over the next half hour we'll celebrate the culture and delve into the issues important to black americans across the country. over 3a million black voters will be eligible to cast their ballots this year. but could the rolling back of voting rights threaten turnout? retracing the footsteps of the tens of thousands of africans shipped and sold across the alabama river. i believe that our existence as a company is to serve as a reminder of the great potential that we have as human beings. and we can come together and that we can have a universal language. telling the story of the black experience through movement and music. the alvin ailey dance company celebrates african american culture on stage. i'm sumi somaskanda. welcome to our bbc news special

celebrating black history month in the us. every february the united states pays tribute to the legacy and contributions of black americans. from the fight for voting rights to the civil rights movement, which pushed for an end to discrimination on the basis of race, religion, sex or national origin. black history month in the us is a tradition that began in 1926 as a week—long celebration of black history and culture started by author and civil rights activist dr carter g woodson. 50 years later in 1976, gerald ford would become the first us president to formally recognize it as a month—long celebration. calling on americans to "seize the opportunity to honour "the too—often neglected accomplishments of black "americans in every area of endeavour "throughout our history." it wouldn't be until 90 years after the first black history week that the nation's first black president, barack obama, would commemorate black history month at the white house. from our earliest days, black

history has been american history. applause and cheering the slaves who — applause and cheering ii? slaves who carried the stone to build the white house. the soldiers who ought to our nations independence. who fought to hold the union together. for black americans, securing the right to vote has been a long and challenging road. by the 1960s, southern legislatures enforced restrictive laws that used literacy tests and poll taxes to disenfranchise black voters. they wouldn't receive protections from these legal barriers until the voting rights act of 1965. four years following the act's passage, the number of eligible registered black voters rose from 23% to 61% nationwide. by 1980, the percentage of the black population on southern voter rolls surpassed the rest of the country. and in 2012, for the first time in us history, black voter turnout exceeded that of white voters, as the electorate helped re—elect

president barack obama. but in recent years, the fight to protect voting rights in historically disenfranchised communities is growing more fierce. at the end of 2023, at least 1a states enacted 17 laws restricting voting rights. most of those laws will be in effect for this november's general election. and are expected to disproportionately impact communities of colour. i discussed concerns about voting rights protections with california secretary of state shirley weber. it is the 59th anniversary of the voting rights act, this is an important election year as you know as the secretary of state in california. are you worried about efforts to disenfranchise black voters in particular the impact that could have on the election in november?— could have on the election in november? . , ., november? i'm away is worried about the _ november? i'm away is worried about the voting _ november? i'm away is worried about the voting rights - november? i'm away is worried about the voting rights act - about the voting rights act because it is, we have basically dropped the ball with it or stop we don't uphold the principles of the act of 1965,

we don't do that anymore, we let it lapse on us and we don't reauthorise it and we have seen the things happening, or the bills coming out of different states trying to restrict people from voting and make it harder for people to register to vote and making it harder for them to stand in line to the polls at having the regulations about how many polls you need to have a certain area so the black communities have long waiting trying to eliminate but bymount now in certain districts in a have to register every year rather than having it as a permanent absentee ballot experience for you. i'm very concerned because the nation has pulled back and not lived up has pulled back and not lived up to the expectations that were there before with regards to the voting rights act of 1965. it is heartbreaking, i tell people my grandmother never voted in this country because he died before 1965. he was born in this country and his father was a slave, was born in the 1800s and he never voted in arkansas because the

rules and regulations concerning regulation. my father never voted until we came to california in his mid to late 30s. he never got a chance, his father and grandfather never did. we know people were disenfranchised and to know once we act away from the voting rights act, and the provisions that are there, it will be a wild country in terms of what folks are putting forth and they are already putting forth regulations to restrict people, some of the most ridiculous sings you've ever heard up to restrict people's participation in voting.- participation in voting. what do ou participation in voting. what do you want _ participation in voting. what do you want to _ participation in voting. what do you want to see - participation in voting. what do you want to see the - participation in voting. what i do you want to see the federal government do?— government do? they need to reauthorise _ government do? they need to reauthorise the _ government do? they need to reauthorise the voting - government do? they need to reauthorise the voting rights | reauthorise the voting rights act and make it a part of the united states and not something that we reauthorise every so many years. it's clear the issues of race are deeply embedded in this society. to believe you can just walk away from it and it solves its own problem is ludicrous. at some point we are to recognise that this is a part of this nation and we have to continue to work to protect it and make sure

