March 2026 News


April 22, 2026  •  5 minute read

The stories we tell carry our legacies. They uncover the truths obscured by dominant systems and lay the roadmaps for our liberation. In this issue we explore the culture-shifting power of storytelling, including artists reclaiming identity and heritage, how sharing civic stories can remedy our fractured world, and the art of weaving new stories to guide us toward our desired future.

Voices from the Network

“Preservation Through Storytelling”

An Interview with Take Notice Fund Artist Zandashé Brown

A young Black woman, Zandashé Brown, directs a film on an outdoor set in bright daylight. She is in shade on the right side of the photo, standing in profile with her left hand on her hip, and her right hand extended to point at something out of frame. Directly in front of her at eye level is a camera or monitor on a metal stand. She is wearing blue pants, a cropped gray short sleeved shirt, and medium sized gold hoop earrings, and her hair is pulled up and wrapped in a red and gold patterned fabric. Another young black woman stands behind her, her face and most of her body obscured. In the background, a wall extends from the left side of the photo to just past the center. It is made up of two sections: the left section is made of concrete that is painted pink, and the narrower center section is made of vertical wood slats that are painted gray-green. Folded patio chairs are arranged in a neat row along the base of the pink section. On the right side of the photo, further in the background, there is a corrugated steel construction dumpster painted orange. In the deep background and out of focus, the leafy green tops of trees rise over the orange dumpster and the pink and gray-green wall.
Zandashé Brown on the set of a film.

Writer and director Zandashé Brown grew up in Rosedale, a small village in rural Louisiana, immersed in the storytelling and folklore of the American South. Now she makes what she calls Black Southern Gothic horror, a genre “at the intersection of horror, psychology, and spirituality, and the experience of living in the Black South,” to reclaim misrepresented spiritual traditions, explore personal crises like her mother’s six-year battle with psychosis, and preserve the culture and stories of Black rural Louisiana before they’re lost to climate change.

“There’s a reckoning with our past that happens through Southern Gothic film.”

Read the full interview on our Voices from the Network blog.

Mixed Metaphor

Weaving Liberated Narratives: The Art of Storytelling

On the left side of the image, in the foreground, is the text “Mixed Metaphor” in large letters, and underneath that in smaller letters is the text “A Liberatory Infrastructure Learning Deck." In the background, the other cards of the deck are spread horizontally, faces down, in an even distribution. On the right side of the image, in the foreground, is the back of card 22 of the Mixed Metaphor Learning Deck, featuring an illustration in shades of brown, orange, and teal, of two stylized female figures holding hands in front of a setting sun. Over this illustration in the center of the card is "22. Storytelling" in white text, and underneath in smaller, light orange text is the phrase "Liberating Practices." Behind this card, the face of card 22 is partially visible, featuring a white background with blocks of text in orange or black.
“Storytelling,” card 22 of the Mixed Metaphor deck, guides the viewer through questions of where our stories come from, who shapes them, and how we weave new narratives toward the world we want.

“History is not the past. It is the stories we tell about the past. How we tell these stories… has a lot to do with whether we cut short or advance our evolution as human beings.”

Grace Lee Boggs

Where do the stories we carry come from, and what happens when we weave new ones? Card 22 of the Mixed Metaphor Liberatory Learning Deck, “Storytelling,” invites reflection on the narratives that shape us, who gets to tell them, and the power of crafting liberated narratives toward the world we want.

Explore this card and others directly on your phone or desktop with our interactive Mixed Metaphor Liberatory Learning Deck.

From the Field

Building Healthy Organizations in Times of Immense Stress

A monochromatic collage-style illustration in shades of purple. The collage consists of an extreme close-up photo of the polka-dotted thorax and head of a Blue Tiger Butterfly hanging upside down from a small leaf. This image appears to be ripped horizontally across the bottom half, obscuring much of the butterfly's wings, to reveal a simple pale purple grid that suggests either graph paper or ceramic tile. Over this illustration in the center of the composition is a mustard yellow circle with the text "rad ops" on two lines in lowercase purple letters of varying sizes. Inside the "o" of the word "ops" is a small pink check mark. In the upper left corner is the Convergence logo in the same shade of yellow.

When external forces threaten our organizations, we pay attention. But what about the cracks that form from within? “Transforming Our Organizations, Transforming Ourselves” from Convergence Magazine, featuring NPN Director of Racial Justice and Movement Building Sage Crump and other movement leaders, offers examples of how organizations are navigating internal culture shifts under the pressures of 2026 from re-examining urgency to addressing anti-Blackness to clarifying roles and decision-making.

Read the article at convergencemag.com.

