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  • ✪ The Juneteenth Book Festival Symposium on Black Literature & Literacy
  • ✪ 2017 Winter Commencement | UMD
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>> From the Library of Congress in Washington, DC. >> Mary-Jane Deeb: Good morning. Good morning, everybody and welcome to the African and Middle Eastern Division and to the Library of Congress. I'm Mary-Jane Deeb, Chief of the African and Middle Eastern Division. And I and my colleagues here at the Library, Jane Sanchez who is the Chief of the Humanities and Social Sciences Division, the -- our Deputy Associate Librarian who is here, especially to meet with you today, Sandy Lawson and Sibyl Moses, Marieta Harper, Eve Ferguson, Robert Casper, Paul Zany and many, many others who have worked so hard to make this event possible. We are all delighted to see you here to celebrate together at the Library the 150th Juneteenth Anniversary which has been celebrated in Galveston, Texas since June 19, 1865. It is Maria Fenton, the President of the Juneteenth Book Festival who we must all thank for coming up with the idea of having an event at the Library to celebrate this occasion with a symposium on black literature and literacy. But before we begin, we need all to stand up for a minute in silent prayer for the victims and their families of the tragic shooting on Wednesday in Charleston at Mother Emmanuel Charleston Emmanuel African Methodist Episcopal Church. Described in 2013 by its pastor, the Reverend Clemente Pinckney, who was slain two days ago as a very special place because this church in this site, in this area have been tied to the history and life of African-Americans since the early 1800s. Thank you. This tragedy reminds us of the price so many have had to pay for freedom. For all the freedom is a universal right. It is not always recognized as such and we should never, never take freedom for granted. There are still today an estimated 30 million people who are illegally enslaved in Asia, Latin America, and Africa. What is important is to remember that freedom is not only a matter of physical freedom i.e. to be able to live where one wants to live, to travel wherever one desires, to choose how to earn one's living. But it is also the freedom to say what one thinks, the freedom to follow one's faith, the freedom to read, write, create in a way that is unhindered and free. In many parts of the world, people are killed for their beliefs, imprisoned for their writings, flogged for their blogs, beheaded for their views. So today, we should remember all those who gave their lives to fight for those freedoms and again, we should not ever rest on our laurels and believe that freedom is a given. We should always in every way defend those rights, speak up against attempts to limit or to curtail them in any way. And today, we have you here. We have you here to speak to us of black literature and literacy. Of this important, incredibly important issue of the right to speak up, to write, to think freely, to create and to share with others. So let me pass on now the microphone to our Deputy Associate Librarian who has been here, who has come especially today to welcome you in the name of the Library, in the name of the Librarian, Sandy Lawson. [ Applause ] >> Sandy Lawson: Thank you, Mary-Jane. And good morning, everyone. I do bring greetings to you from Library Services. The Deputy, the Chief of Library Services, Mark Sweeney, the Associate Librarian for Library Services, and also from the Librarian. This is a very special occasion, a very special celebration. Today is Freedom Day. Today is Emancipation Day. And today is Juneteenth. We celebrate today the end of slavery in the United States and this -- with this exciting Juneteenth Book Festival Symposium. I want to thank the staff of the African and Middle Eastern Division, the Humanities and Social Sciences Division, the Poetry and Literature Center, and the Juneteenth Book Festival Incorporated for sponsoring this event. And as Mary-Jane said, unfortunately, we must also reflect today during this celebration, the devastation that took place in Charleston, South Carolina. We have to keep the victims, their families, friends, the City of Charleston in our thoughts as we look at the program and listen to the speakers today. Thank you to all the speakers and to all the honored guests who are here today for bringing the literacy and literature of the people of the African diaspora to the forefront. We're all in for some very exciting panel discussions and some interesting information I'm sure will emerge from this symposium. So I hope that you all enjoy it and thank you for inviting me and hope to see you and talk to you later today. Thank you. [ Applause ] >> Jane Sanchez: Good morning. Thank you for joining us for the Juneteenth Book Festival Symposium. We welcome you and we are pleased to welcome you to the nation's library, the Library of Congress. My name is Jane Sanchez and I, along with the very talented staff, comprise the Humanities and Social Sciences Division. When the opportunity to co-sponsor and support this symposium presented itself, we seized the opportunity to join with the African and Middle Eastern Division, the Poetry and Literature Center and the Juneteenth Book Festival Inc. We did that because the subject of Juneteenth encompasses so many of the disciplines that we are responsible for in the Humanities and Social Sciences Division. We are responsible for developing collections for that area and so many different areas that include African-American history and culture, education and literacy, literature, political science, local history and genealogy, poetry and many, many other areas. We hope you will enjoy today's symposium and we hope that as a result, you will develop new strategies and new opportunities for publishing and promoting black literature, enhancing literacy and for capturing the stories and lives of Africans in diaspora. Please come back and make use of the rich and varied collections that we have preserved in your nation's library. We hope to see all of you again. Thank you. [ Applause ] >> Maria Fenton: Good morning. >> Good morning. >> Maria Fenton: This has been a long time coming. And I'm not just talking about the 16 months that I've been working on this project. I'm talking about 150 years a long time coming. And I welcome you all and I feel so welcome and I want to first thank the Library of Congress for making me feel so very welcome. And yeah -- [ Applause ] And making it not just a nice little cliché, but an actuality, and a knowing that you can do anything that you apply your mind and your heart to. But it has to be a combination of both the mind and the heart, the both. So why Juneteenth? Why a book festival? Why you? Juneteenth? Book festival, for real? So first of all, I'm an immigrant. I was born in London. I came over as a young child. And so I don't have the African-American story. I have the African story. And the beauty of the African story and the African diaspora is that waters, borders, governments set lines and this is where this one begins and this is where that one ends means nothing to the African people. You know your people, right? And so for me, being able to say, "Okay, I want to put together something that celebrates the thing that I love which is words, the thing that was given to me early on in life which is words. Whereas we didn't have a lot of money, we didn't have a lot of access to a lot of things but we had access to the libraries. Libraries at school, libraries at home and we made use of them." So when things happen that were as wonderful, I went to a book. When things -- something happened that was horrible, I went to a book. And that's exactly what they were doing back 1865 -- 1773, Phyllis Whitley was writing when it was uncalled for. She was supposed to just survive. How dare she sit back and create? How dare she take the word and make it her own, form her own sentences, create her own thoughts, write her own story? Write her own story. That is what I want us to remember is to write our own stories. Be stewards of our stories. One of the things that makes a person free is the ability to define and think for yourself. There's a reason why we're doing this here in the Library of Congress because this is the land of the primary source, people. You don't have to go to another source to have something fed to you. You can go to the source. It is open and available to you and find out and write about it and critique it for yourself. Juneteenth is about, yes, Galveston and the emancipations and it's kind of story but the history of emancipation is a storied history. There are, we have emancipation Day on April 16th in DC then you have Juneteenth on June 19th and people kind of throw their hands up in the air because they don't really know what it is because that's exactly how it unfolded. It was storied. It was complicated and then the story was retold in ways to benefit some and to demote others. But what I'm calling for us to do, this festival -- yes, we want to celebrate but it is a call to action. It is a call to read your books. It is a call to publish books of quality. It is a call to write your own story and to critique the stories that are out there. Engage with it. So yes, I'm excited that we get to celebrate it but as what's going on in South Carolina, as what's happened in Baltimore, what happened in Chicago with all the places that are around us, all the violence, all of the tragedies. One of the key things that we get to do is know our stories and own our stories and retell and share our stories. And I hope that this festival is an inspiration for those, for average people, right? I'm an average woman. For average people to say, "I'm going to make my mark and I'm going to lead it and why? Because it needs to be led." So thank you and thank you for coming. [ Applause ] >> Mary-Jane Deeb: Okay and now we call upon Hari Jones, the curator of the African-American Freedom War Foundation and Museum. All right. >> Hari Jones: Good morning. >> Good morning. >> Hari Jones: Today, I will begin by telling you a lie. That lie is that on June 19, 1865, slaves in Texas finally learned that they had been freed by the Emancipation Proclamation on January 1, 1863. This lie has been advanced in legislation, in the popular culture as an explanation for Juneteenth celebrations. This lie is predicated on a fundamental misunderstanding of the Emancipation Proclamation and its enforcement. President Abraham Lincoln issued the Emancipation Proclamation on January 1, 1863 as, "A fit and necessary war measure for suppressing said rebellion." In that fit and necessary war measure, President Lincoln declared forever free all persons held as slaves in the 10 states that were at war with the United States for the independence on January 1, 1863. And the five still holding states that did not Abraham Lincoln as -- that accepted Abraham Lincoln as president; the Emancipation Proclamation did not apply. It only applied to the states that had to be brought back into the Union by military conquest. On September 22, 1982, in the preliminary Emancipation Proclamation, Lincoln warned the rebellious states, giving them 100 days to return to the Union or he was going to declare free their slaves. Frederick Douglas, eight days later, wrote in his monthly that in order for the Emancipation Proclamation to free any slaves, two conditions had to be met. The first condition was that the states in rebellion still had to be in rebellion as of January 1, 1863. And the second condition was, "We must have the ability to put down the rebellion." In late 1862, the enslaved knew that an order to be freed by the Emancipation Proclamation, they would have to contribute to suppressing the rebellion thus to preserving the Union. And this would have to be done through military conquest. Thus begun -- thus began their military campaign for emancipation and union. It was understood by many members of Congress, the President's Cabinet, the Confederate Legislature and Jefferson Davis, the President of the Confederacy, that the Emancipation Proclamation was a cry for help to America's African-descent population. Jefferson Davis told the Confederation Legislature in January 1863 that the Emancipation Proclamation was, "An authentic statement by the government of the United States of its inability to subjugate the south by force of arms." Meanwhile in Texas, there is clear evidence that enslaved persons in Galveston knew of the Emancipation Proclamation in late 1862. Galveston was captured the Union Navy in October 1862 -- a navy comprised of 25% African-American sailors. The Austrian Council at Galveston wrote a letter to the Union Naval Commander, Admiral William Renshaw, stating that Texas slaves had run away and been given refuge by Renshaw's fleet. The Council wanted to know if his slaves ran away, would the Admiral return them? Renshaw unequivocally said, "No." Only a small army force, the 42nd Massachusetts Infantry was assigned to occupied Galveston and the rebels recaptured Galveston on the day the final Emancipation Proclamation was issued, January 1, 1863. Union soldiers and sailors were taken as prisoners of war and these Union soldiers and sailors with knowledge of the Emancipation Proclamation reported contact with enslaved Texans as some were assigned to the POWs as cooks. The Union strategic plan neglected military operations in Texas through much of 1863. Lincoln's priority in the west was on controlling the Mississippi River. And Lincoln believed that the only way the Mississippi could be controlled is with the help of the African descent population. When General Nathaniel Banks started a Texas expedition along the Red River, he was ordered back to the Mississippi in support of General Ulysses Grant's campaign against Vicksburg. The Louisiana Native Guards, the first African descent regimen mustered into the Union Army under the field command of African descent commissioned officers led by Captain Andre [Inaudible] assaulted the rebel position at Port Hudson along the Mississippi three times on May 27, 1863. Though these sable soldiers failed to capture the rebel fort, they were successful in keeping the rebels at Port Hudson from reinforcing the rebels at Vicksburg. Therefore they had accomplished their primary objective. Grant captured Vicksburg on July 4, 1863. Now Lincoln had called Vicksburg the key to victory. And after capturing Vicksburg, Grant wrote to President Lincoln and told President Lincoln that Vicksburg could not have been captured when it was without the help of these African-American soldiers. The general goes on to tell the President, "By arming the Negro, we have added a powerful ally." Such powerful allies would participate in General Banks' Texas expedition in November 1863. Rebel blockade runners were able to bring supplies into Texas along Texas' southernmost coast. And Banks was ordered to take that part of the Texas coast. Five [inaudible] regiments -- regiments comprised of African-American soldiers from Louisiana took part in Banks' successful Texas expedition making up 10% of the conquering force -- capturing and conquering the Texas Gulf coast from Indianola to Brownsville. These conquering soldiers brought word of the Emancipation Proclamation to Texas. John Bates was 10 years old when these military operations were going on in Texas. Bates pointed out in his WPA slave narrative that word, "traveled purty fast," and that's P-U-R-T-Y [laughter] -- traveled pretty fast in Limestone County, Texas where he was enslaved. Indeed Bates goes on to report that it was the enslaved on the plantation where he was that told the planter that they were free. The first state in rebellion to be brought back in the Union thus having its enslaves free -- enslaved free by the Emancipation Proclamation was Arkansas. It took one year and four months to enforce the Emancipation Proclamation in a rebellious state and that state was not Virginia with its proximity to Washington. That state was the western state of Arkansas bordering Texas. When Arkansas was brought back into the Union as a free state on April 11, 1864 there were thousands of African descent soldiers enforcing the Emancipation Proclamation in Arkansas. Meanwhile back in the East, in 1864, African descent soldiers for the first time were deployed in the Army of the Potomac after General Grant became the general in charge in command of all the armies. In December 1864, General Benjamin F. Butler, the commander of the Department of Virginia and North Carolina organized the 25th Army Corps, the only Army Corps in American history made up of only African descent regiments. Butler wrote of his African descent soldiers, "Better soldiers never shouldered a musket." General Grant wrote in his memoirs that on April 3, 1865, the 25th Army Corps under the command of General Godfrey Weitzel captured Richmond, Virginia -- the capital of the Confederacy. The headlines in the Washington, DC newspaper, <i>The National Republican</i> read, "Glorious Fall of Richmond Captured by the Black Troops". These sable soldiers of the 25th went on to stop Robert E. Lee's army at Appomattox Court House, Virginia forcing their surrender -- his surrender there on April 9, 1865. Though some contemporary scholars falsely claimed that these highly regarded soldiers were prohibited from participating in the grand review of the armies in Washington on May 22nd -- 23rd and 24th, 1865 because of their race. Without complaint, these highly motivated sable soldiers stood ready to go to Texas and enforce the Emancipation Proclamation in May of 1865. Thomas Morris Chester, an African descent war correspondent, reported that on the eve of the grand review, the word that they were embarking for Texas was received in their camps, "With a great deal of satisfaction." Out in Texas, African descent soldiers who had been there for months engaged rebel soldiers in combat in May of 1865. Galveston was captured and occupied by the Union Navy on June 5, 1865. By the end of the first week of June, the 25th Army Corps and thousands of other reinforcements were arriving in the Lone Star State. In the early morning of June 15, 1865, the rebel governor and thousands of rebel soldiers were chased out of the United States into Mexico by this imposing Union force. The tradition of the Juneteenth Ball on June 16th was thus established. General Gordon Granger was the commander of the New Department of Texas. His immediate superior, General Phil Sheridan, ordered Granger to publish general orders informing the people of Texas that all the laws enacted by the rebel governor and legislator -- legislature were null and void, that federal laws applied and thus the Emancipation Proclamation had freed all the slaves in Texas forever. Granger arrived in Galveston on June 19, 1865 and he reported to General Sheridan that when he arrived that morning, there was a brigade of the 25th Army Corps already in Galveston. Over a thousand African-American soldiers, heroes of Virginia, were in Galveston over a week before Granger showed up. Later that day, Granger published General Order Number Three and the military campaign for emancipation and union was officially declared over. Let us therefore celebrate the 150th anniversary of the end of the successful campaign for emancipation and union. On this Juneteenth, let us embrace the truth, reject the lie, and pledge ourselves to achieving liberty and justice for all in this our indivisible American republic. Thank you. [ Applause ] >> Mary-Jane Deeb: Thank you. Thank you for setting the story straight, telling us the history the way it is and for a most inspiring presentation. Thank you so much. And now, we call upon Michael Graham, a poet and 2015 graduate from the Washington Latin Public Charter School. >> Michael Graham: So my name is Michael Graham. I'm Maria Fenton's son. I have -- I'm actually the youngest member of the JVF team. Oh sorry, and I'm going -- thank you. I'm going to be sharing two poems by Paolo [Inaudible] and one poem I made for myself. So, should I [inaudible] the name -- title? Oh, sorry. Wait just a moment -- Oh, iPhone, iPhone, iPhone -- okay, all right. So the first one's called "Love and Grief" by Paolo Lawrence Dunbar. Out of my heart, one treacherous winter day, I locked young love and threw the key away. Grief wandering widely, found the key, and hastened with it straightaway, back to me. With love beside him, he unlocked the door and bade love enter with him there and stay. And so the twain abide forevermore. Okay, I'm sorry. The second one is called "Life's Tragedy" Paul Lawrence Dunbar. It may be misery not to sing at all, and to go silent throughout the brimming day. All right. It may be misery never to be loved but deeper griefs than these beset the way. To sing the perfect song, and by a half-note, lose the key. There the potent sorrow, there the grief. The pale, sad staring of life's tragedy. To have come near the perfect love, not the hot passion of untempered youth, but that which lies aside its vanity, and gives, for thy trusting worship, truth. This is indeed to be accursed for if we mortals love, if we sing, we count our joys not by what we have, but by what keeps us from that perfect thing. Okay, now here's a poem I actually made on the spot. I was on a youth leadership trip in Tennessee this past month, I think, and there was a talent show and I had to make up a poem on the spot. So here's my poem. I entitled it -- I'm sorry. I'm very nervous. I don't have much to say. Except the experience for my life in DC. Please listen to me. They want me to fail. That's all they want me to succumb to, failure. The prying eyes of the ones who despise me try to make me feel like I have failed. What they do not know is that I have prevailed. Prevailed over the prying eyes for they look up to me. So I watch the sneaking eyes trying to look at the mystical figure that they despise. On the train, I smile and laugh. At work behind the bar, I smile and chuckle while keeping up my belt buckle. Trying not to be that black DC stereotype. Yes, that is all they see, the tall violent untamed black animal with the dangerous locks, the DC inhabitant. Hating on me because I do what they can't. Now this is not only for the people of white and red combined skin before other complexions. This is about the war between the light skins and dark. That's what they, those of the higher power want us to say. Light versus dark, dark chocolate versus not. What we are fighting each other on the ground for attention, we are blinded by the constant gun smoke. Our lungs are filled -- our lungs are filled because of the weed smoke. Mother Earth's weed smoke chokes us for pleasure. We get caught for the earth -- we get caught for the earth that we bought and breathed. You best believe that our protectors are now our fear dealing defectors. And now aren't -- yeah, I myself tried to be friendly and give the killers a smile so I can walk around with them for a while and not minding their blank smiles, hiding the hate but keeping control. I would rather not like them. I hang my head in fake like I have respect in order to protect myself from lying on the floor silent because of the bullet hole. They want that to be my future so they could see another black one down and give no cares and yes, it sucks. And so they realize the best drink made for them isn't made by me in Starbucks. It is I in public they do not want to see but behind bar of a coffee shop or eventually prison. But like I said, I have risen above the contempt and kept my sanity in check. For I am that young black -- young black adult who had not succumbed but surpassed failure. Before my body leaves the stage, before I go away, I have one thing to say. I'm sorry I'm so nervous. Thank you. [ Applause ] >> Mary-Jane Deeb: Thank you, Michael and I know that every one of us wishes you the greatest success. We know that you will succeed. Thank you. And now, we are going to start with the first panel. And I would like to call upon the moderator, Sibyl Moses and Dr. Haki Madhubuti, Yanick Rice-Lamb, and Ethelbert Miller. We'd love to have you up on the stage for the first panel. Thank you. [ Applause ] >> Sibyl E. Moses: In 1969, Amiri Baraka issued a call, SOS, calling black people, calling all black people. Man, woman, child, wherever you are. Calling you, urgent, come in, black people. Come in wherever you are. Urgent, calling you, calling all black people. Calling all black people, come in. Black people, come on in. Today we invite you to come in. Come in to celebrate Juneteenth. Come in to explore, celebrate and embrace the creativity of all black people without publishers and bloggers on the state of black literature, our stakeholders in literacy and our independent artists engaged in telling our stories. We also invite you to come in and come in again in the future to make use of the Library of Congress' vast collections both primary and secondary sources about the black experience and created by people of African descent all over the world. So please come in, listen, learn and contribute as we are here to once again -- Haki -- change the conversation and to define what is needed and to go forth and create more. We welcome our three distinguished panelists for the publishers and bloggers on the state of black literature panel. We have Dr. Haki Madhubuti. We all know the prolific author, Third World Press publisher, and founder, one of the longest-running independent black-owned publishing companies in the United States. We welcome Yanick Rice-Lamb, Associate Professor, Department of Media Journalism and Film, Howard University, author, former newspaper reporter and editor, and co-founder of FierceforBlackWomen.com, a digital health and fitness network. We welcome with most love -- our most love, the distinguished E. Ethelbert Miller right here from DC, a literary artist, activist, poet, and editor, former chair of the Humanities Council of DC and a teacher of many of us. And so, we will begin with our panelists [applause]. >> Haki Madhubuti: Good morning. >> Good morning. >> Haki Madhubuti: I'm happy to be here. My wife is with me, Dr. Carol Lee and we both came in last night to DC. I think first, it's in order to give, you know, deep thanks to Dr. Deeb, and Chief Sanchez, and Executive Director Fenton for this wonderful day. It's not easy to do this kind of work. My wife and I have been doing this kind of work for over 45 years in Chicago and the rest of the nation. And I'm here primarily because of, I guess, my work. I've published many books and actually I taught at Howard University for seven years -- eight years that when I met the distinguished Ethelbert Miller. And I'm really happy to be here with him. I haven't seen him for some time. My journey to this place has been a long one. In 1967, with $400 and a used mimeograph machine, I founded Third World Press a basement apartment in South Side Chicago with a used mimeograph machine. I started there. We now own half-a-block in Chicago where my wife and I, and others, not only operate Third World Press. We have four schools for our children, the New Concept School, the Betty Shabazz International Charter School, Barbara Ann Sizemore Academy, and the DuSable Leadership Academy. And we serviced over a thousand black children each and every day with an African-centered education. Our journey has been a long one. It's been a difficult one. But it's one that we chose. And with all the problems that we've endured in terms of trying to build these institutions, this is what we chose to do. This has been our job, our task and our journey. My journey started actually in Little Rock, Arkansas 73 years -- I'm 73 years old -- 73 years ago. With my mother, at that time, father had escaped up towards Detroit, Michigan and as Juan Killens would say. And then the journey somehow my mother who is not with us now -- in fact my mother -- this is my memoir, <i>Yellow Black </i>. This is my mother here. You see, she's a very beautiful woman. She was in the sex trade and by the time she was 34, she was dead. But before that time, she introduced me to literature. I write about it in <i>Yellow Black</i> and I write that and I talk about libraries because my mother introduced them. My introduction to the library was the first place where I could -- I could hide. Libraries are free, brothers. It was kryptonite. An oxymoron to the 10th power. Libraries in Detroit in the 1950s were white, quiet, safe and sacred places with books, ideas and white children trying to feed their minds and stay ahead. For me, the necessity of libraries was early liberation to my young mind and soul. I devoured their content like running oil in a bad engine of a used car. I was hot for knowledge and the more I received, the greater I realized the supreme ignorance of my ways and that of my family. For the first time, hope for me appeared on the horizons with the acquisition of my knowledge. Defining the pure, practical answers that seldom entered the black community propelled me into a long [inaudible] that I would never leave. To talk about ideas other than those of the books, other than the work, beating weakened women and money placed me according to most brothers on another planet [laughter]. It was like a musician discovered the beauty and brilliance of Charlie Parker and Dizzy Gillespie, realizing that their music was genius and wondered if he could ever do that. The real task of getting the young musicians to try books and music encouraged me to try. Maybe it was God and [inaudible], our supreme judge who instructed my mother to actually go to the Detroit Public Library to check out <i>Black Boy </i>by Richard Wright. I, at first, refused to go because I did not want to go to a white library and ask a white librarian for a book with black in the title authored by a black man who I was told was challenging white America's concept of itself and black people. Apartheid America had worked. I was completely ashamed of who I was, felt inferior, inadequate and unprepared to answer the simple question if asked, "Why do you want to read <i>Black Boy </i>?" I found <i>Black Boy </i>with luck on the library shelf. There were two copies. I took one of them, walked into one side of the reading room and sat down and began to read. I was immediately captivated by the boldness of the language, the clarity of the ideas, the similarity of the [inaudible] and living experience within my own. The familiarity of the landscape, the intellectual genius of the protagonist to get what he needed at any given time, the feeling of Richard Wright to present a world in which our people were completely locked down emotionally, physically, economically and culturally -- yet still functioning as whole human beings. Which brings us most certainly to what happened in Charleston. Whole human beings being shot down by you know, white supremists and I know Miss Fenton spoke about it this morning but I just wanted to again -- bring it back up that our hearts go out to our brothers and sisters in Charleston. But as I read each word, each sentence of paragraph after paragraph, page after page, it was like a sledgehammer hitting me upside my head, stating in no uncertain terms, "Wake up, Negro!" I checked out <i>Black Boy </i>. Ran home, went to the room I shared with my sister and read all night. The next morning upon completion of the book, the first serious book I read in less than 24 hours, I was not a different person but a different questioner. Wright gave me content, a long content as I was beginning to move to the age of 14 and now they focused on direction for my own culture and intellectual development. His words formed the circle in our own investigation into the ways and whys of white folks and my own. Life suddenly, suddenly it slapped me right in the face. Read the white books, newspapers, magazines and journals and [inaudible] and questioning what was read is fundamental to developing a quicker consciousness and world view. Knowledge of oneself, of one's culture shapes a person. I do not know how my mother felt about the literature she read. We never talked about it. All I remember is that she once wanted me to read. She was never angered by my spending countless hours in the library. As our lives slowly slipped into another world, mine did too. Into the pavement of countless of books that put me into other worlds, cultures, places and without me knowing it, helped to determine my future. Black music had freed me creatively and black literature began to find [inaudible] me intellectually and culturally. For the first time in my young life, I realized that life has greater meaning than my personal circumstances. And I began to chance a smile in between books, concepts and what I perceived was a fine girl interested in me. I also picked up a pen and began to write my own thoughts. I didn't call my words poetry but became like square in a 12-round -- sweat in a 12-round fight that you didn't know you could win. Over proper training, there was always a possibility of gaining ground if only a yard, a word, a round at a time. You know, there's more but this whole question of literature and reading, it is absolutely necessary. For the last 75 days, I've been getting up every morning at 4:30 in the morning to write this book which will be published in August. The title of the book is "Taking Bullets" -- black men -- black boys and men in 21st century America fighting terrorism and violence and seeking human space. And what set me on this task and many of you may know I've written two other books on black men. <i>Black Men: Obsolete, Single, Dangerous </i>, African-American family transitioning <i>Tough Notes:</i> <i>A Healing Call for Creating Exceptional Black Men </i>. That my life has revolved around black people. My wife and I spend over 90% of our time in the black community. And I've had all -- you know, I've taught at research one in universities, in urban universities for the last -- I'm retired now, for the last 22 years. But the point is that our community needs so much -- -- and needs so much. >> Oh yes, yes. So much. >> Haki Madhubuti: And the great majority of our people do not know it, do not understand what we are dealing with. You know, we're dealing with empire. The United States is the last empire. >> Yeah. >> Haki Madhubuti: And these brothers are in these family corners, you know, talking, "Mac, you know, this is my turf. They paying rent." >> Yes. >> Haki Madhubuti: They don't own it, you know. I've lived here for eight years in DC. Commuted every week between Chicago and DC and I don't even know this place anymore. >> Yeah. >> Haki Madhubuti: And we don't know it. > That's true. >> Haki Madhubuti: And if such a question to ask, "Who are you? Who are you?" You ask 10 black people out on the streets, "What's your name? Who are you? Where'd you come from?" You will get 10 different answers. In fact sometimes, 20 different answers. >> Yeah. >> Haki Madhubuti: If you don't know who you are, anybody can name you. And they will. And so we find ourselves in this continued war, this continued pattern to just to be human, just to be human. Black people don't have no place else to go. And you know, these clowns are like, "Go back to Africa." What? [ Laughter ] You talking about Africa, Mississippi? You know, Arkansas? And so for us, my wife and I and -- and trying to create, we need independent black institutions. Not Negro institutions, not imitation white institutions. We need institutions that are essentially going to talk about us, to give us direction. We need family. We need community. And people say, "Well, why -- you know why does black [inaudible]?" You know, black-on-black crime exists because of white-on-black crime." >> They all do. >> Haki Madhubuti: What we do, we've been taught to do. >> Yes. >> Haki Madhubuti: You see, women taught to kill white people, not in [inaudible] -- the people who raped us in another continent so we don't do that but we kill black people because we devalued black people's lives. You see, so we got a lot of drive-by shooting but we got drive-by looters. The central problem in America is white supremacy based upon white nationalism, you see. That has infiltrated itself and lived within the context of these institutional structures and most certainly the police structures in this country -- the military and police. I've served three years in the military. I understand what exactly that meant there. And so, in trying to build these independent black institutions in Chicago, our focus has been what do we have? What do we own? You see, I'm not talking about your, you know, 18 suits. I'm not talking about your Lexus from Japan. What do you own? You see what I'm saying? And this is critical. And I just got to -- and what I do in this book, I talk about the United States' empire but what's critical about empire is wealth. We have no idea of what wealth is in the black community. Bill Gates is worth $79 billion. That's with a B. Warren Buffet is worth $73 billion. That's with a B. If you look at the total wealth of black people in the United States including Oprah Winfrey and Michael Jordan, this [inaudible]. [ Laughter ] And Beyonce and Jay Z and all the athletes, you're only talking about $20 billion. That's chump change in the real world. And so we have been detached from each other and what we hope in one level of literature, and I started telling what [inaudible], we have to tell our own stories. >> Yes. >> Haki Madhubuti: If you don't tell your own stories, somebody's going to tell it for you and that is essentially what happened. The winner tells the story. And the winner's getting the story out very quickly and we end up studying their story rather than our own story. >> Exactly. >> Haki Madhubuti: And so, you know, brothers and sisters, this has been a long journey and I'm rather passionate about it. And every day, you know, poetry and [inaudible] are the same but for the last 75 days, I've been working on this manuscript and all my life, all my adult life, I've been involved in literature, in books, you see. And I think that books in part represent an answer -- not the only answer but an answer, you see. And I'll just end with this. When I wrote -- when I published<i> Black Men: Obsolete, Single,</i> <i>Dangerous </i>, I got invitations from all over the country. [Inaudible] a lot of folks and the brothers down there. We sold the books to prisoners all across the country for a discount. So I was invited to a lot of prisons. And what I learned, you know, clearly and I got -- I've got a brother in prison now and another brother who's in and out of prison as well, another sister in and out as well. But what I learned quickly and very forcefully that the average brother cannot read in prison, cannot read at a sixth-grade level. If you can't read at a sixth-grade level, you can't write at a fourth or fifth-grade level. If you can't read at a sixth-grade level, you can't write at fourth or fifth-grade level, what can you do in the black community? And you find all across this country, black communities around 50 blocks, you see. We still segregate their lives and stuff. And so what can you do in that community other than go back to the [inaudible] which is largely illicit, illegal. What can you do? And so education what can -- how do you bring young men, young women into an educational system? When as you said, they're pushing us out. And one of the reasons and this -- my wife is brilliant. She's educated. I'm a poet [inaudible] and what we found was that you have to have your home must become a mini-learning institution. That the children must be -- the babies, the children must be introduced to literature early and often. I mean, we have to read to our children. We have to read to ourselves. We have to be involved in the elite intellectual pursuit of knowledge. Knowledge -- and I'll just end with this. One of the major problems this nation I think is facing -- we have ignorant people telling how to keep [inaudible] other people on it -- 85,000 black churches in this country, 2.3 million black and brown boys locked up in the [inaudible], in the criminal justice system. There's a disconnect there. Thank you. >> Thank you. [ Applause ] >> Yanick Rice-Lamb: Good morning. >> Good morning. >> Good morning. >> Yanick Rice-Lamb: I'd like to thank all of you for being here and I consider all of us word warriors and thank Maria Fenton and the organizers at the Library of Congress for putting this program together. And it's an honor to be between these two giants. I first met and heard Dr. [Inaudible] -- Haki Madhubuti when I was at Ohio State. We used to have a bus to go to the invitations conference at Howard University. >> Haki Madhubuti: Oh great. >> Yanick Rice-Lamb: You were speaking. This was in the late '70s. And Ethelbert Miller, of course. I was introduced to him by my cousin, Van Jordan, who's also a poet. And he considers Ethelbert a mentor as to why and he's also helped me with some of my own writing and also my students with their writing too. And some of the things that he mentioned earlier, I agree with. The library was very important to me and my sister, Michelle, who's out there. But we lived on up the street from the library. It was four blocks from us so we spent a lot of time there. There were a lot of books in our house. We started reading and writing early. I read the newspaper with my grandfather. And my grandmother told me at an early age that I would write a book and it seemed an impossible feat but I have done that. And that time, it was a seed that she had planted at an early age. And growing up, I also wrote poetry as a child and wrote short stories. I escaped through books and some of you remember back in the day, the list that they would give us at schools where you could take it home and talk to your parents into trying to buy these books for you, little paperbacks and things like that. So my mother, whether she had the money or not, she always, you know, set some aside so we could order books. And we also, like I said, we went to the library a lot too. And so I focused on looking for something for my life's work that's related to English and art. Those were the areas that I was focusing on which led me to journalism. Because I didn't see myself in the media and I learned that I wanted to give voice to the voiceless and try to tell stories that weren't being told. And then also hearing a lot about my own family history and the stories that, you know, my parents and my grandparents and my aunts and uncles would tell us about our family tree. And the importance of reading and I tried to do with my son also when he was a baby, reading to him. And it got to the point where he wouldn't go to sleep unless I read him a story or he would say, "Tell me a story about your life." And I would tell him about our family history. And sometimes -- and this is, I guess, something for those of you who are parents, for other people who are parents -- sometimes, we're tired after a long day and it's hard to find that time to read to our children. And sometimes, I couldn't -- literally couldn't keep my eyes open. And so then I would tell him to tell me a story or read a story to me. And he could -- really couldn't read yet. But he knew some of the stories by heart and he would turn the page at the right place. And I remember once we were at a naming ceremony for a child and someone ran to me and said, "Your son can read!" And I was saying, "No, he can't read." He just knows some of the stories by heart and he turned them at the appropriate page. They thought he was reading early [laughter]. But, you know, as an instructor now -- I'm teaching at Howard University. I can see the difference in students who were read to, in students who have a love for reading growing up and students who continue to read. And if you look at any statistics, children who were read to at least three to four times a week, they performed two to the time -- two times or at least a third better than children who aren't read to on every level that you can look at.- Whether it's learning their alphabet, whether it's reading stories, whether it's taking tests or whether it's getting into college or the reading comprehension. So it's really important that we do that. And whether we have children or not, we have to kind of expand the village with our nieces and nephews, the children in our neighborhood, giving books as gifts so that we can get them away from the video games and also trying to counter align this teaching to the test. Because students, they've learned through the test. So at this point, some students only retain as much information as they think is necessary to pass a test and that follows them in the way they handle their courses or the way they handle information throughout their lives. And we spoke earlier about you know, the opportunities that people have for their careers or whether they're participating in the underground economy if they don't have the skills of literacy to read. And we have to make those examples by what we do, you know, so we practice what we preach in terms of reading ourselves and sharing that. And sometimes even with -- my younger brother didn't like to read but he was very into sports. So I would buy him sports magazines so later on, now he reads a lot of books. And I always give my nieces and nephews books as gifts. And sometimes, they would look at me like there's Aunt Yanick again with another book. But I didn't care. I was going to give it to them anyway. So what I've done, I've worked -- I started off at newspapers and worked at the <i>Toledo Blade </i>, then later the <i>Journal Constitution </i>, <i>The New York Times </i>. Then switched to magazines so I've worked at <i>Child Magazine </i>, <i>Essence </i>. I was editor-in-chief of <i>BET Weekend </i>and<i> Heart and Soul Magazine </i>. And now, I've started a website called FierceforBlackWomen.com and another one called Fully-Connected.com. And with Fierce, one of the points of that is to tell our stories through health and fitness because we set the wrong records when it comes to health. And those stories aren't always being told. So we're also interpreting a lot of things like different studies that come out and we don't know to eat this, don't eat that or take this, don't take that -- and how that affects us. And as writers, I also encourage people to do whatever, you know, write by any means necessary so even, you know, I write books. I used to write poetry. I'm not as good as these two here so I kind of abandoned that a little bit or do it every now and then. Articles, blogs, people are telling stories through tweets but if you would say you want to be a writer, you must write and you must do it often. And it's really important to tell our stories. And also -- and I think another reason it's important to tell our stories because there's so many distractions out there and there's a lot of disproportionate focus on some stories. So in the past week or so, we've had disproportionate focus on a certain person who shall go unnamed but she's been everywhere all over social media, all over the news to the point where it overshadowed a lot of other things. And some people started putting out lists of 10 stories that you didn't pay attention to because you were focusing on her. So there's that, you know, accountability that we have as consumers, as readers, and also as writers in terms of what we put out and how we put it out and being good at what we do. A lot of times, people also want to write but they're not developing the skills they need and there are a lot of resources out there. There are other people that we can bond with to help us, you know, develop into the writers that we want to be. And also trying to put those stories out there. There are a number of different places to do that -- whether you -- there's an abundance of stories. Sometimes, there's not always the outlets if you're looking at going through traditional routes because in some of the places, if you were a publishing company, there's fewer imprints that we're focused on our stories and fewer editors at those companies. But we also have Third World Press. We also have self-publishing. A lot of people are doing eBooks now. But the important thing is to understand the process -- understand all the facts of it and know what you're getting yourself into. And making sure it's sustainable too because a lot of times, we've lost institutions whether they're magazines or newspapers or book companies or bookstores for various reasons. And so we have to make sure that they're financially sustainable and that we support them as well. So understanding what we're getting ourselves into and making sure that we're also focusing on marketing and distribution and all of that -- and word of mouth is very important in terms of supporting people. A lot of times, particularly some of my friends who are writers, if they have a book signing, if they have three, six stops here -- I'll go to every single one of them. Because as writers, some of you who write, you value every face out there whether you have six, 60 or 600 out there in the audience is really important so do everything we can to support them. And in this area, we've lost a lot of bookstores, the Caribbean chain and on and on and throughout the country. So it's important to kind of support the ones that we have and to find new ways of telling those stories and making sure that people know about them. Let me see, what else didn't I mention? Also that, you know, and that also goes to literary festivals, book clubs and also starting book clubs. I'm in two book clubs, one of them has a number of journalists in there. If you don't read, you feel guilty and ashamed if you're behind. And sometimes, if I haven't had a chance to finish the book, I try to talk about the first chapters that I have [laughter]. Lately, I have finished them. But the other one is the neighborhood -- it's in my neighborhood and some people are content to have the most prolific readers in our group tell them what happened in the story and it's more of a socializing situation. But it's an opportunity for me to make sure that I read because I'm juggling a lot of things and also we started a writer's group as an offshoot of the Color Me Red book club that I'm in because we discovered that we all had stories on the shelf that we -- some of them we hadn't done anything with. So some -- we have worked together on screenplays and books. And we encourage each other by meeting together to write together, meeting together to read our work, doing it by email when we can't read together, meet together and do the process. I was able to finish the first draft of my first novel and another member finished her screenplay. So I also worked on <i>Born to Win, The Authorized Biography</i> <i>of Althea Gibson </i>and <i>The Spirit of African Design </i>, which is a coffee table book. <i>Rise and Fly </i>which is about Bid Whist and space but also weaves in history and all of our kind of wild behavior playing cards sometimes. And various anthologies, writing about my Aunt Rose who lived to be a hundred but I didn't know she was a hundred until I walked to her wake because she lied about her age [laughter]. We lived in New York and one of the reasons she lied about her age is to make sure that she got good healthcare so people wouldn't ignore her when she was in her 80s and 90s. And then a piece called <i>Daddy, My Brother Barack and Me </i>which was in a book called <i>BET on Black </i>, African-American Women in that write on fatherhood in the age of Barack Obama. So a number of women -- we wrote about our brothers, our fathers, our husbands and other men in our lives who were good fathers. And that's really important -- Father's Day is coming up and we have a piece on Fierce this weekend that will encourage women to make sure that they keep the fathers in the lives of their children. But as I -- again, as I said, I think it's really important for us to give voice to the voiceless, to tell our stories. And you know, whether we tell them in words, you know, through other forms of art, and or when we write them down -- it's important that we write them down too because we have a lot of rich stories. And I've also been encouraged to see more people writing memoirs. A lot of times people didn't think that they had stories to tell and that -- or you had to have accomplished so much before you told a memoir. But we now see a lot more people doing that. And encouraging children to write stories too and write their books. So I'm encouraged to see in school sometimes where they've been buying some of the books that some of the students have and have programs built around that. And also at Howard, in the Department of Media Journalism and Film, we tell stories there in the various different forms whether they're through journalism, through audio, through television production and also through film. And Haile Gerima will be here this afternoon. He's one of our esteemed filmmakers and please support Sankofa, one of our remaining bookstores in this area. On that note, I will stop. [ Applause ] >> E. Ethelbert Miller: It's always good now and then to assess a state of African American literature. What does this mean? First, it should mean a close examination of all genres. Second, it might consist of a study of the work of writers of significance, as well as writers of applause. By applause I mean those writers who win mainstream acceptance and awards. Third, the state of African American literature should also be evaluated while taking into consideration technological economic changes within our society. These changes can have a key influence in determining how our literature is produced, distributed and consumed. Four, if we could look at the literature through the eyes and works of literary critics, whose work attempts to offer clarity and understanding to the body of work created by African Americans at any specific time in history. Finally, the state of African American literature offered mirrors [phonetic] to social and political transition and transformation of global black culture. Let me for just a few minutes present what is simply a probe into the state of African American poetry today. Any study of African American poetry begins with an acknowledgement that there is always two streams, one oral and the other written. Now and then, they overlap creating hybrid structures, as well as poets who have diverse literary portfolios and bodies of work. Spoken word, for example, is very popular today. Its energy incurred by social movements, changes in social media and even urban gentrification driven by the opening of new cafes. Spoken word at time, competitive in nature, can be viewed as empowering a young generation. A generation coming over age during the occupied movement, the rise of police brutality, income and equality, power of spring and the growing [inaudible] of radical Islam, drones and hashtags. If black lives matter in 2015, so does black poetry. Yet, I would underscore that the most important development responsible for the changing state of African American poetry is the organization Cave Canem. In 2015, we probably have more African American poets than ever before in our history. The same way we have more photograph -- photographers because of cell phones. Maybe the cell phone and iPod is the reason for so many poets. Consider how this poem by jazz poet, Ted Joans, takes on a different meaning because of our technology. <i>The Truth </i>-- "If you should see a man walking down a crowded street, talking aloud to himself, don't run in the opposite direction, but run toward him, for he is a poet. You have nothing to fear from the poet but the truth." There's a good chance someone walking towards you talking aloud is talking on a cell phone. The question we should ask ourselves is whether we should ignore this person. What are the social implications if we do? We could also ask, where are the poets? It's just a matter of time before someone fascinated with numbers issues a report of how many young people are doing spoken word on a given block or subway car. Like money ball and baseball, the state of African American poetry has given voice to the voiceless. So many numbers to consider. If everyone is reciting poetry, is everyone a poet? Today there's an unregulated freedom of expression, which mirrors the internet. What we are now witnessing might be the true poetry of the people. Where poet and critic, Larry Neal, once pondered the possibility of black poets being as popular as James