that every person who is a citizen of this country has unfettered opportunity to vote. and that the book will be respected. this is critical and this is the fundamental issue, i was telling young people the other day, there were two things we fought for in the civil rights. 0ne things we fought for in the civil rights. one was education because we understood how fundamental that was but one lbj, the president and others offering usjobs and having a job programme and a poverty programme, king and others said no, we need a voting rights act. they understood the power of voting and that we needed the federal government to ensure the opportunity of every person to vote, everyone else fought for it because with that comes your power, your dignity and your ability to protect yourself. and your ability to protect yourself-— and your ability to protect ourself. . ~' . and your ability to protect ourself. ., ~ . ., yourself. thank you so much for “oininu yourself. thank you so much for joining us _ yourself. thank you so much for joining us on — yourself. thank you so much for joining us on bbc— yourself. thank you so much for joining us on bbc news. - yourself. thank you so much for joining us on bbc news. my - joining us on bbc news. my pleasure- — the teaching of black history has become a flashpoint in state legislatures across the us. florida governor ron desantis moved to overhaul his state's school standards,

banning books and prohibiting discussions about �*divisive' concepts. these political battles have led historians, pastors and legislators to host readings, panels and discussions in a growing movement to preserve and teach black history. one example of this is the freedom monument sculpture park opening in montgomery, alabama just next month. the park will offer a journey through the story of enslaved people, allowing visitors to retrace the footsteps of tens of thousands of africans shipped, sold, then transported by rail in the united states in the 19th century. it's also part of the equaljustice initiative's newly opened legacy museum. i recently spoke with its founder and executive director, bryan stevenson. i want to stop at the opening of the freedom monument park that will happen x month. tell us more about what the site will be? , , will be? this will be the third component — will be? this will be the third component of _ will be? this will be the third component of the _ will be? this will be the third component of the legacy - will be? this will be the third i component of the legacy sites. in 2018 we open something called the national memorial for peace and justice which is

a six acre site dedicated to the victims of lynching. we also opened the legacy museum which is a comp rancid museum that talks about the history of america through the lens of black people in slate —— comprehensive. and segregated and now with some of the to break issues. it's an effort to address something really overlooked in america which is the history that focuses on the lives of enslaved people. we had millions of people in this country who were enslaved whose lives were constrained who had bondage and forced labour with a lot of violence and humiliation and degradation aj found the capacity to love in the midst of sorrow and credit generations of people. who fought for this country. we believe that is to be a space that honours this community of people who did so much. freedom monument stop your park will be able seven acre site on the banks of the alabama river where many were trafficked and people who have world—class art

to help people understand the human component of this history and it will feature something that we are calling the national monument of freedom which will be the first comprehensive monument to enslaved people in the united states, we will mean all of the 4 million people who are emancipated after the civil war at this monument and i'm delighted to share it with the well. ., �* , delighted to share it with the well. . �* , ., , ., well. that's remarkable. i want to come back _ well. that's remarkable. i want to come back to _ well. that's remarkable. i want to come back to something - well. that's remarkable. i want to come back to something you just touched on because i saw the equaljustice initiative organisation said that the site is a response to the absence of authentic historically significant places in america that explore the institution of slavery, the lives of enslaved people and the legacy of slavery. why do you think there is that absence on a national level? i is that absence on a national level? ., �* ~' . level? i don't think we had the ca aci level? i don't think we had the capacity or _ level? i don't think we had the capacity or taken _ level? i don't think we had the capacity or taken the - level? i don't think we had the capacity or taken the time - level? i don't think we had the capacity or taken the time to l capacity or taken the time to really reckon with this history. if you go to south africa you will see an apartheid museum that talks about the history powerfully.

