Jano Justice Systems and Jury Selection
I was recently on jury duty and did some informal inquiry and observation about the current ways in which Champaign County (IL) finds jurors. On a Monday morning, about 35 of us showed up at the courthouse in downtown Urbana and had a brief orientation. The staff handed us badges with bar codes and our juror number on them along with a brochure about petit juries. The brochure said that my name “was drawn by lot from the combined lists of registered voters, licensed drivers, holders of Illinois Identification Cards, and Illinois Disabled Person Identification Cards who reside in this county.” The county uses Jano Justice Systems software to generate the jury pool. Apparently since 2003, the county has been using Jano in tandem with New World Systems to integrate the record-keeping and data management of the courts, according to this one article I found. “Together, Jano and New World will integrate multiple agencies, including the Sheriff’s Office, Correctional Facility, State’s Attorney, Juvenile Detention Center, Circuit Court and Clerk, Adult Probation, Juvenile Probation and Public Defender so each entity has access to critical information stored on a single system.” New World indeed.
Of the 35 people I saw that first morning in the jury assembly room, I saw two African Americans and one woman who was reading a Spanish language newspaper. Otherwise, everyone looked white. That’s about 8 percent non-white. There is a Champaign County Citizens’ Advisory Committee on Jury Selection that formed in 2008 to look at the racial disparities among jurors. According to Brian Dolinar, writing on the Independent Media Center’s website: “For several years the Courtwatch study conducted by the League of Women Voters has shown that while African Americans make up 60% of defendants, they represent 5%-6% of the jury pool.”
I was called back for the afternoon and sat through the voire dire phase, without being called. It was fascinating to watch the 13 jurors being questioned and selected. The person on trial was a white male. The next day, I was told not to come in. The third day I was told to report at 9am. I did so and was called to the jury box. There was another white man on trial. I was dismissed by the judge shortly thereafter, and thus ended my jury duty for this round.
While I was waiting at various times this week, I read a really good article in Communication Theory from February 2003 (13:1, pp. 5-38) called “The Racial Foundaiton of Organizational Communication.” Authors Karen Lee Ashcraft and Brenda J. Allen noted that “the field’s most common ways of framing race ironically preserve its racial foundation.” They argued, rightly I think, that “the valuing difference approach ignores a … power problem. If corporate America is built around Whiteness–and if Whiteness is socially constructed as separate from and superior to darkness–how can we genuinely speak of valuing difference as a possibility?” (p. 16)
Memorial Day and Beyond the Chief
I have spent this rainy Memorial Day thinking more about responses to the vandalism of “Beyond the Chief,” by artist Edgar Heap of Birds. Because this art installation of twelve red and white signs is to honor and remember those tribes and peoples who have come before us, I wondered about parallels between the damage to these memorial signs and destruction of other markers of ancestral spots, like graves. In 1993, the Jewish cemetery in Billings, Montana, was desecrated. A film called “Not in Our Town” was made about the collective response to hateful acts in Billings, and then two more DVDs from The Working Group followed, on other towns that responded to hate crimes.
A useful, brief discussion–”Vandalism to Art at the University of Illinois Native American House”–among WILL-AM staff Celeste Quinn, Director of American Indian Studies Robert Warrior, and Mr. Heap of Birds is archived on the radio’s website. While this interview came up when I search the UIUC website, there has been no official post regarding the vandalism (that I know of.)
There’s a now-six-year-old article on Heap of Birds’ work at the Museum of the American Indian in New York City that Wilhelm Murg wrote in Indian Country Today. At that museum, which is in the former U.S. Custom House at Bowling Green, Heap of Birds displayed his “Diary of Trees” which included “large text drawings and full-scale maquettes (large Y-shaped forms used in his studio) for ‘Wheel,’ his 50-foot outdoor sculpture designed for the Denver Art Museum.” I have always thought that the Smithsonian’s acquisition of the old custom house for Native American art exhibits was at least a beginning step toward reclaiming Manhattan. The Daniel Chester French sculpture from 1907, one of the four “Continents” that still mark the entry to the building in lower Manhattan, is of its time in its depiction of white domination and Indian subordination. I have written and spoken about it elsewhere, but this image pretty much says it all:
