THE POWER OF ART AND PHILANTHROPY: STEPHANIE ELLIS-SMITH'S ENDURING IMPACT

By Kathya Alexander

A little over 25 years ago, I moved to Seattle. And the first event I attended was also the first event (I would later learn) that the CD Forum for Arts and Ideas had ever held. There are many things that my old lady brain doesn’t remember about that event (like where it was), but what I’ll never forget is that it was hosted by a woman-led Black organization, and that it was the epitome of class and professionalism. It was there that I met Stephanie Ellis-Smith for the first time. And so I have always, in my mind, associated her with style, elegance, and culture. If this was what I could expect from Seattle’s Black arts community, count me in! 

Even though she is no longer involved with CD Forum, the legacy of that organization, now housed in Seattle Central District’s historic Langston Hughes Performing Arts Institute, has had a profound impact on me specifically, and on Seattle’s Black arts and Black artists, in general. 

Stephanie with guests on Phīla Engaged Giving Connect Day 2023.

Founded in 1999, the CD Forum has spent the past two and a half decades creating a space for Black artists in the Pacific Northwest to be seen, heard, and celebrated. It has become a space to network, soothe the soul, and is dedicated to presenting emerging Black arts, artists, and ideas in Seattle. Back in 1999, I was trying to imagine myself as a writer. The CD Forum has had much to do with giving me the opportunity to figure out what that means. I found a receptive culture willing to support Black art. And interestingly, 25 years later, the latest productions of two of my plays will be performed at Langston in October in collaboration with the CD Forum. For me, that speaks volumes about the power of Seattle’s Black arts community, which will always, in my mind, be connected to this powerhouse of a Black woman named Stephanie Ellis-Smith.

Ellis-Smith’s latest venture is as Founder and CEO of Phīla Engaged Giving, where she works with ultra-high-net-wealth individuals, families, foundations, and corporations who make investments in people and in organizations. When I asked her what she saw as the connection between the arts and philanthropy, she answered, “Art moves people emotionally; philanthropy moves resources. When they come together, you get movements that shift culture, not just moments that are soon forgotten. So the connection is really about power: the power of expression and the power of support. Art sparks the vision, and philanthropy can help carry it forward.”

"To me, Black art is proof of our resilience and our imagination. It’s both a celebration of who we are and a reminder of everything we’ve brought, and continue to bring, to the cultural richness of this country!”

It is easy to see, then, how Ellis-Smith and ARTE NOIR have had such a solid collaboration and partnership. Founded in 2021 by Vivian Phillips, an arts leader with decades of experience working and advocating on behalf of Seattle's creative community, ARTE NOIR, like Stephanie, has been dedicated to showcasing and uplifting Black art, artists, and culture. They both have strong reputations built on the love for their community, and a deep reverence for the soulful power of Black art. Both ARTE NOIR and Ellis-Smith’s vision of Black art work to uplift and celebrate Black artists, makers, thinkers, and doers who are the shapers and innovators in their fields.

When I asked about her history with ARTE NOIR, specifically, Stephanie responded, “I chose to support ARTE NOIR because it represents so much of what I believe art and community can do together. Vivian has been both a mentor and an inspiration to me. Her vision and leadership have shown me what it looks like to marry creativity with community building. What I love about ARTE NOIR is its place — situated at a historic intersection in the Central District. That location is not just geography; it’s a powerful symbol of reclamation, of community ownership, and of honoring the cultural heartbeat of a neighborhood that has given so much. To me, ARTE NOIR is more than an arts organization — it’s a living statement that Black culture, creativity, and community belong at the center of our story of resilience and success.” 

Stephanie in her element.