in belinda holocaust memorials and museums and spaces that reckoned without legacy, there is a genocide museum in rwanda. many places across the weld had these horrific human rights abuses have time to reckon with his histories but in each of those places i the change in power, black south africans took over south africa after the collapse of apartheid. the nazis lost the war, a different regime shaped postwar germany. there was a military transition in rwanda. in the united states has never been a transition of power, the north won the civil war but the south wonder narrative war, the ideas of racial hierarchy that shaped and informed so much about history whenever confronted and there were never eliminated and thatis there were never eliminated and that is why we have a century terror violence and lynching, laws segregating people, i was born in a committee with black children not being able to

attend public schools. simply because we were black and all that history is part of our experience but without a change in power there has not been the will to talk about that history. that is why so much of what we are trying to do we have to do in a very different way than what you have seen in other countries across the globe. other countries across the lobe. �* , other countries across the ilobe_ �*, ., other countries across the lobe. �*, . , ., globe. it's remarkable and i want to talk _ globe. it's remarkable and i want to talk to _ globe. it's remarkable and i want to talk to you - globe. it's remarkable and i want to talk to you about i globe. it's remarkable and i l want to talk to you about your work as well representing capital defendants and death row prisoners. you been representing these people since 1985, you've won reversals, release from prison for more than 140 wrongly condemned prisoners. you said that at the core of your work is addressing poverty in challenging racial discrimination act especially in the justice system. what drives your work to continue to do this? i drives your work to continue to do this? . ., , do this? i fundamentally believe each _ do this? i fundamentally believe each of - do this? i fundamentally believe each of us - do this? i fundamentally believe each of us is - do this? i fundamentally i believe each of us is more do this? i fundamentally - believe each of us is more than the worst thing we have ever done i think if someone tells a lie they are notjust done i think if someone tells a lie they are not just a done i think if someone tells a lie they are notjust a liar. if someone takes something that not just a if someone takes something that notjust a thief but if you kill someone you are notjust a

killer and justice requires we understand the other things that you are. in the united states we now have the highest rate of incarceration in the world, we put hundreds of thousands of people in jails or prisons without the kind of careful review that i think is warranted. my work is really a response to the tremendous need that has most of the last half—century that results from a criminal legal system that often treats you better if you are rich and guilty than poor and innocent. ifeel are rich and guilty than poor and innocent. i feel compelled to stand with the condemned, those who have been wrongly convicted and have been unfairly sentence because i think that's the only way you get to a place where you can claim you live in a just society, a healthy community. i'm the product of people who enforce the supreme court ruling a day opened the doors to public schools for me in a time when the community was not prepared to let black into schools and i want to use the same power, the same commitment to the rule of law that created

opportunities for me to create opportunities for me to create opportunities for me to create opportunities for other people. i worry about large numbers of people in our society here that are marginalised and dispossessed and disfavoured that disadvantaged because of poverty and bigotry and i feel the need to fight for their rights. the need to fight for their ri . hts. ., the need to fight for their riahts. ., ., r' the need to fight for their riahts. . ., ,~' ., rights. can i ask, through the ears to rights. can i ask, through the years to be — rights. can i ask, through the years to be doing _ rights. can i ask, through the years to be doing this - rights. can i ask, through the years to be doing this work, i years to be doing this work, what have you seen change when it comes to addressing that poverty and racial discrimination act? i poverty and racial discrimination act? .. discrimination act? i think in many ways — discrimination act? i think in many ways we _ discrimination act? i think in many ways we have - discrimination act? i think in many ways we have pushed l discrimination act? i think in - many ways we have pushed back against the continuing trend towards more and more imprisonment. we have not seen the same increase in the prison population in the last eight years that we saw in the preceding decade. in 2001 the projection was one in three black male babies born in this country was expected to go to jail or prison, that has improved considerably over the past decade. they're still at your medicine out of work to be done —— still at your medicine out of work, to talk about the history of this country, the