Brown, today common might be just common to all of us. Meanwhile, what cannot be overlooked is the impact the organization Cave Canem has had. This organization founded by Toi Derricotte and Cornelius Eady might best be compared to NASA. Instead of training astronauts for space, Cave Canem is helping to create literary stars. Started in 1996, Cave Canem's mission was to be a home for the many voices of African American poetry and it's committed to cultivating their artistic and professional growth. Still, how does Cave Canem affect the state of black literature? Never before have we systematically attempted to educate and train African American poets. We have a new generation of African American poets who are now teachers of creative writing. To some degree, we have started to workshop the black experience and place a heavy emphasis back on the craft of making a poem. I think Cave Canem has three tiers consisting of first, faculty members and workshop leaders, poets -- poets currently accepting and participating in the workshops and a strong politically active network of graduates who maintain creative and social ties despite geographical separation and distance. Pick up any number of new books published by African American poets by well-known publishers and one will notice quite often a reference to Cave Canem in the author's bio note. If one visits the Cave Canem website, simply examine selected milestones which consist of the achievements of Cave Canem faculty. Names mentioned are Elizabeth Alexander, Terrance Hayes, Nikky Finney, Tracy Smith and Natasha Trethewey. The arms of Cave Canem is so outreaching that even E. Ethelbert Miller is listed as the honorary director. One thing which Cave Canem has done, which is very important, is a creation of its legacy conversations. This archive helps to document an overview of African American poetry. In 2004, Elizabeth Alexander interviewed -- interviewed Haki Madhubuti. In 2006, I sat down with Alexander. This type of documentation of African American poetry has altered -- undertaken by Dr. Joanne Gabbin, the founder and director of Furious Flower at James Madison University. Gabbin's Furious Flower Conference is another event that once you study in order to evaluate the state of African American poetry. Last year there was a major gathering of African American poets at Madison under the title "Seeding the Future of African American Poetry." From Furious Flower to Cave Canem, to [inaudible] Magazine. The literature edition of Afro-American poetry needs to be critically examined. Too often, for example, and [inaudible] that exclude as much as they include. In the future, we should be suspicious of [inaudible] collections that attempt to define the state of African American poetry. A good example of this might be the book, <i>Angles of Ascent </i>edited by Charles Rowell. If there's one thing I've learned over the last four decades is that literary politics is alive and well. If we honor who we are, then we will never be post-racial. The mirror -- mirror reminds us of history's horrors. We only need to look out the window to know our struggle continues. Everywhere we live, not suffocating, but breathing, our beauty residing in our blackness, everlasting or shall we simply say, eternal. [ Applause ] >> Enjoyed the comments of each of you. So I have a question. I work on the campus of the Historically Black College. And I would like to spearhead an initiative to get books in the hands of each of our students. And I'm wondering if you have any suggestions on how I can go about doing that. I thought about maybe trying to do a book festival, but our students can't even afford their textbooks. A lot of them are not in the habit of reading. So, I don't know if it's practical to try to make books available for sale. But I guess I'll just leave it at that. That's the essential question. Thank you. >> Haki Madhubuti: The Third World Press, we have a [inaudible] program, anybody incarcerated in the country can write us a letter and we will send them free books [inaudible]. For libraries and especially [inaudible] talking about College University, if you write us, we will send you all the books that have been published, to your library [inaudible]. For your students, we would donate -- how many students do you have? >> [Inaudible] last spring was about 1500. >> Haki Madhubuti: Okay, I can't do that [laughter]. We can send you as a donation, say 50 copies of -- of [inaudible] -- www.thirdworldpressbooks.com. >> Yanick Rice-Lamb: I think I -- I might have some books I can donate to you as well. But I think that's one of the keys is getting people to donate books. And I know that when I worked on Althea Gibson's biography, there was someone who wanted donate books to a school and they had approached [inaudible] books when it was around and they -- they ended up donating our book. And so, then I also went to the schools to speak to the students about reading and about the book that I worked on. So that's -- that's one thing and I know our freshman class, they choose a common text for them to read. They read -- a couple years ago, they read <i>The Warmth</i> <i>of Other Suns </i>by Isabel Wilkerson. And I'm not sure if all the students purchased that book or if they were donated as well. And she came later to speak and they were able to interact with her and that helped to bring it home to them a little bit. But I think it is important, the other thing about -- when we talked about reading to children, students and young people who read for pleasure also do better in -- in school. So we have to encourage them to do it on their own for pleasure, you know, so [inaudible] encourage that. >> E. Ethelbert Miller: I could answer this on a number of levels. First in terms of -- on my first level, I've been over the last few years, creating what I call "eBoxes" giving parts of my personal collection to writers that identify, who have a lot of potential. I say that because I see books as sort of like a sacred gift, passing it on, as opposed to sometimes just putting books out in a box and hoping somebody comes by and picks it up. What I try to do is customize the -- the selection from my own personal collection to the interest of the writer, okay. So, for example, Giovanni Singleton was a poet out in California. Knowing that she was a Buddhist, I gave her a lot of books that were dealing with Buddhism and spirituality. So I -- I got books out of my house that I know were going into good hands. When we deal with glass schools, I think the first thing that we have to be concerned about it is preservation, okay. You know, I was at Howard University for 40 years. Now that I'm not at Howard University, I can speak openly. What I would be concerned about is -- is a preservation. And -- and this is a challenge to the people outside Howard University, is that we have to make sure that money is raised, you know, to protect the libraries, okay. I've always looked at historic glass schools as living organisms where you would look at the library as the heart. And I say that, especially to African Americans because of if the library is our heart, just look at the problems that we have with our heart, everything in terms of heath matters, as well as the blues, in terms of broken heart. So we don't take care of our heart. Consequently, we don't take care of our libraries at historic glass schools. Many of them are overheated for some sort of reason I would like to examine, you know, why are many libraries overheated? Okay. Which means that some of these books after awhile are just falling apart. At the same time on this last note, we have to look at the changing fact of we are living in terms of the book itself. Okay? At one time, I was a strong advocate of personal library, but we know now today that people don't collect the books the same way, they download them. And we have to look at it in terms of that way. But I think looking at, you know, Charleston, and looking at the history about that one institution, we have to look at books that need to be passed down to throughout our family, you know? As a writer, I'm concerned about the fact that in my household, my kids look at my book collection and ask, "How much is that?" Not necessarily in terms of reading the book and passing on the knowledge, but, "Oh, this book might be expensive because Ethelbert had this signed by so and so." And so, they see it as a commodity, okay. And this has a lot to do with how we see African American culture today. We sell it as a [inaudible], you know, how important is it? Going back to like the piano lessons in August Wilson's play, you know, you sell it to somebody, you keep it in the family. >> Haki Madhubuti: [Inaudible] I just want to add to what Ethelbert stated. I taught at Howard, Morgan State -- I spent 26 years at Chicago State University. I taught at research ones and so forth. To my black universities and colleges, the real problem is leadership. These boards are atrocious. I'm not serious [inaudible] that Tuskegee, I was there for three days and, you know, it's just -- it's horrible. Now we do not have enough funds in terms of monies coming in, but the leadership for the most part, do not see the library as the heart. And if you work in there, you can't say anything, you know, whether you're [inaudible] or not. But the -- the management of black historic and black college universities for the most part, I would say are the -- are the -- the 100 or so that exist, maybe 15 are doing well. And those 15 that are doing well, they still have serious trouble, you know? But with faculty members like yourself, there's always hope, you see. And just see me afterwards, I'll follow through on what I promised. >> Thank you. >> Sibyl E. Moses: Before the next question, we would like to take this opportunity to build upon what was said, especially in the area of preservation. As we move into this new age that we are currently in, the issue is preserving. How are we preserving the writings, the stories of those of us who create on the web? Those of us who, what we call, create these born digital collections where there are no print volumes available. How do we even know that they're there? So, one of the tasks before us is to begin thinking about how can we create a mechanism to get control? And that's not a negative word, but control meaning to be able to discover. To be able to discover what is out there so that we can read and -- and preserve that information. So that -- that is a big issue. One of the things that we're doing at the Library of Congress is web archiving, archiving various websites, archiving blogs, etcetera. And this again, is something for the agenda of our black institutions, to begin archiving much of this digital information. I'm turning here because we cannot carry on this conversation with black publishers, and bloggers, and black literature without mentioning or evoking the name of Dudley Randall and so many others that have really set the stage for us and on whom's the shoulders we stand. We cannot leave here, leave this panel without evoking the name of Monroe Nathan Work and when you mentioned Tuskegee, this is the man who enabled us to know who the black writers are all over the world, not just African American writers, but black writers all over the world. And so, as we have this conversation, please let us include. >> Haki Madhubuti: Yeah. Dudley Randall [inaudible]. I'm here because of -- in part because of Dudley Randall. The people that mention me as a young boy were el-Hajj Malik el-Shabazz, Malcolm X. Margaret and Charlie Burroughs, who founded DuSable Museum, was the first black person in the country -- in Chicago. Dudley Randall, who's the publisher -- poet and publisher of Broadside Press. >> And librarian. >> Haki Madhubuti: And librarian. And he used all his money from, you know, being a librarian and he was my first publisher. I published my first book myself, which was <i>Think Black </i>in 1966 and then 1967, 1968 -- at '68, Dudley Randall published <i>Black Pride </i>. I met Dudley Randall after Malcolm had been assassinated -- well, let me just mention these other three mentors because I can't go without them. Hoyt W. Fuller, who was the editor of <i>Negro Digest Black World Magazine </i>, which was a major magazine to document that whole period between the late 1960's and up to 1975. And then, of course, Barbara Sizemore. Barbara Sizemore was -- Dr. Sizemore was the first black superintendent here in Washington D.C. Of course, she didn't last too long because of her love of black children. Then of course, finally the person that essentially mentioned me the longest was Gwendolyn Brooks, for 33 years, part of the family. But Dudley Randall and -- and Gwendolyn Brooks were very [inaudible]. In fact, when -- when -- when Gwendolyn Brooks left Harper and Row, she went to Broadside Press. Broadside Press published her first book of poetry back -- I think it was 1969, which was <i>Riot </i>. And -- but finally, this is -- the reason I got into building independent black institutions is because of Margaret Burroughs and Dudley Randall. So I'm at the -- I'm in the army, I'm in the United States Army going crazy, all right, reading all this black literature. And, you know, nobody to talk to, you mentioned black, you look like you had lost your damn mind, all right. And so, I found my way into Chicago at the -- at that time, it was the Ebony Museum of Negro History. Ebony Magazine sued them so they had to change the name from Ebony and go to DuSable Museum of African American history. I walked in that morning in 1962 and Margaret Burrows was in the kitchen working on a linoleum cut. I didn't know what a linoleum -- she's a world-class visual artist, okay. I walked up there and I, you know, I [inaudible] looked natural, I was in the army -- say, "What you want, boy?" I said, "I need to talk to somebody, all right." And, you know, I'm -- I'm about 20 years old, 19-20 years old. "Go upstairs and talk to my husband." I go upstairs, they got this world class library in their home, all right. He sitting at the table writing and [inaudible] glass of water down there. He said -- he said, "How you doing, son?" I say, "Well, I just need to talk to somebody." He says, "Sit down. Do you want something to drink?" I said, "I'll take some water." He said, "That's vodka," you know [laughter]. Charlie Burrows had been reared in the U.S.S.R. The guy spoke Russian fluently, all right. So he was the first person that introduced me to [inaudible] literature, etcetera, etcetera. Anyway, when Malcolm was assassinated, Dudley Randall came to Chicago to talk to Margaret Burroughs about co-editing a book on the life and legacy of Malcolm X, all right. And so, I gave my first poem and he -- and then I gave my manuscript to <i>Black Pride </i>, he -- I said, "Will you please consider this?" He called me back in a week and said, "Yeah, you know, I -- I'll publish this." He said, "But would you allow me to write the introduction?" And that was for me, you know, the biggest thing. Now, the museum started in their home, the DuSable Museum started in the home of Margaret Burroughs and Charlie Burroughs and Broadside Press was in his home, okay. And so, both the museum and Broadside Press was really funded by their monies, the monies that came out of their pocket, okay. And so, when I went to Detroit to sign a contract, which I didn't sign, I just shook his hand and said, "I got this. I got this." That's it. >> Thank you. >> Haki Madhubuti: Beautiful people. [ Applause ] >> E. Ethelbert Miller: I'll just mention one other name. That would be Naomi Long Madgett, also from Detroit. And she was -- >> Haki Madhubuti: Oh yeah, Naomi, yeah, Lotus Press. >> E. Ethelbert Miller: -- the Lotus Press after -- after [inaudible] and The Third World. >> Haki Madhubuti: In fact, she was my second publisher [laughter], I -- you know what I'm saying. Naomi Long Madgett, who is a fine poet also [inaudible] all poets, Ethelbert. And, you know, she called me and said [inaudible] about a book. And, you know, so I said obviously yes. And so, she -- she's still alive. Dudley is not with us anymore, of course, Gwendolyn Brooks is not with us anymore, nor Margaret Burroughs. So Naomi Long Madgett, she's in her -- can you tell, I don't know -- >> E. Ethelbert Miller: Ninety-nine, she's about 99. >> Haki Madhubuti: -- she's about [inaudible] 90's. But what happened, Ethelbert, Broadside Press is still functioning, but not in a very high level. So Broadside Press and Lotus Press have combined, okay, to try to keep both of the press's going. >> Yanick Rice-Lamb: Some of the people who influenced me are some of the people that influenced a lot of people. Like James Baldwin, I read a lot of his books growing up. And then being from -- I'm from Akron, Ohio, so Toni Morrison because she's close by and she always made references to things in Ohio, so my sister and I always got excited when we saw those references in her books. Rita Dove is also from Akron, Ohio, went to the same high school I went to -- I graduated with her younger sister. And she was -- she's a poet, and I sat in her class, the Pulitzer. And then -- then a number of journalists that I have - I have met over the years and -- and poets, authors, all sorts of writers, screenwriters that I've met who have influenced me. Her question, she's -- she said, she was asking about discerning between blogs that give you good information and blogs that don't give you good information in a nutshell. And I wanted to point out, Ingrid Sturgis, she's standing back there. She's also from Howard University, but she teaches digital media literacy. If any of you want to grab her afterwards, but one of the things we're trying to do is to help students understand all the things that are out there in the digital world and -- and what's good and what isn't. And to -- we all have to be discerning about that. Sometimes when we're looking at information, if someone -- is their [inaudible], is their opinion, in a -- and sometimes it's incorrect and unfortunately, the corrections take a long time to catch up with the truth. One of the things we're starting also at Howard, working title right now is HU Insight, but we may change the name. But we are starting kind of a truth squad or a verification -- verify information, myths, stereotypes, false statements that are made about us and even things that have persisted, you know, for a long time. So we could say, you know, what's true and what isn't true and do it in real time. And there's some site like, called PolitiFact that does it for politics, but we want to do it across the board because as it affects people of color because there's so many things that are said about us that are completely false, or partially false, or whatever. We want to address that, but I encourage you to call people on it when, you know, when you're reading blogs or reading, you know, whether it's mainstream media, or whether it's a one person situation, you know -- call them on it when you see errors and when you see untruths that are out there because we really do need to stop that. Because a lot of times people take that information as fact and a lot of people don't do their homework or they rip off information from someone else and if that person has false information or has made a mistake, they just keep repeating it and perpetuating it. And with social media, a lot of that information goes viral. And, you know, one of the things that I'm committed to, which is one reason why I teach, is to, you know, encourage and train young people to tell the truth, to do the homework, to get out in the community, to go to places that aren't being covered to tell our stories. And I'm thankful to Ethelbert because a lot of times I say, "You know Ethelbert Miller, you should go talk to him." And he always, you know, talks to them and gives them great information. But it's really important that we do that because we so often allow stories that they aren't being told period about us and they're told in the wrong way. But there's a lot of bloggers and there's a proliferation of bloggers and they definitely are not all created equally, so you have t kind of, you know, watch what you're reading or what you're consuming, so that you're consuming good information. >> E. Ethelbert Miller: Yeah, I've been actually blogging every single day since 2004. And I look at how I use blogging to move into other forms of media. So if you look at what I did a couple years ago, I created E channel, which was a blog. And I interviewed the novelist, Charles Johnson, every single day for an entire year. That is not a book that came out in January, 672 pages. It's one of the most -- most comprehensive thing about Charles Johnson and, you know, this year is the 25th anniversary of his key book, the <i>Middle Passage </i>. But I used to blog in such a way that was like a tool and -- and to help people. If you look at my -- another thing I'm doing right now, the critic Aldon Nielsen -- interviewing him pretty much four or five times a month trying to look at the development of a literary critic, okay. So I'm using the blog as a way to interact with other, you know, media the same way you go back to Marshall McLuhan. McLuhan always felt that print was the key [inaudible]. So my thing is that if I can control the print, you know, and -- and have things come out of that, then that would be a way of staying a breast with the technology where we don't see it as either or, but connected. So when I look at how the E channel became a book, I realized, okay, these things are not separate, okay. I can just reach more people, okay. But the thing I found out with the blog when I was doing the E channel with Charles Johnson, I was happy I was interacting with Charles Johnson because he's a perfectionist. And if -- and the thing about bloggers, blogs have a tendency to be very sloppy and -- and that's the difference between blogs and journalists. Charles just would not let me post anything if there was a period of comma out of place. And I -- and I had to reformat the whole thing because he said, "Oh, no, you're not going to put that out there." But what I realized is -- it was that he was dealing with this project in such a way, he said, "Okay, this is extremely important. This is literary history that's being made." And every now and then, I would be joking around and whatever, and -- and he said, "Yo, but this is serious," okay. The other thing about the blogging and the technology is how it makes the -- the black world smaller, okay. And that is -- I would not have been able to do this if Charles was not in Seattle and I was here. And the time thing helped us to be connected. And I say that now in terms of when we talk about the literary world. We have to be international. We have to be supportive, you know, whenever there's crisis, we are the survivors, okay. That's the key thing in writers. Something happens during the world [inaudible]. We have to be responsible to that and we have to use the technology. >> Haki Madhubuti: Actually, repeating the question, she is concerned about the reading level of [inaudible]. And actually we have a house [inaudible] in that area [inaudible]. And if I can [inaudible] ask Dr. Carol Lee to come forward please. Can you come up here to speak? She doesn't want to come [laughter]. My wife is -- is -- she -- she's really -- she's an -- she's one of the living experts in [inaudible]. A former [inaudible]. But she's very modest and that's why she married me, so she [inaudible]. But she would, "Baby, come up here for a minute [inaudible]? Everybody encourage her to come up -- [ Applause ] >> The challenge us not unique to black boys. I think they're two things. One is that the challenges that we have to -- that we have an education, we need to understand in an international context and that is the things that we try to do to impact education in the United States. No other high achieving nation in the world does any of the things that we do. So, politically and this -- it seems to me, we need to be advocating. We don't have an infrastructure -- so part of what I'm trying to do is to say that the challenges that our children have in school relative to reading is part of a bigger challenge in the country at large. So if you look at national educate [inaudible] -- and national assessment of educational progress, which is the only national assessment that we have. And you look at the growth over the years, for example, of 17 year olds, there's no growth at all, for decades, right. So, the challenges our kids face are extreme exacerbations of a bigger problem. We don't have -- we don't have strong capacity in our schools for supporting most kids, but particularly for not supporting black kids. So I think that while we struggle in terms of policies, certainly being here in D.C., we have to equally struggle within communities. And to have what Haki and I have talked about for years, what we call liberated zones where we say some -- to some degree, maybe something like the Harlem Children's Zone, where we go neighborhood by neighborhood and say that, we are responsible for the young people, whether it's 10 square blocks or what -- we are responsible for them. And we're not going to depend solely on public education to be the place to educate our kids [applause]. And all kinds of communities do that as well. And so, everything they talked about in terms of, you know, working with kids, reading kid -- well it's not -- there's no magic to how to read -- teach kids to read or teach them to love to read. We've all done that ourselves in our own lives with our own kids. It's just that we don't reach out, we're dependent on other people to do this for us, as opposed to saying, whether it's our own, you know, extended family, the kids on the block, the kids in our church, that we're going to make sure because we know how to do it, it's not rocket science. >> Haki Madhubuti: You know [applause], what she didn't mention was the professionalization of the whole area of teacher's education. When you look at nations like Finland or look at even Hong Kong, that their teachers are paid as much as doctors, MD's and physicians because essentially you cannot become a teacher unless you're from the top tier, all right. And so therefore, their whole -- and in Northern Europe, you find that -- that education from preschool up to graduate school is free, all right. So these young people -- their young people do not come out of college or university with thousands and thousands of dollars of debt. In fact, the student debt in this country is $1.3 trillion -- $1.3 trillion, that's a shame, that's a crime, you see. And that started with Ronald Regan in California. I don't need to get into all politics [laughter]. >> Sibyl E. Moses: Thank you [applause] E. Ethelbert Miller, Yanick Rice-Lamb and Haki Madhubuti, we thank you and embrace you for really encouraging us, for providing such an informative and provocative discussion. We've had an effort to change the conversation and to begin defining what is needed. And so now we go forth and we create our stories, create liberation zones in our communities, develop writer's workshops and what I focus on, biography workshops and begin to capture so many more of the stories. In closing, I just want to say that in terms of our black institutions, they offer opportunities for us to begin capturing the lives of the people's -- people who have built those institutions. I work with the Prince Hall Freemasons and so many of those organizations throughout the country, which have roots in the late 1700's and the true histories have not been written. The lives of those people involved in -- in really, preserving our culture and -- and helping our people have not been explored. So we encourage you to go out into your communities and capture not only the lives of you and your families, but also the lives of others to help us preserve the word. Thank you [applause]. >> Marieta Harper: My name is Marieta Harper. I'm an area specialist here in the African and Middle Eastern Division. We're going to start with the second panel called, Stakeholders of Black Literacy. I'm going to intro -- start the panel with Betty Entzminger and fourth generation native Washingtonian with our National Anthem. >> Lift every voice and sing, till earth and Heaven ring, ring with the harmonies of liberty. Let our rejoicing rise, high as the listening skies, let it resound loud as the rolling sea. Sing a song full of the hope that the dark past has brought us, sing a song full of the hope that the present has taught us. Facing the rising sun of our new day begun, let us march on till victory, let us march on till victory is won. It is won, it is won, it's won. [ Applause ] >> Marieta Harper: Our first speaker and panelist will be Dr. Brenda Greene. [ Applause ] >> Brenda Greene: Thank you, thank you very much. I'm really, really pleased to be here. And I first give thanks to God for continually blessing me and my family, for doing his life's work and for placing me in this moment, and time, and space. It's really a privilege and an honor to be here. This is a legacy and historic event. And I also want to thank Maria Fenton for her vision and her commitment to sponsoring the Eleanor Holmes Juneteenth Festival. As Haki mentioned earlier, this -- it took really a lot of work, a lot of time and a lot of passion. So I think you should give her a hand. [ Applause ] Okay, I think what better way than to celebrate Juneteenth then by celebrating literacy. And I think this day and this test -- this program are also testament to Congresswoman Eleanor Holmes Norton, who also put her support behind this program. She's an outstanding leader who embodies the whole spirit of what Juneteenth is. A tireless advocate for social justice, and women's rights, and liberty. And I also want to acknowledge my colleagues in the audience, Eric -- Eric White and Linda White, who I've known for many, many years. It's really good to see you here. And my colleague from Medgar Evers College, Richard Jones. And of course, the writers who are here, it's really, really a please -- pleasure to be here with Haki and with Marieta Golden. Maria Fenton asked me to speak on the challenges and triumphs of literacy from my perspective as a parent, a professor, an academic literary activist, and a media professional. I smiled when I saw that, I said, that must be related to the work that I do as the director of the National Black Writers Conference at Medgar Evers College." And I'm also executive director of the Center for Black Literature at Medgar Evers College and also chair of the English department at Medgar Evers College. So, I'm the mother of two outstanding sons and a grandmother of four. So I do have many, many roles to play. And it's really a challenge to try and reconcile all of those roles through my work at the school in educating young people and teaching writing and literature to college students, and teaching future teachers and in educating the general public about the range and complexity of the textbooks produced by writers from the African diaspora. And in supporting writers through conferences, such as the National Black Writers Conference, symposium, workshops, readings, and -- and publications, it is really a challenge. In her anthology, I don't know how many of you know Pamela Newkirk, wrote letters from black America. She's an award winning journalist and editor of a wonderful book, also of love letters called, <i>A Love No Less </i>. And most recently, this is a book you should get, <i>Spectacle,</i> <i>The Astonishing Life of Ota Benga</i> , who was an African man used as a human zoo exhibit at the St. Louis World's Fair in 1904. That book just came out and it's an important book and it tells an important story. And it's part of what we're doing in telling our stories. She writes in <i>Letters From Black America </i>, despite their importance as historical markers and as literature, the letters of African Americans like so much of black history have historically been undervalued or ignored. Newkirk, she just decides to correct this by presenting a multidimensional portrait of African American life from the 18th through the 21st Century through illuminating letters of ordinary and exceptional African Americans enslaved and free, powerless and privileged. In fact, one of her last letters is a letter that Alice Walker wrote to Barack Obama when he was elected. She has a letter from Toni Morrison, when he was -- when Barack Obama was nominated. But letters or the [inaudible] narrative provide windows into our interior lives and represent one of the first forays into literacy. Letter writing has become a lost art form, so I decided that I would celebrate and talk about literacy by writing a letter to you about the triumphs and challenges of promoting literacy today. And so my beloved friends and colleagues, the reading of literature has always been very, very dear to me. I was also one of those people who spend hours and hours in the library, and also recognized that there were very few books that represented depictions of me. But I was interested in the story and stories of famous people and how historical figures overcame obstacles, and mysteries, and friendships, and triumphs. I remember one book about a little girl who faced racism and it's interesting that I can't remember the name of that book, since that was the only one I remember that depicted me. For some reason, I blocked out the title. But books were my comfort, as my other colleagues have said, my solace, my friends. Because they were a way of reimagining my life. And when I became a parent, instilling a love and -- of reading and writing was very paramount to me. I was determined that my children would be reading and writing before they entered school. In fact, I even thought about homeschooling and opening my own school because like so many people in my generation, I was very disillusioned with the public school system. I had worked in a middle school and elementary school and the students were two years behind in their reading at both levels. And I viewed this as a tragedy and determined to do something about it. So the first thing I did was when I worked on my Master's Degree, I decided to get it in the teaching of reading. And I did my Doctoral Degree in the teaching of writing, so that I could really become proficient in that. And one of the things that I've learned over the years as a educator for over four decades, is that children come to reading processes at different stages and in different ways. Everyone has their own journey. And what you have to do is to surround students with language, with read -- opportunities to read and write to them as we all know. And there was a book that had an impact on me. It was a woman named Glenda Bissex, who did her dissertation on her student's growth into literacy. It's called <i>Gnys at Wrk </i>. And she spelled genius G-N-Y-S, <i>Gnys At Wrk </i>. She chronicled her son reading and writing, and by the time he was in late primary school he was writing newsletters for his school. And I was concerned that, as an educator, my son should have been reading early, because I had a master's in reading and was doing my doctoral work in reading. But I realized that there are different ways of reading. One other thing, my son is a hip-hop artist, Talib Kweli. He began writing before he was actually reading. He actually -- he loved telling stories and he loved drawing. So he would draw these books. And he -- I would give him reams of computer paper and he would draw these pictures. And then, he would put captions on the bottom of the pictures. And so, he was writing picture books before he was actually reading. He was doing that reading we talked about earlier, you know, my son can read, but they had memorized the text. We all know that. You know, children go through that, right? So he actually also had a special journey into reading, and by the time he was five years old, was writing and then producing shows about books that he had written. Whenever there was a family gathering he would take his -- produce this show and get all of his cousins together and put on a production based on what he had written and the characters he had. So my love of books and reading really formed the seeds of literary activism, which always attribute that to my friend and colleague, E. Ethelbert Miller, who calls -- said, "I'm a literary activist." I also am a literary activist. And when I was student teaching, I worked in an alternative school with reluctant readers. And one young man who was reading years below on the school level, never writing, I said, "Well, I'm going to make sure and get you -- motivate you to write." And so, he loved music. He played the guitar. So we went to a guitar store and he got -- I got him to buy books that represented lyrics of songs he wrote. And then, he would come back and that was his way. By the time the program was over, he was writing. In my work as executive director of the Center for Black Literature, we have a program called Re-Envisioning Our Lives Through Literature. We go into the public schools -- we bring teaching artists into the public schools, in middle schools and high schools, sometimes elementary schools. And we work with students on creating -- giving them opportunities to create stories, to create poetry, to create skits. They create and anthology. In fact, I have one here that they just finished and it's based on "Roll Call." When we give them a book, and we used -- we've been using "Roll Call" for the last few years. Hakeem Abuhti, [phonetic] mentioned "Roll Call" that's published by Third Row Press. And so, we give them Roll Call and they read the stories, and then they take those stories and use it as the basis to create their own stories and literary text. And I just want to read to you one of the stories, one of the letters that came out of that, just a part of it. This is by Yassim [phonetic]. it's called "The Struggle." "I stare at the empty black hole that is my future and the bright light that is my past. I examine the struggle that my brother, mother, sisters, ancestors have survived. What was the purpose, what did we do to deserve this? Red fills my eyes. I can hear the blood pumping through my veins as my pulse quickens. I can hear the screams and the yells. I can feel the wipes and the cotton thorns as they prick my skin. I read the White Only signs. And I feel the desperation as a man runs from the house, a girl cries, a woman dies. It's over. Is this it, was that all? Is this what my ancestors have survived, have fought against for me to be here? As I witness the brutality of the past, as time goes on, I see my future brighten. I shall stand strong, for this is what my people have struggled through, what I may struggle through. But that's okay, I can turn around and walk towards my bright future." And that's an example of the kind of work that we get from our young people when we give them opportunities to use their imagination in the schools and give them some real text to read. We ask -- we give them the book. They're not just reading little passages; we're trying to make reading very meaningful to them. So, that's Re-Envisioning Our Lives Through Literature. One of the things that Talib says to me is that you can't just give people the words. You have to give them a hook. If you want them to get the message, you have to find out what the hook is. And I think one of the main challenges that we face as educators and as parents is how do we find a hook for our young people? How do we find creative ways for them to get hooked into language and to writing and reading? We have to create those spaces, and they have to be intentional and deliberate. And when we look at the impact of the internet and social media and popular culture, the decline in independent black book stores, the merger of publishing companies, the disappearance of sections in bookstores devoted to black writers, we understand what those challenges are. Our students are reading and writing in different ways, and we cannot ignore the 21st century technology. Have you witnessed those students, who, when they read the poem, they come up with their iPad? They're reading from their iPads. Right. You know, they're not reading from the text. So we have to find a way to draw on that. I mean, how often do you see a young person sitting down and reading a book? And look at what's happened, at least in Brooklyn, in the libraries. The libraries are full with young people in the afternoon, and that's because there's no other place for them to go. They go to the library. It becomes a place where they can hang out. They're not necessarily reading, but we can draw on that and capitalize on that to create a space to get them more involved in reading and writing. Which means we have to support the libraries more, they have to be funded more. We have to demand that. When we look at reading behaviors, someone mentioned the third grade. The third grade becomes that first step when you lose the readers, and then it's the sixth grade. There's a correlation between students' reading behaviors in sixth grade and then what happens later on? So we have to -- we have some formidable challenges, we have to make the literature produced by writers throughout the African diaspora more available in our schools and for the general public. Which means we have to make sure that we get librarians to order those books. And in our schools, we have to make sure that they're part of that cannon, which is one of the things we do in our Re-Envision Our Lives Through Literature. A large part of what we have to do is professional development for teachers, so that they're not just teaching the add-on, the one book. Like, how do you incorporate books by people of color, and black books in the curriculum, so that it becomes part of the curriculum? We have to find ways of -- we have to support the black writers by buying their books, even if we have to give them away. And I like -- I love what I hear -- heard this morning about giving the books away. So you may not want it, so you give it to someone. And then, we have to support the conferences and the festivals, Column [phonetic] Book Festival, National Black Writers Conference, this festival tomorrow. I hope all of you are going to come out and see it. One of the things I did as I was looking at what was happening, preparing for this panel, I looked at the "New York Times" book review and I realized that over the last year, every week there's one book reviewed by a writer of color, usually African American. One book. Which means that we have to have more people who are writing those reviews, and we have to populate that. They find that one person to do that -- and, as you know, in the newspapers and in print, book reviews are disappearing. Which means we have to find ways to write them. And then, perhaps we need to go back to the bookstores and say we have to have a section on African American writers. Because if you're going into the bookstore and you're looking to see who the writers are, if you don't know who those writers are, you're not going to find them. You have to go through the entire book; maybe we have to go back. And even I understand some of the libraries have taken away some of the African American sections, because we are what? Post-racial, right? We have to say that we're not. And we have to support our bookstores. One of the messages that came out today is, Telling Our Story. One -- I remember Valerie Boyd, who wrote the biography, the most recent biography, of Zora Neale Hurston. And she said she wrote that biography because Robert, I think, Robert Hemingway, the white biographer, had said, "It's time for a black woman to tell Zora Neale Hurston's story." We have to tell our story. And she said when she wrote it, she was called. She felt a calling to tell that story. So in closing, I teach African American literature and the early part, in the first book we read, is "The Interesting Life of Olaudah Equiano," or "The African," written by himself. And of the things we talk about is there's been controversy as to whether he wrote this -- his book. But one of the important messages is that this book was a form of liberation for him. He eventually bought his freedom, and he wrote his way into literacy. As is Phillis Wheatley, the first African American to publish a book of poetry. She used literacy to write her way into freedom. Our young people have stories that represent liberation narratives, and there are many examples of liberation narratives throughout the cannon of African American literature. So our role is to teach these writers, these historians, and educators and find creative ways for our young people to develop their own liberation narrative. So, the end of my letter. Yours in solidarity, Brenda. [ Applause ] >> Bahiyyah Muhammad: Good afternoon, it's such an honor to be here. I come to you directly from Asia, where I spent two months doing research in the prisons, in Asia. I went to Bangkok, I went to Cambodia, I was in Thailand, Malaysia as well, and Vietnam. The king in Asia apparently felt that incarcerated individuals who were mothers were unfit to live in prison with their children. And therefore, he released all of the incarcerated mothers and their children. And so, I was brought in to do policy implications with them. And so, I come to you from that. It's such an honor to be here. Thank you very much for the invite. There's so much creativity here, there's so much power, and there's so much strength. And I wouldn't want to be anywhere else right now. I want to start by reciting a poem for you that I performed for the mayor of Newark, Ras Baraka, during a meeting two months ago, when I spoke with him about the importance of creating a family halfway house, the first in the nation, in the world, in Newark, New Jersey, that would be directly connected to my research. So it was really interesting; I walked into his office, this was the first time we met, and he says, "Begin wherever you like." And this is what I said. Ivory tower blues. My mind and intellect and critical thinking skills are at an unrest. I mean, my brain is exploding, erupting like a volcano. Hot lava flows from my soul, burning and paving a new path. A new way towards academic success, a new collegic [phonetic] yellow brick road that truly leads lost souls home; the true and only way to the top. The ivory tower is my lighthouse, not my safe haven. A place I go to garner the verbiage needed to overturn the miseducation of modern day research. I keep a ladder in my briefcase to climb down from the tower's balcony that overlooks it all; the good, the bad, and the ugly. My PhD is my access, my ability to walk freely between the hood, my roots, and the blinding tower of untold truths. This PhD is my over ground railroad, an unhidden pathway of truth and familiar resources that keep children, parents, and families bonded by embracing the root, the root causes of intergenerational curses; miseducation labeled as technology, politics as revenue, and parental incarceration. Listen to me, I'm telling you something. Something that nobody, I mean, no B-O-D-Y wants to see, or hear, H-E-A-R and H-E-R-E. You, come here. Come over here and listen. Listen to this message, because it must be told. This message is for those with eyes who can see. Those with ears who can hear. Those with hearts who can love. And those with light, to brighten a path that will lead the way. Now, move out of my way as I charge forth with this message of truth. Researchers, how dare you? Politicians, how dare you not? Ten-year track, why would you professors, how could you? Department chairs, deans, and the APT committees, cut those shackles. Peer reviewed articles, journals, why don't you incorporate innovation? Innovation that pushes those research subjects involved to a new place. Why do articles take the place of the people? How can secondary data be respected as human? Why are we bringing life to statistics and not to people? Research has to stop killing the people, to save the numbers. Research has to stop killing the people, to save the numbers. Percentages and greater likelihoods of a negative outcome cannot be the norm. There has to be more to the story. I'm not asking for remorse, rather, reality. Nothing is single sided; everything has another side, an additional angel. I advocate for the full view, not just a zoom. And if you want your dose up close, move up close and personal and talk to those have lived it and walk at every step. Use their narrative to create and not the other way around. I've done it, and it works. Fifteen years of riding buses with children affected by parental incarceration has given me the courage to be the truth, write truthfully, and create nothing of lies, deceit, or one-sidedness. Conducting interviews in locked bedrooms of children, it gets no more truthful than that. I can still hear the tears shed and the whispers of help to this moment. I remember every qualitative interview and every quantitative file assessed. I put this experience in every fiber of my soul. I live it, but I am not it. I live it, but I am not it. I am impassioned by it, but not lost in it. I am simply leading the way, creating a new path, the only path to the top, the true top. I use my research to create an educational coloring book for children of incarcerated parents, "The Prison Alphabet." It was born out of Mr. Critical Fill-Work Jr, married to Mrs. Critical Me. It is a publication that gives back; it is a legacy. The legacy, my legs, that allow me to see. A literary masterpiece that addresses illiteracy, lies, knowledge, and the unknown; all empirically based. It is accessible in four different languages and used in various countries. Its knowledge is a legacy that belongs to the world. "The Prison Alphabet" has been used in Uganda, Dubai, Europe, and Asia. The truth is unstoppable, and it doesn't end here; it never ends where it started, rather travels far beyond. Howard University. HU, you know, prides itself of truth and service. And that is what my track record shows. The ivory tower blues, ivory tower blues. The ivory tower is blue and cold. And it's easy to make it warm. Create and make for the community, serve the people, and allow them to help you serve, create, and make for the community, serve the people, and allow them to help you serve. Climb out of the ivory tower and walk onto the ground amongst the people as one. Find the answers to the next creation and fully support it, support the truth. Support the truth. Support those who support the truth. Support truth. I am the truth. I support you. You support me. We support me. When? Now. Ivory tower dismantled. Now we have ivory grounds, ivory minds, ivory souls, ivory everywhere, ivory shared. So truthful, so true. I have access to the ivory tower although I don't reside there. No more blue ivory tower. No more you ivory tower. [ Singing ] Thank you. [ Applause ] So thank you very much. I just wanted to share briefly that the present alphabet, the educational coloring book, was born out of the spirit and the energy of the children. I read literature for many years that identified these children as angry, as frustrated, as non-intellectual, and when I went into the homes to interview these children, they were brilliant, they were bright-eyed, they were respectful, they were remorseful, and they were not their parents although they loved their parents. So I knew that at the end of this journey that I would spend the rest of my life allowing the world to see that true narrative. Right now I'm working on a book called <i>Far</i> <i>From the Tree </i>and it looks at success stories amongst children of incarcerated parents, one of the things you don't hear. Right now we use the statistics that identifies children have a greater likelihood of going to prison if their parents are in prison. If they knew the parents are not. One of the things that we don't balance that argument with is the reality that African Americans supersede a lot and sometimes it's the worse situation that builds the brightest stars. So I have been travelling all around the nation and interviewing amazing children at top Ivy League universities, Yale. Some individuals who have JDs, who had parents in prison knew the truth about their parents being in prison, accepted it, and were able to move past it and be an example for their parents once they re-entered, to not recidivate. Thank you. [ Applause ] >> Bomani Armah: Good afternoon. My name is Bomani Armah. Before I do anything else, I'm a hip-hop artist. I'm a poet. I'm an [inaudible], so I got to make sure the energy in the room for [inaudible], right? When I count to three, I need everyone to say peace and throw up the deuces like this. All right, you all ready? Here we go. One, two, three. >> Peace. >> Bomani Armah: Not bad. All right. It's a small room so if you don't participate I can see you [laughter]. Let's try this again. One, two, three. >> Peace. >> Bomani Armah: Thank you very much. I needed that. That helped me. In fact, a bunch of smiles coming this way now, so I appreciate that. Thank you. I am blessed to be in this audience and being a part of this panel. Once again, my name is Bomani Armah. I am not a rapper. I am a poet with a hip-hop style. If nothing [inaudible] today, please check out my website. It's www.notarapper.com. I have a -- that's not a joke. It's literally my website. Go check it out. I realize some people think I was joking with that. So I have a bunch of aliases. I'm a hip-hop artist so I have a bunch of aliases. I'm the Watermelon Man. I am Mr. Read-A-Book. That's probably the most relevant to today's panel. I am the Hip-Hop LeVar Burton. I am the Black Colin Powell. I have a bunch of them. I'm not going to go through them all. But I take my art and my poetry and my activism very seriously. The first thing I wanted to do. We [inaudible] just because of my energy and the events over the last couple of days, I want to encourage everyone in here, I want to encourage the previous generation, my parents' generation, their parents' generation, that black people, young black people, we are doing good. All right? We're not doing exactly what we want to be, but we're doing good. We are doing better than we were [applause]. Yeah, you all give that up for young black people. Sometimes we get discouraged. Sometimes we get discouraged and we believe, and we think and we internalize all the negative press that we hear about ourselves. But the energy that has been fighting against us for 400 years of slavery, 450 years of de facto slavery, is strong and insidious. It keeps coming at us with different things all the time. Nobody was ready for the crack epidemic of the '80s. Nobody was ready for the economic bubble burst in the '90s. Nobody was ready for the economic class of 2015 -- or 2008. So all these things keep happening to us, but black people are still fighting, young black people are still interested in the liberation of their people. Do not get twisted by the media that you're hearing. I work with them directly. They tell me directly. They're very interested in the struggles and don't feel discouraged, all right? You're doing a very good job. I'm at the age now where college kids are half my age so I'm in that weird timeframe, you know what I'm saying, where they're trying to explain to me how broke J Cole is, and I'm like, really? You know what I'm saying? I wanted to come up here to tell you a little bit about what I do. I am a product of the free black spaces that we have been trying to create for the last century. My mother's side of the family moved up here to escape South Carolina and the oppressiveness of racism and no job opportunities. My father moved here from South Carolina to go to Howard University. They met here. I'm so into being black. It's like one of my favorite things about myself [laughter]. It comes from growing up in this community. It comes from being a product of Marion Barry's Washington D.C. It comes from being a product of P. G. [inaudible]. My father brought me -- they came before Columbus when I was 13. You know what I'm saying? Like that doesn't happen in like normal households, you know what I'm saying? I had to have one my [inaudible] employees make me understand what kind of free black space I lived in where my father would buy me that kind of book. I'm in the same generation as Dr. Green. In fact, I'm a huge fan of his. So this is the result of that happening. So I don't want us to be discouraged at all. What I do for a living -- I am creative. I'm a poet, an M.C., a