“Voices for the Environment: A Century of Bay Area Activism,” an Oral History Center exhibit in The Bancroft Library Gallery

A green, brown, and blue banner that reads "Voices of the Environment: A Century of Bay Area Activism" hangs on a light post outside The Bancroft Library on UC Berkeley's campus
Banner for “Voices for the Environment” exhibit outside The Bancroft Library

We’re excited to announce the opening of Voices for the Environment: A Century of Bay Area Activism, a Bancroft Library Gallery exhibition that was curated by Todd Holmes, Roger Eardley-Pryor, and Paul Burnett of the Oral History Center. Voices for the Environment traces the evolution of environmentalism in the San Francisco Bay Area across the twentieth century. In three sections, it highlights how Bay Area activists have long been on the front lines of environmental change—from efforts to preserve natural spaces in the wake of the 1906 San Francisco earthquake and fire, to the midcentury fight for state regulations to protect San Francisco Bay shoreline, to more recent demands for environmental justice to address the disproportionate burden of pollution that sickened communities of color around the Bay.

Several people sit and stand in the exhibit space, with some sitting in front of a video display while others stand and look at photographs on the wall of the exhibit
Visitors experience the “Voices for the Environment” exhibit, curated by the Oral History Center, in The Bancroft Library Gallery

Our Voices for the Environment exhibit is the first major effort in The Bancroft Library Gallery to showcase oral history alongside the traditional archival collections of The Bancroft Library, with the oral history collections leading the way. The exhibit still features historic photographs, pamphlets, post cards, and posters selected from several collections of The Bancroft’s physical archives. But for the first time in this gallery, our Voices for the Environment exhibit also includes three installations of special Audio Spotlight technology where you can listen to never-before-heard oral history recordings with Bay Area environmentalists, while simultaneously watching three videos edited by Todd Holmes that feature historic photographs and rare film footage from The Bancroft’s digital collections. Additionally, as a complement to the exhibit, curators Todd Holmes and Roger Eardley-Pryor created an educational workbook, so students of all ages can learn about the environmental movement by engaging with the themes and primary sources on display. Through these efforts, the Oral History Center hopes Voices for the Environment will have a life beyond its yearlong run.

On a blue, brown, and green background is white text that reads "Voices for the Environment A Century of Bay Area Activism, Podcasts for The Bancroft Library Gallery Exhibition, University of California Berkeley, Oral History Center, October 6, 2023–November 15, 2024."
Podcasts for “Voices for the Environment” were produced by Todd Holmes and Roger Eardley-Pryor of the Oral History Center, with help from Sasha Khokha of KQED. The podcast images, and the exhibit space, were designed by Gordon Chun.

For an even deeper dive, you can also scan a QR code in the gallery, or click the following link, to hear three Voices for the Environment podcast episodes produced in partnership with Sasha Khokha of KQED Public Radio and The California Report Magazine. The podcast episode for section 1 of the exhibit, titled “A Preservationist Spirit,” traces the environmental activism that arose amid the rebuilding efforts of San Francisco after the 1906 earthquake and fire, efforts that came to target the state’s ancient redwood forests and the beloved Hetch Hetchy Valley in Yosemite National Park. The episode features historic interviews from the Oral History Center archives including segments from the “Growing Up in the Cities” collection recorded in the late 1970s by Frederick M. Wirt, as well as oral history interviews with Carolyn Merchant recorded in 2022, with Ansel Adams recorded in the mid-1970s, and with David Brower recorded in the mid-1970s. The oral history of William E. Colby from 1953 was voiced by Anders Hauge, and the oral history of Francis Farquhar from 1958 was voiced by Ross Bradford. This first episode also features audio from the film Two Yosemites, directed and narrated by David Brower in 1955. The podcast episode for section 2 of the exhibit, titled “Tides of Conservation,” tells the story of the Save San Francisco Bay movement and the creation of the San Francisco Bay Conservation and Development Commission (BCDC), one the nation’s first environmental regulatory agencies. The episode features segments from oral history interviews with Save The Bay founders Esther Gulick, Catherine “Kay” Kerr, and Sylvia McLaughlin recorded in 1985; as well as interviews with BCDC executive director Joseph Bodovitz and chairman Melvin B. Lane, both recorded in 1984. And the podcast episode for section 3 of the exhibit, titled “Environmental Justice for All,” spotlights efforts by communities of color to place the health of people within the environmental agenda, including creation of new environmental organizations like the West County Toxics Coalition, the Urban Habitat Program, and APEN (Asian Pacific Environmental Network), all founded in the Bay Area. The episode features segments from oral history interviews with Carl Anthony, Pamela Tau Lee, Henry Clark, and Ahmadia Thomas, all recorded in 1999 and 2000.