plight of enslaved people and people terrorised by violence and lynching and were humiliated by segregation to bring the stories front and centre i think helps our country enter into a new era of truth and justice, truth and restoration, truth and restoration, truth and restoration and all over the globe we see too much of the politics and anger and i worry when we allow ourselves to be governed by fear and anger we tolerate things we should never tolerate, accept things we should never accept. the corrective to that is a commitment to truth telling, a commitment to truth telling, a commitment to truth telling, a commitment to the lifting up of the values that ought to bring us together and that is what is encouraging me in this moment, despite a lot of indications that suggest we are nowhere near where we need to be to claim the kind ofjust society we want to live in. we claim the kind ofjust society we want to live in.— we want to live in. we will have to — we want to live in. we will have to leave _ we want to live in. we will have to leave it _ we want to live in. we will have to leave it there, - we want to live in. we will. have to leave it there, thank you so much forjoining us and sharing your work with us today. sharing your work with us toda . ~ , sharing your work with us toda . y , ., , the sharing of black stories through movement and music has been a tradition in

the african american community for centuries. and it's a rich legacy that has been continued by the alvin ailey american dance theater company. founded by choreographer and civil rights icon alvin ailey in 1958. ailey formed the company to carry out his vision of enriching american modern dance heritage while preserving the uniqueness of the african american cultural experience. his choreography is still used by the company today. the stunning performances are inspired by ailey�*s childhood in rural south texas and include classical, social and folk dances. this can be seen in his signature masterpiece, revelations, which is inspired by his childhood memories attending church services in texas and the writings ofjames baldwin and langston hughes. it's set to a suite of spirituals, gospels, and holy blues that tells the story of african american faith and persistence from slavery to freedom. recently, i caught up with the alvin ailey dance director, ronni favors, while the company was performing here in washington.

i want to start by talking about revelations, this is obviously an iconic work and looks at the african—american experience through church, spirituals, gospels, blues, how do you describe this work? it’s do you describe this work? it's a classic- _ do you describe this work? it�*s a classic. when i think about classic books, and how i was so intimidated by them until i started to read them and it was like with our classics because they continue to speak to you. it doesn't matter when they were written but they touch a court in your heart and revelations is definitely a dance that the word transcendent gets overused but it is transcendent. i had the pleasure and privilege of being in the audience as part of my job, i sit in the house every night and watch and i get to see the reactions of the audience and wherever we go in the world people are able to see themselves reflected in the people on stage and i think it

is because alvin ailey was really concerned about bringing regular people onto the stage and having regular people's stories being told. music playing ~ ., , music playing when he was t in: to music playing when he was trying to create _ music playing when he was trying to create the _ music playing when he was trying to create the company| trying to create the company there was a reaction to the fact that there were places for people of colour to do concert dance work. at the same time there were not many stories of people of colour being told on stage as well. there's something about revelations that everyone can see themselves in and find solace and inspiration and hope in because at the end it is this trajectory, the dance itself is a trajectory of going from here oppressed, reborn and triumphant. that is the story we all want to have.- we all want to have. that trajectory _ we all want to have. that trajectory is _ we all want to have. that trajectory is described . we all want to have. that l trajectory is described also we all want to have. that - trajectory is described also as exploring the depth ofjoy and grief. how do you explore those

emotions through dance and movement?— emotions through dance and movement? �* �* , ., movement? alvin ailey made it really easy _ movement? alvin ailey made it really easy for _ movement? alvin ailey made it really easy for us _ movement? alvin ailey made it really easy for us because - really easy for us because somehow just the choreography, the shapes and movement and musicjust sets you up and set a dancer up and if you are true to the movement, the reaching, not being able to break out of your barriers, being lifted up and transported through space. the whole baptism section and rebirth, spiritual rebirth and again the final section. all of the movement does it for you and the movement does it for you as well. and the movement does it for you as well-— and the movement does it for you as well. the work on stage when you _ you as well. the work on stage when you see _ you as well. the work on stage when you see something - you as well. the work on stage when you see something that i when you see something that touches a chord with people, what core did touch with you when were first introduced to the work, what does it mean to you today? i the work, what does it mean to you today?— you today? i saw revelations when i you today? i saw revelations when i was _ you today? i saw revelations when i was 16. _ you today? i saw revelations when i was16. i— you today? i saw revelations when i was 16. i was - you today? i saw revelations when i was 16. i was dead i you today? i saw revelations| when i was 16. i was dead set on becoming a ballet dancer and wanted to be a ballerina and i did not like modern dance and