producer, and an edutainer -- a term coined by [inaudible] when I used education to entertain. I am the Director of Poetry Events for Busboys and Poets which is a chain of restaurants throughout Washington, D.C. There're six of them. We do 39 open mics a month. I direct all six of them which actually -- I miss, actually, being in the crowd and being the host so I'm going to go back to that soon. But we take freedom of speech very seriously here in the literary and black community here in Washington, D.C. We currently have the National Slam Champion Team. We currently have the National Teen Slam Champion Team take writing and literacy very seriously here in Washington, D.C. When I'm not doing that, I have a creative writing program that I do mostly through an organization called Young Audiences of Maryland. But I'm actually doing a workshop on July 1st at MLK Library with teens. If you have teenagers who are into writing, have them come see me. I just, this past week, ironed out the deals to teach my creative writing workshop to other teachers through the Kennedy Center. The first workshop will be March 16th [applause]. Thank you. I'm excited about that. The first workshop will be March 16th, and the way my workshop works is it shows how -- our kids are into hip-hop. It shows how a well-written song resembles a well-written essay, with the chorus being the -- with the chorus being the introductory paragraph and the verses being the supporting paragraphs. Showing how the writing process is the same across the board no matter what style of writing you are doing. I got my break into the literary world as a 19-year-old working for Karibu Books. There's a whole bunch of locals here who probably won't understand what Karibu Books. I was responding to the [inaudible] system [inaudible] press sometimes. I was really cool to actually meet Dr. Myra [Inaudible]. I was sitting behind -- a lady turned around and said, "Oh, you're Bomani." I was a kid. I'm Bomani. She's like, "Oh, my son's named Bomani." I was like, "Cool. He must be handsome and intelligent" [laughter]. She said, "Yeah." Then Dr. [Inaudible] said, "Can my wife come up to the stage, please." She walked up and said hello to everybody. I said, "Whoa." My life is like a poem in so many ways I can't begin to describe it. But, anyway, it started from there. The first day at Karibu Books, one of the owners, Yao Glover, pulls out the lease. He doesn't pull out the instruction manual, the instructions for being a good employee. He's like, "I understand you're just passing through here. I want you to see what kind of business I run because telling our people's stories is what I do for a living and it has to continue." So the first thing he did was show me the lease so I could see what kind of money he was paying P.G. Plaza, you know what I'm saying, and how we worked out our best when I get to my own level of trying to understand that in education -- I mean, in business. So I am very much hands-on. One of my very next jobs was working for Martha's Table. I lived above Martha's Table. There's an apartment there. I don't know if you're familiar with it. It's on 14th and W Street. It's basically a soup kitchen. I lived above it as an employee. One of the most amazing things that I saw while living there was gentrification in action. It was something that I was able to take to the prison system when I talked there. Fourteenth and W Street is notorious. What is notorious? Eighties and '90s. I joke with people all the time. If you got caught at 14th and Clifton, 14th and W, you call somebody to come get you. They'd tell you to walk a couple blocks south before they came get you, right [laughter]? So I'm living above Martha's Table, 2003 I think, before they broke ground for what is now Busboys and Poets. Once again, the corner's notorious. You know the signs of gentrification. First you start seeing homosexual couples because they've been ostracized from the rest of their community and so they come to the place where they can buy stuff. Then this is what happens next. I saw it right on my corner. They brought in the National Guard with [inaudible] and M16s and camped out on the corner for a month. Right? During that month they shut down whatever illegal operation was going on. Then they brought in the developers and broke ground, right? I saw the process happen out of my window, and what blew me away the most was that as notorious as 14th and W was, the government, the politicians, the military, the police, could have shut it down at any moment -- during the '80s, during the '90s, when it was dangerous there. They could have shut it down at any moment. They waited until they realized there was a point when it was valuable to them, and then, all of a sudden, all the crime stopped immediately [finger snap]. Then the next stage of gentrification, when you see whites going jogging with their dogs at 11 p.m. You feel weird about it because you're like why do they feel safe? They shouldn't feel safe. They shouldn't feel safe. Someone comes -- I'm not the only one who's been making these things, right? I've lived this thing and seen it happening first-hand. So when I've walked to these different prison institutions and talked to young people about writing and about reading, the first thing they always say to me is, "No one understands me. No one gets what I'm trying to say. No one gets my words, my feelings, my emotions." I'm thinking, ah, literacy and wring is exactly what we need in this situation -- the ability to tell each other stories. So what I'm able to tell young people back, that that's what they're missing. Their inability to articulate their feelings comes from their inability to read, from their inability to write. Now I'm automatically able to spark their interest. Most of these young people have children, have younger brothers and sisters, and they want to be able to use their story as a positive message in order to change the world, and so they're able to do that once they learn how to be literate and communicate. When I use literate, I don't completely just mean book literacy. We definitely need multimedia, social media literacy at this point. It's unavoidable. Most young people are getting their news through Facebook and Twitter and Instagram, so showing people how to navigate these things is a very important thing. We also need musical literacy. I have people get their political/philosophical philosophies from rappers. They're quoting Kendrick Lamar. They're quoting J Cole. So we need to start breaking down poetry for them. That's been my blessing through my entire adult life. So I'm really into practical solutions about how to affect our young people and increase their literacy rate and to move on to the next generation even stronger. My favorite quote is from Jonathan B. Clark. When I was into tattoos I was going to get it tattooed on me but I changed my mind, so it's good. That is, "We must start projects our grandchildren will finish." >> Oh, okay. >> Bomani Armah: He said, "There should be a railroad across Africa. But no one man will ever live to see it happen, so no one does it because you have to trust your children and your children's children to do it." That's what we have to start talking about. That's why I'm encouraged. That's why the state of our streets doesn't bother me because we're better than we used to be, and we're moving forward. Dick Gregory says all the time, "Don't let people tell you you need to go back to the old days. There is no better old days to go back to." We're all moving forward. So these are some of the things I want to start moving forward with. First of all, as a community we need to start adopting our schools. They entire building, the entire block. Everyone who lives within a 10-block radius -- someone said something close to this -- a 10-block radius of a school. They need to think of that as their school. They need to be having their events there. They need to be doing their birthday parties and their bar mitzvahs at that school. They need to be -- we need to feel free that if we're in the 10-block radius of a school, and we see some of those obviously school-aged, we need to feel like we're in our community. We can tell them, "Why aren't you in school?" We can ask them do they understand the importance of their education. The same thing with the libraries. Now from what I understand about the libraries - they might not be as visible as D.C. Library, but D.C. Library has treated me well and I feel like it treats the people of D.C. very well. There are always opportunities for the young people to come in and learn something. Opportunities for young people to come in and be read to. One of the biggest problems with learning how to read is you need to be read to. So there a whole bunch of opportunities for that with the D.C. Public Libraries. In our black communities, we need to make sure all the libraries are operating like that. We need to do -- I've done this because I don't sleep. We need to do a surge the way Iraq got the surge, right? I calculated the [inaudible] one of the school -- Johnson Square Elementary in Baltimore is one of the worst educational schools I've been in. What I did was I went and found out how many professionals live within Baltimore City and Baltimore County, how many black professionals, right? If we get -- I forgot exactly what the numbers are -- but I calculated what it would take, how many volunteers it would take to put a volunteer adult in every classroom, every week for an entire year. What these teachers need are other adults in the room. They don't even necessarily need other trained educators. They need other people who are willing to be a fellow third-grader for a day, and when they're teaching that third-grader their basics of reading, you can sit at the table and give the kid more input, all right? There are definitely enough black professionals surrounding Baltimore that, if each of them took a vacation week and did it for one week, we could do that and make sure that the student/teacher ratio, the student to adult ratio, is no greater than one to seven or one to six. That needs to happen. We need to take our own talent and not even wait for the Federal Government to clear a program. It's a long-time dream of mine but I already put it out there because I feel like I'm in a room with like-minded people, so I'm excited. We also need to have our ability to empathize for people who can't read, go beyond the children. All right? We say, oh, this poor, this 18-year-old can't read. Oh, this 12-year-old can't read. Oh, this 16-year-old can't read. Oh, this 20-year-old is on her own. You know what I'm saying? It's like you're not making the connection, that that 20-year old needs to be able to read so the next eight-year-old can read, and the next four-year-old can read. So I think that it needs to be extended well beyond when they're cute, and we have to do that as a group. One of the things I'm realizing, and one of the myths that happens with young people is that they think that learning isn't cool. It's a myth that we've been repeating over and over again. All kids know learning is important and they all know it's cool. What it is is once you get into the third grade and you can't read, you realize you're never going to catch up, and so your goals in the classroom setting become different. They become getting attention. They become being cool. They become living your life at that moment because you know you are lost. You know that what the teacher just wrote on the board is not going to have any effect on your life because you cannot comprehend it. They understand that they need it. What they need is more understanding. They weren't ready when they got there. So we need to have that empathy go all the way to the heart of who they are. Let me see. I want to share with you guys some good ideas that I've seen. There's a brother -- if you follow me at notarapper.com or on Twitter, there's a brother who has a kit where you can buy a bookshelf and a pack of books that you might -- somewhere I'm out of time, but a pack of books that you can put in black barbershops, and what we're encouraging black men to do is if you see a child in the barbershop, someone will pick up a book and read it to them, to leave the books there and just read them at all times. Kids who have adults read to them read better. One of the hardest things for me the last couple of days was looking at the whole situation at Emmanuel Church. I personally am working on a poem, play, a whole bunch of things about Denmark Vesey. That was Denmark Vesey's church and it's been burned down four times. The saddest part of what we're going to have to explain this story to young people, is this -- is they don't understand the story of that church, all right? We have to make sure that doesn't happen anymore. It's an interesting story. It's a gangster story. You know what I'm saying? There's no way why we shouldn't be able to tell the story of Emmanuel AME Church to a group of 12-year-olds who are into like thug rappers and tell them the story of the AME Church like, yo, these people went hard. You know what I'm saying? They saw a battle. They [inaudible]. That's what young people -- we all remember 13/14 roles. They're rebellious, you know what I'm saying? They want -- all these kids want to fight and we're not telling them who to fight. We need to tell them who to fight. We need to tell the story of Emmanuel Church and do a much better job of articulating that. I'm going to share with you all the three creative writing rules I give all my students. First rule is, the only wrong answer is a blank answer, all right? Make sure you tell young people that. We are trying to get their opinion. We are trying to get what they think. You cannot possibly get that wrong, all right? We can make you improve on it, but the only wrong answer is a blank answer. Number two, artists do not make mistakes. We make discoveries. When I tell this story I talk about Thomas Edison who quote/unquote, "discovered the light bulb". Evidently at one time he electrocuted himself and made his hair stand up on end and all that kind of stuff, right? When he finally did it, he did a press conference and the reporters asked him how did it feel to fail so many times? He said, "I did not fail a thousand times. I discovered a thousand ways that did not work." All right? We need to make sure these young people understand they are not writing down the wrong word, they're not writing down the wrong phrase, they're not writing down the wrong sentence. They are writing down the words, phrases, and sentences that will lead them to the words, phrases, and sentences that they want to use. They need to talk about it. They need to do research. But they can always improve. The third thing that's involved. This will be the third thing. Do not edit in your head. That's the rule I have to use myself. I'm so bad about that. Some of my best ideas were bad ideas that I wrote on paper and I saw them, and I rearranged them. When I go over to these classrooms I will pictures of Eminem's notebook which makes absolutely no sense, but he comes up with these incredible rhymes. So these are the things we need to be telling young people. To end with, what made me infamous is eight years ago I did a song called "Read a Book." It was the subject of an animated video that was on BET. BET basically hired an animation department that started doing all these jokes about how bad BET programming was and putting it on the air. I was a part of that. The song is called "Read a Book." It used a whole bunch of profanity. The idea of the song was to make fun of the current state of the hip-hop when all they do in krump music was curse and repeat themselves. So I made a song like that. Most of the educators were down with me. Most of the educators know what we're dealing with. A couple of dignitaries came against me. Jesse Jackson came out against me. He said whoever wrote this song was illiterate, uneducated, and unkempt. I gave him unkempt but the other two were like really uncalled for. [ Laughter ] But the biggest piece that's missing in transferring literacy from one generation to the next generation is the older generation's inability to try and relate to the next generation in their art form, in their culture, and the way that they are illiterate. Jesse Jackson's organization revealed accidentally that they don't have anybody younger than 40. You know what I'm saying? Because somebody would have gotten the jokes. Someone would understand who Little John was. You know what I'm saying? Someone would have been -- understood the reference. The reason I am saying that is we have to open our ears to the young people. The young people know what's going on. They want to know who to fight. They want to know how to fight them. They want to know how to get their skills together. So please don't be discouraged. There was one more thing I wanted to say. I'm always [laughter]. I'm always afraid I'm going to miss one of the crucial points I wanted to make. But I advocate for these people, for young people, even when they make mistakes. That is my job. Even when they aren't following my instructions correctly, even when they argue with these bad things in the street, I'm still advocating for them because I understand what they're working against, and it's my job to help them articulate their story better. This is the point I wanted to make. Every generation thinks the next generation is going crazy. I saw young people yelling to get the story, because I don't have any young hip-hops, so I'll tell you a better version. I've seen clips of Ella Fitzgerald in the middle of a concert in the '60s breaking down, like I don't know what the heck these young people are listening to. She goes into a James Brown impersonation, all right, because in her mind James Brown is the kid doing this what-in-the-heck-is-that-music? You know what I'm saying? Every generation thinks the next generation is crazy. As the older generation, we need to start breaking down that wall. I want to believe that's not an African thing to do, that every generation respects the other generation, and understand that they are carrying on the tradition but also building one. So what we have to stop doing is thinking that the young people are crazy. The young people are a part of us. They're taking what we're doing and remixing it in their own ways, and we have to embrace them and help them become better at articulating their voices. Thank you very much. [ Applause ] >> Rahman Branch: I always hate following Polson MCs [laughter]. Hate it. Every time I speak in a place and there's a folder MC there I always [inaudible]. They're like the headliner, right? I've known Bomani for years and I never want to go behind him [inaudible]. My name is Rahman Branch. I'm a liberator by definition, and I say that because so many things being similar, my first gift from my uncle at 12 was <i>Stolen Legacy </i>, which kind of spiraled my belief system and such. But I think I've used several different things over the last many years to push for black liberation. What I've used in the past has been education. I've used politics. I've used music, and I think all those different ways to get to the goal. But I've started to find ways to kind of incorporate everything together. Currently I'm the Executive Director for the Mayor's Office on African American Affairs here in Washington, D.C. But my most exciting job ever, and my most loved job ever, was as a high school principal. Before I took over that I was a high school principal of a school here in D.C. called Ballou High School. Anyone know Ballou a little bit? >> Yeah. >> Rahman Branch: A little bit? Yeah? It's the best school. It's a -- hello. It's the M.C. in me. Ain't that right? A Ballou High School? >> Bomani Armah: Yeah. [ Laughter ] >> Rahman Branch: So does anybody know that Ballou High School is the best school in the city of Washington, D.C.? You understand that. Got to make some noise [laughter]. >> Bahiyyah Muhammad: Make some noise. >> Rahman Branch: Geez. So I adopted a high school where, on my first day as I'm walking into the hallway, there's a young man sitting on the floor smoking a cigarette in front of the main office. It was a school that was popular for all the wrong reasons and there was a teachable moment at that point, on my first day, seven minutes into the day, and I encountered an opportunity to help someone understand that they're meant for something better. So I began to actually step over the young person to get to the office and he makes a noise as if I'm invading his space and he's offended by that. The young man kind of makes a noise and kind of stands up to his feet and at that moment, for me as the adult, I wanted to -- I had the unchoice to make, and the choice was do I let these young people know that you're crazy and I have to now address that? Do I take that route or is there another way to have a teachable moment? Every young person will tell you at Ballou that I've always used the term "conversation brings about clarity," so the conversation I had with the young man was that what you're doing is unacceptable. I introduced myself as an adult, not as the principal, and that there should be a different exchange we have. The young man thought that wasn't good enough and so then my teachable moment became -- I'm six foot five, 320 pounds [laughter], and I'm not an easy take. So we had a different kind of conversation at that point. So there was a teachable moment in that [laughter] moment right there, right? It was we can go about this one way or there's another series of things that can occur. Needless to say, we got to a agreeable place [laughter] and that young man moved forward. One of the things that I realized when I got to the high school was the amount of despair that existed, the lack of belief that existed, the level of apathy that existed, and that's before I met any of the children. That's before I met any of the young people. That's where I met adults in the neighborhood and adults in the school who had lost hope in what our children could accomplish. The conversations that kind of ensued always became about those kids. At some point the conversation had to turn into these kids are a product of what we have or haven't done as adults. That case was making many of the decisions that brought them to this space physically, that brought them to this space emotionally and mentally. It's what we have or haven't done as the adults who are responsible for the care of and the teaching of these young people. So the conversation that we began to have, had as a staff, began to turn because one of the things I thought was the most important lesson we teach the school was literacy. It came from the reading of the last valedictorian's speech, the valedictorian of the class before I arrived. Seeing the speech of this student who was the valedictorian with a 3.9 grade point average, and recognizing fourth-grade literacy skills within it, and the kind of crime that was committed by so many adults to allow this to happen. The crime that had been committed by so many people to say this our brightest star. We're going to put this person on stage for the world to see knowing that we haven't done this child justice. There was the necessity of having the culture of conversation at our school. Everything was on the table to talk about. We were able to discuss everything, and that was from decisions that I'd made as the principal, that was decisions that our adults in the building had made that I clearly wanted to have a discussion about. That came with the conversation that we had to have with children because we all were assumed we knew what they wanted. We all assumed we knew where they were coming from, and we were way off track to the point of what exists in various cultures. Our young people were speaking a language that identified with the culture that many adults had chosen to remove themselves from as if they're not of it or from it. There was a teacher who told his science class and, pardon my French, but I'm quoting him directly. "I'd make more money off you niggers opening a funeral home than I would teaching you." Yeah. So we had -- so there's a -- so in a cultural conversation there was the necessity of understanding that this person had severe, severe issues mentally to think that was all right to say to a roomful of children. We had to then -- so we had a teachable moment with that teacher and myself. It entailed a closed and locked door and [laughter] at a conference room table and, needless to say, he made his exit from Ballou soon after that. But there was the necessity of fighting for our children, which a lot of us aren't doing, and in fighting for our children there is a necessity of letting them know. That was an amazing poem that I actually wrote into my device here which is that we start [inaudible] our grandchildren. Well then we're finished. There's a necessity in making sure we understand that continuum as not just one directional. We have an obligation to learn and understand who our children are because then we can impart information to them in a much better sense. So as we got to the place where we had a culture of conversation, we made sure that we had opportunities for young people to express themselves. In my other life in music I represented a group called the Unspoken Herd. There's a young man named Asheru, a young man's named Blue Black, and we were hip-hop musicians. Still are to some degree but at some point you put on a shirt and a tie for songs. So what we did was we brought that group into the school and we had to figure out ways to get literacy across to our young people. We found values in our young people's value system. We found valuable information in the news our young people listened to. The beautiful thing about hip-hop -- and I am also of the hip-hop culture -- and I had to put that out there first most times that I speak. The thing about hip-hop that's so beautiful is that there is a blending if you will. There's a real blurred line between what is adult and what is not adult as far as music. Within hip-hop you can turn on the radio station and your child and you are oftentimes listening to some of the same music. So we found common places within that. By finding those common places -- the young man asked a roommate, a remarkable product. I think he'll be here shortly. He made a remarkable product called the HELP Project, and the HELP Program is a hip-hop literacy tool. He'll do it much better than I can. But it ultimately takes popular hip-hop music with a socially conscious message and it binds literacy lessons to it, based upon national reading standards. As I looked at the product and I thought it would be a great opportunity for us, we brought that into the school and we saw young people's engagement increase. Their interest in what was going on increased. Their participation in class increased because there were teachable moments both ways, from both the adult and the child around this work because kids saw themselves in the work and they were able to express a level of knowledge about what was being presented. They were in-room experts on the topics. A lot of our teachers, one of them walking away having learned a whole heck of a lot, one of those things being a value in who our young people are and what they're expressing. A really, really exciting thing happened as a result of that. We saw our math and reading scores that year go up by 18 and 20 points which we thought, or the world thought, would never happen at Ballou High School. But it was funny because one of the young men who had been in Asheru's class says to our class of students, "The cool thing about this is now that they know we can learn, they'll no longer come and tell us what we have to do. They'll come and ask us what we want to do." That's how empowerment was probably one of the most beautiful moments that we experienced at the school. It became the lynchpin for all the things that we began to do. Someone else in this room is of Ballou experience as well. There's been several opportunities for us to make sure young people have avenues of expression. When they have those avenues of expression they want to make sure they come off correct, that they perform, as they communicate, well, so they're opening this -- their willingness to literature and literacy began to skyrocket. "I want to say this right in front of the crowd. Can you help me with this speech? I want to do this right in front of the Chancellor when we show our PSA's. Can you help me write the script? I'll [inaudible] better." So young people, as they start to see relevance in the work that we're providing and opportunity to express themselves within it, their engagement and desire around academics began to increase and it was our cool scoopful of sugar to help the medicine go down, if you will, and it's that kind of work that I feel -- it has to continue to happen. I see that my time is up. But literacy is important. Once we understand that young people have information to give, then literacy can go both ways. All right? Thank you. [ Applause ] What is my role? As the Executive Director of the Office on African American Affairs, what I envision my role to be? To continue this conversation, move this platform forward, and also get residents of the district engaged in supporting this effort. Okay. So, but the big three for the Office of African American Affairs in direct conversation with my immediate supervisor, Mayor Muriel Bowser, is to push housing, education, and economic opportunity. If we want African Americans to thrive in the city, we know that housing is way out control as far as cost. We know that education is a situation that needs to be drastically improved. We know that there has to be more opportunities for African Americans to open businesses, to establish themselves financially in the district. Specifically around education, I think that the first thing that I would probably say, and this is a shameless plug, is that events like the Juneteenth Book Festival need to be a part of our annual conversation. It needs to be part of annual programming, not just from an independent organization but from the city's standpoint, from the community's standpoint, we have to begin to make sure the world knows that we want this and we need to have this conversation consistently and constantly. The more we make noise about its importance, the world tends to respond. If I've seen anything throughout the history of the diasporas, that when we make something a big deal, that the universe responds to meet our needs, and so I think that's the first thing that the residents should do is make sure we're vocal. It's important to an event like this. Additionally, Bomani brought up a great point about the algorhythm he kind of discovered in Baltimore, right, by professionals and giving some time to your local school in that 10-block radius. The funny thing is, at Ballou we made -- we had a little struggle -- sure it was with a six-block radius. But in every direction we called that my country, and we figured it was our responsibility to make sure everyone in the community was aware of, and felt a comfort in engaging the school, because the days of the adults are inside the building, and so we don't have a lot of energy to go and poke it loud. But we did want to make sure we made an inviting situation for anyone who wanted to give to or support our young people because the more hands we have on deck, the easier the lift is. >> [Inaudible] you're the first Director of the Office on African American Affairs. Do you think this is going to be a tradition that tries to [inaudible] around America or [inaudible]? >> Rahman Branch: So in looking it up, I am the first in D.C., yes. In looking it up, I think there -- I'm the first one in the country in a major city. Yeah. I -- >> You laid the foundation for what happens in [inaudible]. >> Rahman Branch: Ha-ha. >> Bomani Armah: Good. >> Bahiyyah Muhammad: Yeah. >> Bomani Armah: The Director of African Affairs, so he used to be called the Mayor [laughter]. >> Rahman Branch: Yeah, yeah, yeah, yeah. So the awkward thing is that -- as we've seen gentrification occur we do know that in 1990 there were -- this is a way tangent so I'll be really brief. We know that in 1990, Washington, D.C. -- 71% of the District of Columbia residents were African American. We know that in 2013 it dropped to 49%. So if anyone tells you that's not alarming, then they're completely buggered out. It's not just a D.C. phenomenon. It's happening in North New Jersey where I'm from. It's happening in Chicago. >> Bahiyyah Muhammad: New York City. >> Rahman Branch: It's happening in New York City. It's happen -- I mean, Brooklyn is not Brooklyn any -- it's not the planet anymore. >> Bahiyyah Muhammad: That's right. >> Rahman Branch: It's something much different. So there is a need for this template to be followed in other places. Thank you. >> Bomani Armah: I got you. I think we have to start -- we have stop guaranteeing our children things based on the United States economic [inaudible] policy. I think we have to stop saying that if you get educated you'll get a job. If you do the right things you'll get a job. That if you participate, these good things will happen for them. Well, when you start telling young people this -- you need to learn to be literate, you need to learn to be educated so you can relate with your own people. So you and your people can make it better no matter what goes on around you. I think that -- you stay down here and what you see -- your daughter may tell you son is that there's some kind of guarantee in literacy beyond the ability to communicate. There is no guarantee other than the ability to communicate. But that ability to communicate can lead to a whole bunch of other beautiful things. But I do like -- I personally am wary of telling young people to further [inaudible] to enter the system that we have here, that if you pass and you get the stamp from the state council or the county council in education that you have an education, that that guarantees you a future. I mean we have enough issue to know that that's not necessarily true. I also think that we are still begging for a group to see us as human, to invite us in, and they do every once in a while, but we need to be okay whether or not they let us or not. I got asked in an interview the other day how I felt about Black Lives Matter. I'm sorry. Paying a little bit of attention. How I felt about Black Lives Matter, and I am unable to repeat it forcefully because saying black lives matter feels like saying water if wet. It feels like -- it shouldn't be news. You know what I'm saying? If we're still explaining to people that we are human, we need to -- like that was my father's fight. I'm done with that fight. I'm done explaining to people my humanity. I'm trying to learn how to communicate with other African Americans, other people who relate to African Americans and provide job opportunities amongst us, so it doesn't matter if they see me [inaudible] or not. People ask me for -- why'd you give your sons such funny names and not be able to get a job? Good. Good. All right, folks, if you're working for a racist who doesn't like you because you have some racial or ethnic connection that you feel strong about, but you've saved yourself some time by having that name and them [inaudible] over your application. My sons learn [inaudible] other Africans and African Americans looking for jobs. So I would encourage your child to read so he can better communicate with his community, with his people, and that we will find a way whether or not they hire him or not. Here's the other one, and this is what I tell all young people. Tell your story. So that they -- and this especially coming from the hip-hop angle working with young people. It tells young people that their story's interesting. So I will go into a classroom, I will go into a prison, I'll go somewhere and be like, yo, so what's going on? Where you from? What are your aspirations? I may be [inaudible], I want to be a lawyer, I want to be a track star, I want to be an engineer, I want to be a biologist. I'm going to be this, that, and the other. Okay. You want to learn how to rap. We'll put on the beat immediately [rapping]. Like they automatically -- because they'd been told that is black art for masculinity. They go to that. Like, no, we just spoke. Your mom's a doctor [laughter]. We just talked, like that's not you. Like I really want to know your story. What's going on in your life? At one point it changed a little bit. At one point -- the reason we come [inaudible] is like in the [inaudible] top 10 artists, seven out of 10 are always a gangster or very closely gangster related. I would go into the worst neighborhoods. I'd go to Trinidad. I'd be like I'll show them this stat. I'll show them the seven [inaudible] recognize who are gangsters. Sometimes eight or nine. I'm like, so they say eight out or nine people in the black community are gang/drug related. I'll say, "Do you live in Trinidad? Are eight out of every 10 people you know are drug related?" They're like, "Yeah." I'm like, "No, think about it. Eight out of 10? Like that's the mailman. That's a Sunday school teacher. Like there's a whole life happening outside of this." So my four [inaudible] the first is, please tell your story. Don't feel the need to say what you think black people are supposed to be doing. One of my favorite black -- oh, who is it? [Inaudible] was getting a lot of flak for not writing black poetry. He wasn't writing about black stuff. He said, "I'm black. I wrote a poem. It's black poetry [laughter]." That's what we got to tell our young people. They need to tell their story. Thank you. >> I just want to add to that. I would say also find out what your passion is because I think that's what's motivating the people. What if it that you like? What are you passionate about? Make that your life's work. It's not -- don't be concerned about finding a job. Be concerned about finding what your passion is, and then you won't even realize you're working. >> Bahiyyah Muhammad: Mm-hmm. >> Bomani Armah: Amen. >> Hi. I'm Marita Golden, writer, literary activist, and head of the Zora Hurston/Richard Wright Foundation [applause], and I just was just so amazed by this wonderful panel, and the brother mentioned -- you said Komunyakaa, and I have to, now that I have a captive audience, let you know that this is the 25th anniversary of the Hurston/Wright Foundation, and for 25 years we've been creating community safe spaces for black writers, teens, adults, and the international community of black writers. October 23rd will be 25th anniversary celebration and annual Legacy Award. This year we will be honoring Edwidge Danticat with our North Star Award. Yusef Komunyakaa and Nikki Finis have been asked to compose original poems that they will read in honor of Zora Hurston and Richard Wright, and the law and order lady, Effie Pinker Merkison [assumed spelling] is going to be our Mistress of Ceremony. We have a wonderful -- we have 18 black writers from all over the world who had been nominated for the Legacy Award, and who will be in attendance, including Charles Blow, the <i>New York Times </i>columnist, Chris Avanni [assumed spelling], and so it's going to be a wonderful event. Go to www.hurstonwright.org., join our mailing list. I'll see you there. >> We have the great honor of having with us Congresswoman Eleanor Holmes Norton, and the Congresswoman is now -- [ Applause ] -- I'm really -- we're really delighted, honored, and -- I don't know. I'm losing my words. But, anyway, we're delighted to have you. Congresswoman Norton is now in her 13th term as a Congresswoman for the District of Columbia. She's the ranking member of the House Sub-Committee on Highways and Transit. She serves on two committees, the Committee on Oversight and Government Reform and the Committee on Transportation Infrastructure. Before her Congressional Service, President Jimmy Carter appointed her to serve as the first woman to chair the U.S. Equal Employment Opportunity Commission. She came to Congress as a national figure who had been a civil rights and feminist leader, a tenured Professor of Law, and a board member at three Fortune 500 companies. Congresswoman Norton has been named one of the 100 Most Important American Women in one survey, and one of the most powerful women in Washington in another. The Congresswoman's work for full Congressional voting and presentation and for full democracy for the people of the District of Columbia continues her lifelong struggle for universal human and civil rights. Her accomplishments have been enormous and I will just skip a number of them just -- and point out to a few. The most significant of her economic development projects that she's had was to bring to D.C. the U.S. Department of Homeland Security Headquarters Compound, which is the largest Federal construction project in the country. She has also been successful in bringing to the District the new headquarters for the U.S. Department of Transportation and the Bureau of Alcohol, Tobacco, and Firearms, along with an additional Metro Station at New York University -- New York Avenue, sorry, which has resulted in the development of the [inaudible] neighborhood. The Congressman who taught law for a time before being elected is a tenured Professor of Law at Georgetown University, teaching an upper-class seminar there every year. After receiving her Bachelor's Degree from Antioch College in Ohio she simultaneously earned her Law Degree and a Master's Degree in American Studies from Yale University. Yale Law School has awarded her the Citation of Merit for Outstanding Alumni, and Yale Graduate School of Arts and Sciences has awarded her the Wilbur Cross Medal for Outstanding Alumni, the highest awards confirmed by each on alumni. She's the recipient of more than 50 honorary degrees, and I'm just cutting it very short so that we can hear from the Congresswoman. [ Applause ] >> Thank you very much. It is a very special honor to say a few words to you at what is your first Juneteenth Book Festival. I appreciate this English speakers who have spoken and will speak. I particularly appreciate your theme that relates Juneteenth to literacy, to literature, to American artists. Juneteenth, of course, is not nationally celebrated because it is not well enough known. That's why I appreciate that here in the nation's Library of Congress you are having this symposium, this two-day book festival, which will draw attention to this very important, yes, event in our nation's history, and, of course, I note that we're in the 150th anniversary of the Civil War. You have found a really seminal way to link our past with our future because, if you just think a moment about it, literacy is as much a key to the future of our young people today as the slaves regarded it as central to their own freedom. What was a free man or woman? Well, a free man or woman didn't go around saying free man or woman. But a free man or woman had somehow overcome the resistance of the master to literacy. A free man or woman could read and write. How rare in a country and at a time when it was understood the most dangerous thing you could do for a black man or a black woman is to teach them to read and write. Keep him ignorant and you will keep him enslaved. That was a cardinal principle. You know, in a real sense it works better today than it worked then because as illiterate as they were they yearned for freedom, and the first things they wanted to do was first find their relatives who had been sold off into slavery God knows where, and then they wanted to learn, to do what was forbidden. There must be freedom in it if they said we couldn't do it -- >> Yeah. >> -- so we got to learn to read and we've got to learn to write. >> Yes. >> What a yearning there was at a time when learning to read and write certainly didn't guarantee you a job. You could read and write as much as you wanted to and you will still be scrubbing floors if you could get a job at all as a free man or a free woman. Yet, if you wanted to feel free -- you knew your mind was free when you could put that mind on a piece of paper or on a book, see what it said, let alone write it for yourself. Somehow or the other we have got to be able to convey that sense that the slaves understood inherently of what it meant to be free to our children and our young people. The most tragic deficiency a child can have is the inability to read. Even if somehow she can't speak, if she can read she's on her way. So for us and for the African American community, reading is as much a priority today as it was 150 years ago. In a real sense if it was seen as the key to freedom then it is obviously essential to freedom today. When reading and writing is not enough, when appreciation for literature, for culture, for the world in which you live is now required. But you can't do that if you can't read and write. So how to inspire our young people, how to use our history. That is worth. Laid out for us to inspire our own young people to learn to read and write in the very same way that their forbearers did. In this city we are especially inspired by Juneteenth because in this city the slaves were liberated nine months before the <i>Emancipation Proclamation </i>. We were the first to be liberated. So on April 16th in the District of Columbia that liberation is so important that it is a holiday in the District of Columbia. Don't even go to work [laughter]. That's how important it is. So there's a big parade downtown. That's our wig day when everybody else is working. Well, we're walking in the District of Columbia because we understand how important being free and free first. Oh, my goodness. My own great-grandfather, Richard Holmes, was in the District of Columbia on that day that the slaves in the District of Columbia became the first to be freed. He was not a free man. He was a runaway slave. He walked away from a slave plantation in Virginia and made his way to Washington. Now I don't tell any stories on miss about Richard Holmes. He didn't gather himself together a group of slaves and said, let's sneak away from the master and look at the hour and then hear my call and let's be gone. Richard Holmes looked around. When he saw nobody was looking, he left that plantation, and for three generations in the District of Columbia, if your name was Holmes, you learned to read and write. You went to the public schools of the District of Columbia and you learned to read and write because you remembered Richard Holmes who did not know how to read or write. But his son knew how to read or write, and his son knew how to read or write. So, when I understood that here in our own -- in the nation's Library of Congress we were commemorating Juneteenth I then understood that the process of national education of our people of every race has begun. They will be grateful to have another occasion, particularly during this 150th year of the end of the Civil War, another occasion to celebrate the liberation of slaves. But you will go far and wide before you find any people than the people of the District of Columbia who are more grateful to what you're doing today as the first to be liberated and who, as a people will not entirely be liberated here in the nation's capital until we become the 51st state of the United States of America. Thank you for what you're doing today. [ Applause ] >> Thank you, Congresswoman. We're really moved by your words, by your story, by the story of your family, and we hope very much to continue the tradition that we started today. Now we will continue with our third panel. Eve Ferguson will moderate the panel. She is a Reference Librarian for East Africa and also a journalist, also a graduate of Howard University, and one of our very own scholars on Africa and on African Americans. So Eve Ferguson. [ Applause ] >> Eve Ferguson: Thank you very much and good afternoon. I'm glad that you all stuck around for the best, the last panel. I really feel spoiled because I picked this one. So we are going to hear some really wonderful presentation. I just want to say a couple of things, and that is that I was a school teacher for 16 years. The thing that -- [ Applause ] The thing that made me the saddest was when I had to teach children who were reading on a third-grade level, and they were in junior high school. That really bothered me. That was in Florida. But then I came to D.C. and I taught remedial reading to UDC students, and I'm saying, how are these students getting into college and they don't know how to read, and they didn't know how to read. So we tried using Toni Morrison but that was a little bit too complex, so we had to bump it down to the <i>House</i> <i>on Mango Street </i>and anybody who's been a teacher in here knows the <i>House on Mango Street </i>. It's a middle school reading level, and that's what we had to go from, so we have a long way to go for literacy. But I applauded those students because they went to college anyway, even though they couldn't understand what was going on. They used to come and tell me, Miss, this is like 13th grade, and it was in many ways. But they had the ambition to try to overcome their obstacles and I really had to be appreciative of that although I knew that those kids came from houses where people didn't read. I started reading at three. That's really early but I have a sister who's about three years older than me and another one who's five years old than me, and my middle sister used to whisper in my ear the words to the book as I'm turning the page. She said one day she wasn't whispering but I was saying the words. So did I memorize it? Was I reading? So they kind of did an experiment and they gave me another book that she hadn't whispered the words. But I did know how to read. So ever since then it's like reading has been important. You cannot read if you can't write, and you can't write if you can't read. So the two go together. I just want to say to anybody who has a college-age or high school child, please don't let them do all their research on the Internet. They end up using wrong information and creating what I used to call the Scotch Tape Special -- cut and paste from everything. That does nothing for their learning experience so read books with them, newspapers, have them around the house or something like that. So, to go on, I have this great panel back here, and I'm not going to take a lot of time because we're running behind, and I want them to have their say. But our first panelist was one of my instructors at Howard University. I dropped his class [laughter], which he's never forgiven me for. But we went on further to work together and when I was a senior at Howard I wrote the first article on his work for the <i>Washington Post </i>. So we've always kept in touch since then. He has constantly told me, "You have to tell your story. You have to tell your story." I haven't told it yet, but I will. So we have the distinguished Professor Haile Gerima from the Film Department at Howard University. [ Applause ] He's a celebrity in his own right. I don't even have to talk about his movies <i>Sankofa, Teza,</i> <i>Bush Mama, Harvest 3000 </i>, right? <i>Harvest 3000 </i>? Yeah. That was actually the film that I did the story on. So we are glad to have Haile here. Been trying to get him in the Library for a long time. Next to Haile we have Hafiz Shabazz who I met yesterday and I find him completely intriguing. He is a Professor at Dartmouth. He teaches a course which is called -- -- let me make sure I get it right. I don't want to get it wrong. Oral Tradition Musicianship? Is that right? Yes. Oral Tradition Musicianship at Dartmouth. So I really want to hear what that is. But he's also Adjunct Assistant Professor and Director of World Music Percussion Ensemble. He's the producer of more than 85 major concerts. I was absolutely floored talking to him yesterday, and I'm sure that what he has to say today will also give you all something to take away from here and think further about. Next to Hafiz Shabazz is Beverly East. She is a leading authority in handwriting, international forensic document examiner. I want to know what that is. I'm not sure what it is. She's author of <i>Bat Mitzvah Girl,</i> <i>Memories of a Jamaican Child</i> which I hope she'll discuss because that's been -- I know a number of book clubs like the Caribbean Professionals took up that book as one of their books to read in the Book Club. I haven't read it yet, but I will. Last but not least is Gabriel Asheru Benn. Now what I have to say about his is he must have a reputation everywhere because in the last three days I've gone to three public events and at every public event they have mentioned his name. Monday at Busboys and Poets, Wednesday at Eatonville, and the third one I don't remember but it was somewhere. So he is listed as an educator, youth activist, international hip-hop artist, co-founder of Educational Lyrics whose cornerstone program is HELP. We heard a little bit about that earlier, the Hip-Hop Educational Literacy Program. Now I'm just so curious to know about him as an artist and now that his name is all over the place, next time it pops up I'll make sure to hear what he has to say. Then I just wanted to leave you all with a poem that is really my favorite poem by Langston Hughes because I think -- I always thought Langston Hughes was a children's poet because he was so present in our house as well as he wrote short poets that you could memorize. So I didn't realize until I was much older that he wasn't a children's poet. But I'm glad that my parents exposed me to him. But one of my favorite poems by him is "Dreams," and everybody probably knows it. I have it on my phone because I'd had a tendency to change the words around. But he said, "Hold fast to dreams for if dreams die life is a broken-winged bird that cannot fly. Hold fast to dreams for when dreams go life is a barren field, frozen with snow." These panelists will talk about how they made their dream reality, and I hope it will be inspiration for everybody to hold fast to your dream, tell your story, and pass on the torch. Thank you very much. [ Applause ] >> Haile Gerima: First I just want to thank you, my [inaudible] and my supporters. Miss Ferguson, I don't want to say her first name, but I'm very grateful to all the nice words you had to say. But I am very nervous and I feel I'm like I was sent to Siberia [laughter], and I have to first paraphrase my presence of how I got myself into this situation. A sister who I would consider -- I told my wife, "This sister is crazy. She wants to do this thing. I know she's not going to put it and I'll say yes because it's not going to happen." That's how I got in trouble. This is Miss Marie Fenton here sitting next to my sister. So I will tell you that I never wanted to set foot in this place. I don't know why. But you got me trapped and I have to admit that you are a very powerful person. I just hope you were a counsel outside the institution where I met you because we don't want to lose the people's story that doesn't get to make it here with all these Jefferson leftover books. [ Laughter ] But I want to speak about the stories because I felt at this short time the only thing I could do is speak about the battle to tell the story. It's only bourgeoisie people who want to make it look like it's entertainment. But every battle in contradiction is built on stories -- whose story are we telling? The official story where that negative run of the official story? There's the unofficial story. Now, for me, I don't think -- the human beings that went into the caves to write their story anticipated war, conquering, enslaving, et cetera. They were just saying this is who I am, this is who I belong to, and this is where I came from. All human beings do this without any instructions because it's very human that changes us or distinguishes us from the animal kingdom. We pass our story. But it's not also anticipated that we will enter this digital period where stories cross-dress thinking they are our stories when, in fact, they are really the official stories that possess our tongues and our minds to tell the official story and make us pretend we are telling the unofficial story. That's the time we live in. I have my students. I tell them, "Empower your story." They think story is what they see on television and film, and their grandmother or grandfather don't figure out in this idea of storytelling because once [inaudible] is made, it's impossible for black people to