The Voices for the Environment exhibition space was designed by Gordon Chun and is free and open to the public Monday through Friday between 10am to 4pm from Oct. 6, 2023 to Nov. 15, 2024, in The Bancroft Library Gallery, located just inside the east entrance of The Bancroft Library.

We hope you come to campus and experience it!

ABOUT THE ORAL HISTORY CENTER

The Oral History Center of The Bancroft Library preserves voices of people from all walks of life, with varying political perspectives, national origins, and ethnic backgrounds. We are committed to open access and our oral histories and interpretive materials are available online at no cost to scholars and the public. You can find our oral histories from the search feature on our home page. Search by name, keyword, and several other criteria. Sign up for our monthly newsletter  featuring think pieces, new releases, podcasts, Q&As, and everything oral history. Access the most recent articles from our home page or go straight to our blog home.

Please consider making a tax-deductible donation to the Oral History Center if you’d like to see more work like this conducted and made freely available online. While we receive modest institutional support, we are a predominantly self-funded research unit of The Bancroft Library. We must raise the funds to cover the cost of all the work we do, including each oral history. You can give online, or contact us at ohc@berkeley.edu for more information about our funding needs for present and future projects.


Senga Nengudi: Black Avant-Garde Visual and Performance Artist

As a continuation of our work for the Getty Research Institute’s African American Art History Initiative (AAAHI), Dr. Bridget Cooks and I conducted several oral history interviews with the avant-garde artist Senga Nengudi. This interview is one of several AAAHI oral histories exploring the lives and work of Los Angeles-based artists, and highlights Nengudi’s contributions to visual and performance art.

Senga Nengudi and her pantyhose sculptures.
Senga Nengudi setting up for a performance with R.S.V.P. X, 1976. Senga Nengudi Papers, Amistad Research Center, New Orleans. © Senga Nengudi.

Senga Nengudi is an avant-garde artist best known for her abstract sculpture and performance art. Nengudi was born in Chicago, Illinois, in 1943 and moved to Los Angeles, California, at a young age. She attended California State University, Los Angeles (CSULA) for both her undergraduate and master’s work, as well as completed a program at Waseda University in Tokyo, Japan. Nengudi was active in the avant-garde Black art scenes in Los Angeles and New York during the 1960s and 1970s, and was a member of the Studio Z Collective. She is best known for her R.S.V.P. (Répondez s’il vous plaît) Series featuring pantyhose, which she began in 1975. Nengudi is the recipient of many awards, including the Louis Comfort Tiffany Foundation Award in 2005, the Anonymous Was a Woman Award in 2005, the Denver Art Museum Key Award in 2019, and was elected as a member to the American Academy of Arts and Sciences in 2020. Find this interview and all our oral histories from the search feature on our home page. You can search by name, key word, and several other criteria.

Senga Nengudi was still in elementary school when she and her mother moved to Los Angeles in the early 1950s. Despite a brief stint in New York, for more than thirty years she lived in the greater Los Angeles area first as a child; as a student at CSULA; as an artist and active member of the Studio Z Collection; and as a young mother. That Nengudi called Los Angeles home for so long meant that her formative years of creative expression and early artistic networks sprang from the Southland. 

Looking back, Nengudi credits her mother with providing a creative foundation.

“…she was very, very, very conscious of the home and making something home, and so she would decorate the house. And then, say like three years later, she would repaint the walls, she would change the upholstery, she would do all those kinds of things. She was very aesthetically aware, as well as needed a particular beauty in her home to feel good.”

