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Watch a recording of the live event from 10/28/21.
Aliyah Dunn-Salahuddin is an educator, scholar, and performer based in the San Francisco Bay Area. She taught history and is the former Department Chair of African American Studies at City College of San Francisco. She is currently a doctoral student of history at Stanford University. Her research is centered on the Black freedom struggle and civil rights movements in the San Francisco Bay Area, environmental and structural inequality, and racial oppression in urban California. As an artist, Aliyah is interested in utilizing public history and the performing arts to make local histories more accessible to people outside of academia. Her most recent publication, “A Forgotten Community, A Forgotten History: San Francisco’s 1966 Uprising” is featured in The Strange Careers of the Jim Crow North (NYU Press, 2019). https://history.stanford.edu/people/aliyah-dunn-salahuddin
The Strange Careers of the Jim Crow North by Curated by CCSF Librarians, Dayna Holz, and Michele McKenzie.
On October 28, 2021, artist and social justice leader Emory Douglas discussed his remarkable body of work in a talk co-hosted by SFMOMA and City College of San Francisco. In dialogue with educator, scholar, and performer Aliyah Dunn-Salahuddin, Douglas discussed the history, techniques, and concepts of his revolutionary illustration and design work for The Black Panther and Sun-Reporter newspapers and discussed his recent SFMOMA mural commission, REPARATIONS (2007/2021), currently on view on Floor 2 at SFMOMA.
As Minister of Culture and Revolutionary Artist for the Black Panther Party (BPP) from 1967 to the early 1980s, Emory Douglas shaped the visual language of protest in the United States. Douglas designed the party’s newspaper, The Black Panther, which at its peak had a weekly circulation of 100,000 copies and a readership of 400,000. Deploying a unique combination of graphic design, illustration, photo collage, cartoon, and text, he embraced the power of revolutionary imagery to inspire political consciousness in everyday people. After the BPP dissolved in the early 1980s, Douglas stayed committed to the liberation struggle, remaining a key figure for new generations of artists and activists around the world.
Visit SFMOMA to see the installation of Douglas' mural REPARATIONS (2007/2021): sfmoma.org/read/emory-douglas/
Watch a video of Emory Douglas discussing the ideology behind his mural REPARATIONS.
Charles White: Black Pope by 
Afrikan Alphabets: The Story of Writing in Afrika by 
W. E. B. du Bois's Data Portraits: Visualizing Black America by 
Shake Loose My Skin: New and Selected Poems by 
A Voice That Could Stir an Army: Fannie Lou Hamer and the Rhetoric of the Black Freedom Movement by Mr. Douglas mentioned his connection to the Polynesian Panther Party, an international BPP affiliate. You can learn more about them in this Radio New Zealand article.
Mr. Douglas was influenced by the Cuban poster artists and the work coming out of OPSAAAL (Organization in Solidarity with the People of Africa, Asia, and Latin America) .
Sam Is Not My Uncle: The USA in Cuban Poster and Billboard Art by 
