Antiracism – Tessa M. Perko's Blog

Glitter, Gloss & Human Dignity

Last Saturday, I attended the San Francisco Gay Men’s Holiday Spectacular at the Sydney Goldstein Theater in San Francisco for the first time. Oh! What a night!

When my daughter and I arrived, a quiet but eager crowd was gathered around the theater’s entrance. We donned our required Covid masks and presented our tickets to a friendly usher who pointed to the stairs. Above, another smiling usher led us to our excellent seats and we sat down—only two in a theater filled with Christmas sweaters and holiday cheer. Excited voices murmured throughout the cavernous room.

The stage curtain was lit up with the title of the chorus in capitalized red letters, and, a few minutes later, the curtain opened to reveal the silhouette of risers brimming with over 200 singers. The lights came on, and the audience suddenly saw ten rows of men dressed in long-sleeved red T-shirts and black bottoms on a staircase of risers. The orchestra began, the conductor raised his arms, and the men began to sing.

Young men, gray-haired men, bald men, men with beards, men wearing skirts, men with canes, and men sitting on stools all crowded the risers and faced the music conductor with professionalism and purpose. No one read lyrics from a song sheet. All of them sang by memory.

The chorus sang “On this Shining Night” by Morten Lauredsen, a song I had sung with the Blackhawk Chorus a few years ago. The men’s voices were rich, on tune, piano and forte. I fell in love with their sound.

After each song, several chorus members quietly exited from the risers and went back stage. As the next song began, these members came back on stage as dancers in various costumes to complement the chorus. Some stood at microphones at the front of the stage to sing solos.

In the middle of the performance, the chorus sang a long rendition of “Jingle Bells” that got the audience toe-tapping and clapping. They sang many verses in a variety of styles that became more exuberant all the way to the song’s finale.

The song that sent shivers up my spine was “Huddled Masses” by Shaina Taub, a song about the plight of immigrants and our moral duty to support them. The conductor explained to the audience that, although this wasn’t a Christmas song, it promoted the spirit of Christmas, which is love.

On the right side of the stage, in front of a glowing Christmas tree, was a sign-language interpreter who signed the words of each song. His hands gracefully moved as the singers slowed their tempo and stretched the lyrics over a series of beats.

One of the last songs was “Silent Night.” The orchestra began the introduction and then the chorus, instead of singing, signed the first verse silently. When it was time for the second verse, the orchestra stopped, and the chorus continued to sign the verse as the audience watched in silent wonder. In the quiet of the moment, my heart filled with so much gratitude to the chorus for expressing what a deaf person hears and how silence can evoke wonder and awe.

Later in the program, the chorus held a moment of silence for the five LGBTQ persons recently gunned down in Colorado Springs. For two hours, without an intermission, and with energy and vitality, the chorus recited lyrics of peace and promoted love in both prose and lyrics. This was a night filled with joy despite life’s hardships and disappointments.

I left the theater with happiness in my heart—contentment that I live near San Francisco, a city filled with respect and love for the LGBTQ community—because I know, that a culture that treats all persons with dignity is the cheeriest place on earth.

Feeling Better about America after Visiting the South

I just completed a trip to Savannah, Hilton Head, and Charleston and, now, I feel better about the United States.

During the last six years, the news has plagued viewers with stories about racism, some of which were unfortunately true and others which were sensationalized. George Floyd was murdered by a police officer who knelt on his neck. In two different instances, a police officer in my own town killed two men who had mental health problems. There are numerous examples like this. Hearing that my country is full of arrogant white supremists who belittle, offend, and abuse minorities does not make me a proud American.

I wanted to tour these historic areas of the United States because I want to understand the history of this country, not just the white-washed stories that many books divulge, but the complete histories of even the disadvantaged human beings who lived here before the Puritans and the African Americans who were brought here to be slaves on plantations.

My trip taught me about a different side of Americans. I met numerous Whites and African Americans who extended great hospitality toward me and my co-travelers. They helped me make hotel arrangements, dinner reservations, and late-night taxi calls. One 6-foot, 6 inch African American man, who was dressed in a blue-and-white-striped seersucker suit and a colorful bowtie, drove me to an appointment one day. On the way, he told me how he met his Russian wife years ago, and, how, they were now best of friends. I’ll never forget his funny story of how he didn’t even like his wife when he first met her and how his eyes lit up like candles as he told me.

An elderly White woman led a group of us around the city of Charleston, showing us how the mansions had slave quarters attached in back. She described the opulent lives of the mansion owners, some of whom were plantation owners who came into the city in order to avoid the mosquito-infested plantations during the summer. She also explained how the slaves had to cook and clean outside in the back yards even during the sweltering summer months. Her mission, she said, was to tell the history of Charleston so that the mistakes of the past were never repeated.