And Nengudi expressed her own creativity through several outlets, remembering, “It’s always been a deal between art and dance with me…” Indeed, during her undergraduate years at CSULA, she chose to major in art and minor in dance—a pairing which supports much of her work.

In the mid-1970s, Nengudi found an outlet to express her love of performance through the Studio Z Collective—a collective of artists interested in improvisation that continued into the 1980s. In addition to Nengudi, Studio Z was comprised of Houston Conwill, David Hammons, Maren Hassinger, and occasionally other artists including Franklin Parker and Ulysses Jenkins. Her relationships with these artists also had a great impact on Nengudi’s artistic career. Thinking of Studio Z’s contribution to her 1978 performance Ceremony for Freeway Fets, which took place under a freeway overpass on Pico Blvd., she muses that “we all kind of supported each other in our efforts.”

Nengudi also found early support from Los Angeles-based gallery owners like Greg Pitts at the Pearl C. Woods Gallery, as well as Brockman Gallery’s Alonzo and Dale Davis. In fact, Brockman Gallery’s dispersal of CETA [Comprehensive Employment and Training Act] funds helped employ artists like Nengudi and Maren Hassinger.

Hassinger remains Nengudi’s longtime creative collaborator. Nengudi recalls that the connection between the two was immediate, “We just kind of instantly became friends, because there was this commonality. She was involved with dance, she was involved with sculpture, all that kind of stuff.” And to why this collaboration with Hassinger has sustained both the passing of years and geographical distance, Nengudi explains:

“Because we believe so much in collaboration. We believe in unity. We believe in bringing the best out in each other…Even though our background is different, our interests are the same. It’s always been dance, performance, sculpture, movement, and this commitment to our art. And when we had some really funky times and we were 2,000 miles apart, the thing that held us together was this commitment to art. And so that kind of carried us through the most difficult things…So all these life events were going on, but the constant was our ability to connect and think and make happen.”

Senga Nengudi and her pantyhose sculptures.
Senga Nengudi setting up for a performance with R.S.V.P. X, 1976. Senga Nengudi Papers, Amistad Research Center, New Orleans. © Senga Nengudi.

Nengudi’s most recognizable series of work is R.S.V.P., which she started in the mid-1970s. The R.S.V.P. Series, or Répondez s’il vous plaît (respond, please), demonstrated Nengudi’s experimentation with nylon pantyhose. Importantly, Nengudi began working in this medium after the birth of her first son, when she was especially interested in the elastic nature of a woman’s body. She recalls, 

“So yes, the explorations were really exciting. I put eggs in them, I broke eggs in them…I used white glue, I used hot glue, which obviously didn’t last that long. I tried everything—resin. Again, it dissolved in the resin. So really, as I was developing the series, it was all about exploring the material…And it took a while to get to…the sand, where I just noticed that…once in the nylons, it had such sensuality to it, because it had this kind of natural body form from the weight of the sand.”

Given the experimental nature of her sand-filled nylon pieces, Nengudi explains, “I thought about them as sculpture first. I did not develop them thinking that I would perform in them.” But Nengudi eventually did embrace the performative potential of these sculptures, even engaging Hassinger to perform with them at the Pearl C. Woods Gallery in 1977 by entwining her body with the material, manipulating it, even dancing with it. 

Nengudi has lived in Colorado since the 1980s, and continues to stimulate audiences by creating work that plays with the line between sculpture, installation, and performance in space. However, she has also made significant contributions as an arts educator, especially at University of Colorado at Colorado Springs, and as an advocate of the arts. Namely, she established a community art gallery called ARTSpace in Colorado Springs so that “artists could show their work” and learn “what it takes to have an art exhibit.” The added bonus, of course, was that “the community could come in and see the artwork. It was right there for them.” For someone whose early exposure to creative expression was so formative to her artistic practice, this is a logical next step to engage new generations of artists and viewers. It also connects with her decades-long entreaty to audiences: “respond, please.”

To learn more about Senga Nengudi’s life and work, check out her oral history interview! Find this interview and all our oral histories from the search feature on our home page. You can search by name, key word, and several other criteria.

