Variety logoVariety, the entertainment industry daily, has a complimentary review this morning of Traces of the Trade.

The reviewer, John Anderson, describes Traces as a “courageous scab-ripper of a tale … raising very troubling questions about what it means to be black or white in America.”

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A film student at NYU, Aislinn Dewey, has created a wonderful, moving three-minute animated short, entitled simply “Privilege,” based on the work of Peggy McIntosh on “white privilege.”

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This cartoon about reparations and the debt owed to blacks, by Stephanie McMillan of minimumsecurity.net, comes courtesy of The Black Sentinel:

Pay up (reparations)

I ran across an interesting post today, on the question of who might give or receive compensation for the history of their ancestors:

should the govt pay reparations to Irish families who lost loved ones during the civil war?

after all they are the only true victims, thousands of Irish got off the boat in New York, and were carrying a gun for the US, fighting to end a slavery cause they had nothing to do with. … not to say the slaves were a guilty party, but I think that if you give reparations to blacks, and reservations to native americans, you should give reparations to Irish descendent’s that honorably fought to end a slavery cause they had no part in making.

I think this position isn’t at all unusual among many whites in this country, and I believe it illustrates several important issues.

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As we continue to screen Traces of the Trade in more venues, and prepare to take the film nationwide in the coming year, we’re going to be holding a weekend retreat in December with staff from Crossroads.

Crossroads conducts training sessions to assist institutions in analyzing and addressing systemic racism in institutional contexts. They are going to be conducting a version of their 2-1/2 day training workshop for Traces participants and staff. The particular goal of the training, in our case, is to aid our ability to have conversations about race with those who may have different perspectives, including each other and those who view the film.

I’m particularly interested in Crossroad’s focus on historical racism and on institutional analysis and change.

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