AKA is a lifetime commitment and a community service organization that has played a crucial role in shaping Kamala Harris's identity, providing her with a strong network and a sense of purpose rooted in uplifting the social status of African Americans.
Alpha Kappa Alpha was founded during a time when Black college students were barred from joining white fraternal and sorority organizations, leading them to form their own to promote self-reliance and uplift the social status of African Americans.
AKA was created to uplift the social status of the Negro, and Kamala Harris's potential presidency is seen as the ultimate fulfillment of that mission, representing the ascent of a Black woman to the highest levels of leadership.
AKA focuses on comportment and excellence to instill a sense of professionalism and historical excellence in its members, acting as a sort of finishing school steeped in Black self-reliance and community involvement.
Kamala Harris's experience at Howard University and her membership in AKA are seen as a more specific and deeply rooted Black American experience, which resonates more with certain segments of the Black community compared to Obama's background.
AKA members are effective because they are deeply enmeshed in their communities, know how to get things done, and are committed to fulfilling the mission of ensuring that Black people in their neighborhoods vote, regardless of who they vote for.
Kamala Harris's reluctance to emphasize her identity as a Black woman might be a mistake because it could reduce the excitement and support from the Black community, which was more evident during Barack Obama's campaigns.
Bill T. Jones created 'Still/Here' to explore the themes of mortality and the resourcefulness and courage necessary to perform the act of living, drawing on his personal experiences and those of others facing life-threatening illnesses.
The original performance of 'Still/Here' received mixed reactions because some critics dismissed it as 'victim art' and questioned its artistic merit, while others praised it as a profound and sensitive work of art.
Bill T. Jones believes art should be personal and connected to the artist's identity because he finds art that is disconnected from the artist's life experience to be dishonest and unengaging, emphasizing that art should reflect and transcend personal experiences.
One aspect of the Vice-President’s background that’s relatively overlooked, and yet critical to understanding her, is her membership in the sorority Alpha Kappa Alpha. “In one of the bylaws,” the writer Jazmine Hughes tells David Remnick, “it says that the mission of the organization, among many, is to uplift the social status of the Negro.” Far from a Greek party club, A.K.A. "is an identity” to its members. When Donald Trump insinuated that Kamala Harris had “turned Black,” in his words, for political advantage, “a lot of people pointed to her time at Howard, and her membership in A.K.A., [as] a very specific Black American experience that they did not see from someone like Barack Obama.”
Jazmine Hughes’s reporting on “The Tight-Knit World of Kamala Harris’s Sorority)” was published in the October 21, 2024, issue ofThe New Yorker.
Plus, Kai Wright, who hosts WNYC’s “Notes from America,” speaks with the choreographer Bill T. Jones. This week, the Brooklyn Academy of Music is re-mounting Jones’s work “Still/Here,” which caused a stir when it débuted at BAM, thirty years ago: The New Yorker’s own dance critic at the time, Arlene Croce, declared that she wasn’t going to review it. Now “Still/Here” is considered a landmark in contemporary dance, and Jones a towering figure.