empower their story from the time they came in contact. This is not just every contact. It is the colonial contact ushered, the middle passage. Now in storytelling a lot of people talk about <i>Sankofa </i>, and they don't know where it comes from. They don't know how to trace me from Ethiopia to Chicago to California, and the most agonizing journey I took to know who these black people are in America. I'm still trying to figure out there's black people in America because they're a symbol of a complicated journey of a people. I will not underestimate by saying I know. I'm learning. I'm in the university of black people in America because it does have a direct relationship to my personal life in Africa. Not many people know that. So the battle in America is one that -- for example, when I wanted to do<i> Sankofa </i>white people wanted me to tell the story in the official story-telling of their empowered position. Black people did not have the power to begin to infiltrate into my consciousness to influence me any other way. I knew who they were. I knew my brother Haki. I knew Baraka. In fact, I was really going to tribute my [inaudible] to Baraka because I used to do the <i>Dutchman</i> at the Goodman School of Drama just to liberate myself and try to get in touch with black people. He usually said drama, that scares the hell out of white people, and a lot of black people who feel excluded in the acting world of the Goodman School of Drama just -- there's no parts for them. <i>Hamlet </i>comes. No parts for them. <i>Macbeth </i>comes. No parts for them. <i>Othello </i>comes. They still have a white guy picked to playing Othello. No parts for them. So what do they do? They do the <i>Dutchman </i>in the revenge, just to revenge in that house at the Goodman School of Drama. I took that all the way to UCLA because I wanted to kind of why people -- no, I am not a grateful foreigner because I have liberated myself from that grateful position thanks to racism. So stories is a battleground. A simple illustration is in the Palestinian struggle. It's a struggle of stories. Whose story is what? The same thing in America. When it comes to race issue, slavery is a contention. Slavery is a story not to be told by black people. The monuments and poetry and books to be written officially have to be commissioned by white artists. But what are they taking when they take a black film away from a black filmmaker dealing on slavery issue, they are denying the black artist to exorcise the demon and toxic ingestion of a thing called slavery. White people in their [inaudible] of position snatch the story from a black person and make films that -- I don't have to enumerate them for you, but <i>Amistad </i>would be a good enough story for you. I don't know. Black filmmaker in school -- we never fantasized to someday do a film on [inaudible] because it spoke something different to us. Yet, not only are they denying the black filmmaker -- they're denying the black community to make that leap because when an artist, when a black artist makes a monument he exorcises this evil toxic into arriving there. In so doing, he or she takes the community by that act. That is a very privileged position only given to white people in America. Face it. Every story black people want to do is scrutinized and realigned by white dictatorship I would call it of storytelling. They used to have this game called "What's Your Point of Entry?" Point of entry means do you have a Brad Pitt in your story? Point of entry does not mean what Aristotle's idea of storytelling is. No. It's the empowerment of white people over black consciousness or to divert and obstruct the right to imagine the future from the present circumstances he or she finds herself. So it's very important that you should know -- I think we will arrive someday somewhere where stories would exorcise the evil toxic of all that is passed to all of us. In this case, racism. The most divisive toxic on Earth is racism. We know it; we see it here. I don't have to mention to you. But what helps you to exorcise the toxic divisive nature of racism is not allowed to be exorcised because of the dictatorship of white supremacy in America. When I speak about this -- I don't have time -- but I'm also talking about the vocabulary and tradition and convention of storytelling. I'm talking about the mindset, the thought process. White America would want the whole world to think, to go into the thought process, the thinking source where you imagine story is obstructive. When a black kid goes to say, "I want to write a story," and when he or she bends and takes the pencil, this subliminal power of white supremacy enters the brain, deflecting you from what you are about to exorcise, the points that you're trying to get out of your system. It's not allowed. I'm sorry. Even in the <i>Sankofa </i>it's an imperfect gesture, imperfect gesture. Why? Because there is not black finance. There is not black power. There is no black economic power. Distribution, exhibition, completely controlled. Even when we had it out and we were in the Berlin Film Festival competing with every big budget film including <i>Malcolm X </i>by Hollywood, the white American press boycotted us throughout and throughout. That's why black people in America -- I went and saw -- in Washington I said to them, "You know what? I made the film. I exorcised it." I know I owe people with my way. We're going to pay for it. But if you don't show this film it's on you. I have made it and I'm going back to Howard, my other plantation, earn my money, and pay. But I'm not going to fight to distribute this film. Black people took it on there. Made it a world phenomenon. It's not repeated again. The whole Sankofa family from here to Ohio, San Francisco, Chicago -- when Haki opened it had Hyde Park. Nobody had ever penetrated the system in our terms, without letting them own it. I'll tell you, my life as a filmmaker would have changed had I given my film to white control from the outset. But I knew that was a kiss of death. I knew it was the end of me as a person, as an individual. So I just go on and bogart the time here. But I'm saying when we talk about story, we're talking about war. We're talking about war. You talk about proclamation without [inaudible] who actually unleashed without [inaudible] who actually unleashed until the white power structures say if I'm never going to be free, you're not going to have a good life. Gabriel Prosser confronted the founding fathers and stories are not going to be told. In fact, the MacArthur Foundation, when I applied, came and asked me, "You're talking about a slave confronting the founding fathers?" Yes, Gabriel Prosser, 1802, they were on there and they were running the country. There were Vice Presidents. They were all the founding fathers. He said, "This Revolution is for you, not mine." Whose story? That story's never told because there are not gutsy, black capitalists who understand that their capitalism could also transform when they allow people to transform stories that need to be told. Thank you. [ Applause ] >> Hafiz Shabazz: Good afternoon. >> Good afternoon. >> Hafiz Shabazz: My name is Hafiz Shabazz. My father gave me the name Terrell Johnson. However, I chose to change my name because I want to know who I am, and by doing that I learned a great deal about the Shabazz, the lost tribe, those who don't have a home, those who do not have a place to call their own. So, therefore, I began to search and find out where I came from. I searched to some extent in vain, but I went a lot of places, and so I'm multitude. I'm a number of people. I'm mixed of everything that you could possibly imagine because I am the original man. Now one of the things that led me to this journey that they asked me to find out who I am, was my drum. By the time I was seven years old I wanted to drum because inside of me I was a violent person. I wanted to tear stuff up. I wanted to hurt something. Not necessarily people but everything I touched I would tear up. So my father, he said, "Son, I'm going to give you a drum." He says, "You can hit that and it won't hit you back." That was a good thing. However, studying the drum I wanted to be the best, so I studied the masters. I went to Ghana. I went to [inaudible]. I went to Brazil. I went to Cuba. I went to Haiti. All of these places to study with master drummers. So I have all of that information and as a result of studying drumming I learned much more about music and I also learned a great deal about each one of those cultures. I refer to those cultures in my study as Haitian studies because I studied the Haitian people and how difficult their lives was and how hard their lives was, and how everyone on the planet hated the Haitians, even after this last earthquake. They were just devastated. The Red Cross, okay, the Red Cross actually decepted these people. They took money, did not build homes for them. They're not curing their illnesses and whatnot, and they spent the money on themselves. The Haitians. So I studied the Haitians and I went to Haiti not because of that, because that was -- I went to Haiti a very long time ago. As a matter of fact, it was 1971 when Papa Doc divided -- was the President or Prime Minister or whatever. So I went there because I wanted to study voodoo. As I say the word voodoo, folks shudder because they always say, well, you stick pins and all those kind of things. Well, I said I wanted to see this sticking of pins. I wanted to see all those various things. But I did go to a ceremony which was for Baron Samedi, and Baron Samedi was the god of the cemetery, and there was a festival for Baron Samedi where a person stayed in a coffin, slept in the coffin for seven days. At the end of those seven days there was a ceremony and at the ceremony there was food. There was food, there was a lot of drummers, a lot of dancing, and I saw within the dancing, people were getting possessed by their spirits, okay? That just shows the power of belief. They believed so powerfully and so devoutly that their god could actually heal them, could actually give them the strength to live long and to make their lives meaningful. However, there was this Houngan who was the priest. A little small man. Couldn't have weighed no more than 100 pounds. There was a bull in the hunt for them. Hunt [inaudible] a place where the [inaudible] ceremonies take place. So the bull was tied to the peristyle, and there was a pole that held up the roof and whatnot. He was tied to it. A bull. I'm going to say that again. A bull. This little man. So the bull wanted to go out and leave. He wanted to leave. He was pulling the pole and pulling and pulling. So this little man sat down behind the bull, held both of the bull's hind legs, and steadied the bull. The bull could not move. A hundred pound man. I mean it. So he was exceptionally strong because he believed this is what he was supposed to do. So I learned about the voodoo drumming to the point whereas if you believe, I can play my drum and possess you. You will then transform. Neurologically you transform. So you could be actually I'd say to the point where pain could not invade your body. You could be painless. You could feel wonderful just from listening to this drum. I went to Cuba. The exact same thing. Belief. People were getting possessed by their gods and goddesses, the Orishas. They could transform. They could speak in what we call speak in tongues, right? They could heal you. So I learned that through drums. I went to Brazil. The exact same thing. I went to [inaudible]. The same thing. I went to Ghana. The exact same thing. So we, if we choose to believe that we're powerful, then we could do whatever it is that we choose to do and be successful. All we have to do is believe. That was from drumming, learning about the cultures, quote/unquote cases, studies. I am now an ethnomusicologist. I went to school and learned what to say and how to say it, what to study. I went to school to learn. But I did that naturally because I love my culture and I love drumming, and I love hitting stuff. I still drum. I'm 68 years old and I play every day. When I leave here I'm going to go play. >> You don't want to stop. >> Hafiz Shabazz: Well, this is not the point. It is not the point. I wanted to tell you the truth. But nonetheless, that is what actually healed my soul. I cannot get away from [inaudible]. There was a school in Philadelphia, an independent school called [inaudible]. They were, I think, a school of humanitarianism, for humanitarianism. It was to teach people to love one another, to love your black brother and sister, not to kill your black brother and sister, not to hate your black brother and sister, but to love them, and [inaudible] is in your [inaudible] language, it means house of love. I studied there and played there and I became the master drummer of the dance ensemble for [inaudible] African American Dance Ensemble. I was the master drummer. All of those cultures that I studied, I taught young brothers and sisters, seven years old, five years old, 12 years old, even adults. Now I teach at Dartmouth College. Been there 30 years. I teach three terms a year, in every term, every term. I have a waiting list of 200 students. A waiting list. I only allow 25 into my class because it's special. That's how I live my life. It's how I support myself, and that's what I continue to do. So that's my story. [ Applause ] >> Beverly East: Good afternoon, everybody. My name is Beverly East and it's such a honor and a pleasure to be here, especially sitting up here with three mindful, progressive, wonderful, handsome men. You don't know how it feels to be up here [laughter]. I'm very pro the black man because I had this wonderful father who gave me so much love that when I hear women or anybody talking about my black man, it hurts my heart because of the man that raised me. Because of the way the man raised me, my father raised me to be proud of who I am. Don't let this British accent fool you [laughter]. I am a Jamaican woman who happens to live in other parts of the world. But the diaspora that I come from, I walk with pride. So my story is that I had your typical nine to five job in London. I was a manager for a large retail company, the only black woman in the entire company in a management position -- 45,000 people in that company. I'm the only black manager in the company. One day I am told that a customer complained that it was unhygienic for me to be standing near the food. I'm not touching the food. I'm not supervising the foot. I'm not selling the food. I'm just in that division of the company. I was told to move to the bra section, the manager. So I moved to the bra section and that night I got home, I packed up my -- and came back to London, and didn't resign like you're supposed to -- give notice. I just quit. I just quit. My family was worried because you need that reference from your last job to get another job, and I didn't have a reference, and I wasn't going back to say sorry, and I wasn't having a bad day that day that I quit. I just had it. So I decided -- the kind of personality I have I need to set up my own company, do my own stuff. So that's what I've done. I am a handwriting examiner, a forensic document examiner. So what the hell is that? I don't read palms. Let's just get what I don't do [laughter]. I don't read palms. I can't tell you the future. What I do is I look at handwriting, identify the authenticity for forged signature. Do you know how many people forge documents? I didn't think this business would survive the way it has. So I do two aspects. I look at profiling. I look at handwriting and your personality, and I look at handwriting for authenticity. So it's two different fields, but I'm qualified in both. I just so happen to be the only woman in the world who's Jamaican qualified in both. So for a long time no one took me seriously, not even my mother who really loves me. So she would tell people. She's married to a lawyer. She would never say what I did, like I was a hooker or something [laughter]. She's married to a lawyer. So for years that was my claim to fame. So I decided -- well, a friend suggested, "Why don't you write a book about handwriting?" So I says, "Yeah, but it would have to be academic and who would want to read it?" Then this can only happen in America. I was asked to talk about the JonBenet Ramsey ransom note back in the time. I did not have the letter. Hadn't seen the letter. Just knew the basic story like all of us. But I was asked 26 times to go to 26 different events to talk about a letter that I had not seen. I would tell them I had not seen the letter. Come, come, come. So I did. Twenty-six speaking engagements, for pay, across the United States, to talk about a document that I hadn't seen. Only in America. So then I get there and then I'm not white because they hear me on the phone. They think, oh, she's white. I get that I'm not white. Then it's a whole another palaver. One man said to me, "Oh, you're not at all how I imagined you to be." I says, "Maybe a little taller, yes [laughter]?" So on this trip of going on -- I call it the JonBenet Ramsey tour. Poor baby. What was the most question I was asked? "I met this man in Barbados. What can you tell me about his handwriting?" No one wanted to talk to me about the murder of this child. First of all, I was offended that someone would be -- I'm here to talk about the death of a child and you're coming to me to talk about some man you met in Barbados. So after about 15 cities I'm hearing the same question. I'm thinking this might be the book that I'm supposed to write. So that is how <i>Finding Mr. Writ </i>, W-R-I-T, came about, which is handwriting, how to look at handwriting and identify personality traits. So this was my first book. I got a major book deal with Random House. Major, major book deal with Random House. I couldn't even believe it. Because my mother always said, isn't she married to a lawyer? So I asked the lawyer I was married to to read the 15-page contract to make sure I was getting a good deal. So I did. I got a two-book deal with Random House -- unheard of. So I'm really an author now. I've always wanted to be an author. But when you're a little girl you keep it to yourself because you don't want to speak it aloud because you don't want to sound silly. Back then. I'm an old woman, so back then. So I had read Fanon and James Baldwin and so how could I be an author because the people I was reading, they were so phenomenal, so how could I be one of these people? So then when I'd written this book and then I was on <i>Good Morning America </i>with Diane Sawyer and we sold 6000 books in eight minutes, I was like, whoo, I really am an author [laughter]. So I had to go back into my head because there was a story in my heart that had been in my heart from when I was 18. What had happened is my father had lost 14 members of his family in one night in a train accident. Two-hundred-and-fifty people had died, 14 from my family, with the same name as me. That night my father locked it away, had not spoken about it. So I started to go to Jamaica to research that book. But because I grew up in England I didn't really know enough and I wanted to give the story justice. So I moved to Jamaica to write that story because after -- I'm an author now. I can do this. So I go to Jamaica, spend two years in Jamaica, and I write <i>Reaper of Souls </i>. the story that was untold in Jamaica. I didn't realize how many people were still walking around from this terrible night unresolved, emotions unresolved. This book is now in the hands of a director. I'm sorry. I would have come to you first [laughter]. With a movie director. This book is with them. But the thing with this book was I was told by Random House that it wasn't Jamaican enough. So I was like, oh, thank you very much, me gone [laughter]. So I didn't try to -- I don't know what it is to be Jamaican enough. I'm not a raster. I don't smoke weed. I listen to more than reggae. So is that all it is to be Jamaican? I do have more than one job though. [ Laughter ] So I kissed Random House goodbye, went to an independent publisher in Jamaica, and had the book published in Jamaica. Then I fell out with them because if you don't do it my way, none of it works, so. It was mainly inexperience, the small press in Jamaica. So then my final -- well, I shouldn't say my final. My third book, because I'm working on a fourth book. Because I lived in London and no disrespect to any woman in this audience, but I cannot define my childhood through somebody else's childhood. There are so many young girls who have been molested as a child, and beaten, and gone to bed hungry, and all these things, that we -- you know <i>Precious</i> is a typical example of how young black girls are defined. I am not one of them and I'm not ashamed to hide that I'm not one of them. I had a father that loved me. Would come home from work 3:30 in the afternoon to be home so when I got home from school I wasn't a latchkey kid, and would stay home with me, cook dinner, and stay with me until my mother came home. I could never get into trouble you know. There was -- the leash was so tight. So I wrote this book as my young life, <i>Bat Mitzvah Girl </i>, and the reason why it's called<i> Bat Mitzvah Girl </i>because I had my mother and I had four Jewish women across the street from my house who had no children. So I became their girl. So it's these four sisters, my life with them, and my life back and forth from London to Jamaica because I went to Jamaica to live with my grandmother for a while, and I'm so happy for that two years that I had with her. So I wrote this and actually for the first time self-published, which, for everybody in the room that wants to do a book for the first time, it's really not as easy as they tell you it is. Because I had a database from the Random House and a template of the marketing, it's done very well. But I always feel as a first-time author you try and get a publisher to help you because it's not as easy as people try and do. So, I thank you very much for listening to me, and I knew I [inaudible] talk for five minutes so I'm sure that five minutes is way, way up. Thank you very much. [ Applause ] >> Gabriel Benn: Good afternoon. >> Good afternoon. >> Gabriel Benn: My name is Gabriel Asheru Benn. I am an educator. I've been an educator here in D.C. for 18 years as a teacher and as an administrator for an after-school program and a summer program, and et cetera. I'm also an artist, a hip-hop artist. I go by the name Asheru so I guess in the effort of telling my own story in self-discovery. Asheru is a name that I gave myself at 17 years old when I was in college, my quest. Yeah, my story is ever evolving. I feel like I'm just kind of moving through my story as it's being told or kind of creating it as I go. But because I have these two backgrounds of being an artist and an educator, I've kind of spent my whole life finding a way to bridge the two. Early-on, I put on my first independent project in '97. It was a vinyl. It was a vinyl and tape. I was very proud of that, to be able to put something out with my name on it, something that I wrote, something that I created, and I still am. I continue to be proud everytime I release something new. But I also was in [inaudible] at that time on my first year as an educator, as a teacher, and I never -- I went to school. I studied Anthropology. My dream was to work in the Smithsonian. I want to take down that -- just be a global traveler and study different cultures and write and just -- kind of like what Anthony Bourdain does -- food, everything. Just experience the whole thing and report back up. So that was kind of my thing. When I got back home from school, the job that I thought I would get, because I had interned and done some stuff with the Smithsonian, when I got back, the job wasn't there. So I took this menial job sitting in a cubicle, and one day, hating my job, I looked in the classified ads, and I saw an ad for a teacher. It said, "Teacher Wanted." It just said, "Teacher Wanted" and a phone number [laughter]. I know. I called it. A guy answered the phone. He was the principal of the school. He had called it [inaudible] Elementary. It closed down in '06, but he answered the phone and he said -- I said, "Yes, I'm calling about the ad." He said, "You want to teach?" I said, "Yes." He said, "When can you get over here?" I said, "Right now." I got in a cab and I rode to Union Station to Southeast. Walked right up in the school. I introduced myself and he asked me if I had ever taught before. I told me no, but I really -- I think it was something that I -- all of my mentors were teachers coming up. I felt like it was something that I'd like to at least experience, to try. I guess he was very desperate for a teacher because -- this was a Wednesday, and he said, "Can you come on Monday?" I said yes. He said, "You got to turn in two weeks or whatever?" I said, "No, let me worry about that. I'll be here Monday." I went back to work, I quit, I went home, I got ready. I started that Monday. I learned everything on the curve. The students taught me everything. The students in -- I had a couple of older teachers who were kind of mentoring me through my first year, and I really realized that not only did I enjoy it, but then I saw a real need and a real service that had to be done. So I just, from that point on, committed myself to doing it. Now, while I'm doing this and learning more about myself and being -- and what it means to be a teacher, I'm still working on this music stuff. I had family that said, look, you're going to have to give one up. You'll never be able to do both. You got to -- eventually you're going to have to choose. Everytime I came to that point where I felt like I had to choose, I had come to that fork in the road, and I just -- I can't choose. I'll go straight. So my whole life from there has been a merging of these two passions. So, to fast-forward. A few years after that I started working a private school with EDLE students. If you're not familiar, that means emotionally disturbed or disabled students. I was encountering students, like you said, students who were 13, 14, 15 years old, but reading on a second and third grade reading level. I'm sitting there like how am I supposed to teach the student this stuff that you want me to teach and is graded age appropriate, when they're reading on such a low reader level? It was something that I struggled with for a while, and yet I just -- I thought about it and I said, well, hip-hop taught me everything. When I was growing up people like Mike Kemp, [inaudible] MC Light, Native Tongue, these groups were like -- they were my teachers. I learned about drag nationalism. I learned about manhood. I learned about America. I learned about history. I learned about ancient Egypt, Black Panther Movement. I learned all of it through hip-hop. So I said, well, maybe I can just take some of these lyrics and make textbooks, make activities where they could -- they already know these lyrics so why don't we use this as our text, and then I could kind of finagle the rest from there. So that's how I created the Hip-Hop Educational Literacy Program. We made 13 titles, we travelled all over the country, and we started to learn that teachers were gravitating to it more than the students because teachers were saying, "Look, I have this issue, too. What can I do for these kids that I have?" It turned into a professional development model. We started talking to teachers about culturally responsive education using these hip-hop materials and other things. So that kind of spun into me really stepping into being, I guess, a hip-hop educator. It was not meaning that I'm coming in to teach you how to rap. More that I'm teaching you how to look at the world critically through the lens of hip-hop culture and the culture that I identified with as me being a hip-hop person. So that kind of started my quest. I still carry that banner to this day. Currently I'm doing a lot of work with culturally responsive teaching. I just quit DCPS in August of last year from just fatigue I guess and students getting killed. I went to my last funeral and I just decided in August I was done, and I left in -- I'm going to tell you a quick story because I could go on forever, but I can kind of sum it all up in this story. So I quit in August. In October -- I mean I'm sorry -- in September I -- now let me not just say I quit. I quit knowing, okay, I have a little bit of savings. I have a wife, three children. I didn't just recklessly walk away, but I knew, okay -- let me start stopping for right now because come August I don't want to stop in the school year. I want to find my new thing, whatever it is I'm going to do. So I had a little bit of savings, what have you, except -- August I quit. September I'm still working, figuring things out. Not at school but working on my own and doing my own thing. October comes around. Same thing. I'm lecturing, I'm doing some little shows here and there. I got an ambassadorship with the State Department -- I'm actually a Global Hip-Hop Cultural Ambassador -- who sent me to Bangladesh for the month of November. So I said okay. So I'm good until November, and then when I come back in November, I mean from this trip, I don't really know what I'm going to do and to figure it out. So I go out to Bangladesh and I'm almost -- not poor, but I'm getting there. I'm rapidly approaching. I'm over there, I'm overseas, and I'm enjoying the whole time there. Our job was to kind of use hip-hop as a form of cultural diplomacy. So leading these workshops for students and learning about their culture and really facilitating the process for these youth to tell their story through hip-hop. Some of you may or may not know but when I do -- when you go overseas and you meet young people who are in hip-hop culture, they're heavily, heavily influenced by American black hip-hop culture. Yes, most of them -- what's your first memory of hip-hop? Most of them will tell you Chuck D. Public Enemy is my first inspiration of hip-hop. It's not that now, but that was their first. So it was a big deal for people to empower themselves through hip-hop, to tell their stories. Then once they stopped speaking in English and speaking their mother tongue and tell you the story, it's a whole new level. So being over there and going through this transition and seeing these youth that are starting to step into that realm of speaking in their mother tongue and speaking to tell their story, I was very inspired. I met these artists called [inaudible] musicians who dedicated their life to reading poetry by this poet named [inaudible] and some other poets. But they dedicate their life to this poetry, this poetry so to speak. I collaborated with one of the artists, and he was singing a song, and the song gave me chills. To hear this man singing it just gave me chills. I didn't know a word of what he was saying but it was a moving, moving song. So I asked one of the people who were with us. I said, "What is he singing about in this song?" He was like, "He's singing about this bird called the chatak bird, and the bird floats on water like a duck, but he never drinks the water under his feet. He only drinks water that rain -- he drinks the rain what comes down. It's almost like this bird is dedicated. He's patient and he's dedicated to what the Creator gives him. He doesn't want to drink the water that he's swimming in everyday." I was like, wow, that's amazing. So the whole arc of the song I guess is what happens when it doesn't rain? Oh, wow. All right, I'll make it very quick. So the story is what happens when it doesn't rain? What does this bird do? He leaves it hanging. You never really get the answer. It's left for you to imagine what does this bird do? So I come home and I'm back from this amazing trip. I look in my account and I'm like, wow, I'm really stuck. At this point I'm like, well, I got to do something. So I'm doing these little odd things, and I said, well, maybe I can apply for unemployment just as something. They were like, well, no, you can't apply for unemployment. You quit your job. You weren't fired. You don't -- you can't just quit and get unemployment. So I'm like, wow, I can't get unemployment. I'm thinking about these other things, and then I thought about that bird. I was like you know what? I'm not going to drink from that water. I'm just going to let the rain fall and I'll be fine. So November comes, December comes, and I'm like whoo, now I'm really being tested. January -- because I actually -- the end of December, my birthday is December 29th, so right around my birthday I get a phone call from this sister who I had hired maybe eight years prior to work on this educational literacy thing that I was telling you about. She calls me, and she's like "I've been looking for you for two months." She said, "I got this job. I'm in Chicago right now. I'm working with <i>Discovery </i>, and I think this job would be perfect for you. The only thing is you got to come to Chicago." I was like, "Okay [inaudible]. Tell me when it's bad." She's like, "No, that's it. You just got to come to Chicago." So I landed and took this job from a woman who had -- who was my employee years ago. She turned around and hired me, and now when I do -- after I left in August, I said I wouldn't come back to this kind of thing, now I've been kind of deployed to the South Side of Chicago, and I do the same work on the South Side of Chicago. I do it four days a week, and I come back home. So I commute back and forth, but I'm working in the same community. This is a sign for me that no matter how much I try to walk away, it's never going to happen. I'm always going to be pulled back, and that's fine. I'm perfectly fine with that. But I think it just speaks to the -- I think that's why I'm the kind of artist that I am, the topics that I speak about, the things that I talk about, are all in that same vein of being in service to my people, and the fact that I'm -- I can never be torn from it. I'm always a part of that fabric and I'm always going to speak about it in every forum that I can, so. [ Applause ] >> Eve Ferguson: Wow. So everybody has a story, right? But these were some fantastic stories, and I hope you were inspired by them. I'm going to take the liberty of -- before I open it up to the audience to ask questions -- to ask Asheru if he can give us a little sample of that which his name has been so on the tip of people's tongues. Could you do that? >> Gabriel Benn: Sure [applause].Over there? >> Eve Ferguson: Yeah, you can come -- yeah. >> Gabriel Benn: I'm going to dedicate this song to -- this story, to the film<i> Sankofa </i>because it meant a lot to me when I watched it. It kind of inspired this beast. Okay. Once upon a time in the outer reaches were coal-black knights met white hot beaches. The destroyers came ashore and left speechless by mysterious peoples with sunburnt features. Among them, healers and even teachers who knew of God before they even heard of Jesus. It was fate that they would cross paths. Neither side would come out the same in the aftermath. Off to the new world, through the door of no return. Broke our mind, body, spirit with very little concern. I guess over time we learned how to adapt, make a brand new second hand out of these old scraps. Now we influence the whole planet. Better or for worse the effects are titanic. Different branch from the same tree. NO matter where I find myself I'm the same me. It's a new place to be in, a new breed of human being made of Africans, Indians, and Europeans. Went from their goose to niggers, from [inaudible] to cotton-pickers. Still God lives through. It takes a lot to kill us. When you talk about this country we the builders, and that there is an actual fact. But I don't hyphenate the name. Hold my head with no shame. I ain't African American. I'm black. No matter where you go, there you are. No matter when you go, there you are. No matter where you go, there you are. No matter where you go. I wear it like a suit of armor. My [inaudible] to bring me good karma. So my seed worth a plow like a good farmer. It's out of every Trayvon or Obama. Lots of potential to be great or die trying. The odds are stacked. Ain't no point of me being a shy liar. I walk with a certain pride and move by a code that go for what we know. More like what we're owed o make up for the lies that the media tells, like being black is hell. Death, crime, and jail are the only outcomes with few exceptions. We're here to change course in a new direction. Use talent to provide balance. Advance through the corporate to make them forfeit or give a fatigue in the Ivy League and watch them all fall short on the ball court. Never forget who you are, what we've been through. How what we did don't compare to what we're meant to. And the best is yet to come so what's essential that we wake up before we get that wake-up call. We don't all have to agree, but we all have to be committed to a degree to do for you the same as I would do for me. If we could do that we'll finally get to see what we've been fighting for this whole time to get free. No matter where you go, there you are. No matter where you go, there you are. No matter where you go, there you are. No matter where you go. Often imitated. Never duplicated. Always underestimated. Cash money generated. Fear, love hated. Especially the highly-educated or the ones from the bottom they thought never would have made it. Which we never tolerated being so degraded, lands invaded. Soon as oil and gold mines raided, incarcerated, socially castrated, separated at birth from the very root they gave it. Still feel the pain. We self-medicated. Stay faded from the projects to communities is gated. I won't overcomplicate it. I simply state it. Look, the world is in trouble. We going to be the ones that save it. No matter where you go, there you are. No matter when you go, there you are. No matter where you go, there you are. No matter where you go. [ Applause and Cheering ] >> Eve Ferguson: I know it's hard to ask a question after that [laughter], but let's open it up. Any questions? Yes. >> You talk about travelling through Bangladesh and doing this work and taking my message to other parts of the world. Do you envision that continuing, and how do you take that message to parts of Europe? My grandchildren are in Finland where Fins have one of the highest educated populations in the world from the [inaudible] -- >> Gabriel Benn: Correct. >> They all have a high percentage of suicides. So, tell me how this can apply in other parts of the world. My son has an interest in children and hip-hop and -- >> Gabriel Benn: Well, I mean I've been to Finland. I've travelled to -- I've been to 24 countries doing this work. But what I've always found is that hip-hop specifically is kind of that voice for people who feel voiceless, for people who don't feel like they're being heard loud enough. They take to that culture and that music because it's kind of the underdog culture, underdog kind of music. But I use it as a platform for youth to tell their story. So, for example, in Bangladesh we're working with youth whose parents, whose families are telling them this is a fruitless endeavor. Don't do it. I want you to go to school. This is -- culturally it won't help us. They have all of these pressures around them telling them not to engage in, to hip-hop. What they're trying to say is, this is saving my life. I wouldn't be here if it weren't for this. I wouldn't have the opportunities. I wouldn't have the support system. I wouldn't have the worldview that I currently have if it weren't for this. If I lose this I will have nothing is what they were trying to tell their parents, because they didn't feel empowered to do that. Our job -- well, I took it upon myself just for the ones who were with me, was to give them that platform to write and to tell their story, and to say it to their parent or elder who's around them. Ironically enough, at the end of the workshops we did a culminating show in the National Theater. It was standing room only. All of their families came out, and a lot of the families afterward were coming up to -- I would observe them speaking to their youths. Some of them came up to me or some of the other people who were facilitators, and they were like, "Thank you. I needed to -- it gave me a different way of looking at my child." To be honest, I kind of sympathize with it because my father didn't support me making music for a long time. It wasn't until my dad was in Japan and I called him and I said, "I'm doing a show in Japan next week." My father saw me perform for the first time in another country. But it was the first time he had ever seen me perform. I think, for him, it was like, "Wow, well this is different than I thought it was [laughter]." You know what I mean? But it was how you do it. I've been trying to tell you forever. So here it is. Other kids say that. It was empowerful. It was as impactful. I'm not from Bangladesh, but we could still relate on that thing. In Finland, whether it's in Senegal, South Africa, wherever, we all have a common story, and that common story is what we share through the culture. Whether you're Finnish or Dutch or what have you, there are certain things that we all have in common, and the key is to find where do we intersect? Where's that thing that we both can share, that we can talk about, and relate to? >> Bahiyyah Muhammad: For me, I think we always have to know that everything black people create as a healing process, whether -- what you have to be very concerned is about the Africans in America who did not debate their freedom, did not give anybody the jurisdiction, including [inaudible], because everybody says your master was nice but I ain't a slaves is the discussion there. So, to me, there were Africans who would never accept the very idea of slaves. Even now, [inaudible] would say slave. Slave means genetically slave. But enslavement is the grammar most progressive Afrocentric people put out to correct this idea of my slave father doesn't even sit right. So black people have to know in America it is unfortunate. I don't want to be -- they have to be as greedy as white people when it comes to producing, archiving their intellectual property, because in those days, the imagination of a people. The kind of world they want to see. So, for me, whatever you label it, it could get lost in the American shuffle. For me, don't ever forget Menendez. Study Fort Mose, John Horst. They're black people. I'm going to go to Mexico to interview their descendents from Florida within the whole black African and Native American, Seminole, [inaudible]. Those people never needed the sanctioning of American historians. They continued for 100 years. They continued to commemorate their historical journey. What is very important is whether it's -- underground railroad is very, very important. But you have to know that there is another movement that did not include white people, and all gutsy people, white or black, have to endorse those people for their qualitative contribution to change America. They were very violent, as violent slavery was. It's hard to sometimes to choose for people who are trying to say, look at the past and instead as a uniter but as a divider, it's very hard for them to look. I am very impressed for me and my African friends when I go to a panel discussion in Africa, in South Africa. I tell them, yeah, [inaudible] in the United States of America. This was from Virginia all the way to Florida, Mississippi, Alabama. Their history is critical because -- a little kid says, if he says, "Abraham Lincoln liberated me," that is not liberation. That is mortgaging, eternal enslavement, because you're saying to me, "Somebody had a lock to my freedom." In that whole drawing, the very drawing -- that image, visually, that "Free me." It is a burden to blacks; it's a burden to white kids, to reallocate the idea of freedom to another human being. That debate has to die in America. That debate of saying, "I freed you," for every ignorant white person to go around accusing black people, well, you don't seem to be responsible to enjoy the freedom I gave you." That's every violence against blacks. Free black people says that. So I'm saying change the narrative. Everything good black people invent could also be poisonous. My brother's amazing. But I'll tell you, some of the [inaudible] that is enriching Sony and et cetera and et cetera is not trickling down to black economic transformation. Black people now cannot economically produce their own anything. That's the [inaudible] we're inheriting now. >> Hafiz Shabazz: True. >> Bahiyyah Muhammad: It's very difficult. Book publishing -- Haci, [inaudible] Press, Black Classics, three black people. Even then, they don't even have the money to really show you how many black people are writing. In this kind of situation you can't be flimsy at the expense of black people, especially to me. I'm a foreigner. I'm here as a guest to black people as far as I'm concerned because they embraced me when racism tried to mess with my mind. They embraced me. They called me brother when I didn't even know the meaning of brother. Therefore, I can't compromise black people. I will not make a movie if I have to compromise black people, and every deal that would come to me is to compromise black people by saying, "Do another<i> Driving Miss Daisy </i>. >> Haile Gerima: Miss Daisy. >> Bahiyyah Muhammad: Do another <i>Barbershop 22 </i>. Do them. No. I will not buy that. To me, every black person who does, it's their business. But I will not be in that position. So, for me, this is fantastic and positive first. But where do you take it? Do not lose, do not take everything black -- don't go take it and take the tooth out just because it's a piece of -- or it creates a career for people. As far as I'm concerned no living black person, including black people in America, have no right to compromise the history of black people. >> Gabriel Benn: Thank you. [ Applause ] I think it is a big issue doing that. But the -- I have hit robots myself as a teacher. When you have black history and Black History Month comes around and you have students who say off the top, "I don't want to talk about Martin Luther King and Rosa Parks and George Washington Carver and the peanut issue." They say that. I hear that every year. I hear students -- somebody complains, somebody says that -- and it is. It's on us to show a broader aspect. What I tend to do is not -- I mean, I can't -- you can't skip the past. You have to talk about the past. But what I tend to do is try to show it in the context. Context is everything. So even like what the brother was saying about hip-hop artists. I take the same position he does where I don't work to compromise the integrity of my people in my heart, so I don't do that. Now, will that make me pay? Probably not. I can't sustain a living off of it but that doesn't mean don't make the art. So I still do that, but I guess the -- to answer your question more directly, it has to be put in a context of present and future. It can't just be past. It's the past, and how do we take the past when it's happening, and what does that mean in the context of white male? Then how do we take the past and what does that mean in the context of what could be? But not -- what we tend to do is we just focus on the past and say, "Never forget." But the application in the synthesis of what we learn from about the past is what is going to give the students the context for why we are asking them to learn this and why we deem it important even if they don't initially. Because once you put it into context, then they can see why it's so important. So like for example, this whole -- this started happening with Trayvon and Mike Brown, all of these youth that are getting killed. I'm talking about it in a elementary school on the South Side of Chicago. It's right around the corner from a street called Emmett Till Road, right? So we're talking about Mike Brown and Trayvon on Emmett Till Road. When I ask, "Do you know who Emmett Till is," some of them knew, some heard about the name. They didn't really know the story and why -- in context that is so pertinent to right now, and so you have to -- like I say, if you're going to do it -- first of all, it can't just be in February. That's number one. Number two, you have to put it in a context where you can see what's -- how it relates to right now, how it's going to happen. I mean how it relates to the future, and then also using the film and all the other arts because that's what builds these images in our psyche. If you're going to change our psyche, you have to use the media that's created to do that, and we don't use it. It's being made, but we're not using it strategically to change that. So that's a lot of the work that I'm looking forward to doing in the future and partnering with people who do, because the media of literacy is a big part of this literacy conversation. How do we contextualize this media and use it to our benefit? That's a longer story, but, yeah. >> Beverly East: I am not in the education system, per se. I would not have the patience to teach. My personality does not allow it. Somebody would be dead and it wouldn't be me [laughter]. I think a lot of our history has to come from our home, from the parents. I know everybody's busy, but I think it comes from the home. Your self image comes from your home or somebody. It doesn't necessarily have to be your mother. It can be your grandmother. It can be somebody. Then black history's every day. Every day something is created. I was just asked am I going to write about my father. My father is in this book. My father's story is in the other book. His people died and the Jamaican government -- at the time we were not an independent island. We were under village rules so it was all hushed up and covered. So when I went to Jamaica to write that story, everybody thought I was some kind of spy or what has she come to do? What she really come to do? So I think especially -- [ Inaudible Speaker ] >> Eve Ferguson: Press the button on the bottom. >> Beverly East: Just press this? >> Eve Ferguson: The button on the bottom. >> Beverly East: On the bottom. Okay. >> Eve Ferguson: It's on the side. >> Beverly East: On the side. I just think individually we have to make it our duty to speak, speak up when we see something. I have a son who's 23, and when he was a teenager I used to watch -- I can't remember the name of it now. Nine-o-two something. >> <i>Nine-o-two-one-o </i>. >> Beverly East: Yeah. Thank you. I used to watch that 10/15 minutes a day so I knew what he was listening to and what he was -- what he enjoyed. So one day I'm in the car and I said to him about Little Wayne, and he says, "Mom, mom, stop, stop, stop." But at least I knew who Little Wayne was. But he was -- but I felt the only way I could reach him when he was 12 was through rap music, and so my mother, who is 80-something years old, she started to listen to Jay Z and everybody, so when her grandson came to London she knew what he was listening to. So I think it's an individual road for all of us. When I see young black men on the street I speak to them. If they've got earphones on, what are you listening to? They look at me like well, huh, huh? I tell them to pull their pants up. Pull your pants up. Pull up your self-esteem. It helps. It helps. >> Gabriel Benn: Especially from a woman. >> Beverly East: Yeah. My son would always say, "Mom, don't, don't, don't do -- don't tell me what I can't do." So -- >> Hafiz Shabazz: I just want to dovetail what Beverly is saying, is that all of us, when you speak about history, we should journal our daily lives, everything we do every day. We should write it in a journal. I don't need that. Write it in a journal, day by day. Then you actually record a living history. So when your children and other people want to know what's going on in the lives of today, you have a journal. Actually write it down. That's what I tell my students. Each day write it in your -- a journal. Then it's going to turn into a book where you can sell it, but that's not important because no one is going to actually tell our lives. >> Beverly East: I [inaudible]. >> Hafiz Shabazz: No one is going to do that. So you have to do it yourself. >> Eve Ferguson: Okay, we're going to let Dr. Madhubuti have the last word. We started with him, so we'll end with him, and that means we've come 360 degrees. >> Haki Madhubuti: Haile Gerima and I are of the same generation. So we come at this really in a liberated way, all right, that we're not asking permission for doing that stuff. That what he does in his film and what I do in my books -- the way he does this thing [inaudible] create an institutional structure in D.C., and what we do is try to fill [inaudible] school. We need to liberate a zone. We need these zones so we can come and talk and share and not hold back and tell the truth because we do have traitors among us, and then we have to be very clear about that. So we have been stopped by people who going into secret meetings after they leave us, and, therefore, we cannot move. What I think that we need to really begin to understand that we do not have in our community that we need -- we need wealth. We need wealth. I mean, even this meeting required some money to get [inaudible]. Where did it come from? It came from us, [inaudible]. We need wealth ourselves. Well, we can't even get past it in this kind of economy because most of us do not [inaudible]. Thanks so much. But like this young man is [inaudible]. >> I'm not blood. >> You're not? >> Haki Madhubuti: He ain't but [inaudible]. >> Gabriel Benn: That's my brother. >> Haki Madhubuti: That's his. >> Gabriel Benn: That's my mayor. >> Haki Madhubuti: That's a national program right there. That's an international program. I'm so glad you [inaudible]. We are international people. >> Gabriel Benn: Yes. >> Haki Madhubuti: All right? We're not just right here in Washington, D.C. or the South Side of Chicago. We travel all around the world. But the point is this is our home base, right? He's not a foreigner. He's my brother. >> Gabriel Benn: That's right. >> Haki Madhubuti: You don't ask permission. You hear that? So the key point now -- always when we leave here today is what will we do tomorrow? How do we, each of us, involve ourselves in creating these liberated [inaudible]? All right? So we can't move in [inaudible]. And, finally, this is very important. We're going to pay for it. We have to pay for it. If you think you're going to create anything that's going to represent us with a grant for MacArthur [laughter], we [inaudible]. All right? That means that you come out of your pocket, you pay dues just like you pay that 10% at your church. Then this is a liberated zone church, right? When [inaudible] says give me $200 so I can get a new jet, I said I'll give you $200 for a new jet if you just get away from here, leave, don't -- [ Laughter and Applause ] >> First of all, I want to thank you all for coming here, and I know that you've come from many different areas of the country, so thank you for being here and for being here the whole day. I want to thank our speakers. They were marvelous. I know that we're all here because of them, because they've added so much to our knowledge, to our enthusiasm, to our division here, and to the Library. I want particularly to thank Dr. Maria Fenton. She has been the initiator. She has been the flame that started this, and I want to recognize the work that she has done. So, thank you, Maria. [ Applause and Cheering ] I want to thank our own Dr. Sibyl Moses [applause]. She has been extraordinary working and organizing and putting together this program. Our own Eve Ferguson who has just been fabulous and has [applause] also worked very, very hard. Our Marita Harper who has been there [applause] night and day, working on this program. Behind the scenes we've had the people who've put together the sound system, the film people who have been standing here the whole day [applause] filming us. So thank you. Thank you for being there, and they're always there. They're always doing the work together. I want to thank the Library, and by the way, we were not involved in money. Believe it or not, there was no money that put this together. It was just the goodwill of everyone working very hard and wanting to have this event [applause]. So, thank you, Dr. Madhubuti. Thank you all for being here. >> This has been as presentation of the Library of Congress. Visit us at loc.gov.

