Albuquerque Celebrates Kwanzaa, a Cultural Holiday

Long-time educator Brenda Dabney indicates that she was among the first to
introduce the celebration of Kwanzaa to Albuquerque. Kwanzaa is a unique
African American celebration with a focus on the traditional African values of
unity, self determination, collective work and responsibility, cooperative
economics, purpose, creativity, and faith. Kwanzaa is neither political nor
religious. It is a time to reaffirm African-American people, their ancestors, and
culture.

Kwanzaa means “first fruits of the harvest” in the African language Kiswahili.
Since its inception in 1966 more than 18 million people worldwide have observed
Kwanzaa, among them a number of Blacks in Albuquerque. Kwanzaa is a festival
celebrated from December 26 through January 1. It is a cultural holiday, not a
religious one, practiced by Africans of all religious faiths who come together to
celebrate their rich, ancient and diverse African culture.

Albuquerque Celebrates Juneteenth

Restauranteur Josef Powdrell began the Albuquerque Juneteenth celebration 30
years ago along with Nazim Pasha, an American Muslim, Ed Johnson, a vocalist
and employee of U.S. West, and Clarence Smith. Historically, Juneteenth is
African American Independence Day signaling the end of slavery in the
Southwest. It commemorates the day when Union General Gordon Granger read
the Emancipation Proclamation in Galveston, Texas, freeing 250,000 slaves in the
Lone Star state. This was on June 19, 1865, over two and one-half years after
President Abraham Lincoln signed the Emancipation Proclamation.

Though the Emancipation Proclamation and the 14th and 15th Amendments to the
United States Constitution legally freed Blacks, they were largely unable to vote or
purchase property.

“Black Codes were in existence and still are in some cases,” states Ron Hinson,
long-time Albuquerque Juneteenth Celebration Committee chairman.“Blacks
needed permission to come into towns. The codes were used to isolate Blacks
economically. Slaves or ex-slaves were kept in positions where they could not
advance by real estate covenants, redlining, and steering.”

The United States Congress recognized Juneteenth or “the 19th of June” as
America’s second Independence Day through the passage of Senate Joint
Resolution 11 and House Joint Resolution 56 in 1997. In the 2006 legislative
session, New Mexico became the 19th state to recognize Juneteenth as a state
holiday. With the passage of HB 226 sponsored by Majority Whip Sheryl
Williams Stapleton, “Juneteenth Freedom Day” was established as a state holiday
on the third Saturday in June. There is also a movement to make Juneteenth a
national holiday throughout the United States.

“Americans need to understand that there is no distinction between Black History
and American History,” explains Hinson. He explains that “Juneteenth
commemorates African American freedom and emphasizes education and
achievement. It is celebrated to mark the end of slavery and to honor those who
endured slavery, especially those who moved from slavery to freedom.”

The traditional outdoor Albuquerque Juneteenth celebrations include music,
traditional foods, African educational/cultural displays, African art, children’s
programs, African storytellers, and fashion shows. Musical entertainment often
includes popular jazz vocalist Michael Herndon, gospel choirs, and local bands.
The African American hymn, “Lift Every Voice and Sing,” a song which began
each day of school in segregated schools in New Mexico and throughout the
South, is sung.

Hinson states that Juneteenth’s growing popularity signifies a level of maturity
and dignity in America that is long overdue. He states: “In cities across the
country, people of all races, nationalities, and religions are joining hands to
truthfully acknowledge a period in our history that shaped and continues to
influence our society today.”

Traditional sponsors of Albuquerque’s Juneteenth festivities include: Intel
Corporation, the City of Albuquerque, the Albuquerque Human Rights Office, the

Bank of Belen, Rick Johnson & Company, Honeywell Human Resources, Isshin
Ryu Club, and the Thomas Bell Community Center.

State of New Mexico Office of African American Affairs

New Mexico State Representative Sheryl Williams Stapleton was instrumental in
the passage of House Bill 909 that established the State Office of African
American Affairs in 1999. The objectives of the New Mexico Office of African
American Affairs are to enhance the quality of life for African Americans in the
state and to increase responsible participation of Blacks in all facets of New
Mexico’s continuing growth and development.

The mission of the Office is to:

*Study, identify, and recommend solutions to issues of concern relevant to
African Americans;

*Ensure recognition of the accomplishments and contributions by African
Americans in New Mexico and the United States; and

*Act as an advocate for African American citizens of New Mexico.

The goals of the Office of African American Affairs concern education, health
care, teen pregnancy, crime and incarceration, housing, and substance abuse in the
Black community.

Sylvester “Butch” Brown was appointed the first Executive Director by Governor
Gary Johnson. Alice Faye Kent Hoppes was appointed the second Executive
Director by Governor Bill Richardson in 2002. When Mrs. Hoppes passed away in
2003, Doris Fields served as Interim Director.

Governor Bill Richardson appointed Dr. Harold Bailey as Executive Director of
the Office of African American Affairs in 2003. Dr. Bailey continues to hold this
position.

African American Museum
and Cultural Center of New Mexico

Tonya Covington, former President of the African American Museum and Cultural
Center of New Mexico, also states that few people are aware of the history of
Blacks in the state. She indicates that the word “cowboy” was a term first used to
describe Black men often referred to as “boys” who were working with cattle. She
states that one-third of all the early cowboys in the West were Black. Another little
known fact is that the first business owner in Santa Fe was an African American.

