Prompted to envision a just and equitable Pittsburgh, I think about how the once vibrant and boisterous Hill District has been culturally displaced and disinvested. I think about how East Liberty once was a Black district full of Black Families, and Black Businesses. I think about how segregated Pittsburgh is, how the gentrified city lines enhance gerrymandering. How many names will they give stolen streets? I may never know, the origins they hide. It seems they attempt to drown out Black History into the deep unfixed potholes of cracked cemented streets. To be The City of Bridges, the community relationship is one bus ride away from crumbling under its poor foundation, that’s why the bus is always delayed.

So when having to envision a just and equitable Pittsburgh I believe it is a city that acknowledges how Black people have weaved roots into the city. Without Black contributions, Pittsburgh would not exist.

"Down to The Root of Unity — Stop Scalping Our Community” is a powerful multi-media digital artwork that envisions the transformative potential of reparations, seeking to mend the historical and systemic disparities within the city. The title itself carries a profound play on words, intertwining the literal roots that signify the scalps of Black women and the concept of scalping, referring to the removal of the scalp or entire head.

The piece intricately explores the relationship between the city and the Black community, recognizing the indelible imprint of the city on Black minds. Drawing inspiration from the cultural history of Black enslaved women who braided maps into their hair as a form of escape planning, the artwork beautifully depicts Black hands weaving the city together. These hands not only bear the weight of the city but also hold up a symbolic bridge, resilient under the pressure, as a metaphor for unity and strength.

In the artist's vision of a Just Pittsburgh, the crown of Black culture is restored as a foundational element for the city's prosperity. This symbolic restoration involves reinvesting resources back into the community, offering a poignant commentary on the need for reparations. The piece cleverly employs a visual juxtaposition by submerging the city below water, highlighting the contrast with a skyline that reaches the clouds. This stark differentiation serves to underscore the profound impact of intentional investment in creating a just and equitable city.

Ajani Zanaya skillfully layers archived historic photos of The Hill District, weaving a narrative that bridges the past and the present. Kanekalon is adorned with Black hair accessories to illustrate nostalgia, referencing youth and new beginnings. The visual elements of the artwork work in tandem with its conceptual depth, creating a piece that not only reflects on historical injustices but also envisions a future where reparations serve as a bridge of atonement, compensating for the enduring contributions and culture of the Black community.