Contents

Open places of worship

Aberford

Name Image Location Denomination Grade Opened Notes
St Ricarius Church
St Ricarius Nov 2016 (42).JPG
Main Street, LS25 3BR Church of England II 1861 The church is of Norman origins but was rebuilt in 1861. Part of the benefice of Aberford with Micklefield.[1]

Adel

Name Image Location Denomination Grade Opened Notes
Adel Methodist Church [2]
Adel Methodist Church, Holt Lane, Adel, Leeds - geograph.org.uk - 99130.jpg
Holt Lane, LS16 7NX Methodist 1964 Hall built in 1938. The church is part of the Leeds South and West Methodist Circuit.
St John the Baptist Church
Adel Church.jpg
Church Lane Church of England I 1170
Quaker Meeting House [3]
Adel Quaker Meeting House 2016.jpg
New Adel Lane, LS16 6AZ Quaker 1868 Local stone with attached warden's cottage

Allerton Bywater

Name Image Location Denomination Grade Opened Notes
St Mary the Less
St Mary the Less - Allerton Bywater - geograph.org.uk - 741090.jpg
Station Road WF10 2DH Church of England 1865 Part of the parish of Kippax with Allerton Bywater and, from June 2017, part of the United Benefice of Allerton Bywater, Kippax and Swillington.[4] Some of the stained glass came from the church of St Aidan, Great Preston (now closed).[5]

Alwoodley

Name Image Location Denomination Grade Opened Notes
Alwoodley Park Methodist Church [6]
Alwoodley Park Methodist Church 2010.jpg
The Lane, LS17 7BX Methodist 1956 The church is part of the Leeds North and East Methodist Circuit [7]
St Barnabas' Church [8]
St Barnabas Church, Alwoodley 2016.jpg
The View, LS17 7NA Church of England 1963 Part of the Moor Allerton and Shadwell Team Ministry.[9]
St Paul the Apostle
Alwoodley St Paul's RC Church 2016.jpg
1 Buckstone Crescent, LS17 7ES at junction with King Lane Roman Catholic 1953 Part of the Parish of Saint John Mary Vianney [10] The former church building is now used as a church hall.
Wigton Moor URC
Wigton Moor Church 23 August 2017.jpg
High Ash Drive
LS17 8RE
United Reformed Church 1968 The church was founded in 1967 and is a member of CTMAS (Churches Together in Moor Allerton and Shadwell).[11]

Armley

Name Image Location Denomination Grade Opened Notes
Christ Church
Christ Church Upper Armley 26 June 2017.jpg
Armley Ridge Road, LS12 3LN Church of England II* 1872 It is featured in the BBC Domesday Project.[12]
Church at Amen Corner
Church at Amen Corner 16 July 2017.jpg
Armley Ridge Road, LS12 2RD Pentecostal Evangelical So named because it is at the corner where Armley, Bramley and Kirkstall meet.[13]
Church of the Venerable Bede
Armley Venerable Bede 2 July 2017.jpg
Stanningley Road, Wyther, LS13 4AU Church of England 1937 Designed by Gribbon, Froggit and Brown,[14] the church was opened in 1937 by C. H. Tetley of the brewing family. The tower has a single 1.5 cwt bell believed to have come from St. Stephen's Church in Burmantofts.[15]
Emmanuel Earth Ministries
Emmanuel Earth Ministries Mistress Lane 26 June 2017.jpg
Mistress Lane
LS12 2LJ
Evangelical Building formerly The Redeemed Evangelical Mission
HM Prison Armley[16] 2 Gloucester Terrace
LS12 2TJ
Non-denominational[17] II* 1847 The prison chapel is located within the "Inner Range", a Grade II* listed building designed by William Belton Perkin and Elisha Backhouse, constructed in 1847.[18]
Sri Guru Nanak Sikh Temple
Armley Sikh Temple Tong Road 2016.jpg
62 Tong Road
LS12 1LZ
Sikh Originally the Mount Pisgah United Methodist Free Church, built in 1868,[19][20] later Mount Pisgah Methodist Church, part of the former Leeds West Methodist Circuit.[21]
St Bartholomew's Church
St Bartholomews Church, Armley, Leeds, England-11Sept2011.jpg
Wesley Road
LS12 1SR
Church of England II* 1877 Noted for its Schulze organ. The outline of the previous church (demolished 1909) can be seen in the grounds.
St Bartholomew's Church Hall
St Barts' church hall Armley 16 July 2017.jpg
Wesley Road, LS12 1SR 1968 The Church Hall was opened by Jimmy Savile. It is used for various purposes including worship by Lighthouse Chapel International (Pentecostal).
West Leeds Christadelphian Hall [22]
West Leeds Christadelphian Church 26 June 2017.jpg
118 Town Street, LS12 3JG Christadelphian 1970[22]
Whingate Methodist Church and Community Centre [23]
Whingate Methodist Church 26 June 2017.jpg
61 Whingate
LS12 3EJ
Methodist 1988 Part of the Leeds South and West Methodist Circuit. The original church was built in 1879.[24]

Arthington

Name Image Location Denomination Grade Opened Notes
St Mary and St Abanoub Church [25]
St Mary and St Abanoub Church 01 8 July 2017.jpg
Arthington Lane, LS21 1PL Coptic Orthodox II 2007 (1864) Redundant C of E St Peter's Church, designed by George Gilbert Scott, built 1864, taken over and renamed in 2007.[26] It serves a congregation living in West, North and East Yorkshire.[27]

Bardsey

Name Image Location Denomination Grade Opened Notes
All Hallows Church
Bardsey cum Rigton - All Hallows Church.jpg
Church Lane, LSD17 9DH Church of England I 825 Earliest parts from 825. Upper tower is Saxon (10th century), church enlarged 1100 to 1400.[28] The Church of St Mary Magdalene in East Keswick is part of the same parish.

Barwick-in-Elmet

Name Image Location Denomination Grade Opened Notes
All Saints' Church
All Saints Church Barwick-in-Elmet 2015 view 04.jpg
Main Street LS15 4HR Church of England II* 14th century The oldest part is 14th century; the tower is 15th century.
Barwick Methodist Church [29]
Barwick in Elmet and Scholes - Methodist Church.jpg
The Boyle, LS15 4JN Methodist 1900 The church is part of the Leeds North and East Methodist Circuit.[7]

Beeston

Name Image Location Denomination Grade Opened Notes
Beeston Hill United Free Church [30]
Beeston Hill UFC 22 Nov 2016.jpg
Malvern Road, Beeston LS11 8PD Baptist, Methodist and United Reformed 1974 The church is a Local Ecumenical Partnership with members from the Baptist, Methodist and United Reformed churches. It is part of the Leeds South and West Methodist Circuit and the URC Yorkshire Synod.
City Evangelical Church [31]
City Evangelical Church rear from Malvern Street - geograph.org.uk - 722114.jpg
Malvern Street, Beeston Evangelical 1901 Originally a Baptist Chapel, now part of the Fellowship of Independent Evangelical Churches and a member of the Yorkshire Gospel Partnership.[32]
Gurdwara Guru Nanak Nishkan Sewak Jath (GNNSJ)[33]
Former Rington's Ltd - Lady Pit Lane - geograph.org.uk - 560995.jpg
78 Lady Pit Lane, LS11 6DP Sikh 1986 Former Ringtons tea-packing factory, purchased by the Sikh community and converted into a Gurdwara in December 1986. The building is built on the birthplace of Ringtons' founder, Samuel Smith.[34]
Jamia Masjid Abu Huraiara
Jamia Masjid Abu Huraiara, Beeston 22 Nov 2016.jpg
1 Hardy Street, LS11 6BJ Islam Sufi - Bareilvi 1986 Based in 1897 building of former Leeds Co-operative Society. Opened as Kashmir Muslim Welfare Association in 1986. Upper floor for worship, others for community events.
Masjid-e-Umar
Stratford Street Mosque Beeston 22 Nov 2016.jpg
29 Stratford Street, LS11 6JG Islam Deobandi 2011 On the corner of Stratford Street and Lodge Lane.
Masjid Ibraheem
Woodview Road mosque Beeston 22 Nov 2016.jpg
4 Woodview Rd, LS11 6LE Islam Sunni - Deobandi 2015
St Andrew's Methodist Church [35]
Beeston, Leeds, St Andrew's Methodist Church, Old Lane. - geograph.org.uk - 228039.jpg
Old Lane, LS11 8AL Methodist 1956 The church is a twentieth-century brick building and is part of the Leeds South and West Methodist Circuit.
St Anthony of Padua Church
Beeston, Leeds, St Anthony of Padua Roman Catholic Church - geograph.org.uk - 228037.jpg
Old Lane, LS11 7AA Catholic 1904 The church was designed by Kelly and Birchall, with addition of a bell tower and narthex in 1966.[36] Now part of the parish of St. Maximillian Kolbe.[37]
St Luke's Church
St Luke's Church Beeston 2017.jpg
Malvern Road, LS11 8PD Church of England II 1872 Gothic revival, gritstone, designed by Richard Adams of Leeds architects' firm Adams and Kelly
St Mary's Church [38]
St Mary's church, Beeston 7 May 2018 2.jpg
Town Street, LS11 8SY Church of England II 1886 Part of the Parish of Beeston, along with Cottingley Church.[39]
United Reformed Church in South Leeds [40]
URC - Dewsbury Road - geograph.org.uk - 560569.jpg
Dewsbury Road, LS11 5HT United Reformed Church Now used as a charity shop, with monthly services. Other services are at the United Reformed Church in South Leeds in Belle Isle.[41]

Belle Isle

Name Image Location Denomination Grade Opened Notes
St John and St Barnabas Church
St John and St Barnabas Belle Isle 10 July 2017.jpg
175 Belle Isle Road, LS10 3DN Church of England 1938 C of E parish church of Belle Isle and Hunslet. Anglo Catholic. Brick built 1938 to replace two churches in Holbeck, St John's Church and St Barnabas' Church, now demolished.[42]
St Peter's Church
St Peter's Belle Isle 10 July 2017.jpg
Petersfield Avenue, LS10 3QN Catholic 1948 Catholic parish church of Belle Isle since 1958, part of the parish of St. Margaret Clitherow.
United Reformed Church in South Leeds [40]
URC South Leeds 10 July 2017.jpg
Nesfield Road, LS10 3LG United Reformed Church 2011 Built on the site of a 1952 Congregational Church.
West Grange Church [43]
West Grange Church 10 July 2017.jpg
West Grange Garth, LS10 2AX Evangelical Independent church located off West Grange Drive, previously located on the East Grange Estate. The church is visible, but not accessible, from Belle Isle Road

Boston Spa

Name Image Location Denomination Grade Opened Notes
Boston Spa Methodist Church [44]
Methodist Chapel, Boston Spa - geograph.org.uk - 617992.jpg
Spa Lane
LS23 6AA
Methodist II 1847 [45] Part of the Tadcaster Methodist Circuit,[46] close to the centre of the village. There is a Peace Garden between the church and the River Wharfe.[47]
Martin House Hospice Chapel Grove Road
LS23 6TX
2005 Designed by Wildblood MacDonald Architects of Wetherby and opened in 2005,[48] it replaced the previous chapel which was lost when Whitby Lodge, a separate unit for teenagers and young people, was built.[49]
St Mary the Virgin
St. Mary the Virgin Church, Boston Spa (12th January 2014) 001.JPG
High Street
LS23 6DR
Church of England II 1814 Part of the Lower Wharfe parish and of the Benefice of Bramham,[50] located at the western end of the village.

Bramham

Name Image Location Denomination Grade Opened Notes
All Saints' Church
Bramham Church - geograph.org.uk - 722524.jpg
Back Lane Church of England II* 1150 The church is part of the Benefice of Bramham and has an Anglo-Saxon oval churchyard [51]

Bramhope

Name Image Location Denomination Grade Opened Notes
Bramhope Methodist Church
Bramhope 027.jpg
Eastgate
LS16 9AA
Methodist II 1895 [52] The church is part of the Wharfedale and Aireborough Circuit [53]
Bramhope Puritan Chapel
Bramhope 006.jpg
Otley Road
LS16 9JE
Puritan, later Church of England I 1649 The Chapel was built by Robert Dyneley of Bramhope Hall, at his own expense. It is now maintained by Bramhope and Carlton Parish Council. Not used for regular worship but available for weddings, funerals and blessings.[54]
Bramhope Scout Campsite Occupation Lane
LS16 9HR
Non-denominational There is an outdoor chapel within the grounds of the campsite.[55]
St Giles' Church [56]
St Giles Church - Church Hill, Bramhope - geograph.org.uk - 798363.jpg
Church Hill
LS16 9BA
Church of England 1881 Built plot of land formerly called Cripple Garth, referring to a "cripple" meaning a hole in a stone wall which would allow sheep to pass through, but not cattle.[57] Designed by Richard Adams and John Kelly and built by local contractors. Freeman of Otley (masons) used millstone grit from nearby quarries on the Chevin. The roof has Westmorland slates. The church was dedicated on 28 November 1881.[58]

Bramley

Name Image Location Denomination Grade Opened Notes
Christ the King [59]
Christ the King Catholic Church - Houghley Lane, Bramley - geograph.org.uk - 372521.jpg
King's Approach LS13 2DX Catholic 1928 [60]
St Margaret's Church [61]
Newlay Lane, Bramley, Leeds (geograph 4898292).jpg
Newlay Lane, LS13 2AJ Church of England 1958 Situated on the Moorside Estate in Bramley
Trinity Methodist Church [62]
Trinity Methodist Church, Bramley (geograph 4666074).jpg
Upper Town Street, LS13 2EP Methodist 1967 Redeveloped 2009, part of the Leeds South and West Methodist Circuit. The first Methodist Chapel in Bramley was built in 1777, on the site of the existing Church.[63]

Burley

Name Image Location Denomination Grade Opened Notes
Calvary International Christian Centre [64]
Calvary Christian Centre 4 August 2017.jpg
Calvary Cathedral, 53 Cardigan Lane, LS4 2LE Evangelical II 1898 Formerly Burley Methodist Church, which closed in June 2012.[65] Built in Gothic Revival style.
Leeds Chinese Christian Church
Leeds Chinese Christian Church, Kirkstall Road, Burley, Leeds (16th November 2013).JPG
155 Kirkstall Rd, LS4 2AG Independent 1990
Makkah Jamia Masjid
Makkah Masjid 8 July 2017.jpg
36 Thornville Road, LS6 1JY Islam 2003 Between Brudenell Road and Royal Park Road
Our Lady of Lourdes Church
Our Lady of Lourdes Burley 4 August 2017.jpg
Cardigan Road, LS6 1LU Catholic 1930 Built by the Society of Jesus as Sacred Heart Chapel, and handed over to the Diocese of Leeds in 1947, renamed 1954, and part of the parish of St Jeanne Jugan since 1997
St Matthias' Church
St Matthias' Church, Burley, Leeds (30th March 2013).jpg
St Matthias' Street, LS4 2DZ
53°48′25″N 1°34′45″W / 53.806972°N 1.579264°W / 53.806972; -1.579264 (Parish Church of St. Matthias)
Church of England II* 1854 The church was completed in 1854; the north aisle and the west porch were added in 1886. Leeds healing rooms, affiliated to the International Association of Healing Rooms, are based in the church centre.[66]
Winners' Chapel [67]
Winners Chapel B 4 August 2017.jpg
Burley Hall, 49-51 Cardigan Lane, LS4 2LE II Former Methodist Sunday school (1904) and Church Hall.