my mother kept bugging me about going to see that alvin ailey dance company but when i saw revelations i guess i think you are seeing your history, to see black people on stage as artists with dignity and grace and dancing as well as any ballet dancer i'd ever seen. it hit me, this is something i can do. i wanted to be able to express all of the things that were in my life, myjoys and sorrows and disappointments, my hopes and fears and when i saw revelations i saw all of that. in one piece.— revelations i saw all of that. in one piece. alvin ailey, who is an icon _ in one piece. alvin ailey, who is an icon of _ in one piece. alvin ailey, who is an icon of american - in one piece. alvin ailey, who is an icon of american dance i is an icon of american dance and i thought it was interesting he said he was uncomfortable with the level black choreographer and he said "i feel an obligation to use black to answers because there must be more opportunities for them but not because i'm a black choreographer talking to black choreographer talking to black people." what does that

mean to you?— mean to you? the practice is called the — mean to you? the practice is called the alvin _ mean to you? the practice is called the alvin ailey - mean to you? the practice is called the alvin ailey dance i called the alvin ailey dance american theatre, design american theatre, design american stories and people and the fact that we can this as well. it's not about in black american but being american. all the stories he's telling are the human condition, to say it's a black story or he is a black choreographer he felt was limiting. there are multitudes of stories he told and i think that bertens well for the future. there is no limit to the stories that need to be brought to the stage and as we progress as a society we are having new stories and new music to dance to. using all kinds of movement. 0ur music to dance to. using all kinds of movement. our mission has never strayed from celebrating black cultural experience as well as being able to be a repository for modern dance works and the mantra we work for is what i believe is dance came from the

people and she should be delivered back to the people. was that in itself the ability to open up this dance and experience, was a political? to see his work is portico? yes experience, was a political? to see his work is portico?- see his work is portico? yes i do. -- political. _ see his work is portico? yes i do. -- political. he— see his work is portico? yes i do. -- political. he did - see his work is portico? yes i do. -- political. he did make| do. —— political. he did make some political works but as some political works but as some of the dancers that were in his company in the earlier days said basically we were being political by being on stage and having the audacity to stand up and tell the stories and dance this way and not be categorised and perform in these places in these ways but to be able to take the stage and the space and own it. his work has been described as american culture, american dance company and an ambassador for american culture abroad, you performed around the world. what message do you think transmit about merrick and culture resonating as you tell us with people around the world

— back about america. us with people around the world - back about america.— - back about america. people still look _ - back about america. people still look to _ - back about america. people still look to america - - back about america. people still look to america as - - back about america. people still look to america as a - still look to america as a beacon of what a country can be. we have, whether we're living up to it now or we have a constitution and a set of laws and rules that are supposed to represent all people equally. 0ur existence as a cultural ambassador represents the best of what america can be. that is what alvin was trying to do was show what we could be. what our potential is. i believe that our existence as a company is to serve as a reminder of the great potential that we have as human beings. that we can come together and we can have a universal language. the company was to racial purposefully so that stories were not limited to just one people that stories were not limited tojust one people but illustrated that universally of

the human condition. with this majority black company being able to represent america it creates a different idea of what america can be. if people are coming _ what america can be. if people are coming to _ what america can be. if people are coming to sit _ what america can be. if people are coming to sit down - what america can be. if people are coming to sit down for - what america can be. if people are coming to sit down for one| are coming to sit down for one of your shows, what is the impact you hope they are leaving the room with? at the end of the performance? jay. end of the performance? joy, ho -e for end of the performance? joy, hope for the _ end of the performance? joy, hope for the future. - end of the performance? joy, hope for the future. a - end of the performance? irry. hope for the future. a friend of my mother's set i go to sleep alvin ailey and i feel like i can change the world. i think it isjust like i can change the world. i think it is just belief in potential that we have to do good and be good and share good. that is what i want people to come away with. queue. so much for sharing your work and alvin ailey�*s work with us today. work and alvin ailey's work with us today.— work and alvin ailey's work with us today. great to be part of this, is _ with us today. great to be part of this, is such _ with us today. great to be part of this, is such an _ with us today. great to be part of this, is such an honour. - just a note on the company we visited them while they were performing a sold—out run right

