's about the same.
  • And all of those agencies serve far more people. So that if
  • the city is really serious about talking about whose li
  • es matter, they might want to ook at the fact that research
  • as shown that for every dollar s ent on prevention, tw
  • to five are saved on treat ent, and you are spending three
  • times the amount of money to ho se so called juvenile delin
  • uents, then you are on the art program for the entire city.
  • Joy Pierce
    Wow.
  • Anne Bouie
    That's in DC alone. The Philadelphia government came
  • out in support of Black Lives Matter, is closing 23 schools
  • and it's funding a $4 million jail.
  • Joy Pierce
    That shows where their values are.
  • Anne Bouie
    Thank you so that I don't really want to hear about
  • you spraying Black Lives Matter all over the walls or supporting
  • my colleagues who need the money. In fact, if you would pay
  • me to do something, I'd go do it. However I realize, and I'm
  • sure they realize that they are being used to take away
  • attention from the fact that $86 million, that's almost $100
  • million dollars is spent on 215 kids.
  • Joy Pierce
    Wow.
  • Anne Bouie
    That is a travesty. And so when government tries to
  • (sighs) affirm itself, I want to see the numbers and I want to
  • see the figures. It's the same thing with the people doing the
  • marches. Now 60 million people were in the street, at the high
  • point around protesting the murder of George Floyd. Let's
  • assume that, minimally those 60 million people each spent at
  • least $500. Let's assume that they could have spent as much as
  • $1,000 in getting there. For example, the women's march in DC
  • with a million people. And we know that people from around the
  • country came. In fact, several of them stayed here at my house.
  • So you figure transportation, you figure gas money, you figure
  • food, lodging, souvenirs, money to make the signs, money to knit
  • the little pink hats. All of that probably adds up to $1,000
  • per person. Now, what is 60 million times $1,000? I think
  • it's $600 million.
  • Joy Pierce
    Yeah, that's significant.
  • Anne Bouie
    Now, how many houses how much affordable housing
  • could you buy for that amount of money? How many libraries could
  • you build? How many arts programs, how many job
  • employment programs, how many businesses that would hire
  • people over a long time with that much money support? So that
  • I believe that it be great if people would stay at home and
  • put that money in a pot and build some houses and parks and
  • libraries and books and training programs for people, in my
  • mind's eye. Which is not to say that protest does not serve a
  • viable purpose. Of course it does. But $600 million and most
  • of that money goes to the very corporations that people are
  • protesting against.
  • Joy Pierce
    Mm hmm.
  • Anne Bouie
    As in the large hotels dah, dah, dah, dah, dah
  • to city governments. And yet our tax money is paying their
  • salaries and is paying for those kids to be--what is $86 million
  • divided by 215 people, that's enough money to send every
  • single one of them to a $50,000 a year school from preschool to
  • grad school to post grad school.
  • Joy Pierce
    Wow.
  • Anne Bouie
    So that when we look at the way resources are
  • allocated, when people start putting their money where their
  • mouth is, and looking at not to defund the police, because oh,
  • no, no, no, no, we need police. I'm sorry. Every society since
  • time out of mind, is that some equivalent of the police now you
  • need police. Nobody's talking about defunding the police.
  • We're talking about a whole lot of things. But with all due
  • respect, no. What we are talking about is giving the DC Arts
  • Commission as much money as you give the police department so
  • that a program officer who's supporting arts organizations
  • has a million and a half dollars to split between 80
  • organizations.
  • Joy Pierce
    Yeah, wow.
  • Anne Bouie
    So that so that no, I look with a jaundiced, cynical
  • eye at governments. And it's the same thing with philanthropists.
  • You can give money to organizations. Having run a
  • nonprofit, I would love somebody to drop six figures on a
  • nonprofit that I'm running or had been involved. It's a
  • wonderful feeling when they do. You almost levitate, when
  • somebody drops six figures or seven figures on you. At the
  • same time, it would be wonderful if those philanthropists that
  • are putting millions of dollars into it financed some black
  • businesses, financed some black institutions, financed some job
  • training programs that were guaranteed to get people jobs.
  • If George Floyd had a job, he wouldn't have been murdered like
  • that. And when 60 million people get marching in the street,
  • about getting George Floyd a job while he's alive, as opposed to
  • after he's been murdered, then we will be addressing structural
  • change and not personal feelings. And art is, if nothing
  • else, an intricate part of most of the structures, if you will,
  • of the cultures that I resonate with. Art is a part of the
  • structural system. And it's obviously part of our structural
  • system, because we're saying," Oh, yeah, our city is really
  • cool, because we have Black Lives Matter and a Black Lives
  • Plaza." And in the same time, somebody looked like George
  • Floyd would probably be swept up and taken to that $200 million
  • facility. Or people would cross the street if he were alive. And
  • they certainly wouldn't want him to have affordable housing in
  • their neighborhood. And they certainly wouldn't give him a
  • job. And there are a lot of George Florida's still alive and
  • walking the streets who need affordable housing or a job or
  • some literacy training or an employment program.
