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Local musical phenom Shaina Shepherd has been busy. After spending the tail end of 2023 playing at festivals with bands like Margo Price and The Head and the Heart, staging knock-out performances at sporting events for every major league team in Seattle, opening for the iconic powerhouse Liv Warfield, and collaborating with the likes of rock star Duff McKagen, you'd think she would be ready for a much-deserved break. But that's not how Shaina does it. “Vocalist Shaina Shepherd pushes her vocals past “soul” territory into “shreds,” like Sharon Jones fronting Mötley Crüe.” — Graham Issac, Nada Mucho As a community organizer and event producer, Shaina is currently bringing two recurring events to the masses. First up, there's self-described "creative atrium" Jam Jar at Cafe Racer on Capitol Hill every Wednesday, where Shaina and her All-Star band back up notable artists like Kate Van Petten, Rell Be Free, Jimmy James, Andy Coe, and more, with events planned to continue in the coming months. Next, you can catch Sunday Sessions at Tim's Tavern in White Center, where Shaina brings her impressive vocals, artistry, and family fun to the Tim's indoor stage every Sunday afternoon. Sunday sessions are a modern vaudevillian-style series open to all ages, where the audience should be ready to sing along, play a game, or just sit back and enjoy Shepherd's lively, one-woman show featuring special guests, and true to her nature, a celebration of music and friendship. Amidst her ongoing performances and events, Shaina is also working on a forthcoming album. Be sure to sign up for her eNews and follow her on socials to learn about release dates, upcoming events and all the rest. We love having this mega-talent in our own backyard and we can't wait to find out what else she's got up her musical sleeve! Shaina Shepherd's website Follow Shaina on Instagram You can also catch Shaina on a recent episode of Converge Media's The Day with Trae below! 👇🏾 (Shaina's segment begins around minute 14)

by Colleen J. McElroy1935–2023 these days I speak of myself in the past tense writing about yesterday knowing tomorrow is no more than mist crawling toward violet mountains I think of days when this weather meant you were not so far away the light changing so fast I believe I can see you turning a corner the rain comes in smelling of pine and moss a kind of brazen intrusion on the careful seeds of spring I pay more attention to details these days saving the most trivial until I sort them for trash or recycle  a luxury I’ve come to know only recently you have never been too far from my thoughts despite the newborn birds and their erratic songs the way they tilt their heads as if drowsing for the sun the way they repeat their singular songs over and over as if wishing for a different outcome Colleen McElroy was the first Black woman to achieve full professorship at the University of Washington, in 1984, after graduating in 1973 with a Ph.D. in Ethnolinguistic Patterns of Dialect Differences and Oral Traditions. She would join the faculty at the University that same year. McElroy became one of the great American poets of our time who also put pen to paper and developed stories of fiction and nonfiction, short stories, travel writing, television screenplays, and stage plays. In a 2013 interview with Author Magazine, McElroy noted, “My mother had many sisters, and they would gather in my grandmother’s house. And they would tell stories about everybody. I learned how to listen to those stories, figure out what’s going on.” Colleen McElroy departed this life on December 12, 2023, yet we are reminded of her often, and particularly during Women’s History Month. Colleen McElroy reading her poem, "To Fool the Tricks of Time" at the University of Washington, 2022.

