Grantee Partner Spotlight with A Long Walk Home
This month, we sat down with leaders from A Long Walk Home, to talk about their work to eliminate gender-based violence. The Chicago nonprofit — which helped organize the #MuteRKelly campaign — spoke with us following the long-awaited conviction of R. Kelly to discuss how cultural understandings of gender-based violence have changed in the years since the organization was founded, and how their work creates a world of healing, equity, and justice
The way we talk about Violence Against Women is much different now than it was in 2003, when A Long Walk Home was founded. Can you tell us a little bit about the history of the organization, and what drove you to start the organization?
In 1997, Scheherazade Tillet, then a rising college junior at Tufts University, learned that her older sister Salamishah was sexually assaulted in college during one of the most vulnerable times of an undergraduate’s life — freshmen year and on study abroad. But when she heard her sister’s story, her throat was filled with unbearable silence. Each word Salamishah uttered only increased her sense of powerlessness, rendering her — like many loved ones of survivors — haunted by the twin emotions of guilt and rage. For a year, Scheherazade grappled with her sister’s story and began to search for tools and resources to help her.
In 1998, Scheherazade asked Salamishah if she could actively participate in her recovery process by photo-documenting Salamishah’s different stages of healing: going to therapy, beginning a new romantic relationship, fighting depression and body dysmorphia, and becoming an activist in the movement to end sexual violence. She also turned the camera inward and examined the impact sexual violence had on herself as a secondary survivor.
In spring 2000, Salamishah and Scheherazade decided to help more people heal from their experiences of sexual violence by transforming this intimate photography project into a multimedia performance featuring a Black cast of women. SOARS is a two-hour performance about one woman’s journey to reclaim her body, sexuality, spirituality, and self-esteem after being sexually assaulted in college. Performed by a diverse cast of Black women and featuring photographs taken by Scheherazade during Salamishah’s recovery process, SOARS uses modern dance, spoken word, and music to educate the public about sexual violence and to replace the shame, guilt, and self-blame that rape victims too often feel with a story of hope and healing.
Given the positive feedback of SOARS and the high incidence of violence that women and children experience every day, in 2003, Scheherazade and Salamishah founded A Long Walk Home. A Long Walk Home, Inc. is a national non-profit organization based in Chicago that uses art to empower young people and end violence against women and girls. We developed comprehensive anti-violence programs that use visual and performance art as vehicles for healing, social change, and education for high school girls in addition to the college audience we had been primarily serving. Over the years we have steadfastly used the testimonies, poetry, music, photographs, and videos of and by women and children to provide safe and entertaining forums through which the public can learn about the pervasiveness of gender-based violence as well as how to heal from various forms of sexual trauma.
The national conversation around gender-based violence reached a real turning point in 2017, with the rise of #metoo and the series of prominent men from in Hollywood and the tech industry stepping down from their positions of power. In this current moment, we are witnessing the importance of survivor stories as well as the transformative power they wield. After two decades of doing this work, we are excited by the collective opportunity presented by this moment. Given the current prominence of the discourse around sexual assault, it is more important than ever to appreciate and reflect on those who have been in this movement for a long time. Founded on the principle of survivor leadership — that survivors are empowered to be at the forefront of the movement against sexual violence — we believe that this moment in which more survivors are being heard than before is of monumental significance. We are excited to explore the possibilities that abound from the energy of this moment. As we situate ourselves in the present context, we anticipate the connections and collaboration with other thought-leaders, artists, and activists who are also at the forefront of this movement.
As awareness around Domestic and Sexual Violence increases, have you seen changes in the general attitudes?