Burmantofts

Name Image Location Denomination Grade Opened Notes
Bridge Community Church [68]
Bridge Community Church 14 August 2016.jpg
Rider Street, LS9 7BQ Pentecostal 2016 Bridge Community Church is the operational name for Bridge Street Pentecostal Church.
Hope City Church [69]
Hope City Church 13 August 2017.jpg
32 York Road, LS9 8SY Pentecostal 2008 Part of the Megacentre building, the former Leeds City Council Library HQ building. Previously met at the Leeds Hilton Hotel.[70]
Living Hope Church [71]
Living Hope Church Leeds.jpg
The Place, Saxton Lane, LS9 8HE Evangelical (Non-denominational) Image shows the frontage on Marsh Lane. HQ of Living Hope Church International.
St Agnes' Church [72]
St Agnes Burmantofts.jpg
Stoney Rock Lane LS9 7UQ Church of England and Baptist II 1889 Church of England parish church, now united with Baptist congregation.
St Patrick's Church
St Patrick's Catholic Church - Torre Road - geograph.org.uk - 754437.jpg
Torre Rd, LS9 7QL Catholic 2001 The modern church moved from an 1891 building on Rider Street now occupied by West Yorkshire Playhouse

Calverley

Name Image Location Denomination Grade Opened Notes
St Wilfrid's Parish Church
WilfredsCalverley.JPG
Town Gate LS28 5NF Church of England II* 1154 The tower is from 1154, the rest mainly 13th and 14th century.
Calverley Methodist Church
CalverleyMethodist.JPG
Carr Road LS28 5PQ Methodist II 1872 This church, located on the corner of Carr Road and Chapel Street, is part of the Bradford North Methodist Circuit.[73]

Chapel Allerton

Name Image Location Denomination Grade Opened Notes
Chapel Allerton Methodist Church [74]
ChapelAllertonMethChurch.jpg
Town Street, LS7 4NB Methodist 1983 The church is situated on Town Street and was completed in 1983, replacing another church also on Town Street, still standing and used as the church centre. The church is part of the Leeds North and East Methodist Circuit.[7] In January 2005 Chapel Allerton Methodist Church signed a local ecumenical covenant with St. Matthew's Parish Church. Grace Gospel Church, whose members are of Ethiopian and Eritrean origin, also meets here.[75]
St Matthew's Church [76]
StMatthewChapelAll.jpg
Wood Lane, LS7 3QF Church of England II* 1900 The church was designed by George Frederick Bodley (1827-1907) and built on land gifted by a parishioner in 1897.[77] In January 2005 St Matthew's signed a local ecumenical covenant with Chapel Allerton Methodist Church.

Chapeltown

Name Image Location Denomination Grade Opened Notes
Chapeltown Community Church
ChapeltownChurchLeeds.jpg
Avenue Hill, LS8 4EX II 1906 Formerly Trinity United Reformed Church, now a community church. The foundation stone was laid by Henry Robinson, Mayor of Kensington. Listed building status includes the neighbouring Sunday School building.[78] The United Reformed Church is now part of Trinity United Methodist/URC Church in Harehills.[79]
Church of God of Prophecy
Church of God Chapeltown 2016.jpg
196 Chapeltown Road, LS7 4HZ Pentecostal 1992 Purpose-built church and community centre, hence no religious symbols inside. Congregation formerly in Baptist Chapel, Meanwood Road
Gurdwara Guru Kalgidhar Sahib
Gurdwara Cowper Street Leeds 2016.jpg
Cowper Street, LS7 4EE Sikhism 2008 Moved from 128 Chapeltown Road (the first Gurdwara in Leeds) to larger premises on Cowper Street [80]
Holy Rosary Church
HolyRosaryChurchLS7.jpg
Chapeltown Road, LS7 4BZ Catholic 1937 An earlier church of the Holy Rosary was built in Barrack Street in 1886. The present church, which was designed to seat 500 people in the nave and transepts and cost £12,300, was opened by Bishop Pollit of Leeds on 30 September 1937. It was reordered around 1987 to create a smaller nave and a narthex.[81] Part of the parish of Mother of Unfailing Help.
Our Lady of Czestochowa and St. Stanislaw Kostka
PolishChurchLeeds3.jpg
Newton Hill Road, LS7 4EY Polish Roman Catholic 1976 The church is a Polish language Roman Catholic church. Entrance as postcode but faces Chapeltown Road
Ramgarhia Board Gurdwara
Ramgarhia Board Gurdwara Leeds 2016.jpg
8-10 Chapeltown Road LS7 3AP Sikh 1987 Former post office. Replaced the building at 138 Chapeltown Road. Opened by Prince Richard, Duke of Gloucester.[82]
Roscoe Methodist Church [83]
Roscoe Methodist Church 2016 01.jpg
Francis Street, LS7 4BY Methodism 1974 (replacing an earlier building) The church is part of the Leeds North and East Methodist Circuit.[7]
Sikh Temple
SikhTempleLS7.jpg
192 Chapeltown Road. LS7 4HZ Sikhism 1999 Replaced the former Union Chapel on the other side of the road.[84]
Wesleyan Holiness Church [85]
Wesleyan Holiness Church Leeds 2016 02.jpg
Laycock Place, LS7 3JA Wesleyan Holiness Church 1982

City Centre

Name Image Location Denomination Grade Opened Notes
Brunswick Prayer Chapel
Brunswick Prayer Chapel 2018 2.jpg
Oxford Place
LS1 3AU
Methodist A room set aside in the Oxford Place Centre, the former Methodist Church.
Holy Trinity Church
(Church of the Holy Trinity)
Holy Trinity Church, Boar Lane, Leeds (24th June 2010).jpg
Boar Lane, LS1 6HW Church of England I 1727 Parish Church in the Parish of Leeds City, along with Leeds Minster. It was built in 1722–7, but the steeple dates from 1839. Now used by the Riverside Church.[86]
Jamyang Buddhist and Meditation Centre[87]
Jamyang, York Place LS1 10 October 2018.jpg
12 York Place, LS1 2DS Tibetan Buddhist 29 September 2018 In the basement. Moved from 31 St Paul's Street.
Leeds Cathedral
(Cathedral Church of St Anne)
Leeds Cathedral.jpg
Great George Street LS2 8BE Catholic II* 1904 Officially the Cathedral Church of St Anne, commonly known as Saint Anne's Cathedral, is the Cathedral of the Diocese of Leeds, part of the parish of Mother of Unfailing Help and the seat of the Bishop of Leeds.
Leeds General Infirmary Chapel [88]
LGI Chapel March 2017.jpg
Great George Street Non-denominational I 1868 In the centre of the (Grade I listed) old buildings of the LGI, dedicated to St Luke.
Leeds Minster
(Minster and Parish Church of St Peter at Leeds)
Leeds Parish Church (10th May 2010) 012.jpg
Kirkgate, LS2 7DJ Church of England I 1841 Formerly Leeds Parish Church before becoming a Minster in 2012. Now an important church for the new Diocese of Leeds, though neither a cathedral nor a pro-cathedral.
Mill Hill Unitarian Chapel
Mill Hill Unitarian Chapel, City Square, Leeds - geograph.org.uk - 112304.jpg
36 Lower Basinghall Street, LS1 5JA Unitarian II* 1848 Faces onto City Square, about 200 yards to the north of the current Mill Hill
St George's Church
St George, Leeds (16984542729).jpg
Great George Street
LS1 3BR
Church of England I 1838 Near to Leeds General Infirmary. Its spire was blown down in 1962 and replaced in January 2006.

Clifford

Name Image Location Denomination Grade Opened Notes
Clifford Methodist Church [89]
Clifford Methodist Church 31 May 2017 A.jpg
Nursery Way, LS23 6HF Methodist 1848 The church is situated on Nursery Way close to the centre of the village and is part of the Tadcaster Circuit.[46] It incorporates the Methodist church which recently closed in neighbouring Bramham. Though similar in age to the other churches in Clifford, it is not a Listed Building.
St Edward King and Confessor
Clifford St Edward's Church 31 May 2107 cropped.jpg
Chapel Lane LS23 6HU Roman Catholic II* 1859 Building began in 1845 on the site of a former Wesleyan Chapel, consecrated 1859, tower finished 1866.[90] Unusually for an English village, the Catholic church is the "dominant building".[91]
St Luke's Church
Clifford St Luke's Church 31 May 2017.jpg
Bramham Road, LS23 6SL Church of England II* 1842 At the western end of the village, part of the New Ainsty Deanery in the Diocese of York.

Collingham

Name Image Location Denomination Grade Opened Notes
Collingham Methodist Church [92]
Methodist Church, Collingham (Taken by Flickr user 17th June 2012).jpg
Harewood Road Methodist The church is part of the Tadcaster Methodist Circuit,[46] also known as "The Ramblers' Church".[93]
St. Oswald's Church
The Church of St Oswald at Collingham (geograph 4821583).jpg
Wetherby Road, Collingham Church of England II

Colton

Name Image Location Denomination Grade Opened Notes
Colton Methodist Church [94]
Colton Methodist Church March 2017.jpg
Chapel Yard/Meynell Road
LS15 9AH
Methodist 1980's [95] The church was in the former Richmond Hill Methodist Circuit and is now part of the Leeds North and East Methodist Circuit,[7] and also part of Churches Together in Leeds 15

Cookridge

Name Image Location Denomination Grade Opened Notes
Cookridge Methodist Church [96]
CookridgeMC09.jpg
Tinshill Road, LS16 7DF (corner with Otley Old Road) Methodist 1962 Architects: W F Dawson and Bennett. The church was part of the Leeds (Headingley and West) circuit [97] and is now part of the Leeds South and West Methodist Circuit.
Grace Community Church (Leeds North) [98]
Cookridge Village Hall 2009.jpg
Cookridge Village Hall
45 Moseley Wood Walk
LS16 7HQ
Non-denominational Part of the Yorkshire Gospel Partnership.[99]
Holy Trinity Church [100]
HolyTCookridge1.jpg
Tinshill Lane, LS16 7LW Church of England 1962 Architects: Jones, Stocks & Partners

Cottingley

Name Image Location Denomination Grade Opened Notes
Cottingley Church [101]
Church in Cottingley 17 Nov 2017.jpg
115 Cottingley Approach LS11 0HJ Church of England, United Reformed Church and Methodist 1981 Shared church also serves as a community centre. Part of the Anglican parish of Beeston, along with St Mary's, Beeston, and also part of the Leeds South and West Methodist Circuit (formerly Leeds South Circuit). Pastoral support is provided by the URC minister.[39][102][103]

Cross Gates

Name Image Location Denomination Grade Opened Notes
Christ Church
Christ Church Manston August 2017.jpg
Sandiford Close, LS15 8EY Evangelical 1960 On the corner with Manston Gardens. The Free Church of England (Evangelical Connexion)
Church of Jesus Christ of Latter-Day Saints
Mormon Church Crossgates March 2017.jpg
Kingswear Parade, LS15 8LH Mormon On the corner with the Ring Road A6120
Cross Gates Methodist Church [104]
Cross Gates Methodist Church March 2017.jpg
Austhorpe Rd
LS15 8QR
Methodist 1893 Designed by architect G F Danby, opened 13 May 1893, replacing the former Wesleyan church on an adjacent site.[105] Opposite the Cross Gates Centre and is part of the Leeds North and East Methodist Circuit (formerly Leeds East Circuit).[7]
St James the Great Church [106]
St James the Great Church Manston March 2017.jpg
Church Lane, Manston LS15 8JB Church of England II 1913 Replaced smaller 1847 building, in Decorated Gothic style by Leeds architect H. S. Chorley.[107]
St Theresa of the Child Jesus Church
St Theresa's Catholic Church - Station Road - geograph.org.uk - 563117.jpg
Station Road, LS15 7JY Catholic 1953 The church is situated opposite Cross Gates railway station and since 2011 has been part of the parish of Blessed John Henry Newman.[108]

Cross Green

Name Image Location Denomination Grade Opened Notes
St. Hilda's [109]
St Hilda Cross Green 01 5 Nov 2016.jpg
Cross Green Lane, LS9 0DG Church of England II 1882 Building fund opened in 1845.[110] Built by Yorkshire architect J. T. Micklethwaite for Anglo-Catholic worship.[111] Church is affiliated to the Mission Society of St. Wilfrid and St Hilda and to Forward in Faith.[112]

Drighlington

Name Image Location Denomination Grade Opened Notes
Drighlington Methodist Church [113]
Methodist Church Drighlington.jpg
King St, BD11 1EL Methodist 1996 Part of the North Kirklees and Morley Methodist Circuit.
Moorside Church[114]
Moorside Methodist Church, Drighlington - geograph.org.uk - 1377847.jpg
Moorside Road, BD11 1JB Evangelical
St Paul's Church
St Paul, Drighlington.jpg
Whitehall Road East, BD11 1LJ Church of England II 1876 Designed by architect William Swinden Barber.

East End Park

Name Image Location Denomination Grade Opened Notes
Wat Matchimaram
Wat Matchimaram Leeds 4 August 2017.jpg
Londesboro Grove (entrance) / Londesboro Terrace (postal address) LS9 9NE Buddhist 22 April 2016 [115] Temple and residence for Thai monks. Formerly Mencap support centre: the rest of the building is still used as Mencap's Hawthorn Family Support Centre.[116] Looks out onto East Park Parade.

East Keswick

Name Image Location Denomination Grade Opened Notes
East Keswick Methodist Church
East Keswick Methodist Church (8th July 2016) 003.jpg
Main Street, LS17 9EJ Methodist 1891 Part of the Tadcaster Methodist Circuit.[46]
St Mary Magdalene Church
St. Mary Magdalene Church, East Keswick (8th July 2016) 008.jpg
Moor Lane, LS17 9ES Church of England 1957 Built as a Chapel of Ease to the Parish Church in Harewood, now part of the parish of Bardsey.[28]

Farnley

Name Image Location Denomination Grade Opened Notes
St Makarios the Great (formerly St Michael and All Angels) Church
St Michael and All Angels Church, Old Farnley, Leeds (16th October 2010).jpg
Lawns Lane, Farnley Romanian Orthodox II 1885 Formerly Church of England until 2010. The Anglican congregation relocated to St Michael's Community Church which meets in Hillside Community Centre.[117] The building transferred to the Romanian Orthodox Church on 20 October 2011, an iconostasis (rood screen) consistent with the style of the building and the existing furniture was sculpted in oak in Romania and was installed on Good Friday in 2013, and repairs were completed in July 2015.[118]
St Wilfrid's Church
St Wilfrid's Church - Whincover Drive - geograph.org.uk - 622139.jpg
Whincover Drive, LS12 5JW Roman Catholic 1957

Farsley

Name Image Location Denomination Grade Opened Notes
Church of Jesus Christ of the Latter-day Saints
Mormon Church, Farsley 1 September 2017.jpg
80 Priesthorpe Road, LS28 5JR Mormon On the junction of Priesthorpe Road and the A6120 Leeds Ring Road
Church of St John the Evangelist [119]
St John's Church, Farsley 1 September 2017.jpg
New Street LS28 5DJ Church of England II 1843 On the junction of New Street and Old Road. The church has a stained glass window which depicts the figure of Christ in Australian shepherd's garb.[120] Supported by the Friends of St. John's, a secular society working to conserve the historic building and its heritage.[121]
Farsley Community Church [122]
Farsley Community Church 1 September 2017.jpg
Back Lane LS28 5EU Methodist/Baptist 1827 After the Baptist Church on Bryan Street, Farsley closed down in 2004, the local Baptist congregation signed an agreement with the Methodist church on Back Lane to allow them to share the facilities and use of the church.[122] Part of the Leeds South and West Methodist Circuit, formerly part of the Leeds (Wesley) Circuit.[123]

Fulneck

Name Image Location Denomination Grade Opened Notes
Fulneck Moravian Church
Fulneck Moravian Church - Fulneck - geograph.org.uk - 375664.jpg
Fulneck Moravian Church I 1744 The church is situated in the Fulneck Moravian Settlement

Garforth

Name Image Location Denomination Grade Opened Notes
Garforth Evangelical Church
Salem Evangelical Church Garforth 17 June 2017.jpg
Salem Place, 1, Wakefield Road, LS25 1AN Evangelical 1872 Opened 1872 as a Salem Chapel (Methodist) [124] on the left, closed 1969. After commercial use, it was bought the 1980s by Garforth Evangelical Church, who added a brick extension.[125]
Garforth Library
Garforth Library and One Stop Centre (19th July 2014).JPG
Main Street The Dayspring Church, part of the Pioneer Church Network, worship first and third Sundays of the month at Garforth Library.[126]
Garforth Methodist Church [127]
Brunswick Methodist Church Garforth 17 June 2017.jpg
Church Lane LS25 1NW Methodist 1872 Originally Wesleyan Chapel. Formerly known as Brunswick Methodist Church until congregations from 2 other Methodist churches in Garforth amalgamated as their buildings went to other uses. Part of the Leeds North and East Methodist Circuit
St Benedict's Church [128]
St. Benedict's Roman Catholic Church, Aberford Road, Garforth (19th July 2014).JPG
Aberford Road, LS25 1PX Roman Catholic 1998 The first church on this site was built in 1964 but blew down the week before its official opening. A second building, made out of wood and glass, had to be demolished in 1994. The present church, designed by Vincente Steinlet, was opened on 11 July 1998.[128]
St Mary's Church
St Mary Garforth 17 June 2017.jpg
Church Lane, LS25 1NR Church of England II 1844 or 1845 [124] Church of St Mary the Blessed Virgin. Architect G. F. Jones in Early English style. Magnesian limestone, slate roof.

Gildersome

Name Image Location Denomination Grade Opened Notes
Ebenezer Methodist Church [129]
Ebenezer Methodist Church - Town End, Gildersome - geograph.org.uk - 648683.jpg
Town End, Gildersome LS27 7HF Methodist 1886 The church is part of the North Kirklees and Morley Circuit.
Gildersome Baptist Church
Gildersome Baptist Church - Church Street - geograph.org.uk - 648934.jpg
Church Street, Gildersome Baptist II 1866
Gildersome Meeting [130]
Gildersome Quaker Meeting House March 2017 02.jpg
75 Street Lane, LS27 7HX. Quaker II 1756 There was previously a Meeting House at The Nooks in Gildersome, which was built in 1709 and had been sold by 1757.[131]
St Peter's Church
Gildersome, St Peter's Church - geograph.org.uk - 227558.jpg
Church View, Gildersome Church of England

Gipton

Name Image Location Denomination Grade Opened Notes
Church of the Epiphany
Epiphany Gipton.JPG
Beech Lane, LS9 6SW Church of England I 1938 The church was designed by Nugent Cachemaille-Day and completed in 1938 with the construction of the surrounding estate.
Gipton Methodist Church [132]
Gipton Methodist March 2017.jpg
Oak Tree Place, LS9 6SX Methodist and Pentecostal 1936 Formerly a manse, the church is part of the Leeds North and East Methodist Circuit [7] It also hosts the Leeds Malayalam Christian Church.[133]
St Nicholas Church
Catholic Church of St Nicholas & Our Lady of Good Counsel.jpg
Oakwood Lane, LS9 6QY Catholic 1961 The church is part of the parish of Blessed Edmund Sykes [134] and was built to serve the area's large Irish population.

Guiseley

Name Image Location Denomination Grade Opened Notes
Guiseley Baptist Church
Baptist Chapel, Oxford Road, Guiseley - geograph.org.uk - 340107.jpg
Oxford Road, Guiseley Baptist
Guiseley Methodist Church [135]
Guiseley Methodist Church - Oxford Road - geograph.org.uk - 689029.jpg
Oxford Road, Guiseley Methodist The church is part of the Wharfedale and Aireborough Circuit [53]
St Oswald's Church, Guiseley
St Oswald Guiseley. - geograph.org.uk - 417366.jpg
The Green, Guiseley Church of England I The marriage of the parents of the Brontë sisters, Patrick Brontë and Maria Branwell took place in the church on 29 December 1812.[136]

Halton

Name Image Location Denomination Grade Opened Notes
Christ Church [137]
Christ Church Halton April 2017.jpg
Chapel Street, LS15 7RW Methodist and United Reformed Church A Local Ecumenical Partnership church formed in 1989,[138] part of the Leeds North and East Methodist Circuit.[7]
Kingdom Hall
Kingdom Hall Halton April 2017.jpg
31A Chapel Street, LS15 7RN Jehovah's Witnesses
St Wilfrid's [139]
St Wilfrid Halton 17 June 2017.jpg
Selby Road LS15 7NP Church of England 1939 Designed by architect A. Randall Wells, with furnishings by Eric Gill.[140]

Halton Moor

Name Image Location Denomination Grade Opened Notes
Corpus Christi Church
Corpus Christi Catholic Church - Neville Road - geograph.org.uk - 569207.jpg
Neville Road, LS9 0HD Roman Catholic 1962 The church was opened as a daughter church to the now closed Mount St. Mary's Church in neighbouring Richmond Hill. Clergy were from the Oblates of Mary Immaculate until 2008 [141] and the church is now part of the parish of Blessed John Henry Newman.[108] The church has a large high school, Corpus Christi Catholic College, and a primary school adjacent to it.

Harehills

Name Image Location Denomination Grade Opened Notes
Church of Jesus Christ Apostolic
Church of Jesus Christ Apostolic Gledhow Road 02.jpg
50 Gledhow Road, LS8 5ES Pentecostal 1983 On the corner with Gledhow Terrace. Originally built 1900 as a chapel for the Churches of Christ
Jamia Tul Batool Islamic Centre and Mosque
Jamia Tul Batool Leeds.jpg
7 Beck Rd, LS8 4EJ, Islam (Sunni) Licensed for marriages.
Markazi Jamia Masjid Bilal (Harehills Mosque)
HarehillsMosqueDome.jpg
Conway Rd, LS8 5JH Islam (Barelvi) 1999 Moved from site on Harehills Place to present building off Harehills Lane.
Masjid Al Towbah
Masjid Al Towbah Whitfield Street.jpg
2 Whitfield Street, LS8 5AJ Islam (Salafi) 2008 Al Towbah Islamic Centre functions as mosque and madrasa
Masjid-e-Quba
Masjid-e-Quba Leeds.jpg
24 Shepherds Lane, LS8 4LH Islam (Deobandi) 2015[142] Al Hassan Education Centre is co-located
New Testament Church of God [143]
NTChurchofGodHarehills.jpg
3 Easterly Road, LS8 2TN Pentecostal 1984 Formerly the Third Church of Christ Scientist built in 1927, worship registration cancelled in November 1984.[144] The New Testament Church of God was first established in Louis Street, Harehills, in 1959 [145] and moved to this building in May 1985.[146]
Shah Jalal Mosque
Shah Jalal Mosque Leeds.jpg
25-27 Ellers Road, LS8 4JH. Islam (Deobandi) 2004 Bangladeshi Islamic Society is co-located. Men only.
St Aidan's Church
St Aidan's Leeds 13 August 2017.jpg
Roundhay Road, LS8 5QD Church of England II* 1894
St Augustine of Canterbury Church [147]
St Augustine Harehills March 2017.jpg
Harehills Road, LS8 5HR Catholic 1936 Chaplain to the Eritrean community in Leeds also based here. Services held for Kerala Malayalam, Ukrainian and Zimbabwean communities and in Latin.[147] Twinned with St. Thomas More Parish, Itaka, in the Diocese of Mbeya in Tanzania.[148]
St James' University Hospital Chapel
Church at St James' University Hospital. - geograph.org.uk - 388062.jpg
Beckett Street, LS8 5HS Non-denominational II 1861 Part of St James' University Hospital
St Wilfrid's Church
StWilfridHarehills.jpg
Chatsworth Road, LS8 3QR Church of England 1927
Trinity United Church [79]
TrinityChurchHarehills.jpg
Banstead Terrace West, LS8 5PL United Reformed and Methodist 1983 On junction with Roundhay Road. It overlooks Banstead Park and is part of the Leeds North and East Methodist Circuit.[7] The Zimbabwean Methodist Fellowship also meets at this church.[149]
United Afghan Community Centre and Mosque
United Afghan Community Centre Leeds.jpg
229 Roundhay Road LS8 4HS Islam (Deobandi) 2012 First floor rooms above a shop. Men only.[150]

Harewood

Name Image Location Denomination Grade Opened Notes
Harewood Chapel [151]
Harewood Chapel April 2017.jpg
5 The Avenue, LS17 9LD Church of England and Methodist II The Chapel is supported jointly by the Church of England and the Methodists. Services on the first and fourth Sundays are led by the Vicar of Collingham or a lay reader. Services on the second, third and any fifth Sunday are led by the Methodist Minister or a local preacher. It is part of the Leeds North and East Methodist Circuit.[7]

Hawksworth (LS5)

Name Image Location Denomination Grade Opened Notes
St Mary the Blessed Virgin Church
St Marys Church.JPG
Hawksworth Avenue, LS5 3PN Church of England II 1935 Knapped flint with sandstone dressings and a Westmorland slate roof. One of two churches in the Parish of Moor Grange and Hawksworth Wood, the other being St Andrew the Apostle.

Hawksworth (LS20)

Name Image Location Denomination Grade Opened Notes
Hawksworth Methodist Church [152]
Hawksworth Methodist Church - Main Street - geograph.org.uk - 996519.jpg
Main Street, Hawksworth LS20 8NX Methodist 1903 The church is part of the Wharfedale and Aireborough Circuit.[53]

Headingley

Name Image Location Denomination Grade Opened Notes
Ebenezer Chapel
Ebenezer Stainbeck 1.jpg
15 Grove Lane
LS6 4DP
Baptist 1967 Ebenezer Particular Baptist Chapel, affiliated to the Gospel Standard Baptists.[153]
Hinsley Hall Chapel
Hinsley Hall, Headingley - 2.jpg
62 Headingley Lane, LS6 2BX Catholic 1998 Though originally a Methodist college, it is now owned by Leeds Catholic Diocese who added the chapel in 1998.[154]
South Parade Baptist Church [155]
South Parade Baptist Church 14 July 2018 1.jpg
South Parade
LS6 3LF
Baptist 1909 Opposite the junction with St Michael's Lane. Leeds Arabic Christian Fellowship also meets at South Parade Baptist Church.[156]
St Chad's Church
St Chad's Church - Otley Road - geograph.org.uk - 470871.jpg
Otley Road Church of England II* 1868 Parish church of Far Headingley. Part of Churches Together in Headingley.[157] It has been used on many occasions as a Yorkshire Television filming location.
St Columba's Church [158]
Headingley St Columba.jpg
Headingley Lane United Reformed 1966 Part of Churches Together in Headingley and the Leeds Partnership of United Reformed Churches.[157] "The principal facades are to the north because they were intended to face a new Headingley bypass road which was never built."[159]
St Luke's Church
Lutheran Church House - 9 Alma Road, Headingley - geograph.org.uk - 379993.jpg
Alma Road Lutheran 1985 Converted from a house
St Michael and All Angels Church
StMichaelHeadingley09.jpg
Headingley Lane Church of England II* 1886 Headingley parish church.
St Urban's Church
St Urban's Catholic Church - Grove Road, Headingley - geograph.org.uk - 379998.jpg
Grove Road Catholic 1963 In 2010 the Parish of St Urban's, Headingley was merged with the Parish of Our Lady of Lourdes, Burley to become the Parish of St. Jeanne Jugan.
Wat Buddharam Thai Temple[160]
Wat Buddharam Leeds 20 September 2018 1.jpg
45 Cliff Road, LS6 2ET Buddhist Formerly a hotel, Cliff Lawn, and originally the house of a Victorian mill owner.[161]

Holbeck

Name Image Location Denomination Grade Opened Notes
Cloverleaf Christian Centre
Cloverleaf House May 2108.jpg
18 Brown Lane West, LS11 0DN Non-denominational 2014 Headquarters of Cloverleaf World Ltd.[162]

Horsforth

Name Image Location Denomination Grade Opened Notes
Brethren's Meeting Room
Gospel Hall Brownberrie Lane 11 May 2017.jpg
Brownberrie Lane, LS18 5HD Plymouth Brethren 2007 Brethren's Meeting Room according to sign outside. Called Horsforth Gospel Hall by the Charity Commission, Church by Leeds City Council. Replaced an earlier Gospel Hall.
Central Methodist Church
Central Methodist Church, Town Street, Horsforth, Leeds - geograph.org.uk - 100634.jpg
Town Street, Horsforth Methodist The church was formerly a Primitive Methodist chapel and still retains internal signage pertaining to the Primitive Methodist church. The church was part of the Leeds (Wesley) Circuit [97] and is now part of the Leeds South and West Methodist Circuit.
Cragg Hill Baptist Church
Cragg Hill Baptist Church, Horsforth, Christmas Day - geograph.org.uk - 1634257.jpg
Cragg Avenue, Horsforth Baptist II 1803
Emmanuel Baptist Church
Emmanuel Baptist Church Horsforth 11 May 2017.jpg
Hall Lane, LS18 5JE Baptist 2014 Former St Margaret's Parish Church Hall, rented from 2014, bought 2016.[163]
Grove Methodist Church [164]
Grove Methodist Church, Horsforth (30th December 2013) 001.JPG
Town Street, Horsforth Methodist II 1868 [165] The church is part of the Leeds South and West Methodist Circuit. The church is accessible from New Street.
Kingdom Hall of the Jehovahs Witnesses
Kingdom Hall of Jehovahs Witnesses, CalverleyLane, Horsforth - geograph.org.uk - 100635.jpg
Calverley Lane, Horsforth Jehovahs Witnesses
Leeds Trinity University Chapel
Leeds Trinity University Chapel 11 May 2107.jpg
Brownberrie Lane LS18 5HD Roman Catholic 1968 Opened and dedicated on 13 July 1968 by Archbishop George Dwyer of Birmingham.[166]
Lister Hill Baptist Church
Lister Hill Baptist Church, Horsforth (30th December 2013).JPG
Brownberrie Lane, Horsforth Baptist
St James' Church
St James' Church, Low Lane, Horsforth - geograph.org.uk - 100675.jpg
Low Lane Church of England II 1848
St Margaret's Church
The Parish Church of St Margarets, Horsforth - geograph.org.uk - 718857.jpg
Church Lane Church of England II 1877
St Mary's Church, Horsforth
St Mary's RC Church, Broadgate Lane, Horsforth - geograph.org.uk - 100672.jpg
Broadgate Lane Roman Catholic Part of the parish of Our Lady of Kirkstall [167]
Woodside Methodist Church [168]
Woodside Methodist Church, Outwood Lane, Horsforth - geograph.org.uk - 97905.jpg
Outwood Lane Methodist The church is part of the Leeds South and West Methodist Circuit.
Willow Green Christian Fellowship
Willow Green Christian Fellowship - Parkside - geograph.org.uk - 694676.jpg
Parkside, LS18 4DJ

Hunslet

Name Image Location Denomination Grade Opened Notes
Gospel Hall
Hunslet Gospel Hall 2016.jpg
Bedford Row, LS10 1BZ Gospel Hall Assemblies 1932
Hunslet Baptist Church [169]
Hunslet Baptist Church April 2017.jpg
Low Road, LS10 1QR Baptist 1837 [170]
Hunslet Church of the Nazarene [171]
Hunslet Church of the Nazarene.jpg
Lupton Street,
LS10 2QR
Church of the Nazarene Successor to the Derbyshire Street Mission (1904)
Hunslet Methodist Church [172]
Hunslet Methodist Church 2016 01.jpg
Telford Terrace, LS10 2HR Methodist The church is part of the Leeds South and West Methodist Circuit.
St Mary the Virgin Church
Hunslet St Mary Sep 2016.jpg
Church Street Church of England II 1864 The spire is the only remaining original part, with the rest being rebuilt in the 20th century. John Wesley preached here on 30 July 1769.[173]

Hyde Park

Name Image Location Denomination Grade Opened Notes
All Hallows Church [174]
Hyde Park All Hallows Church 2016.jpg
24 Regent Terrace, LS6 1NP Church of England 1974 Replaced an 1886 building damaged by fire. See leodis.net Part of the benefice of Leeds St. Margaret and All Hallows.[175] Open land in front of the church is being used to form All Hallows' Community Garden.[176]
Bethel Apostolic Church [177]
Bethel Church wet 2016.jpg
Victoria Road, LS6 1AS Pentecostal II 1886 Stone fronted, but the body of the church is in red brick
Hindu Temple [178]
Hindu Temple Leeds 2016 exterior 01.jpg
36 Alexandra Rd, LS6 1RF Hindu 1968 Operated by Leeds Hindu Charitable Trust
Leeds Grand Mosque
LeedsGrandMosque01.JPG
9 Woodsley Road, LS6 1SN Islam 1965 The mosque was formerly Sacred Heart Catholic Church, changed to a mosque in 1994. According to a Leeds City Council planning department the building is "of a distinctive modernist design".[179]
Wrangthorne Church (or St. Augustine's Church) [180]
Wrangthorne Church, Hyde Park, Leeds - geograph.org.uk - 108567.jpg
Hyde Park Terrace, LS6 1BJ Church of England II 1871 Situated on the corner of Hyde Park Road and Hyde Park Terrace, funded by the Leeds Church Extension Society. Part of the benefice of Woodhouse and Wrangthorn. The parish was established in 1865.[181]

Ireland Wood

Name Image Location Denomination Grade Opened Notes
Holy Name of Jesus Catholic Church
Holy Name of Jesus Church, Otley Old Road March 2107.jpg
52 Otley Old Road, LS16 6HW Roman Catholic 1953 Part of the parish of Our Lady of Kirkstall [167]
St Paul's Church
St Paul Raynel Approach March 2017.jpg
Raynel Drive, LS16 6BS Church of England 1965 Octagonal in form, funded by the Leeds Church Extension Society

Killingbeck

Name Image Location Denomination Grade Opened Notes
Killingbeck Cemetery Chapel
Killingbeck Cemetery Chapel 02 17 August 2017.jpg
York Road Roman Catholic Located at centre of Killingbeck Cemetery. The cemetery was established by the Catholic Burial Board in 1895.[182]

Kirkstall

Name Image Location Denomination Grade Opened Notes
Church of Jesus Christ of Latter Day Saints
Church of Jesus Christ of Latter Day Saints - Vesper Road - geograph.org.uk - 665485.jpg
Vesper Road, LS5 3NX Mormon
Redeemed Christian Church of God
RCCG Walter Street 2016.jpg
15-17 Walter Street LS4 2BB Pentecostal Also known as the Everlasting Father's Assembly, and the building as the Land of Mercy.
St Stephen's Church, Kirkstall
St stephens kirkstall.jpg
Morris Lane, LS5 3HF Church of England II 1829 Situated on high ground overlooking Kirkstall Abbey.