In 1990, Carl Mack had a vision to create a Black Heritage Day calendar. For those of us familiar with Carl Mack, we know that he has had many visions and brought them to fruition. Fast forward to 2024, and Mack has brought to life the latest iteration of the Black Heritage Day calendar features 366 days of extraordinary Black women! Carl Mack is well known to those in the Pacific Northwest for his vocal and bold activism. As the outspoken President of the Seattle Chapter of the National Association for the Advancement of Colored People, (NAACP), Mack an engineer by trade, doubled the membership rolls of the organization. He can be credited as someone who during his tenure with the NAACP, pushed to improve communication between the Seattle Police Department and community, and for his push toward increased accountability from local school districts on closing achievement gaps for black and brown students. The passion Mack has exhibited for Black culture and heritage has shown up in the calendars he has produced. Having felt a level of regret for not including enough women in his previous calendar, Mack recalls the words of Malcolm X, “The most neglected person in America is the Black woman.” Black Heritage Day V is Carl’s tribute to the Black women who lead in a multitude of capacities. His dedication to honoring Black women is also reflected in the choice of childhood friend and Mississippi artist, author, painter, chef, and tastemaker Deborah L. Hunter to design the cover image titled "Triumph." Hunter was featured in blacksouthernbelle.com where you can glimpse some of her gorgeous art and scrumptious recipes. From cover to cover, Black Heritage Day V provides one of the most, if not the most comprehensive listing of Black women ever assembled. From well-known individuals the likes of Oprah Winfrey, Beyoncé, Shirley Chisholm, and Maya Angelou, to lesser-known trailblazers like the first Black female weathercaster in America, St. Louis’ Diane White Clatto, and Ruth Carol Taylor the first Black flight attendant who after being rejected by TWA Airlines in 1957 boarded the regional Mohawk airlines in 1958. What Carl Mack has proven is that Black women have a place in our history and our present existence, 365 days a year, with a little extra as well. His calendars are great teaching tools, as well as timeless learning opportunities to get to know more about the Black women who have helped to shape our world. Thank you Carl!

By Guest Writer, Béné Bicaba A familiar melody plays on the radio, "There's no place like home," it hums. But what does "home" truly mean? As a Burkinabè immigrant living in Seattle, Washington, this question resonates deeply within me. While I hold a deep connection to Burkina Faso, the land of my birth, the United States, with all its complexities, has become a home in its own right. For many Black Americans, the lingering effects of systemic oppression have ignited the "Blaxit" movement, a phenomenon where Black individuals choose to leave the U.S. for the African continent in search of a home free from racial prejudice. "Home is not a singular, fixed location; it's a complex tapestry woven from experiences, relationships, and a sense of belonging." While my journey differs in specific ways from the African American experience, I find myself empathizing with the yearning for belonging and freedom from constant struggle. The narrative surrounding Blaxit is often reduced to a simplistic tale of escape and return to the motherland, Africa. This portrayal fails to capture the multifaceted tapestry of Black American aspirations, the challenges faced by host nations embracing Blaxit, and the potential for unintended consequences. Now, who has the "right" to return "home"? This question is a complex one, especially when considering the varying perspectives within the Black community itself. Some individuals may genuinely see Blaxit as the only viable solution for themselves and their families, while others may prioritize fighting for systemic change within the U.S. or embrace a more nuanced approach that acknowledges their multifaceted identities and potential belonging in multiple places simultaneously. Recognizing this diversity of perspectives is crucial for fostering understanding and engaging in constructive dialogue about the future. By overlooking these complexities, we risk perpetuating harm and missing an opportunity for genuine progress towards a liberated and free world. Grounding this conversation in historical context is equally important. It allows us to learn from past ideas and avoid simply rehashing them for the modern world. So, with a clear understanding of the present, let's delve deeper into this complex conversation by grounding ourselves in the past, as it relates to repatriation movements. Grounding the Narrative in History: Was Liberia a Blueprint or a Cautionary Tale? History offers a cautionary tale and provides a richer historical context for understanding the motivations and potential challenges associated with large-scale migrations and repatriation movements. In the early 19th century, the American Colonization Society (ACS) sent freed Black Americans to the colony of Liberia in West Africa hoping to establish a self-sufficient Black nation.