There have been changes in the response and attitudes towards the topic of gender-based violence. In fact, we are currently in the biggest moment for gender-based violence with R. Kelly receiving a guilty verdict for his organized trafficking and abusing Black girls and women. This case is so important because it is the first time, after 20 years of Black women and organizing, that Black girls and women survivors are centered and their voices heard and believed. Locally, in Chicago, the mayor recently announced her strategic plan to tackle gender-based violence by dedicating 25 million dollars to these efforts. This demonstrates investment in supporting those who are organizing and doing the work to protect Black girls. We are at a new moment and ALWH is excited to build upon this momentum as we continue our work of centering survivors.
Tragically, domestic violence is in the news cycle as we speak following developments in the Gabby Petito case. Notably, activists have pointed out that the violence against Black, Brown, and Indigenous women and gender non-conforming people does not receive the same publicity as the disappearance of a white woman. How does A Long Walk Home uphold values of intersectionality when approaching violence of this kind?
Intersectionality is about power and the ways bias at the intersections of race, gender, and class is upheld within these systems. In our organizing, we value intersectionality because it allows us to not only get to the heart of the issues that girls and women face, but to partner with others who are doing similar work to raise awareness around murdered and missing girls. Indigenous and Black girls and women go missing at rates higher than any other groups (35%), so we have strategically partnered with the organization, Minnesota Indian Women’s Sexual Assault Coalition so that we can bring even more visibility to the issues that Indigenous and Black girls face; thus, we are able to reach and impact more people and systems by working together. Locally, we are using our artist practices and identity to bring attention to missing and murdered Black girls through our exhibition of the Black Girlhood Altar. The Black Girlhood Altar is a sacred site for the Missing and Murdered, assembled by Black girls and young women in Chicago. The Altar, which will be on display at the MCA as a part of Andrea Bower’s exhibition in November, is part of the ongoing practice of A Long Walk Home.
On a more positive note, how has art and community been transformative for the young people ALWH works with through the Girl/Friends Leadership Institute and through other programming?
At the core of ALWH’s mission, art thrives as a resource, healing practice, and outlet for the Black girls we work with. Art is how Black girls see themselves and assert their power.
Black girls identify themselves as leaders, and art is the conduit in which they convey their perspectives and visions. Whether photography, creative writing, hair, dance, etc, Black girls have engaged in political activity and repurposed art as a mechanism for healing, expression, advocacy, and freedom.
It is crucial to support the creative and political vision of Black girls through investing in projects where they can practice art, be represented in art, and participate in the conversations and discourses that art brings to the forefront. By doing such — Black girls are empowered and seen, meaning the possibilities for change are endless.
What gives you hope about future generations and how we can create a safer world for them?
Eighty-five percent of Girl/Friends have been involved in political engagements and protests such as the Mute R. Kelly March, demonstrations like the Black Girl Takeover in Douglas Park, and they were even instrumental in working with Village Leadership Academy teachers and administrators to petition and canvas for the successful renaming of Douglas Park to Douglass Park, to honor the life and left of Anna Murray-Douglass and Fredrick Douglass.
Many other Girl/Friends, like Elena and Ariana, have led their families to the Chicago marches for Black Lives, led community clean-ups, and shared their thoughts and suggestions in virtual public hearings. Girl/Friend Azariah collaborated with other teenagers in her neighborhood to transform a liquor store into a pop-up food market. "We learned if you live within 1½ miles of a grocery store, you're likely to live longer because you have better options to eat healthier," said Azariah. Anaya created and sold earrings, then donated the proceeds to Chicago bailout funds, and homeless queer youth who were kicked out of their homes during the pandemic, Tonayvia advocated for resources for young girls who experience suicide ideations and attempts. Amaya organized a balloon release for a family member who passed away from Covid-19. Girl/Friend Brianna used her social media platforms to provide resources and support to young girls experiencing domestic violence in their homes.
It is this type of organizing that gives us hope that the future is in great hands. We must listen to, believe, follow, and trust Black girls. Most of all we have to continue to provide the resources so that they can create a safer world that we will all benefit from. ALWH is absolutely committed to funding and supporting the dreams and organizing efforts of Black girls.
Learn more about A Long Walk Home, here.