Kippax

Name Image Location Denomination Grade Opened Notes
Kippax Methodist Church [183]
Kippax Methodist Church - Chapel Lane - geograph.org.uk - 740937.jpg
Chapel Lane LS25 7HA Methodist 1970s The church is part of the Aire and Calder Methodist Circuit.[184] The current building replaced the now-demolished Wesleyan Chapel on the opposite side of the road.
St Mary's Church
Kippax, St Mary's Church - geograph.org.uk - 228027.jpg
Leeds Road LS25 7HF Church of England I 1125 Extensive 19th century restoration; part of the Team Benefice of Allerton Bywater, Kippax and Swillington. The church contains the remains of an Anglo-Danish Cross shaft.[185]

Lincoln Green

Name Image Location Denomination Grade Opened Notes
Achiever's Faith [186]
Lincoln Green Achievers Faith 2016.jpg
Cherry Row, LS9 7LY Pentecostal 2006 The chapel is a room above the cafes
Lincoln Green Mosque [187]
Lincoln Green Mosque Nov 2016.jpg
Cherry Row, LS9 7LY Sunni Islam 2009 The mosque is located by the junction with Lincoln Road

Little London

Name Image Location Denomination Grade Opened Notes
All Souls' Church
All Souls Blackman Lane 2010.jpg
Blackman Lane, LS7 1LW Church of England II* 1880 Built by public subscription in one of the poorest districts of Leeds, and designed by Sir George Gilbert Scott.[188]
Little London Community Centre
Little London Community Centre 23 May 2017.jpg
Oatland Lane, LS7 1SP Evangelical Resurrection Power of Jesus Ministry meets on Fridays and Sundays.[189]

Mabgate

Name Image Location Denomination Grade Opened Notes
New City of David Ministries
New City Mabgate.jpg
62 Mabgate LS9 7DZ Nondenominational Christian
United Church of the Kingdom of God
UCKG Regent St 5 May 2018.jpg
12 Regent Street LS2 7QA Nondenominational Christian 2015[190]
Wings of Refuge Ministries
Wings of Refuge Ministries 18 April 2018.jpg
22 Regent Street LS2 7QA Nondenominational Christian

Meanwood

Name Image Location Denomination Grade Opened Notes
Holy Trinity Church [191]
HolyTrinityMeanwood.jpg
Church Lane LS6 4NP Church of England II 1864 Meanwood Methodist Church now also worships at Holy Trinity Church.[192]
Kingdom Hall of Jehovah's Witnesses
Jehovah Stainbeck 1.jpg
Stainbeck Road LS7 2QY Jehovah's Witnesses
Meanwood Methodist Church
MeanwoodMethChurch.jpg
Monkbridge Road, junction with Green Road Methodist II 1881, extended 1886 [193] Formerly part of the Leeds South and West Methodist circuit, the church was closed in October 2014 and the church community now worships at Holy Trinity Church in Meanwood.[192] The building is now used by the Iglesia ni Cristo church.[194]
Meanwood Valley Baptist Church
MVUF Epicentre 12 September 2018 1.jpg
c/o Meanwood Valley Urban Farm, Sugarwell Road, Meanwood LS7 2QG Baptist The church meets at Meanwood Valley Urban Farm Epicentre most Sunday mornings.[195]
Stainbeck United Reformed Church [196]
Stainbeck Church 1.jpg
Stainbeck Road
LS7 2PP
United Reformed Church 1931 By the corner with Stainbeck Lane. Part of the Leeds Mission and Care Group of URC churches.[197]

Methley

Name Image Location Denomination Grade Opened Notes
Methley Methodist Church [198]
Methley Methodist Church April 2017.jpg
Main Street, Mickletown, LS26 9JE Methodist 1888 The church is part of the Aire and Calder Methodist Circuit.[184]
Saint Oswald's Church
St Oswald Methley 28 April 2017 02.jpg
Church Side, LS26 9BJ Church of England I 14th century Parish church. Formerly had a spire, but this was removed for safety in 1937.[199]

Micklefield

Name Image Location Denomination Grade Opened Notes
St Mary the Virgin
St. Mary the Virgin Church, Micklefield (22nd March 2014) 003.JPG
Old Great North Road LS25 4AG Church of England 1861 Located in the northern part of the village known as "Old Micklefield". Part of the benefice of Aberford with Micklefield [200] and the Sherburn in Elmet Group of Parishes.[201] The church has a memorial to the 63 victims of the Peckfield Colliery disaster and a plaque dedicated to the victims' widows. On the site of a former Chapel of Ease, demolished 1860.[202]

Middleton

Name Image Location Denomination Grade Opened Notes
Middleton Baptist Church
Middleton Park Baptist Church - geograph.org.uk - 838847.jpg
Middleton Park Avenue Baptist The church is situated on Middleton Park Avenue in the heart of the Middleton council estate.
St. Cross Church
St Cross Church - geograph.org.uk - 838851.jpg
Middleton Park Avenue Church of England 1933 Funded by the Leeds Church Extension Society, the church was opened in 1933 to serve the new Middleton council estate. In 1935 it became a separate parish rather than a mission church of St. Mary's.
St. Mary the Virgin Church
Middleton Church.JPG
Town Street Church of England II 1846 The church was completed in 1846; prior to that Middleton was in the parish of Rothwell.
St Phillip's Church
St Philip's Roman Catholic Church, Middleton, Leeds - geograph.org.uk - 258506.jpg
St Philip's Avenue Catholic The church is part of the parish of St. Margaret Clitherow and situated on St. Philip's Avenue to the north of the Estate.

Moortown and Moor Allerton

Name Image Location Denomination Grade Opened Notes
Baab-ul-Ilm Mosque
Baab ul ilm 16 july 2017.jpg
166 Shadwell Lane, LS17 8AD Muslim 2004 Name means "Gateway to Knowledge" and incorporates facilities for prayers, educational and social activities.[203] Next door to the Lubavitch Centre and opposite the UHC synagogue.
Beth Hamidrash Hagadol Synagogue [204]
Beth Hamidrash Hagadol Synagogue 2016.jpg
399 Street Lane LS17 6HQ Orthodox Judaism 1969 Previously located at Templar Street in the original Jewish quarter in Leeds (1874), then in St. Alban's Street until 1886, then in Upper Hope Street, then moved to Newton Road, Chapeltown (1937), then to current location in 1969.[205]
Etz Chaim Synagogue
EtzChaimLS17.jpg
411 Harrogate Road LS17 7BY Reform Judaism 1981 Architect: Stuart Leventhall
Immaculate Heart of Mary Church
Immaculate Heart of Mary Catholic Church - Harrogate Road - geograph.org.uk - 586310.jpg
294 Harrogate Road LS17 6LE Roman Catholic 1959 Immaculate Heart parish was the first new parish to be established in Leeds after the Second World War. Two mass centres, the Queen's Arms in Harrogate Road and the Corner House Social Club in Moortown, were previously in use and from 1945 The Grange, now part of St Gemma's Hospice, was used. The present church was consecrated in 1959.[206] Now part of the Parish of Saint John Mary Vianney [10]
Iqra Centre
IQRA Centre 04 June 2017.jpg
4-6 Carr Manor Crescent LS17 5DH Muslim 2001 Part of UK Islamic Mission
Lingfield Centre
Lingfield Centre 01 30 August 2017.jpg
Lingfield Hill LS17 7EJ Muslim 2016 Community centre including Prayer Room for 70 worshippers.[207]
Lubavitch Centre [208]
Lubavitch 02 Leeds 18 June 2017.jpg
168 Shadwell Lane LS17 8AD Orthodox Judaism 1986 Opened as a cultural centre here in 1986. Date of commencement as a synagogue not known.[209] Notable for its large Hanukkah menorah.
Moortown Baptist Church [210]
MoortownBaptist.jpg
204 King Lane, LS17 6AA Baptist Corner of King Lane and Stonegate Road
Moortown Methodist Church Centre
Showers of Mercy Leeds 2016 view 01.jpg
Alderton Rise, LS17 5LH Currently used by Showers of Mercy Ministries International,[211] Lighthouse Chapel and Leeds Independent Seventh Day Adventist Church.[212] 1953 [213] Not used for Methodist services since September 2015.[214] The North Leeds Foodbank uses the premises for food distribution on Monday, Wednesday and Friday.[215]
St John the Evangelist Church [216]
StJohnsMoortown01.jpg
Harrogate Road LS17 Church of England II 1853 Part of the Moor Allerton and Shadwell Team Ministry.[9]
St Stephen's Church
St Stephens Church 14 May 2017 sunny.jpg
Cranmer Road LS17 5PX Church of England 1954 The church is situated off King Lane and was built to serve the Moor Allerton council estate. Part of the Moor Allerton and Shadwell parish and served by the Moor Allerton and Shadwell Team Ministry.[217]
UHC Synagogue
UHC Shadwell Lane 2016 02.jpg
151 Shadwell Lane, LS17 8DW Orthodox Judaism 1986 Formerly the United Hebrew Congregation Leeds synagogue[218]

Morley

Name Image Location Denomination Grade Opened Notes
Central Methodist Church [219]
Central Methodist Church - Wesley Street - geograph.org.uk - 452444.jpg
Wesley Street Methodist II 1862 The church, originally known as Queen Street Wesleyan Methodist Church,[220] forms part of the North Kirklees and Morley Methodist Circuit
Church of Jesus Christ and the Latter Day Saints
Church of Jesus Christ of Latter Day Saints - Bridge Street - geograph.org.uk - 668951.jpg
Bridge Street Mormon
Newlands Methodist Church [221]
Newlands Methodist Church Morley March 2017.jpg
Albert Drive, LS27 8SE Methodist The church forms part of the North Kirklees and Morley Methodist Circuit
St Andrew's Church [222]
St Andrew's Church - St Andrew's Avenue - geograph.org.uk - 668915.jpg
St Andrew's Avenue, Bruntcliffe Church of England 1891 [223] Part of the benefice of Morley.[224]
St Francis of Assisi Church
Morley, St Francis of Assisi R.C. Church - geograph.org.uk - 228716.jpg
Corporation Street, Morley Roman Catholic Part of the Parish of St William of York and the Leeds South West Deanery.[225]
St Mary in the Woods Church
St Mary's in the Wood United Reformed Church - rear view - geograph.org.uk - 452843.jpg
Troy Road United Reformed II 1878
St Paul's Church
St Paul's Church - South Queen Street - geograph.org.uk - 452473.jpg
South Queen Street Church of England
St Peter's Church
Morley, St Peter's Church - geograph.org.uk - 228717.jpg
Rooms Lane Church of England II 1840s The church is a commissioners' church.

New Farnley

Name Image Location Denomination Grade Opened Notes
St James' and St Michael's Church [226]
St James' Church, New Farnley - Whitehall Road - geograph.org.uk - 648607.jpg
Whitehall Road LS12 5AA Church of England 1959 Image shows St James' church, which is now a multi-purpose community building including St James' and St Michael's church services. Part of the Benefice of Wortley and Farnley.

Osmondthorpe

Name Image Location Denomination Grade Opened Notes
St Philip's Church
St Philip's Osmondthorpe 17 July 2017.jpg
86 Osmondthorpe Lane, LS9 9EF Church of England 1933 Architect F. L. Charlton. Early English style: brick facings over reinforced concrete arched trusses. Awarded the RIBA West Yorkshire Medal in 1936.[159] The altar and interior woodwork are by Robert Thompson, the 'Mouseman'.

Otley

Name Image Location Denomination Grade Opened Notes
All Saints' Church
All Saints Otley exterior 01 7 August 2017.jpg
Kirkgate, Otley Church of England I The 'Navvies Monument', a monument to the navvies who died building the Bramhope Tunnel, is situated outside the church.
Bethel Church [227]
Bethel Church Hall - Myers Croft - geograph.org.uk - 1178878.jpg
Bethel Church Hall, Myers Croft, Otley LS21 3JG Evangelical Part of the Fellowship of Independent Evangelical Churches and the Yorkshire Gospel Partnership. The church meets at the Chevin Community Centre on a Sunday morning and at Bethel Church Hall on a Sunday evening.[228]
Bridge Street United Reformed Church [229]
Otley Bridge Church 01 7 August 2017.jpg
Bridge Street, Otley United Reformed II 1899 [230] The church was a Congregational Church, known as the Duncan Cathedral, prior to the formation of the United Reformed Church in 1972.[231]
Cross Green Gospel Hall
Gospel Hall, Cross Green, Otley - geograph.org.uk - 694074.jpg
Cross Green, Otley Brethren This was originally a Quaker Meeting House built in the 1890s.
Otley Methodist Church [232]
Otley Methodist Church - Boroughgate - geograph.org.uk - 468904.jpg
Boroughgate, Otley Methodist II[233] The church is part of the Wharfedale and Aireborough Circuit [53]
Otley Spiritualist Church
Spiritualist Church - New Market - geograph.org.uk - 1207645.jpg
New Market, Otley Spiritualist The church is situated on New Market.
Our Lady and All Saints Catholic Church
Our Lady and All Saints Catholic Church - viewed from Manor Square - geograph.org.uk - 1178778.jpg
Bridge Street, Otley Roman Catholic
Salvation Army worship and community halls [234]
Salvation Army Worship and Community Halls - New Market - geograph.org.uk - 1178791.jpg
New Market, Otley Salvation Army

Oulton

Name Image Location Denomination Grade Opened Notes
Oulton Methodist Church
Oulton Methodist Church 2016.jpg
63 Aberford Road LS26 8HS Methodist 1860
St John the Evangelist's Church
St John's Church - Oulton - geograph.org.uk - 404415.jpg
Leeds Road LS26 8JU Church of England II* 1829 Currently (2018) not in use due to water damage, but under repair.[235]

Pool-in-Wharfedale

Name Image Location Denomination Grade Opened Notes
Pool-in-Wharfedale Methodist Church
The Methodist Church, Pool-in-Wharfedale - geograph.org.uk - 722547.jpg
Main Street, Pool-in-Wharfedale Methodist The church is part of the Wharfedale and Aireborough Circuit.[53]
St Wilfrid's Church
Pool in Wharfedale Church.jpg
Main Street, Pool-in-Wharfedale Church of England II 1840s.

Potternewton

Name Image Location Denomination Grade Opened Notes
Harehills Lane Baptist Church
HarehillsLaneBaptistChurch1.jpg
Harehills Lane, LS8 4HA Baptist 1928
St Martin's Church
StMartinsPotter2.jpg
St Martin's View LS7 3LB Church of England II 1881 The church was designed by Park Row-based architectural consultants Adams and Kelly and built between 1879 and 1881.
Three Hierarchs Church
ThreeHierarchsLeeds.jpg
Harehills Avenue, LS8 4HD Greek Orthodox (formerly Methodist) II 1906

Pudsey

Name Image Location Denomination Grade Opened Notes
Kingdom Hall
Kingdom Hall, Richardshaw Lane 2 September 2017.jpg
Richardshaw Lane Jehovah's Witnesses West side, on the corner with Primrose Hill.
Pudsey United Reformed Church
Pudsey URC 2 September 2017.jpg
School Street
LS28 8PN
United Reformed Church
St Andrew's Church [236]
St Andrew, Robin Lane, Pudsey.jpg
Robin Lane Methodist 1901 The church is part of the Leeds South and West Circuit and was originally a Primitive Methodist church.
St Joseph's Church
St Joseph's Catholic Church - The Lanes - geograph.org.uk - 374256.jpg
The Lanes Roman Catholic The church is of twentieth century build and is situated on the Lanes, away from the centre of Pudsey.
St Lawrence and St. Paul's Church [237]
Pudsey Parish Church 01 2 September 2017.jpg
Church Lane LS28 8BE Church of England II 1821 The church is Pudsey parish church and a Commissioners' church

Rawdon

Name Image Location Denomination Grade Opened Notes
Friends Meeting House (Quaker)
Friends House Rawdon 11 May 2017.jpg
Quakers Lane, LS19 6HU Society of Friends II 1697
St Peter's Church
St Peter's Church Rawdon path 11 May 2017.jpg
Town Street, LS19 6QZ Church of England II 1684
Trinity Church
Trinity Church - New Road Side, Rawdon - geograph.org.uk - 686850.jpg
Aireborough New Road Side, LS19 6QZ Baptist, Methodist and United Reformed II 1846 This church is the former Benton Congregational Church (1846), being renamed in 1972 by the three groups who now share it.[238]

Richmond Hill

Name Image Location Denomination Grade Opened Notes
Christ Temple of Worship Church [239]
Christ Temple of Worship Shannon St 15 August 2017.jpg
20 Shannon Street
LS9 8SS
Pentecostal
Deeper Life Bible Church
Deeper Life Bible Church Leeds 15 August 2017.jpg
18 Shannon Road
LS9 8SS
Evangelical 2006 Began as a group at the University of Leeds in 1991, then used various rooms, getting its own premises in 2006.[240]
Newbourne Methodist Church [241]
Newbourne Mathodist Church RH Leeds.jpg
Upper Accommodation Road, LS9 8JL Methodist 1971 The church is part of the Leeds North and East Methodist Circuit and is also used by God's International Deliverance Church (GIDC) for services conducted in Ghanaian
St Saviour Church
St Saviour 5 November 2016.jpg
Ellerby Road Church of England I 1845

Rothwell

Name Image Location Denomination Grade Opened Notes
Holy Trinity Church
Church of the Holy Trinity - geograph.org.uk - 1294359.jpg
Wood Lane Rothwell Church of England II 1873 There has been a church since 1150, but the current building dates mainly from 1873.[242]
Rothwell Baptist Church
Rothwell Baptist Church - Haigh Road - geograph.org.uk - 507604.jpg
Wood Lane, LS26 0PG Baptist Between Wood Lane and Haigh Road. A hall has existed there for over 90 years, but the present building dates from 2008.[243]
Rothwell Methodist Church [244]
Rothwell Methodist Church - Butcher Hill - geograph.org.uk - 507625.jpg
Butcher Hill, LS26 0DB Methodist The church is part of the Aire and Calder Methodist Circuit.[184]
St Mary's Church
St Mary's Catholic Church - Park Lane - geograph.org.uk - 507612.jpg
40 Park Lane, LS26 0ES Roman Catholic

Roundhay

Name Image Location Denomination Grade Opened Notes
Lidgett Lane Community Centre
Lidgett Lane Community Centre April 2017 01.jpg
Lidgett Lane Community Centre, Lidgett Lane, LS17 6QP Nondenominational Christianity All Nations Community Church uses a room in the Community Centre on Sundays.[245]
Lidgett Park Methodist Church [246]
Lidgett Park Methodist Church April 2017.jpg
Lidgett Place, LS8 1HS Methodist II 1926 The church is part of the Leeds North and East Methodist Circuit and the Circuit Office is based there.[7] The church produces a monthly magazine called The Link.[247] Ecumenical partnerships in place with St Edmunds and St Andrews.
Oakwood Church
Roundhay Methodist.JPG
Springwood Road LS8 2QA Methodist and Church of England 1986 A Methodist-Anglican Partnership, joint with St John's Church of England Parish, in the Methodist church building (formerly Roundhay Methodist Church) since 1 December 2013.[248] Part of the Leeds North and East Methodist Circuit[249]
Roundhay Parochial Hall
Roundhay Parochial Hall 2012.jpg
Fitzroy Drive, LS8 4AB Muslim and Evangelical 1928 Hosts worship by the Ahmadiyyah Muslim Association UK on Fridays and Roundhay Evangelical Church on Sundays.[250]
Quaker Meeting House [251]
Quaker House Street Lane LS17 2016.jpg
136 Street Lane LS8 2BW Quaker 1957 Converted bungalow (1931)
Sinai Synagogue
Sinai Synagogue Roundhay LS8 2AN.jpg
Roman Avenue LS8 2AN Reform Judaism 1960 Designed by Halpern & Associates of London. Extended 1985.
St Andrew's Church
St Andrews Roundhay LS8 1DU.jpg
Shaftsbury Avenue LS8 1DS United Reformed II 1908 In ecumenical partnership with Lidgett Park Mathodist Church.[246] Part of the Leeds Mission and Care Group (URC) and the Leeds Dementia Alliance.[252]
St Edmund's Church
St Edmunds Roundhay LS8 1JN.jpg
Lidgett Park Road LS8 1JN Church of England II 1910 In ecumenical partnership with Lidgett Park Methodist Church.[246]
Third Church of Christ, Scientist
ChristScientistLeeds3.jpg
Devonshire Croft, Devonshire Lane, LS8 1AY Christian Science 1990s

Scholes

Name Image Location Denomination Grade Opened Notes
Scholes Methodist Church [253]
Scholes Methodist Church, Main Street, Scholes (18th January 2014) 002.JPG
Main Street LS15 4DJ Methodist 1879 The church is part of the Leeds North and East Methodist Circuit [7]
St Philip's Church [254]
Scholes St Philip's Church 03 May 2017.jpg
Main Street LS15 4DJ Church of England 1966

Scott Hall

Name Image Location Denomination Grade Opened Notes
Potternewton Centre Potternewton View
LS7 2DW
Baptist Used by Chapel Allerton Baptist Church (Chapel A) as its Sunday venue since 2017; previously the church met at Chapel Allerton Primary School. Chapel A is part of the Yorkshire Baptist Association and the Baptist Union of Great Britain.[255]
Scott Hall Church
Scott Hall Church Feb 2017.jpg
9 Scott Hall Grove, LS7 3JH Evangelical 1970s Previously Scott Hall Christian Fellowship

Seacroft

Name Image Location Denomination Grade Opened Notes
Church of the Ascension
Church of the Ascension - Ironwood Approach, Seacroft - geograph.org.uk - 893946.jpg
Ironwood Approach LS14 6EW Forward in Faith 1961 It is still owned by the Church of England although they have vacated it as of January 2012 (reducing their number of churches on the estate from three to two). It is now used by Forward in Faith.
Our Lady of Good Counsel
LadyOfGoodCounselLeeds.jpg
Kentmere Avenue LS14 6QY Roman Catholic 1954
Seacroft Congregational Church
SeacroftCongChurch.jpg
134 Brooklands Avenue LS14 6RS United Reformed 1951 Seacroft Congregational Church is on Brooklands Avenue and was built in 1951 along with the surrounding estate.
Seacroft Methodist Church [256]
Seacroft Methodist Church 14 Sep 2017.jpg
1081 York Road LS14 6JB Methodist 1980 The church is part of the Leeds North and East Methodist Circuit. The new church was built as an extension to the 1874 building, which is now used by Chapel FM.[257] A community organisation, South Seacroft Friends and Neighbours shares the use of the premises.[258]
St James' Church
St James's Church, Seacroft - geograph.org.uk - 140201.jpg
Seacroft Green LS14 6JJ Church of England II 1846 It sits on the village green and dates from the area's days as a village before the development of the Seacroft estate.
St Richard's Church
St Richards Church - viewed from Ramshead Hill (geograph 3985505).jpg
Kentmere Avenue LS14 1BN Church of England c1950s The church is situated on the corner of Kentmere Avenue and Ramshead Hill. Along with St Paul's at Whinmoor it forms part of the Parish of St James.

Shadwell

Name Image Location Denomination Grade Opened Notes
Shadwell Methodist Church
Shadwell Methodist Church 14 June 2017.jpg
Main Street, LS17 8HN Methodist 1892 The original chapel (1814) is now the library.
St Paul's Church
Shadwell12StPaul.jpg
Main Street LS17 8HD Church of England II 1842 Part of the Moor Allerton and Shadwell Team Ministry.[9]

Sheepscar

Name Image Location Denomination Grade Opened Notes
His Majesties House [259]
Ramgarhia Sports Centre Nov 2016.jpg
8-10 Chapeltown Road Non-denominational Meets at Ramgarhia Sports Centre on Sunday afternoons, entrance is on Roundhay Road
Leeds Central Seventh-day Adventist Church [260]
7th Day Adventist Meanwood Rd 04 June 2017 02.jpg
169 Meanwood Rd LS7 1JW Seventh-day Adventist (1894) Originally a Primitive Methodist Chapel, which was opened in 1894 [261]
Mountain of Fire and Miracles [262]
Mountain of Fire Roseville Road 2016.jpg
62B Roseville Road LS8 5DR Non-denominational [263] Part of Mountain of Fire and Miracles International
Redeemed Christian Church of God Power Connections Church [264]
Redeemed Christian Church of God Meanwood 2016.jpg
236 Meanwood Road LS7 2AH Evangelical
The Redeemed Evangelical Mission - City of Praise [265]
TREM Mission.jpg
5 Sheepscar Court LS7 2BB Evangelical Formerly at 12 Sheepscar Street South

Stanningley

Name Image Location Denomination Grade Opened Notes
St John's Methodist Church
St John's Methodist Church - Stanningley - geograph.org.uk - 503085.jpg
Bright Street
LS28 6NJ
Methodist 1886
St Thomas' Church
St Thomas, Stanningley 2 (4622146867).jpg
Town Street
LS28 6NB
Church of England II 1841
The Oak Church [266]
Oak Church, Stanningley 1 September 2017.jpg
54, Bradford Road
LS28 6EF
Evangelical 2015 Part of Mosaic Church, Leeds. A weekly foodbank also operates from the church building.[267]

Swarcliffe

Name Image Location Denomination Grade Opened Notes
St Gregory's Church
St Gregory RC Church Swarcliffe April 2017 01.jpg
Swarcliffe Drive, LS14 5AW Roman Catholic 1970 [268] Since 2011 the church has been part of the parish of Blessed John Henry Newman.[108]
Swarcliffe Baptist Church
Swarcliffe Baptist Church April 2017 01.jpg
Mill Green Road, LS14 5JU Baptist 1970s Corner of Mill Green Road and Mill Green Place. Part wooden and part brick.

Swillington

Name Image Location Denomination Grade Opened Notes
St Mary's Church [269]
St Marys, Swillington. - geograph.org.uk - 96091.jpg
Wakefield Road, LS26 8DS Church of England II c. 1360 [269] Part of the Team Benefice of Allerton Bywater, Kippax and Swillington.

Swinnow

Name Image Location Denomination Grade Opened Notes
Christ the Saviour Church [270]
Christ the Saviour Church - Swinnow Lane - geograph.org.uk - 450820.jpg
1 Swinnow Walk, LS13 4NP Church of England 1959 Part of the parish of St Thomas, Stanningley
St Mark's Methodist Church [271]
St Mark's Methodist Church - Swinnow Lane - geograph.org.uk - 450844.jpg
Swinnow Lane LS13 4RG Methodist Part of the Leeds South and West Methodist Circuit

Thorner

Name Image Location Denomination Grade Opened Notes
St Peter's Church
St Peter Church and Yard, Thorner.jpg
Church View, LS14 3ED Church of England II* 15th century
Thorner Methodist Church [272]
Thorner Methodist Church, Main Street, Thorner (7th December 2013).JPG
Main Street, LS14 3BU Methodist 1985 The church is part of the Leeds North and East Methodist Circuit [7]

Thorp Arch

Name Image Location Denomination Grade Opened Notes
All Saints' Church
All Saints' Church, Thorp Arch - geograph.org.uk - 51547.jpg
Church Causeway
LS23 7AH
Church of England II 12th century The church is situated on Church Causeway outside of the village. It is of twelfth century origin, although most of the building dates from its restoration by George Edmund Street in 1871-72. Part of the Lower Wharfe Group of Parishes.[273]
HM Prison Wealstun Church Causeway
LS23 7AZ
Non-denominational 2005 The chapel was dedicated on 1 November 2005.[274]

Walton

Name Image Location Denomination Grade Opened Notes
St Peter's Church
St. Peter's Church, Walton, Leeds (24th May 2016) 010.jpg
Main Street, Walton Church of England II* St. Peter's, in the Parish of Lower Wharfe,[275] is part of the Benefice of Bramham in the Diocese of York. The church is believed to have been built in the year 1350.[276]

West Park

Name Image Location Denomination Grade Opened Notes
Church of the Assumption of Our Lady
Catholic Church of the Assumption of Our Lady - Spen Lane - geograph.org.uk - 665387.jpg
Spen Lane, LS16 5EL Roman Catholic 1957 Part of the parish of Our Lady of Kirkstall [167]
St Andrew the Apostle
St Andrew the Apostle Butcher Hill 04 May 2017.jpg
Butcher Hill, Moor Grange, LS16 5HQ Church of England 1968 On the corner of Butcher Hill and Old Oak Drive; part of the parish of St Mary, Hawksworth Wood and served by the Abbeylands Team Ministry
West Park United Reformed Church
West Park URC 10 May 2017.jpg
Spen Lane, LS16 5BB United Reformed Church 1937 On the corner of Spen Lane and West Park Drive. Formerly West Park Congregational Church.[277]

Wetherby

Name Image Location Denomination Grade Opened Notes
Church on the Corner
St James Church on the Corner - Hallfield Lane - geograph.org.uk - 1173954.jpg
Hallfield Estate, Wetherby Church of England 1873 The Church on the Corner is a Church of England place of worship in the grounds of Wetherby Cemetery. It was originally a mortuary chapel. It is situated next to a near-identical chapel of rest.
St James' Church
St James' Church, Wetherby (15th April 2013) 003.JPG
Church Street, Wetherby
53°55′47″N 1°23′11″W / 53.9298°N 1.3864°W / 53.9298; -1.3864 (St. James' Church, Wetherby)
Church of England II 1842 St James' Church is Wetherby's parish church and the largest church structure in the town.
St Joseph's Church
St Joseph's Church, Westgate, Wetherby in the snow (21st January 2013).JPG
Westgate, Wetherby Catholic 1882 Its extension in 1987 won the Leeds Prize for architecture that year.
Wetherby Methodist Church [278]
Wetherby Methodist Church (31st March 2014).JPG
Bank Street, Wetherby Methodist 1829 Replaced earlier chapels on North Street (now demolished) and Victoria Street (now converted to commercial premises). The church is part of the Tadcaster Circuit.[279] It was refurbished in 2012.

Whitkirk

Name Image Location Denomination Grade Opened Notes
St Mary's Church
St Mary's Church Whitkirk Leeds.jpg
Selby Road, LS15 0AA Church of England I 15th Century Parish Church.

Woodhouse

Name Image Location Denomination Grade Opened Notes
Ahlulbayt Cultural Centre
ADP House Hanover Square 25 Feb 2018 1.jpg
35 Hanover Square, LS3 1BQ Islam Shia Formerly Hanover Square Methodist Chapel (1847).[280] Main Iraq/Iranian mosque in Leeds
Blenheim Baptist Church [281]
Blenheim Baptist Church 8 March 2010 entrance.jpg
Blackman Lane LS2 9ER Baptist Located at the base of Broadcast Tower, also known as "The Rusty Building", which is part of Leeds Beckett University. Replaced previous church building which closed in 2007. Twinned with First Baptist Church of Richardson, Texas.[282]
Cemetery Lodge
Leeds Uni Cemetery Lodge 25 August 2017.jpg
Off Clarendon Road on the University of Leeds campus Muslim II The building contains a Muslim Prayer Room for the North side of the campus.
Central Leeds (Carlton Hill) Meeting [283]
Quaker Meeting House Woodhouse 12 July 2017.jpg
188 Woodhouse Lane
LS2 9DX
Society of Friends 1987 [284] Replaced the former Carlton Hill Meeting House lower down Woodhouse Lane, which is now part of Leeds Metropolitan University
Claire Chapel
Claire Chapel interior 24 August 2017.jpg
Emmanuel Centre, University of Leeds, Woodhouse Lane Christian While the building in which it is housed is a former church, it is not as a whole a place of worship. However a small chapel has been constructed making use of one of the stained glass windows.
Conference Auditorium
Leeds Uni Conf 27 August 2017.jpg
University of Leeds, Willow Terrace Road Muslim This facility of the University provides a Muslim Prayer Room for the South side of the campus
Gateway Church
Gateway Church, Leeds 12 July 2017.jpg
St Mark's Church, St Mark's Street, LS2 9AF Evangelical II 2014 Built as a Church of England Commissioners' Church in 1826, became redundant in 2005+. The church was used as the 'Parish Church of St Matthew' in The Beiderbecke Affair. Renovated and used for Gateway Church and functions including exams for the University of Leeds.
Greater World Sanctuary
Number 14 Clarendon Road, Leeds 7 May 2018 1.jpg
14 Clarendon Road, LS2 9NN Spiritualist II Grade II listed 19th century residence adapted for worship.
The Mount Faith Centre
The Mount Faith Centre Leeds 27 November 2018.jpg
The Mount, 44 Hyde Terrace LS2 9LN[285] Christian Part of an NHS building providing inpatient and outpatient care related to mental health. Open to all for prayer and reflection, but Christian symbols and Communion is held there, according to a notice.

Woodlesford

Name Image Location Denomination Grade Opened Notes
All Saints' Church
All Saints Church - Church Street, Woodlesford - geograph.org.uk - 841909.jpg
Pottery Lane, Woodlesford Church of England II 1870 Due to flooding at St. John's Church, Oulton, Sunday morning worship has temporarily moved to All Saints Parish Hall in Woodlesford.[286]
Woodlesford Methodist Church [287]
Woodlesford Methodist Church - Church Street - geograph.org.uk - 841917.jpg
Church Street, Woodlesford Methodist 1817 The church is part of the Aire and Calder Methodist Circuit,[184] formerly part of the Rothwell Circuit.[288]

Wortley

Name Image Location Denomination Grade Opened Notes
Holy Family Catholic Church
Holy Family Catholic Church, Wortley 16 July 2017.jpg
Green Lane, LS12 1HU Catholic 1895 Gothic Revival red brick with slate roof by John Kelly.
Lower Wortley Methodist Church [289]
Lower Wortley Methodist Church - Branch Road - geograph.org.uk - 573208.jpg
Branch Road, Lower Wortley, LS12 4RN Methodist 1884 Built as a United Methodist Free Church. It acts as a distribution centre for the Leeds North and West Foodbank.[290]

Yeadon

Name Image Location Denomination Grade Opened Notes
Brethren's Meeting Room
Brethren's Meeting Room, Gill Lane Yeadon Jan 2108.jpg
Gill Lane LS19 7DD Plymouth Brethren Also called Gospel Hall.
New Life Community Church
New Life Community Church, Yeadon Jan 2018.jpg
Haw Lane, LS19 7XQ Evangelical II 1891 Formerly St Andrew's C of E parish church, built by Thomas Healey of Bradford in 1891 in Arts and Crafts Perpendicular style.[291]
St John the Evangelist Church
St John the Evangelist - Church Street (geograph 2868983).jpg
Barcroft Grove, Church of England 1844[292] The church is a Commissioners' church with a grant of £300 designed by Walker Rawsthorne and completed in 1844. The chancel was added in 1893.
St Peter and Paul Church
St Peter and St Paul RC Church, New Road, Yeadon - geograph.org.uk - 100719.jpg
New Road, Yeadon Catholic 1955[293]
Yeadon Methodist Church
Yeadon Methodist Church 29 Jan 2018.jpg
Chapel Hill, LS19 7RG Methodist 1875[292] The church is part of the Wharfedale and Aireborough Circuit [53]

Former places of worship

Aberford

Name Image Location Denomination Grade Opened Closure Notes
Aberford Methodist Church
Aberford Methodist Church 14 June 2017.jpg
Main Street South, LS25 3DA Methodist 1912 Replaced 1814 chapel. Sold in 2017 as a house
Gascoigne Almshouses
Aberford Almshouses 14 June 2017.jpg
Bunker Hill, LS25 3DF II 1845 1976 (Now Priory Park) The almshouses had a residents' chapel at the south end (left of picture).[294][295]
Lotherton Hall Chapel
The Chapel, Lotherton Hall - geograph.org.uk - 1222161.jpg
Collier Lane, Aberford 1830 Twelfth century Norman chapel in the grounds of Lotherton Hall, which was in use until 1830 and renovated between 1913 and 1917, when it was used as part of a Voluntary Aid Detachment hospital.[296]

Alwoodley

Name Image Location Denomination Grade Opened Closure Notes
St Barnabas's Church
St Barnabas Church Hall, Alwoodley 2012.jpg
The View, LS17 7NA Church of England 1930s 1963 Now used as a church hall; a new church was built alongside (left of this picture).[297]
St Paul's Church
St Paul's Church Hall Alwoodley Sep 2016.jpg
Buckstone Crescent, off King Lane Roman Catholic 1953 1996 Now used as a church hall; a new church was built alongside (behind in this picture).

Armley

Name Image Location Denomination Grade Opened Closure Notes
Branch Road Methodist Chapel 1877
Baltic Supermarket Branch Road 16 July 2017.jpg
Branch Road, LS12 3AQ Methodist 1877 1905 The grey building on the left is the original, architect Thomas Howell. Replacement chapel to the right. The white addition is the entrance when it was converted to a cinema in 1910. Later a laundry, then a supermarket, currently unused.[159]
Branch Road Methodist Chapel 1905 [298]
Armley Primitive Methodist Branch Rd 2 July 2017.jpg
2 Branch Road, LS12 3AQ Methodist II 1905 Replaced the chapel next door up the hill. On junction with Stanningley Road. Mike's Carpets (now MC Carpets) since 1979
Church of the Ascension
Armley Church of the Ascension 2 July 2017.jpg
115 Heights Drive, LS12 3TG Church of England 1962 Most recent use as Family of God church
Methodist Free Church, Hall Lane
Armley Congregational Church, Hall Lane 2 July 2017.jpg
Hall Lane Methodist 1897 Later Armley Congregational Church, now flats.
Methodist Free Church, Hall Road
Armley Methodist Free Church 2 July 2017.jpg
Colton Street / Hall Road Methodist 1900 Corner of Colton Street (left) and Hall Road (right)
Southfield Primitive Methodist Chapel
Southfield Chapel 26 June 2017.jpg
Wesley Road, LS12 1UL Methodist 1875 [299] Part of the former Leeds Sixth Circuit of the Primitive Methodist Church [300] and one of the chapels used when the Primitive Methodist Conference came to Leeds in 1898.[299] Now in commercial use.

Barwick-in-Elmet

The Miners' Welfare Institute on Chapel Lane was built as a Methodist Chapel in 1804.

Beeston

Name Image Location Denomination Grade Opened Closure Notes
Beeston Methodist Church
Beeston Methodist Church - Town Street - geograph.org.uk - 627684.jpg
Town Street
LS11 8RB
Methodist 1866 Capacity 540 persons. This church replaced an earlier Wesleyan chapel in 1866.[301]
Church of Holy Spirit
Church of the Holy Spirit - Tempest Road - geograph.org.uk - 560536.jpg
Tempest Road,
Beeston Hill LS11
Church of England II November 1905 [302] May 2012 [303] Anglo-Catholic, previously listed as the Parish Church of the Holy Trinity.[304]
St David's Church
St David's Church - Dewsbury Road - geograph.org.uk - 560478.jpg
Dewsbury Road Church of England 1961 22 November 2015 [305] Designed by Geoffrey Davey. The church and adjoining church hall have been sold with potential for residential development.[306]

Bramham

Name Image Location Denomination Grade Opened Closure Notes
Bramham Methodist Church
Primitive Methodist Chapel, Bramham - geograph.org.uk - 306194.jpg
Low Way
LS23 6QT
Methodist 1906 2010 Originally a Primitive Methodist chapel before the unification of the Methodist Church of Great Britain.[307] Now two dwellings.

Burley

Name Image Location Denomination Grade Opened Closure Notes
St Margaret of Antioch Church
Left Bank, Cardigan Road 22 July 2018 1.jpg
Cardigan Road, Burley Church of England II* 1909 1995 Architect Temple Moore. John Betjeman knew and admired the building. Now home to a group of artists called Left Bank Leeds. The church previously occupied a temporary iron building built in 1898.[308]

Burmantofts

Name Image Location Denomination Grade Opened Closure Notes
St Patrick's
St Patrick's Rider Street 2009.jpg
New York Road / Rider Street, Leeds LS9 7DP Catholic II* 1891 2001 Replaced by the new St. Patrick's Church on Torre Road

Chapel Allerton

Name Image Location Denomination Grade Opened Closure Notes
Chapel Allerton Methodist Church
MethodistChapelAllerton.jpg
Town Street, Chapel Allerton Methodist 1878 1983 This church has been replaced by the 1983 Methodist Church also on Town Street. The former church now serves as a 'church centre'.

