Portland might be at the forefront of progressive composting, but in terms of racism and police violence against people of color, it is no different than any other urban center in America. The incredible documentary Arresting Power begins with an excruciating play-by-play of the 911 calls leading up to the murder of Aaron Campbell, who, feared suicidal by his family after the death of his brother, was shot and killed as he attempted to defend himself from a police dog attack. It is only the beginning of a long string of examples, some discussed in depth (Kendra Jade, Rickie Johnson, Tony Stevenson, Keaton Otis), others noted in passing between sections, but all where police killed and attempted to justify the use of their excessive violence. As Walidah Imarisha has explored in her examination of Oregon’s racist beginnings, the state was founded as a white refuge and has a long history of exploiting minorities for labor, while not allowing them to settle permanently. The notorious Lash Law was technically on the books until 2001. In the 1920s, Oregon also had the highest per capita membership of the KKK in the nation (approximately 14,000).
In the wake of systemic police violence in Albina, a group of black activists in north Portland founded the NCCF, the National Committee to Combat Fascism, in 1967. Members of this organization (Kent Ford, Percy Hampton) went on to spearhead the Portland chapter of the Black Panther Party. Like the Oakland and Chicago chapters of the BPP, they emphasized community empowerment, self-sufficiency, and public safety within the black community, starting breakfast programs at Highland Community Church and a free health clinic on North Russell, named after Chicago BPP chairman Fred Hampton. The historical incidences described are beyond belief, but the unjustified killings all follow typical patterns of police violence: claims of non-existent weapons, fleeing black “suspects” defined as “threats”, racial profiling and the absolute debasement and lack of concern among white people in authority for black people’s lives. Great sets of interviews with Joann Hardesty (Albina Ministerial Alliance Coalition for Justice & Police Reform) and non-violent protesters attacked and arrested by police during marches for Kendra Jade in 2003 reflect a culture of intimidation and violence used to squelch public dissent.
The directors–Jodi Darby, Julie Perini, Erin Yanke–scratch 16mm film at the sites of the killings just as graphite rubbings are made from gravestones. These segments are used as segues, with names of the victims shown on screen. It is an unsettling and effective method of respectfully acknowledging a list of names so abhorrently long that no single documentary could adequately cover each story and give redress to the social injustices reflected in each. The fact that filmmakers would have to pick and choose from such a long list of “justified” killings is telling and only reinforces the fact that Portland is more concerned with fulfilling the state’s historical dreams of white capitalist enclave and gentrified hi-tech playground than investing in our increasingly displaced and struggling communities of color.