  • And they're still around. And no, there aren't 60 million
  • people in the street for them. There are $86 million for
  • juvenile facilities and $200 million facilities for jails for
  • the ones for the George Floyds that are still on the street.
  • And that's just a fact. That's just a fact and until our
  • governments address that--Artists are being used, if
  • you will, and and we and we, I realize we realize that. And I
  • know that we're doing the best and what we can with what we've
  • got. So yeah, the mural says something and the mural is true
  • and real. And as a minister that I used to know, would say, you
  • know, saints are needed in Ahab's palace, murals are needed
  • if Ahab pays for them, so bes it, they need it. But that's not
  • the end all and be all of it.
  • Joy Pierce
    One thing that you brought up that I kind of want
  • to circle back to, in the whole discussion of defunding the
  • police, and I know you said that's not something that you
  • stand behind. But do you think that the national conversation
  • surrounding these city budgets and sort of the allocation of
  • resources, do you think that that is something to be hopeful
  • about, the fact that people are maybe for the first time in a
  • while realizing the way that their community spends their tax
  • money? And maybe that there's hope in that?
  • Anne Bouie
    Well, I am a self righteous cynic, Joy. I know I
  • am a self righteous cynic. And in the cold light of day, I have
  • yet to see one piece of local or national or state legislation
  • that does anything about that. Have you?
  • Joy Pierce
    I haven't. I've only seen people talking about
  • budgets. They've been at the local level.
  • Anne Bouie
    Exactly talking about budgets, and those 60
  • million people who need to be right there when they're talking
  • about the budgets have dissipated, or have felt they've
  • done what they needed to do, or have taken the money and done
  • something inappropriate with it, or have taken the money and
  • continued on without tangible things to show with it. So yes,
  • it's important to be talking about budgets, but we've been
  • talking about budgets since time out of mind. And I have yet to
  • see any place where something substantive has actually been
  • done. It's one thing to talk about defunding the police when
  • everybody--No, it's not the police need to be defunded, it
  • needs to be restructured and redesigned and reimplemented to
  • serve. Because traditionally police are or have been about.
  • That's what the patty rollers were about under enslavement.
  • They weren't to protect black people. They were to protect the
  • community from black people. And that is the origin and role of
  • the police. And so until that orientation has changed. In
  • Columbia Heights, you say, "Oh, it's great that we have all this
  • police presence." And then some people are saying, "Oh, yeah,
  • that means I gotta really be careful. And really dodge things
  • because I could get hurt."
  • Joy Pierce
    Mm hmm. Yeah
  • Anne Bouie
    Yeah. So that so that, I would like to think but
  • I need to, it's like Jerry Maguire. Was it Cuba Gooding, or
  • was it Tom Cruise in Jerry Maguire that said, "Show me the
  • money?"
  • Joy Pierce
    Yeah, absolutely.
  • Anne Bouie
    Yeah, I haven't seen the money yet. And until the
  • money is shown, it's all tingling, brass and crashing
  • cymbals. So your hope comes not from what people have done are
  • talking about. There goes back to the spiritual principle. If I
  • put my hope in those 60 million people, or I put my hope in the
  • budgets, that people merely talking about the budgets, and
  • obviously, I would have to go home and sit down, because that
  • hope would be dissipated like fog in bright sunlight. The hope
  • has to be rooted in something else other than what is going
  • on, otherwise, you will crash and burn because nobody has put
  • anything on legislation. So my hope has to rest on spiritual
  • principles that say that the arc of justice is very wide, but it
  • does lean toward justice. And says that, "let one"--I'm going
  • to miss that quote up so I won't even try to say it. But the hope
  • rest in spiritual substinance and drawing on that to keep
  • going not in merely playing the--you have to work as if you
  • think there's no God and you have to pray as if you think
  • that there's no other help, you have to do both. And it's my
  • contention that they fuel one another that you have to work
  • and you have to believe. If you don't believe you won't be able
  • to work. And if you work without belief, it won't be successful.
  • And even if you do work with belief, it can take a long, long
  • time to see success. And then you will get bitter, and you
  • will get discouraged and we'll start to doubt ourselves and
  • anybody we worked with. And that's why going back to art, in
  • spirituality artists to put us in touch with something greater
  • than ourselves and remind us of the invisible that frames and
  • shapes the visible.
  • Joy Pierce
    That's very well put, very well put. Do you have
  • any other things that you really wanted to touch on? Any things I
  • didn't ask you?
  • Anne Bouie
    Well, I think you've been extremely thorough and
  • thoughtful. I really do. Um, I can't right now. All the things
  • that are meaningful to me in terms of explicit involvement in
  • the spirituality of the movement. For example, Reverend
  • Floyd Barber, I think he in his march on poverty--people like
  • William Lamar IV who's pastor of Metropolitan AME Church here in
  • Washington, DC who are talking about justice and who are
  • wielding not only the intellectual prowess to address
  • injustice, but the spiritual muscle to stain that process are
  • people that need to be invited to sit at the table with many
  • people who want to dismiss them and what they say simply because
  • of not being willing to examine things very closely.