At a time when the attacks on Black history have been ramped up to a rate that mirrors or exceeds the Jim Crow era, it is now more important than ever for the Black community and Black artists to come together to fight this racist attack on our culture. I wanted to know if that has impacted the work Ellis-Smith does in terms of donor giving. “It has absolutely undergone a change,” she says. “Everyone feels like they could be in the crosshairs. It’s the most difficult moment of my professional career, by far. I see a lot of political resistance stemming from this administration and their rhetoric around going after ‘far left propagandists and organizations’, which is quite scary. As far as our donors, I’m amazed that none have pulled back on their giving. We are instead seeing more and bigger gifts. It’s heartening, but I do worry about targeting and safety. Some are starting to give anonymously, which, before 2025, I counseled against. Now, I’m all for it if that means the money keeps flowing.”

It takes a special kind of courage to speak truth to power in this current political climate. In spite of this, Ellis-Smith actively supports the theory that “giving Black is giving back.” She says she is moved by John A. Powell’s concept of “targeted universalism”, which is an approach that supports the needs of particular groups, even the politically powerful or those in the majority, by including or even centering the needs of the most marginalized. “Supporting Black issues and causes betters everyone. We are all part of the same social and civic fabric.”

“It’s woven right into the story of this country,” says Ellis-Smith. “For generations, Black artists have used their creativity to take back their narratives, push back against stereotypes, and show the depth and beauty of our heritage. If you look back, you see how art and social change always seem to travel together-- from the Harlem Renaissance reshaping culture to the murals that carried the Black Lives Matter message onto city walls. What makes Black art so powerful is the way it helps us connect. It builds empathy, it starts conversations, and lets people experience things they might never have lived. And it does it with honesty, showing the struggles, but also the joy and triumphs. To me, Black art is proof of our resilience and our imagination. It’s both a celebration of who we are and a reminder of everything we’ve brought, and continue to bring, to the cultural richness of this country!” This is the kind of level thinking that continues to make Stephanie a standout Black female leader.

While it is easy to become overwhelmed, Stephanie says she takes steps to keep herself grounded. “For me, gratitude is an active practice. I actively work to stay present and acknowledge the good I have done in the community and the achievements I have earned. Those experiences have made me a better person and leader, and I never want to minimize them.”

Having had a lasting impression of Stephanie and her work, it is clear why ARTE NOIR is choosing to celebrate the legacy of Stephanie Ellis-Smith and her support. She not only contributes to the organization, but she also continues to take an active role in making Seattle a place where Black art and Black artists are recognized, supported, and encouraged. 

I certainly feel that I would not be the artist I am today had I not had that chance meeting with her in my first few days in Seattle. The environment she created not only showed me the power of Black women in the arts but also allowed me to dream a dream that has led me to publish a novel and write award-winning plays. And, in many ways, I have Stephanie Ellis-Smith to thank for that.

ABOUT THE AUTHOR

Kathya Alexander is an author, playwright, storyteller, and teaching artist. Her award-winning work includes: The Fringe First Award for Black to My Roots: African American Tales from the Head and the Heart at the Edinburgh Festival Fringe for Outstanding New Production and Innovation in Theater in Edinburgh, Scotland, in addition to numerous other awards for her writing. She is also a regular contributor to the South Seattle Emerald. Kathya has been published in The Pitkin Review, Arkana Literary Magazine, Pontoon Poetry/Black Lawrence Press, and Native Skin Magazine. She has also been published in anthologies by the African American Writers Alliance (AAWA) and in Raising Lily Ledbetter: Women Poets Occupy the Workplace by Lost Horse Press. 

Her playwriting credits include The Negro Passion Play, Black D*ck Matters, Hands Up! Don’t Shoot!, Think Before You Do, With Hope And With Morning, David & Jonathan: A Modern Day Retelling of the Biblical Story, Homegoing; A Revolution of Hope, emotionalblackmale, HumaNature, Dream’n, Native Sons and Daughters, Nappy Roots: A Fairy Tale, and Black to My Roots.

Additionally, Kathya is a founding member, producer, and Resident Playwright of Brownbox Theatre: Reimagined Black Theater in Seattle, WA, and she is a proud member of the Creative Advantage Arts Partners Roster, the African American Writers Alliance, and the Seattle Storytellers Guild.

Learn more about Kathya here.