Strata

What’s Under the Surface

A composite image consisting of five columns, each containing a tightly cropped photograph with a slightly pinkish tint. From the left: the first column shows a Black man with a shaved head and light colored pants standing on a stage with a microphone and lifting his foot to reveal a high-heeled boot; the second column shows a colorful mural on the side of a house that features revelers in New Orleans; the center column displays a pile of colorful rocks overlaid with the word “Strata”; the fourth column shows an exterior night shot through the window of a purple building with gallery attendees inside; and the fifth column shows a second-story view of an event in the atrium of a large library.
Left two columns: images representing NPN National Partners Kelly Strayhorn Theater and Ashé Cultural Arts. Center column: Strata series image. Right two columns: images representing NPN National Partners DiverseWorks and Diaspora Vibe Cultural Arts Incubator (DVCAI).

The role of cultural work in projects of liberatory justice is often overlooked. People see the art, but don’t always see the layers of planning, networking, and community building just beneath the surface.

Strata, a new Instagram series from NPN, is a cultural political conversation with four NPN National Partner organizations that reveals those layers. Through conversations with cultural workers, artists, administrators, and movement thinkers, Strata explores the ideas and praxis that deepen our engagement with culture on the road to collective liberation.

Strata launches April 28, 2026Follow us on Instagram to watch the series and join the conversation.

Announcements & Opportunities

The Andy Warhol Foundation Arts Writers Grant – Application Open

The Andy Warhol Foundation is now accepting applications for its Arts Writers Grant, which “supports emerging and established writers who write about contemporary visual art.” Awards range from $15,000 to $50,000 in four categories: articles, books, short-form writing, and translation.

View the guidelines and eligibility criteria.

Black text inside a black square outline on an emerald green background. The text in the top left corner of the square reads, “The Andy Warhol Foundation Arts Writers Grant.” The text in the bottom right corner of the square reads, “2026 Application Open, April 1 – May 6.”

Fall of Freedom: A National Call to Creative Resistance

Fall of Freedom is a focused, urgent call to artists and arts institutions to amplify struggles against repression and state violence. On May 1, artists and creative communities across the country will come together through exhibitions, performances, screenings, teach-ins, public actions, and digital events aligned with immigrants’ rights organizing. Whether you’re creating something new or bringing visibility to work already in motion, this is your moment to be part of a collective movement.

Learn more and register at FallofFreedom.com.

An illustration in yellow with black and green accents. The center of the composition features a black and yellow drawing of a close-up of the Statue of Liberty’s raised hand holding her torch. From the top of the torch, rays of alternating green and yellow extend to the thick yellow border of the image. Black text along the top of the image reads, “Fall of Freedom.” Three lines of stacked text in the bottom right corner read, “Art matters, courage is contagious.”

Roberto Bedoya’s Remedies for Civic Trauma

“Courage,” writes cultural strategist Roberto Bedoya, “is not linked to the lone, brave soul who runs into a burning house to save lives, but the fire bucket brigade that, as a unit, works to put out the fire. Courage as collective action, as a constellation that leads and shapes the civic we — messy, wild, and brilliant — is upon us with a charge to re-imagine a democracy of care embedded in the civic body.”

Roberto’s recent essay, “The Courage of Imagination, A Pro-Democracy Movement, and the Civic We,” offers an analysis of today’s authoritarian efforts to dismantle civic life, challenges to arts philanthropy, and remedies for civic trauma. Our charge is to “feed the imagining of our lives together, the explosive rhythm of our drive to protect and advance the Civic We…as a pro-democracy movement that is rooted in our civic lives, right now.”

Read Robert Bedoya’s essay at giarts.com.

Headshot of Roberto Bedoya.

What We’re Reading

Harold Steward on the Inherent Value of Art

A Black man, Harold Steward, stands in shade on a beach and looks off-camera to his right, his face in three-quarter profile. The camera angle is slightly higher than his eye line. His head is shaved and he has a modest, closely cropped goatee. He is wearing a brimless, cylindrical kofia hat that's black with a repeating pattern embroidered in gold, and a black blazer or suit jacket. Behind him and out of focus is a beach, with just a hint of light blue ocean in the upper right corner of the frame. The photo appears to have been taken either early in the morning or near sunset because most of the beach is in shadow.
NEFA’s Executive Director Harold Steward at Jenness State Beach in Rye, NH. Photo by Adele Sicilia.

Each month, NPN’s staff and board engage with a reading that deepens our understanding of how to embed liberatory practices throughout our work. This month we are reading “Be Resolute: Art Is Water” by former NPN board member Harold Steward. Amid public funding cuts, shrinking philanthropic risk-taking, and political pressures that threaten artistic freedom and access, Harold argues that the urgent task is not to prove art’s value but to secure the conditions that allow art and artists to thrive equitably across communities.

Our monthly reading is part of the Collective Learning Series organized by NPN’s Department of Racial Justice and Movement Building (DRJaM).

Read “Be Resolute: Art is Water” by Harold Steward.

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