 


Oral History Center Celebrates “Graduates”

Spring is a time of year when things begin anew. Flowers bud new petals, days have new length, and college graduates embark on new careers. It’s also a time when we at the Oral History Center celebrate an exciting phase of our narrators’ lives: a new life in our archive, where their story will live on in perpetuity. Not only can a narrator’s loved ones, friends, and colleagues access their interviews for years to come, students, researchers, and scholars can learn something about a time and a place, illuminating an aspect of history they might not have previously considered.

One way the UC Berkeley Oral History Center (OHC) likes to usher in this new phase of a narrator’s life is to have a “graduation” ceremony to honor their participation in the oral history process. Traditionally, we did this in person at the Morrison Library here on UC Berkeley’s campus, but like many things, we’ve had to adjust in the wake of the COVID-19 pandemic. Now, we like to list their names and the projects for which they were interviewed online and in our newsletter so that all those in the OHC’s community can celebrate their contributions with us from near and far. 

Please join us in expressing our appreciation for our latest cohort of narrators, spanning from fall 2021 to spring 2023. We are grateful to have their voices in our collection and their stories a new part of the historical record.

We also want to thank the OHC team—Paul Burnett, David Dunham, Roger Eardley-Pryor, Shanna Farrell, Todd Holmes, Jill Schlessinger, and Amanda Tewes—for their work in making these interviews come to fruition, along with the support from our student employees, who are a valuable part of our process: Max Afifi, Mollie Appel-Turner, Hue Bui, Mina Choi, William Cooke, Georgia Cutter, Nikki Do, Adam Hagen, Jordan Harris, Vivien Huerta-Guimont, Ashley Sangyou Kim, Ricky Noel, Deborah Qu, Mela Seyoum, Lauren Sheehan-Clark, Joe Sison, Erin Vinson, Shannon White, Serena Williams, and Timothy Yue.

Bravo, Oral History Center Class of 2023!

transcripts on shelves

Anchor Brewing Co.

Mark Carpenter

Gordon MacDermott

Fritz Maytag

Linda Rowe

 

Bay Area Women in Politics

Louise Renne

Ruth Rosen

J.J. Wilson

California Business

Fred Martin 

 

California Cannabis

Oliver Bates

 

California State Archives State Government Oral History Program

Wesley Chesbro

Fran Pavley

Lois Wolk 

Bill Lockyer 

 

Chicana/o Studies

Adele de la Torre 

Ignacio García 

 

East Bay Regional Park District

Ira Bletz

Ginny Fereira

Neil Havlik

Carol Johnson

Doug McConnell

Ruth Orta

Bethia Stone

Jeff Wilson

Mark Taylor

Mae Torlakson

Tom Torlakson

Will Travis

Nancy Wenninger

 

Environment/Natural Resources

Mary D. Nichols

 

Getty Research Institute’s African American Art History Initiative

Marion Epting

Maren Hassinger

Leslie King-Hammond

Thaddeus Mosley

Sylvia Snowden

William T. Williams

Vickie Wilson

Richard Wyatt

 

Getty Trust

Jerry Podany

Uta Barth

Tobey Moss

Katrin Henkel

 

Japanese American Intergenerational Narratives

Miko Charbonneau

Bruce Embrey

Hans Goto

Patrick Hayashi

Jean Hibino

Mitchell Higa

Roy Hirabayashi

Carolyn Iyoya Irving

Susan Kitazawa

Naomi Kubota Lee

Ron Kuramoto

Jennifer Mariko Neuwalder

Kimi Maru

Lori Matsumura

Alan Miyatake

Margret Mukai

Ruth Sasaki

Steven Shigeto Sindlinger

Masako Takahashi

Peggy Takahashi

Nancy Ukai

Hanako Wakatsuki-Chong

Rev. Michael Yoshii

 

Moore Foundation

Edward Penhoet

Kenneth Siebel

James C. Gaither

 

National Park Conservancy

Greg Moore

 

Sierra Club

Rhonda Anderson

Bruce Nilles

Verena Owen

Rita Harris

 

Resources and Planning

Anders Hauge

 

San Francisco Politics

Norman Yee 

 

University History

Doris Sloan

Carolyn Merchant 

Randy H. Katz