When we visited the Gullah Geechee Museum in Pin Point, Georgia, a Gullah woman taught us how to sing a Geechee song by stamping our feet, clapping our hands, and singing. She also shared details about how her ancestors worked as slaves before the Emancipation and then lived and worked at Pin Point in oyster and crab processing plants. She was confident in her story-telling and proud to share her culture with us.

When we visited the Magnolia Plantation where we viewed slave quarters and a magnificent plantation home, the White tour guide told us that she tells the story of the plantation and its slavery so our country can heal from its lurid past. At another storied place, the Middleton Plantation, we saw how the family of the owners ate from silver platters while the slaves lived in unheated wooden shacks.

Every Southerner we met had a story—a personal one or one that had been created from the South’s history—and they all told their stories with clarity and friendliness. Every community we visited exuded harmony and graciousness. Most notably, Whites were respectful of African Americans; African Americans were respectful of Whites.

When people experience harmony and hospitality, their moods improve and they feel better. I feel better now that I’ve experienced the warmth and kindness of the South.

Graffiti and Staircases

Today, I drove to Oakland. On an overpass, across the highway, graffiti was sprawled across the cement. “Resist authority,” it said.

People in the suburbs don’t understand graffiti, but it’s been around for centuries—since Egyptian, Greece, and Roman times. Graffiti is a word or a picture that is scribbled, scratched, or painted, usually illegally, in a public place. Most often, the words express social or political views that defy authority or criticize the status quo. These words are powerful expressions; they often infuriate conservatives into passions of criticism and revulsion.

In 1964 in his song “Sounds of Silence,” Paul Simon wrote, “’The words of the prophets are written on the subway walls and tenement halls.’”

I think Simon was telling society to pay attention. We shouldn’t ignore graffiti; it foreshadows the protests of people who exert great effort to be heard. Energy is pent up behind graffiti’s words, and until that power is spent, it continues to build until it can no longer be contained in the paint on a wall, across a bridge, or around a garbage can. It represents the howl of people who don’t have a legitimized voice.

I listen to graffit. I want to sit down with the graffiti artists to hear their whole story, not just the few words that are sprayed on a wall. Why? Because graffiti artists, although not formally voted into office, are the true representatives of their community. They empathize with the story of their neighbors, and they have the courage to paint the pain of their friends over the arch of a highway. They have nerve. Audacity. In another word, courage.

Whenever I want to feel more understood and relevant, I tell my stories to somebody. I cry that my mother died a few days before Christmas and that Christmas will never be the same again. I talk about the ache from a break-up that has lasted for twenty years. And I repeat my worries about money and love and job security and children and my dead aunt over and over again, until one day, I have talked enough, and I stop crying.

Every community consists of staircases. In San Francisco, on Filbert Street, over two hundred stairs climb the hill to Coit Tower. In Berkeley, 125 Oakridge steps ascend to a stunning view of San Francisco Bay and the City. In Oakland, the Grand Lake and Trestle Glen neighborhood staircases guide residents away from the sidewalks among the blooms of spring and summer.

I’ve been climbing the staircases of these cities for years now. I started right after I underwent chemotherapy. I don’t mean to stir up any sympathy; I just want to demonstrate that I had a good reason for not being able to climb very far or very fast in the beginning. I’d stare up at the wild ascent from the bottom like I was a finless salmon at the foot of a river. The incline was daunting, and I panicked that I would never feel the heady rush of reaching the top. I was afraid of being doomed to crawl back and forth on the first few stairs, feeling weak and powerless, without hope or optimism.

Then one day, I climbed past the first flight of stairs. I rested on the landing like a panting dog, my torso leaning against the railing for support. I scrambled up the second flight and sloughed across the next landing, gripping the rail with clenched claws, too winded to speak.

I scaled and mounted the steps like they were enemies. I heaved and sighed, trudged and tripped. I counted and lost count. I ascended the steps while dots danced across my eyes and pins jabbed the center of my chest. Then, when I was too weary to go any farther, a stranger grabbed me around the waist and pushed me up. We climbed like one unit, in a slow march for a common purpose. And I found the top of the stairs, my head in a fog, deficient of breath and oxygen, with a new friend beside me.

Not every stair can be climbed alone if you don’t have shoes, can’t afford a cane, or just don’t have the stamina.

This is why I want to listen to the graffiti. Graffiti is the story of people who want to climb the stairs, but who are trapped at the bottom. I want to listen to their stories and walk a few stairs with them until they can see their way to the top. Along the way, I will make new friends. I could use more. While I listen to their stories and help them mount the stairs, I realize that I’ll be climbing higher, too.