Covington states that in light of the lack of information about Black history in
New Mexico outside of the Black community, in the fall of 2002 the Director of
the Office of African American Affairs, Butch Brown, and the Director of the
University of New Mexico African American Student Services, Scott Carreathers,
invited all interested Black community organizations to a meeting to discuss the
formation of a museum to house the history of African Americans in the state.
Representatives and individuals from more than 50 organizations convened. The
consensus of the community was that the time was right to begin the official push
for an African American Museum of New Mexico.

The group established a working committee, and the organizing began. The
committee researched other African American museums across the country and
contacted the Association of African American Museums. The information
gathered would assure that the New Mexico Museum would not suffer the same
problems that other museums had encountered. In the two years since its
inception, the working group has formed a Board of Directors, acquired non-profit
status, exhibited historical photographs at several venues, and is currently
pursuing a building that will house the collection of photographs and artifacts.

Carter Woodson, founder of Negro History Week in 1926, said “We should
emphasize not Negro History, but the Negro in history.” Covington says that the
African American Museum and Cultural Center of New Mexico seeks to do just
that.

Artistic Traditions

Blacks have made major contributions in music, dance, theater, and the visual arts
to Albuquerque and New Mexican culture. Gospel singing remains strong in
Albuquerque churches though many of the earlier traditional styles of music such
as string band music are no longer practiced in the community. In the 1920’s
through 1940’s there were Black swing musicians as well as a restaurant and
lounge called’“Chet & Pert’s” that entertained Black residents. After segregation
laws were banned, many Black jazz players began appearing in local clubs.
Albuquerque has also produced talented classical players and award-winning
Black storytellers. There are also talented visual artists including painters, potters,
woodcarvers, and quilters.

Three of the many prominent artists on the current Albuquerque arts scene include:

Linda Cotton

Linda Cotton is known throughout the world for her melodious musical
interpretations from gospel to contemporary jazz. She has performed throughout
Europe, Canada, and the United States. She has received numerous awards for her
contributions to the community including “Woman on the Move” from the YWCA
and “Footprints” from the NAACP. Her fundraisers for people living with AIDS,
children, and the homeless as well as for the arts and civic causes won her the
“Albuquerque Community Foundation Award.”

Ramona King

Ramona King is a weaver of tales, fantasies, and dreams. She has performed at the
New Mexico State Capitol Building for African American Day and at the White
House for its annual Family Easter Event. In August 2003 she appeared as the
storyteller among Divas of New Mexico for “SaVvi Fair,” a Rape Crisis Center
fundraising event. She was also one of three local artists chosen to conduct a post-
concert workshop with Sweet Honey in the Rock, a South African a capella group.
She is featured among fellow storytellers on the award winning CD “Rainbow
Tales.” King attended Cornell University and the University of New Mexico
where she received her degree in education. She has taught in New Mexico and
New York.


Awadagin Pratt

Awadagin Pratt, an Albuquerque resident, launched his career as a classical pianist
when he won the Naumburg Competition in 1992. Currently College-
Conservatory of Music Piano Professor with the Cincinnati Symphony Orchestra,
Pratt often returns to his home and performs solos with the New Mexico
Symphony Orchestra. He is noted for his unconventional dreadlocks and athletic
build. Pratt is a graduate of the Peabody Conservatory of Music in Baltimore,
Maryland.

Conclusion: Lift Every Voice and Sing

The history of Blacks in Albuquerque and New Mexico reflected in this Booklet
shows African Americans to be a strong and resilient people able to face and
surmount obstacles at every turn. The Booklet indicates that Black history told by
Blacks reveals a steady stream of resourceful individuals from the early explorers,
to the settlers arriving to found Black towns like Blackdom after the Civil War, to
the Buffalo Soldiers who fought with phenomenal bravery to protect those living
on the frontier. It also reveals that Blacks and others organized in the 1950’s
through the 1960’s to work for civil rights legislation in Albuquerque years before
such legislation passed on the state and national levels.

This ability to persevere in the face of adversity is also reflected in the words and
music of’“Lift Every Voice and Sing,” also known as the Black National Anthem.
This is the song that was sung at the beginning of every school day in segregated
schools in southern New Mexico and across the South. It is still sung at annual
Juneteenth celebrations and other events in Albuquerque and throughout New
Mexico. Somewhat somber, yet full of faith and hope in the future, the song
reflects the dark past but remains certain that in the future liberty will prevail.

Composed by John Rosamond Johnson with the lyrics written by his brother,
James Weldon Johnson, the song was written in 1900 for a birthday celebration
for Abraham Lincoln. James Weldon Johnson was then a school principal in
Jacksonville, Florida, and his brother John Rosamond Johnson was a music
teacher. James Weldon Johnson went on to become Executive Secretary of the
NAACP, and the NAACP adopted “Lift Every Voice and Sing” as its official song.
Julian Bond, former NAACP Chairman, says that even all these decades later, the
song still holds deep meaning for the civil rights movement. He states, “When
people stand and sing it, you just feel a connectedness with the song, with all the
people who’ve sung it on numerous occasions, happy and sad over the 100 years
before.”

The words to “Lift Every Voice and Sing” follow:

Lift every voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us,
Facing the rising sun of our new day begun
Let us march on till victory is won.


Stony the road we trod,
Bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears have been watered,
We have come, treading our path through the blood of the
slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.


God of our weary years,
God of our silent tears,
Thou who has brought us thus far on the way;
Thou who has by Thy might
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, Our God, where we met


Thee;
Lest, our hearts drunk with the wine of the world, we forget
Thee;
Shadowed beneath Thy hand,
May we forever stand.
True to our GOD,
True to our native land.