here in washington, dc. before we go, we wanted to leave you with the words of the acclaimed singer, pianist and civil rights activist, nina simone. in an exclusive bbc interview done in 1991, she spoke to david upshal on the late show — reflecting on how the barriers of race in america had kept her from achieving her dreams. an experience that still resonates with some today. what prevented you from being a classicalm — well, i went to thejuilliard school of music for two years and studied with carl friedberg and then i applied for a scholarship to curtis institute of music in philadelphia and they turned me down because i was black and i never got over it. do you think you missed out from not being able to express yourself as a classical performer? yes, i do. i suppose in my solitude. i still regret in becoming.

because you get an audience who listens to music. who do not smoke. and who do not drink. and they have come to listen to you. and it's the world's most revered kind of music. classical music is all over europe and all over the world. it's regarded as the highest and of course, i always wanted to be associated with the highest type of music. so, in that sense i regret it. thank you forjoining us for our black history month special this half hour. i'm sumi somaskanda in washington. we'll be back in the next hour. stay with us here on bbc news. hello there.

friday was a day of sunshine and showers, some of the showers heavy with some hail mixed in. and with colder air moving in across the country, we saw a bit of snow return to the top of the cumbrian fells. this is the top of helvellyn, snow—covered there in cumbria. now, so far this february, it has been a bit of a wash—out across england and wales. cardiff and coventry have had well over double the average rainfall so far this month. parts of east anglia, houghton hall in norfolk have had three times the average rainfall, and there is more to come as well. now, on the satellite picture, all of this white speckled cloud you can see to the north and west of the uk is shower cloud, and there are loads of those, so we are looking at more showers working in. and over the next few hours, by and large the showers are most likely to be across northern and western scotland, a few for the north and west of northern ireland, one or two for wales and the southwest of england but otherwise, particularly across inland areas, we'll have clear spells to take us into saturday morning and a cold start to the day with some frost or maybe one or two icy stretches. should be a fine if somewhat

chilly start to the day, then, on saturday, but it is another day where we'll see showers pop up. some of those across northern scotland, some of the heaviest ones probably across southern areas of england and southern and western wales with a real threat of seeing some hail and a bit of thunder mixed in. still, where the sunshine comes out, temperatures of around 8—10 degrees to be expected — that's about average at this time of the year. for sunday, there'll be further showers across northern scotland but an area of low pressure looks set to run in across northern france. now, this could bring a spell of rain and windier weather to southern counties of england and southern wales or it could be that the rain just holds a bit further south out in the english channel. so, that's the big zone of uncertainty, really, as we head through sunday but still the bulk of the uk having a fairamount of sunshine and temperatures, still about 8—10. now, if we do see that rain in the south, could still be affecting east anglia and south east england into monday with quite breezy weather conditions but further north for northern ireland and scotland, good parts of northern england and wales will be underneath the influence of this ridge of high pressure and so,

the weather should be drier with more in the way of sunshine. after a cold and locally frosty start to the day, our temperatures not really changing that much day to day. highs of again around 8—10 degrees or so. then, deeper into the new working week, it stays unsettled, temperatures often near double figures, but there will be rain at times.

hey, i'm dylan with the catch—up. tonight: a world war ii bomb in plymouth. mansplaining goes viral. and a panda party. but first, shamima begum, the 24—year—old who travelled to syria to join the islamic state group when she was 15, has been told by a top court that she can't come back to the uk. she had appealed the government's decision from back in 2019 that strips her of her british citizenship on the grounds of national security. her lawyers say they won't stop fighting until she's home. and if you want to hear more on this story, then check out the shamima begum story podcast on the bbc sounds app. some other stories now. an unexploded world war ii bomb that was found in plymouth has been put in the sea to be detonated. thousands of people were evacuated as the bomb was taken through the city. the 500kg device was transported by the military after it was found buried in a garden on tuesday.

germany has become the latest country in europe to legalise