Chapeltown

Name Image Location Denomination Grade Opened Closure Notes
House of Faith
House of Faith Leopold Street.jpg
21 Leopold Street, LS7 4DA Jewish, Islam 1952 1974 Blue Plaque reads: "Built soon after 1860 for residents of the affluent middle class suburb, in 1924 it became a Spanish and Portuguese Synagogue, and from 1952 to 1960 the Sinai Reform Synagogue. From 1961 to 1974, as the Jinnah Mosque, it was the first mosque in Leeds." It is now flats.
New Synagogue
Northern School of Contemporary Dance, Chapeltown Road, Leeds - geograph.org.uk - 108563.jpg
98 Chapeltown Road, LS7 4BH Jewish II 1929 1985 Byzantine style designed by J Stanley Wright of Albion Street, once the most popular synagogue in Leeds.[309] Now occupied by the Northern School of Contemporary Dance. On closure some of the fittings were removed to the new synagogue in Shadwell Lane, Leeds 17.[310]
Ramgarhia Board Gurdwara
138 Chapeltown Road LS7 2 Feb 2018.jpg
138 Chapeltown Road, LS7 4EE Sikh 1980 1987 Built in 1966 as a social centre for the Ramgarhia community, it was registered as a place of worship in 1980. In 1987 transferred to larger premises at 8/10 Chapeltown Road.[311] Now occupied by a children's nursery.
Union Chapel
UnionChapelSikh.jpg
218a, Chapeltown Road, LS7 various II 1887 1999 Originally joint usage by Baptists and Congregationalists. Later let as synagogue then a Hindu temple. From 1960 to 1999 a Sikh temple. Interior destroyed by fire in 2003.[312]

City Centre

Name Image Location Denomination Grade Opened Closure Notes
Bridge Street Church
Bridge Street Church Leeds LS2 8 March 2017.jpg
Bridge Street LS2 Pentecostal 1931 2016 In 1931 replaced earlier churches around the city from 1910. Was itself replaced by the Bridge Community Church, Burmantofts in 2016. [313]
Lady Lane Chapel
Templar House, Lady Lane, Leeds (7692421664).jpg
Lady Lane LS2 Methodist II 1840 Wesleyan Methodist Association chapel, known as Templar House,[314] designed by James Simpson,[315] later a warehouse, later offices, listed in 1975, currently not in use.[316] As a chapel it reportedly "had space enough for 1,700 worshippers, along with provision for 400 children in a classroom beneath the building".[317] Signage refers to "British Road Services".
Oxford Place Methodist Church [318]
Methodist Church, Oxford Place, Leeds 2015.jpg
Oxford Place, LS1 3AU Methodist II 1903 8 October 2017 1903 Chapel, became a church in 1980 with some rebuilding. The Leeds Mission Circuit became part of the Leeds South and West Methodist Circuit in September 2015. The premises were shared with Oxford Place Centre, which is to redeveloped as an ethical 70-room hotel with a restaurant and meeting rooms.[319] In May 2017, "the Church Council realised that attempting to maintain a worshipping community over the period of the re-development would be very difficult. The Council, therefore, decided that the church should close. On Sunday, 8th October 2017, the Church held its final services, celebrating 182 years of witness and worship in the centre of Leeds."[320]
Salem Chapel
Salem Chapel 4 August 2018 1.jpg
Hunslet Lane LS10 1JW United Reformed Church 1791 2001 The Salem Chapel opened in 1791, while the bow front was added in 1906. Leeds United Football Club was founded there in 1919. The chapel closed in 2001 and is now used as an office and conference facility.[321]
St John the Evangelist Church
St johns leeds atoach.jpg
New Briggate LS2 8JD Church of England I 1634 1975 The architectural historian Nikolaus Pevsner refers to St. John's as 'the only church at Leeds of more than local interest'. It was designated redundant on 1 November 1975.

Cross Gates

Name Image Location Denomination Grade Opened Closure Notes
Stanks Methodist Church
Former Stanks Methodist Church April 2017.jpg
Barwick Road LS15 8SQ Methodist, formerly Primitive Methodist [322] 1869 2006[323] Now a residential property.

Farsley

Name Image Location Denomination Grade Opened Closure Notes
Congregational Chapel
Chapel Studios Bradford Rd Farsley 1 September 2017.jpg
Bradford Road, LS28 6DA Baptist II 1852 By Lockwood and Mawson. Gothic Revival, Early English lancet style in sandstone, and green-slate[324]
Farsley Baptist Church
Farsley Baptist School 1 September 2017.jpg
Bryan Street Baptist 1905 2004[122] Viewed from Priesthorpe Road showing the Sunday School extension to the original church. Now a residential property. The congregation now worships in Farsley Community Church.[122]

Garforth

Name Image Location Denomination Grade Opened Closure Notes
Dayspring Church
Dayspring Church - Main Street - geograph.org.uk - 730649.jpg
62C Main Street, LS25 1AA Evangelical Was open in 2008, but as of 2016 the premises are a beauty salon. The congregation now meets at Garforth library.
Primitive Methodist Chapel
SLP College Garforth.jpg
5 Chapel Lane, Garforth, LS25 1AG Primitive Methodist 1877 1932 Earlier chapel on this site from 1821. Amalgamated with Brunswick Chapel on Church Lane 1932 and building went to commercial use. Now a college.[325]

Harehills

Nam Image Location Denomination Grade Opened Closure Notes
Ashley Road Methodist Church
Ashley Road Methodist Church - geograph.org.uk - 683407.jpg
Ashley Road Methodist 1964 This building is located at the junction of Ashley Road and Ashley Mount. The earlier Ashley Road United Methodist Church was located next door, near the junction with Darfield Crescent.[326]
Congregational Church
Mansha Harehills March 2017.jpg
Harehills Road Congregational 1901 1985 Originally Congregational, later United Reformed Church.

Harewood

Name Image Location Denomination Grade Opened Closure Notes
All Saints Church
HarewoodChurch.jpg
Grounds of Harewood House Church of England 1 c. 1410 1977 Taken into the care of the Churches Conservation Trust on 24 October 1978
Harewood Castle Chapel Grounds of Harewood House The chapel is located at third floor level above the castle's portcullis chamber and was entered from the solar room above the Great Hall.[327][328]

Headingley

Name Image Location Denomination Grade Opened Closure Notes
First Church of Christ Scientist Leeds
First Church of Christ Scientist Leeds - Alma Road, Headingley - geograph.org.uk - 379996.jpg
Alma Road Church of Christ, Scientist The church is now used as offices. It had been proposed to demolish it to make way for Leeds' aborted New Generation Transport project.
Headingley Hill Congregational Church
City Church Headingley 14 July 2018 1.jpg
Headingley Lane, junction with Cumberland Road
LS6 2EB
Congregational Church, later United Reformed Church, later the City Church. II 1864 Built by Cuthbert Brodrick.[329] Used as offices between 1978 and 1996.[330]

Holbeck

Name Image Location Denomination Grade Opened Closure Notes
St Matthew's Church
Holbeck, St Mattew's Church - geograph.org.uk - 228033.jpg
Stocks Hill, Holbeck Church of England II 1830s The building is now St. Matthew's Community Centre. The multi-site Mosaic Church [331] uses the building for a monthly meeting.[332] Much of the housing around it including the high rise flats (with the exception of one block) have been demolished.

Horsforth

Name Image Location Denomination Grade Opened Closure Notes
Providence Chapel
Providence Chapel, Broadgate Lane, Horsforth - geograph.org.uk - 100670.jpg
Broadgate Lane, Horsforth Now converted into apartments

Kirkstall

Name Image Location Denomination Grade Opened Closure Notes
Kirkstall Abbey
Kirkstall Abbey in the late afternoon.jpg
Kirkstall Road / north bank of the River Aire Roman Catholic I c. 1152 1538
Kirkstall Methodist Chapel
Carmine House 04 May 2017.jpg
Victoria Road, LS5 3BE Methodist, formerly Primitive Methodist 1874 Now flats
Zion Methodist Chapel
Chantry House Victoria Road.jpg
Victoria Road, LS5 3JP United Free Methodist, later Roman Catholic use. 1867 (rebuilt 1914) Now offices

Meanwood

Name Image Location Denomination Grade Opened Closure Notes
St Oswald's Church
St Oswald House 31 Jan 2018 01.jpg
Highbury Mount, Highbury, Meanwood LS6 4JL Church of England 1890 2002 Built in 1890 as a mission church sponsored by St. Chad's, Far Headingley to provide the people living in the Highbury/Meanwood part of St. Chad's parish with a place of worship nearer to their homes. Closed 2002, now in residential use.[333]

Middleton

Name Image Location Denomination Grade Opened Closure Notes
Top of the Town Cottages
Town Street Middleton Leeds.jpg
228 Town Street, LS10 3SH Methodist II mid 18th century c 1860 228 Town Street is one of a row of mid-eighteenth century cottages, and is "reputed to have been used as a Methodist meeting house until c1860".[334]
Middleton Methodist Chapel
Middleton Methodist Chapel - geograph.org.uk - 1180227.jpg
Hopewell View
LS10 3TE
Methodist 1896 2014 Replaced an 1860 chapel and Sunday School on the same site.[335] Now converted for residential use.[336]

Moortown

Name Image Location Denomination Grade Opened Closure Notes
Moortown Methodist Chapel
Moortown Methodist Chapel 2016.jpg
Shadwell Lane Methodist II 1850, rebuilt 1876 1932 Later used as a synagogue, now converted for business use, and has had several tenants.

New Farnley

Name Image Location Denomination Grade Opened Closure Notes
Lancasterian School Room [337]
Lancasterian School Room, Upper Moorside, Farnley, Leeds.jpg
Upper Moor Side or Moor Top, New Farnley Church of England 9 April 2016 Founded as a school by Joseph Lancaster, a Quaker, in 1813. Monthly Church of England services were held there until April 2016.[338]

Otley

Name Image Location Denomination Grade Opened Closure Notes
Craven Street Primitive Methodist Mission Craven Street Primitive Methodist 1901? Early 1950s Thought to have been built in 1901. Now a scout troop HQ with an adjoining community centre.[339]

Pudsey

Name Image Location Denomination Grade Opened Closure Notes
Pudsey Unitarian Church
Pudsey Unitarian Church - geograph.org.uk - 350601.jpg
Church Lane Unitarian 1861 Founded in 1854, the church was built in 1861.[340] It was converted for residential use around 2012 and is now known as "Churchfield House".[341]
Trinity Methodist Church
Trinity Methodist Church - geograph.org.uk - 358728.jpg
Wesley Square Methodist II 1899 Now a nightclub

Rawdon

Name Image Location Denomination Grade Opened Closure Notes
Christian Science Church
Christian Science Church, Quakers Lane, Rawdon - geograph.org.uk - 100702.jpg
Quakers Lane LS19 6HU Christian Science 1949 ? Built 1912 as an Adult School: church from 1949[238] now a residence "Knotta Cottage".

Richmond Hill

Name Image Location Denomination Grade Opened Closure Notes
Grace Faith Ministries
Grace Faith Ministries 17 August 2017.jpg
27-29 Cross Green Lane LS9 8LJ Evangelical 2016? 2017 Building is for sale
Mount St. Mary Church
Mount St Mary's Church 15 August 2017.jpg
Ellerby Road Roman Catholic II* 1866 1986 Situated adjacent to Mount St Mary's School. Only basic structural repairs have been made to the building since its closure. It is in a state of relative dilapidation.

Roundhay

Name Image Location Denomination Grade Opened Closure Notes
St John's Church
St John's Roundhay 2016 01.jpg
Wetherby Road, Roundhay Church of England until 2008 II 1826 2008 The church opened in 1826 off Wetherby Road. The area is generally considered Oakwood these days but in 1826 was considered part of the village of Roundhay. The church is situated behind the almshouses; both were built at the expense of S. Nicholson. The church was closed by the Church of England in 2008, who then sold it to an evangelical denomination for a nominal £1, although they have never opened it. The church and churchyard are now in a state of dilapidation. An organisation called "the Friends of Roundhay St. John's Church" was founded in 2014 to work for the restoration and conservation of the church and two adjacent graveyards.[342]

Seacroft

Name Image Location Denomination Grade Opened Closure Notes
Seacroft Methodist Church
MethodistChurchSeacroft1874.jpg
York Road, LS14 6JB Methodist 1874 2000 Since 2014 Chapel FM, an arts venue.[343]

Shadwell

Name Image Location Denomination Grade Opened Closure Notes
Methodist Chapel
Shadwell72Library.jpg
99 Main Street LS17 8HL Methodist II 1814 [344] 1892 Worship transferred to the church in 1892. Was Shadwell public library, but closed 2012 and re-opened as community-run Shadwell Independent Library, Arts Centre and Cafe.

Sheepscar

Name Image Location Denomination Grade Opened Closure Notes
Divine Exchange Christian Centre [345]
Divine Exchange Leeds.jpg
Unit 3, 19 Sheepscar Street
LS7 1AD
Non-denominational 2018
Salvation Army Church
Salvation Army Meanwood Rd 04 June 2017.jpg
175 Meanwood Road
LS7 1JW
Salvation Army 1912 Now a charity shop.
Woodhouse Carr Chapel
Old Chapel 232 Meanwood Rd 09 June 2017.jpg
232 Meanwood Road
LS7 2AH
Wesleyan Methodist 1873 1950s Architect G. F. Danby. Now business premises.

Stanningley

Name Image Location Denomination Grade Opened Closure Notes
Stanningley Methodist Church, later Church of the Holy Spirit
The Church of the Holy Spirit - Leeds and Bradford Road, Stanningley - geograph.org.uk - 371417.jpg
Leeds and Bradford Road Methodist, later Roman Catholic 2010 There was originally a Primitive Methodist chapel in Richardshaw Lane.[346] The Catholic parish registers are now held at Christ the King Church, Bramley.[347]
Olivet Chapel
Olivet Chapel, Stanningley 1 September 2017.jpg
50 Bradford Road, LS28 6DD Methodist and United Reformed II 1856 1982 [348] Ashlar facade, hammer-dressed stone to sides and rear, Welsh blue-slate roof.[349]

Swarcliffe

Name Image Location Denomination Grade Opened Closure Notes
St Luke's Church
St Luke's Church Swarcliffe April 2017.jpg
Stanks Lane North, Swarcliffe Church of England 1963 2012 Designed by M. J. Farmer to serve the council estate. Stone faced with slate roof.

Temple Newsam

Name Image Location Denomination Grade Opened Closure Notes
Temple Newsam House Chapel Colton Road
LS15 0AE
Church of England 1 1877 1974 The Palladian library of 1738-45, built in the end of the Jacobean Long Gallery, was converted into a chapel in 1877 by G F Bodley, and reconverted in 1974.[350]

Thorner

Name Image Location Denomination Grade Opened Closure Notes
Thorner Methodist Church
Kirklands, Thorner 31 May 2017.jpg
Carr Lane Methodist II 1878 1985 Built 1876-78 by C. E. Danby (Leeds),[351] and now converted into flats. There was previously a Methodist chapel in Main Street, Thorner, founded in 1754.[272]

Weardley

Name Image Location Denomination Grade Opened Closure Notes
The Old Chapel Weardley Lane (OS Grid Ref. SE2966044594) Now known as "The Old Chapel" and converted to residential use.[352]

Wetherby

Name Image Location Denomination Grade Opened Closure Notes
Calvinist Chapel, Victoria Street
Former Wesleyan Chapel, Victoria Street, Wetherby (12th October 2013).JPG
Victoria Street, Wetherby Calvinist 1817 c. 1835 The former Calvinist chapel closed along with the Methodist chapel on North Street after mergers within the Methodist church brought about the building of a new church on Bank Street. While the North Street chapel has since been demolished and is now a car park, the Victoria Street chapel survived. It is currently in use as a hairdressers.
Christian Army Meeting House
Former Christian Army Meeting House, Bank Street, Wetherby (5th September 2014).JPG
Bank Street, Wetherby Independent unknown unknown The premises are now used for commercial purposes.

Whinmoor

Name Image Location Denomination Grade Opened Closure Notes
St. Margaret Clitheroe's Chapel of Ease Catholic 1981 2006 Former chapel of ease served by St. Gregory's Church, Swarcliffe [353]

Woodhouse

Name Image Location Denomination Grade Opened Closure Notes
Blenheim Baptist Church
Unison Blenheim Baptist Church 2010.jpg
Woodhouse Lane Baptists II 1864 2007 By Cuthbert Broderick. Coursed squared gritstone, slate roof. Gothic Revival style.[354]
Carlton Hill Meeting House
Old Broadcasting House, Leeds.jpg
Woodhouse Lane Society of Friends 1868 Leeds Meeting purchased Carlton House and part of an estate in Woodhouse Lane from John Jowitt in 1864. The house was demolished, and new premises were built on the site, including the meeting room and school rooms, committee rooms and a caretaker's house. After the Society moved to new premises further north on Woodhouse Lane, the building was used as [Old] Broadcasting House, headquarters of BBC Yorkshire, and it is now part of Leeds Beckett University.[355]
Emmanuel Church
Emmanuel Church, Woodhouse Lane 27 August 2017.jpg
Woodhouse Lane Church of England II 1880 Now the Emmanuel Centre, a building of the University of Leeds, close to the Parkinson Building.
Leeds Grammar School Chapel
Leeds Grammar School Chapel front 25 July 2017.jpg
Moorlands Road Church of England II 1868 1997 Now part of the Leeds University Business School
New Jerusalem Church
New Jerusalem Church Leeds U 1 27 August 2017.jpg
Willow Terrace Road Swedenborgian Church 1885 Now used as a store by the University of Leeds
Trinity St David's Congregational Chapel
Trinity St David's Congregational Chapel (former) (Taken by Flickr user 7th February 2013).jpg
Woodhouse Lane Congregationalist II 1898 The Trinity St. David's Church was converted into a nightclub; Halo and a bar; The Quilted Llama opening in 2005. Both closed in May 2014.[356] The building is currently unused.

Yeadon

Name Image Location Denomination Grade Opened Closure Notes
Yeadon Primitive Methodist Chapel
Yeadon Methodist Chapel 1875 29 June 2018.jpg
Devonshire Place (Town Square)
LS19 7PP
Primitive Methodist 1875 Also known as Yeadon Central Primitive Methodist Chapel;[357] now used as offices.[358]

Demolished places of worship

Adel

Remains of Roman tombstones and altars have been found near Adel Mill along Roman road 72b,[359] which ran from Ilkley to Tadcaster. An altar dedicated to Brigantia and a stone slab with an inscription surrounding a phallus are both preserved in Adel parish church.[360]

Alwoodley

Name Site now Location Denomination Opened Demolished Notes
Alwoodley Gates Methodist Chapel Methodist West Yorkshire Archive Service holds papers dating from 1846 to 1972.[361]

Armley

Name Site now Location Denomination Opened Demolished Notes
Armley Chapel, later St Bartholomew's Church
Armley Chapel 03 16 July 2017.jpg
In the grounds of the present St Bartholomew's Church Church of England 1630 1909 Armley Chapel constructed 1630, consecrated 1674, enlarged to St Bartholomew's Church 1834
St Dunstan's District Church
Ley Lane housing estate 16 July 2017.jpg
Parliament Terrace Church of England 1898 After 1964 St Bartholomew's Mission Hall from 1898, St Dunstan's District Church from 1909, closed 1957.[362] St Bartholomew's, St Dunstan's and St Hugh's formed a single parish.[363] Parliament Terrace no longer exists but Parliament Road and Parliament Place still form part of the housing estate off Ley Lane which now occupies the area.

Arthington

Name Site now Location Denomination Opened Demolished Notes
Arthington Priory
The Nunnery - geograph.org.uk - 137023.jpg
Arthington Lane Roman Catholic Mid-12th century The priory was home to a community of nuns of the Cluniac Benedictine order established through a grant by Peter de Arthington. The site of the priory church is possibly now occupied by a farmhouse called The Nunnery.[364]

Beeston

There was a chapel in Beeston with an anchorite cell attached, built before 1257.[365]

Belle Isle

Name Site now Location Denomination Opened Demolished Notes
Belle Isle Congregational Church
URC South Leeds 10 July 2017.jpg
Nesfield Road, LS10 3LG Congregational 1952 2010 Opened 4 October 1952 by the Belle Isle Fellowship of the Leeds Congregational Council. A wooden hut had been used by the congregation from 1949 to 1952.[366] Replaced in 2010-11 by United Reformed Church in South Leeds.

Bramhope

The original Methodist chapel in Bramhope was built in 1837, near to the site of the current church, which replaced it in 1896.[367]

Bramley

Name Site now Location Denomination Opened Demolished Notes
Sandford Methodist Church
Former Sandford Methodist Church - Broad Lane - geograph.org.uk - 626803.jpg
Broad Lane, Sandford, Bramley LS13 2RU Methodist 2017 Closed 2007: picture is prior to demolition.

Burley

Name Site now Location Denomination Opened Demolished Notes
Catholic Mass Centre, later Sacred Heart Church The corner of Poplar Street and Burley Road Roman Catholic 1890 A cottage on the corner of Poplar Street and Burley Road was used as a Roman Catholic mass centre for the Burley area from 1890 onwards. Later the Jesuits took it over and built a church on the site of the cottage, which became the original Sacred Heart Church serving the Burley area.[368]
Export Mission Church, later Christadelphian Meeting Room Makkah Jamia Masjid Mosque The corner of Brudenell Road and Thornville Road Methodist 1890s 1997 Constructed by the Walmsley brothers from sections imported from the USA. From 1924 to 1988 used by Christadelphians.[369]
St Simon's Church[370] The Leeds Studios[371] Ventnor Street Church of England 1865 Designed by Thomas Shaw in the Decorated Style. The parish was created 1969 from Leeds St Andrews and united in 1955 with Leeds All Hallows.[372]
Ventnor Street Methodist Chapel[373] The Leeds Studios[374] Ventnor Street corner with Kirkstall Road Methodist 1865 1867[375]

Burmantofts

Name Site now Location Denomination Opened Demolished Notes
St Alban the Martyr's Church Ebor Gardens Estate County Street, between Cutler Street and Prince George Street Church of England 1876 [376] Designed by architects, Messrs. Walford and Pollard of Bradford, and built in a cruciform structure of brick in the Early English style.[377]
St Patrick's Chapel York Road Roman Catholic 1831 [378] Later used as part of the adjoining school on Pott Row.[379]
St Stephen's Church Nippet Lane Church of England 1854 1939 [380] The church was designed by John Dobson and consecrated on 9 November 1854. It had an octagonal turret and a spire containing 2 bells. The ecclesiastical parish of St. Stephen's had been formed in 1851 out of St. Peter's parish, and became part of the parish of St. Agnes when the church closed.[381] The west window stained glass in St Agnes' church was originally in St Stephen's.[382]
York Road Baptist Church Ebor Gardens Estate York Road, between the junctions of Halton Place and Ainsty Road Baptist 1872 [383] Closed 1959, demolished soon afterwards Designed by W.H. Harris of Leeds.[384] Demolished for housing estate. A replacement church located on Haslewood Drive closed in 1986.[385]

Buslingthorpe

The Church of St Michael was built in 1852-1854 on Buslingthorpe Lane and demolished in the late 1950s or early 1960s. The architect was O. W. Burleigh, of Leeds.[386]

Chapel Allerton

Name Site now Location Denomination Opened Demolished Notes
Capella de Alreton Catholic Referred to in a land grant of around 1240, possibly established by the monks of Kirkstall Abbey for the use of their lay brothers working at the grange or small farm (the present site of the Allerton Grange estate), or possibly a manorial chapel.[387]

City Centre

Name Site now Location Denomination Opened Demolished Notes
Albion Chapel
Pinnacle, Leeds 14.jpg
Albion Walk, off Albion Street Various 1793 1889 Foundation stone of Albion Zion Chapel laid 1793, chapel opened 1794. Became an Anglican chapel in 1796 and consecrated as St. James' Chapel, 30 September 1801. Became a Scottish Presbyterian Chapel, 2 January 1802. In February 1837 it became a Congregational chapel and in July 1840 it became the New Connexion General Baptist Chapel. Rev. Jabez Tunnicliff was minister from 1842. From 1847 to 1883 it was a Swedenborgian chapel. Then for six years it served as a wool warehouse and later storage for the Leeds Mutual Supply Company, until the building burned down on 12 July 1889. A graveyard was discovered in 1973.[388] The site is now Pinnacle, formerly West Riding House.[389]
Call Lane Chapel Metro Bus Stand K5 and open space, Call Lane LS1 Independent or Arian Marked on an 1847 Ordnance Survey map with the word "Arian".[390] It is not marked on an 1890 OS map.[391] Baptismal records covering the years 1695-1778 are held by the National Archives.[392]
Ebenezer Methodist New Connexion Chapel Victoria Quarter Harewood Street
LS2 7JA
Methodist New Connexion Alexander Kilham preached here. The chapel burialyard was ordered closed to further burials by a motion passed at Leeds Town Council in June 1848.[393]
Harrison's Almshouses Chapel Bradbury Building, Age UK Leeds [394] Mark Lane LS2 8JA Around 1815 The chapel of Harrison's Almshouses, built by John Harrison in the churchyard of St John the Evangelist, was converted for use as the Leeds Charity School in 1726. The Charity School rebuilt the premises in or around 1815 before moving to Regent Street in Chapel Allerton in the 1890s.[395] A blue plaque mentions the chapel.
St Anne's former cathedral
The Light, Leeds (27th May 2010).jpg
The Headrow Roman Catholic 1838 1904 St. Anne's church originally stood at the junction of Guildford Street (the present Headrow) and Cookridge Street. It became a cathedral in 1878 when the Diocese of Leeds was established. The site was purchased by Leeds Corporation in order to widen The Headrow.[378]
St Paul's Church Park Square Residence [396] Park Square Church of England 1793 1905 Built to provide a place of worship for the residents of the Park Estate.[397]

Clifford

Name Site now Location Denomination Opened Demolished Notes
Wesleyan Church
St Edward King and Confessor Catholic Church, Clifford 002.jpg
Chapel Lane LS23 6HU Methodist Before 1838 Before 1845 An early trade directory of 1838 identifies a Wesleyan Chapel and it is believed this was on the site of the present tower of St Edward's Church.[91]

Cross Gates

Name Site now Location Denomination Opened Demolished Notes
Cross Gates Wesleyan Church Austhorpe Road
LS15 8QR
Wesleyan 1882 1893 Opened on 6 December, 1882; the building cost £836. 15. 7d and was dedicated by Revd. Marshall Randles, later President of the Methodist Conference, who also preached at the opening ceremony. Replaced by the current Methodist church on adjacent land in 1893.[105]

Eccup

Kelly's Directory of the West Riding of Yorkshire (1881) refers to a Methodist (Wesleyan) chapel in Eccup.[398][399]

Halton

Name Site now Location Denomination Opened Demolished Notes
St John's Church Corner of Selby Road and Field End Road, LS15 0QD Catholic 1969 [400] The church was a chapel of ease served by St Theresa's Church, Cross Gates, now a children's nursery [401]

Harehills

Name Site now Location Denomination Opened Demolished Notes
Ashley Road United Methodist Church Ashley Road, Harehills, at the junction with Darfield Crescent United Methodist Church 1906 The church was used as a furniture warehouse after the church members had moved to the new Ashley Road Methodist Church next door (now closed).[402] The architect was H. Ascough Chapman.[403]

Harewood

Name Site now Location Denomination Opened Demolished Notes
All Saints Church Predecessor to the present-day church. The original church, founded in 1116, was completely re-built in the 15th century by the descendants of Sir William de Aldeburgh (the builder of Harewood Castle). Its founder was William de Curcy, son-in-law of Robert de Romelli, the Norman Baron to whom the manor of Harewood was given by William the Conqueror after the Battle of Hastings.[404]

Holbeck

Two churches in Holbeck, St John's Church and St Barnabas' Church, were demolished and replaced in 1938 by St John and St Barnabas Church in Belle Isle.[42]

Horsforth

Name Site now Location Denomination Opened Demolished Notes
The Grove Methodist Chapel New Street Methodist 11 May 1796 The predecessor of the present Grove Methodist Church, located in New Street opposite the present church.[405]

Hunslet

Name Site now Location Denomination Opened Demolished Notes
Christ Church One Leeds City Office Park Meadow Lane, south of the junction with Great Wilson Street Church of England 1826 1972 Constructed between 1823 and 1826 of Bramley Fall stone. This was the first of the Million Churches built in Leeds, named after the special Government grant of £1,000,000 which was used to build over 600 churches across the country. Designed by R. D. Chantrell. The church was built in the decorated style with a square tower and pinnacles along each side.[406][407]
St. Jude's Church Leeds City College On the corner of Leathley Road and Hunslet Road Church of England The final service was held in 1950, the church was deconsecrated in 1954 and in 1955 the Alf Cooke Printworks acquired the site. A window from the church was preserved in the factory building,[408] was moved for a time to St. Mary the Virgin Church in Hunslet, and has been installed in the Leeds City College board room since October 2017. The church also maintained a mission room about 500 yards away on Cross Myrtle Street.[409]
St. Silas' Church Matrix House (business premises) [410] Goodman Street
LS10 1NZ
Church of England 1870 1955 Funded by the Leeds Church Extension Society at a cost of £5000,[411] its architect was George Corson and the church seated 750 worshippers.[412]
Wesleyan Methodist Chapel [413] Meadow Lane Wesleyan Methodist 1815

Kippax

Name Site now Location Denomination Opened Demolished Notes
Kippax Wesleyan Church Chapel Lane, Kippax Wesleyan Methodist Church Late 1960s or early 1970s [414] Replaced by the current Methodist Church on the opposite side of Chapel Lane

Leylands, The

Name Site now Location Denomination Opened Demolished Notes
Back Nile Street Synagogue (Beth Hamedrash Hagodel Synagogue) North Street and Back Nile Street (now Nile Street).[415] Jewish 1908 Back Nile Street had a new synagogue built in early 1908 to replace the previous one on Hope Street, which was demolished as part of the "Hope Street Improvement Programme".[416]
St Luke's Church Northgate House (Henton's Chartered Accountants) On the corner of Skinner Lane and North Street. Church of England 1841 Designed by architects William Perkin and Elisha Backhouse.[417]
St Thomas' Church Melbourne Street, east of St. Thomas Row Church of England 1851 Built in 1850/1 at a cost of £7,000. It was paid for by M. J. Rhodes. The designer was W Butterfield, the exterior of the building was contrasting black and red brick, it stood on a 36-acre site.[418]

Little London

Name Site now Location Denomination Opened Demolished Notes
Blenheim Baptist Church
Blenheim Baptist Church, Blackman Lane - geograph.org.uk - 148847.jpg
Blackman Lane LS2 9ER Baptist 1864 [419] 2007 The church was demolished in 2007. The picture is of the site prior to demolition.

Merrion Centre

Name Site now Location Denomination Opened Demolished Notes
First Leeds Synagogue Back Rockingham Street Jewish 1846 1963 A Civic Trust plaque on the side of a staircase in the Merrion Centre marks the site.[420]
New Briggate Synagogue Merrion Street Jewish 1927 This was the second largest synagogue in Leeds during the early part of the 20th century. The site is now a mock Tudor building in New Briggate/Merrion Street.[420]

Newsam Green

Archaeologists believe that there may have been a chapel at the Temple Newsam Preceptory, south east of Temple Newsam House, a few yards to the south-east of junction 45 of the M1 motorway. Excavations in 1903 found human remains, stone coffins and a possible chapel,[421] but a rescue dig in 1989-1991 failed to find the chapel, which was surmised to be under an industrial spoil heap to the south.[422] The Gatehouse Gazetteer refers to "the area immediately north of the chapel", which had been disturbed by animal burials before the 1989-1991 excavation.[423]

Otley

Name Site now Location Denomination Opened Demolished Notes
Archbishops' Palace Manor Square LS21 3HU Roman Catholic The Archbishops of York had an episcopal palace at Otley which was occupied from medieval times until 1606. Ruined at the time of the English Civil War. Excavations by the Otley Archaeological and Historical Society have found chapel buildings dating from three periods: a Saxon/Norman building, an early 13th century chapel of two storeys with a vaulted undercroft, and a later single-storey building.[424]
Salem Chapel [230][231]
Otley Bridge Church 01 7 August 2017.jpg
Current site of the Bridge Church 1826 1897 [230]

Pool-in-Wharfedale

Name Site now Location Denomination Opened Demolished Notes
Seventeenth Century Church, name unknown Current site of St Wilfrid's Church Church of England Leeds City Council notes that there may have been another chapel on the current site of St. Wilfrid's Church in the 17th century, or alternatively it may have been located at a site immediately to the west of Manor House and the current Church. The Pool tithe award map of 1850 indicates the field name ‘Chapel Garth’ at this location.[425]

Quarry Hill

Name Site now Location Denomination Opened Demolished Notes
Old Boggart House [426]
West Yorkshire Playhouse, Leeds (30th May 2014) 006.JPG
Site of West Yorkshire Playhouse Methodist Church of Great Britain 1813 The Old Boggart House was demolished following the opening of the adjacent St Peter's Chapel in 1834. The site is marked by a blue plaque on the steps leading to the Playhouse.
Quarry Hill Ebenezer Primitive Methodist chapel Chapel Street Primitive Methodist 1822 Originally called "Chapel Street Chapel", later "Quarry Hill Chapel".[427] New frontage was added in 1846 and the chapel was enlarged in 1874. It closed in 1933.[428]
St Mary's Church [429]
DWYD 13 August 2017.jpg
St Mary's Street Church of England 1825 1979 A Commissioners' Church, architect Thomas Taylor.[430] Located on the top of the hill, looking over New York Road towards the city centre, and known both as "St. Mary's Mabgate" and "St. Mary's Quarry Hill".[431] The site is now a Diocesan Office. The Sunday school remains, as does the burial ground, a green area sloping down to Mabgate.

Roundhay

The first post-Reformation Catholic church in Leeds was the Roundhay Mission.[432]

Rothwell

Name Site now Location Denomination Opened Demolished Notes
Rothwell Primitive Methodist Chapel Leeds City College Marsh Street
LS26 0AE
Primitive Methodist There were two Primitive Methodist chapels in Rothwell.[433] The site in Marsh Street was formerly Joseph Priestley College [434] and is now Leeds City College's Rothwell Centre.[435]
St. George's Hospital Chapel Private housing Wood Lane
LS26 0RW
The chapel closed in 1990 or 1991 with the rest of the hospital site [436] and was subsequently demolished for the construction of a housing estate.[437]

Scarcroft

A Roman altar has been identified near Milner Beck in Scarcroft.[438]

Sheepscar

Name Site now Location Denomination Opened Demolished Notes
Holy Rosary Church Barrack Street [81] Catholic 1886 Now on Chapeltown Road
Roscoe Methodist Church Roscoe Mount Methodist Now on Francis Street

Stourton

Name Site now Location Denomination Opened Demolished Notes
St. Andrew's Church Pontefract Road After 1973 The Leeds, Stourton and Thwaitegate War Memorial, erected by the Stourton St Andrews War Memorial Committee, originally stood at the church.[439]

Swillington

The Doomsday Book states that 'a church is there', but no record of that building now remains.[269]

Thorpe Park

Northern Archaeological Associates make reference to an altar of Iron Age or Roman origin at Grim's Ditch, part of an archaeological site investigated as part of the Thorpe Park commercial development.[440]

Wetherby

Name Site now Location Denomination Opened Demolished Notes
Chapel of Ease, Wetherby
Wetherby Town Hall 001.jpg
Market Place, Wetherby Church of England The chapel was replaced by St James' Church. Wetherby Town Hall now occupies the site.
North Street Primitive Methodist Chapel
St. James Street car park, Wetherby (5th September 2014).JPG
North Street, Wetherby Primitive Methodist 1874 Post 1920 The church closed after mergers within the Methodist church, closing this and the Calvinist Chapel on Victoria Street (now a hairdressers). The Bank Street church effectively replaced them. The site is now a car park.

Woodhouse

Name Site now Location Denomination Opened Demolished Notes
Camp Road Baptist Chapel Housing off Grosvenor Hill Camp Road, facing onto Grosvenor Hill Baptist 1874 after 1966 The chapel was in use as a warehouse from the 1940s until at least 1967.[441]
Catholic Apostolic Church Grass and trees, part of Leeds University campus Cromer Road, opposite Lyddon Hall Catholic Apostolic Church 1886 [442] after 1962 Architect James W. James of London. Gothic style, red brick with stone dressings, barrel roof and interior plastered.[442]
Woodhouse Methodist Church Onestop Woodhouse community convenience store Woodhouse Street, LS6 2NY, on the corner of Wesley Court Methodist The first Wesleyan Chapel on this site was built in 1770.[443] The last church was a single storey purpose-built building.[444]

Wortley

Name Site now Location Denomination Opened Demolished Notes
St. Mary of Bethany Church Tong Road Church of England 1886 1975 The church spire was 135 feet high. Closed on 6th November 1972 due to population changes,[445] and demolished in 1975.[446]

Yeadon

Name Site now Location Denomination Opened Demolished Notes
Queen Street Chapel Hanover House apartments Queen Street Methodist 1865 [292] 1971 Originally called United Methodist Chapel,[292] then Queen Street Methodist Chapel and (from 1955) St Mark's Methodist Chapel.[447]

Major sources

The following sources provide much of the detail used here:

See also

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