  • Joy Pierce
    Mm Hmm.
  • Anne Bouie
    There were a couple other thoughts that I had, Joy.
  • There were three points about black on... The inclusion piece
  • and the healing that's necessary because so many people involved
  • in Black Lives have been marginalized and castigated and
  • demonized by a formal religion. It's very easy to understand why
  • they don't want to have any of it coming. However, there's no
  • way this fight is going to be won without inclusiveness of
  • that sort. And there are a couple of other thoughts. If I
  • think of them, I'll call you back and perhaps get
  • incorporated. But no, I really appreciate your talking with me.
  • And it's really been illuminating for me to think
  • about these things, and encouraging to keep on making
  • art and doing the research that would do something to change the
  • perception of who we are, where we've been, and where we're
  • going. Because sometimes we're fighting shadows that we don't
  • need to fight.
  • Joy Pierce
    Absolutely.
  • Anne Bouie
    We have a wealth of history and experience upon
  • which to draw. I guess one thing I would say is that people don't
  • understand the nature of protest, that these young people
  • who are leading Black Lives Matter are not mushrooms, and
  • they did not spring up out of a vacuum they sprung out of a
  • culture and a context that nourished that. Just so they are
  • not unique, and they are not exceptions. They are exemplary
  • of what it's about. It's just as Harriet Tubman was called the
  • Moses of her people. And she was called Moses that is a biblical,
  • spiritual reference. But she was not a mushroom that grew up
  • overnight, she came out of a context and a culture and
  • movements need to root themselves in a context, culture
  • and there is almost one that's not greater than the African
  • American experience and our prevailing against enslavement
  • and against oppression. And summarizing it, going back to
  • the art into the noose, Ralph Ellison said that, "I am not
  • ashamed that my ancestors were slaves were shot or hung were
  • bred. I am not ashamed that my ancestors were slaves. I am
  • ashamed that I once was ashamed.
  • Joy Pierce
    Wow. Yeah, I mean, that's it, isn't it?
  • Anne Bouie
    Yes, it is. Because if I'm not ashamed, that means I
  • can go back and draw from that well and not cut myself off from
  • that well, can't cut yourself off from the well and you cannot
  • cut yourself off from your roots. We know what happens to a
  • living organism who cuts itself off from its roots. It dies, it
  • dies. Or at least it's stretches along but not with any
  • substance. And if we cut ourselves off from our roots,
  • that's what we might end up doing as a people because we
  • don't value those roots and don't see the lessons from which
  • we gained from which that helped us get over and make it so no, I
  • think I've shared all the thoughts that I have on this I
  • didn't think the noose would lead to things like this but it
  • has and so if it gives us opportunity to just think and
  • mull and to struggle, then I guess it's a good thing, you
  • know.
  • Joy Pierce
    Yeah, absolutely. Thank you so much for your time.
  • And if you think of anything else, feel free to reach out to
  • me I appreciate this so much, you taking the time, so much
  • time to sit and talk with me and do it again. Is there anything
  • else?
  • Anne Bouie
    No, I think that you've been most gracious and
  • forbearing researcher, Joy. I really do and I thank you for
  • that because many people would have just thrown up their hands
  • in the air with what we've been through to get this and
  • obviously I have a place in my heart for students period. And
  • certainly for people trying to get out of grad school but I
  • love the energy and the thinking this and--I always have a
  • working with from everything from the college students at
  • interface. I really enjoyed that and I really enjoy working with
  • you and with people like yourself who are thinking and
  • grappling and acting in a constructive way. And so
  • anything I can do to help you, I certainly would do that. And I
  • want to encourage you and strongly encourage you to keep
  • moving and keep going and keep thinking and grappling and being
  • willing to grapple. That I think is essential to be willing to
  • grapple with the interior, as well as the exterior. And I
  • sense that in you.
  • Joy Pierce
    Thank you so much. That's so kind of you.
  • Anne Bouie
    So, I guess we will know more later, right?
  • Joy Pierce
    Yes.
  • Anne Bouie
    You'll edit this. And if you need me to say any,
  • to clarify anything and everything as you're editing it,
  • please let me know.
  • Joy Pierce
    Absolutely. I will send you of course, a copy of
  • the recording, which I doubt you'll want to listen to the
  • whole thing, but I'll send you a transcript as well.
  • Anne Bouie
    Okay. That would be great to have the recording and
  • have--
  • Joy Pierce
    Mm Hmm.
  • Anne Bouie
    You'll send it over the internet, right?
  • Joy Pierce
    Mm hmm. Yeah, I'll figure out what's the easiest
  • way to do it. But I'll send it to you for sure.
  • Anne Bouie
    Okay, great. And you'll edit it and dah dah dah
  • dah dah with it too, as well.
  • Joy Pierce
    Yeah.
  • Anne Bouie
    Okay, well, then we will keep in touch and I've
  • listened for you and then and we will know more later.
  • Joy Pierce
    All right. Perfect. Thank you.
  • Anne Bouie
    Thank you. Joy, be well.
  • Joy Pierce
    Alright, bye bye.