(1) This act, while seemingly benevolent, was rooted in the desire to remove Black people from the United States and maintain white supremacy. By facilitating the migration of freed Black Americans, the ACS aimed to address the perceived "threat" posed by a growing Black population and uphold the dominant white social order. The consequences were far-reaching, creating ethnic tensions and failing to address the core issues of systemic and structural racism back home. The establishment of the colony of Liberia, instead of fostering a thriving Black nation, had “unforeseen”(2) consequences. The ACS's selection of elite Black Americans to be sent to Liberia ignored the diverse experiences and needs of the broader Black population. This, coupled with the imposition of Western political and social structures onto the local communities, led to ethnic tensions and internal conflict within Liberia. We must learn from Liberia's story and ask ourselves: Is advocating for Blaxit a way of escaping the fight for systemic change in the United States, rather than confronting it head-on? We must learn from history to avoid repeating past mistakes that absolve the U.S. of its responsibility to address systemic racism. In seeking acceptance and belonging in new communities, could we unintentionally recreate the harmful dynamics of "othering" that we ourselves experienced? How can we learn from Liberia's history to ensure that future endeavors for racial liberation address these crucial concerns effectively? Beyond Individual Needs I am both intrigued and concerned by the Blaxit movement as I contemplate returning to Burkina Faso. While the individual pursuit of a better life is a legitimate aspiration, Blaxit cannot solely focus on escaping existing problems in the US. It must also consider the impact on host nations and the potential for replicating harmful social dynamics. For example, before opting to participate in another country’s political and social fabric, emigrants ought to understand whether the host nations in Africa are equipped to handle the influx of Black emigrants, especially when many may not possess the skills and experience readily applicable to the social fabric. In addition a fair self-assessment on one’s impact should be conducted. "Many nations, like my homeland of Burkina Faso, need a wide range of skills and experience, not just people looking to retire, or start another social impact not-for-profit organization." A quick analysis of social media trends and mainstream media coverage, including platforms like Instagram, suggests that Blaxit emigrants may skew towards individuals who are retired and Black Americans with greater financial resources compared to the average African resident in their countries of origin. These emigrants are able to buy land, build on said land for a fraction of what it would cost in the U.S. As highlighted in an article on Blaxit by the New York Times, the Bradleys live in planned communities. These “homes range in price from $70,000 for a 430-square-foot one-bedroom to $750,000 for a 3,000-square-foot oceanfront villa. With the money the Bradleys would have spent on one home in Los Angeles, they were able to buy their three-bedroom, two-bath townhouse; an investment property; and a home for two of their sons to eventually live in”. While the recent New York Times article argues that retirees bring investment and knowledge, my concern lies in the high potential for gentrification and creating retirement communities instead of fostering mutually beneficial partnerships. Additionally, navigating the diverse socio-economic realities across the continent can be challenging for Black Americans choosing their new African home, further exacerbating my concerns. It's crucial that Blaxit doesn't stall the social and economic development of African countries. We need to avoid situations where Blaxit leads to gentrification and pushes out lower-income residents, as has happened in some places like Zanzibar where resorts are emerging at a rapid rate. Many nations, like my homeland of Burkina Faso, need a wide range of skills and experience, not just people looking to retire, or start another social impact not-for-profit organization. The responsibility lies with both African countries and those participating in Blaxit to find a balanced approach. While retirees can be a valuable asset, their contributions shouldn't be limited to philanthropic roles or simply consuming goods and services. This could undervalue their diverse skill sets and hinder long-term economic growth for their host nation. Beyond Skin Deep Integration The Blaxit movement sells the notion of integration with kinfolks with similar skin hues as Black Americans. However, integration into communities requires more than just physical presence. I invite Black Americans seeking refuge from racial prejudice on foreign soils to practice the art of "unsettled empathy". Unsettling empathy can be done by actively seeking to understand the experiences and perspectives of new neighbors, community, home, and acknowledging the potential for friction and navigating it with compassion and respect. This requires engaging with local communities, participating in civic life, and resisting the urge to recreate gated communities that perpetuate social divisions. Unsettled empathy requires sitting with the uncomfortable truths as well as the beauty of a new environment. It empowers us to move to action. In the context of Blaxit, this means addressing the root causes of leaving the US while acknowledging the legacy of colonialism and imperialism abroad. "Unsettling empathy can be done by actively seeking to understand the experiences and perspectives of new neighbors, community, home, and acknowledging the potential for friction and navigating it with compassion and respect." The responsibility for dismantling systemic racism in the US extends beyond Black Americans. It is a collective global effort requiring mutual accountability and demanding change within individual societies. By supporting each other, we can build a future free from oppression and discrimination – a journey towards liberation for all. Home: A Tapestry Woven in Love and Resilience The very notion of Blaxit presenting a binary choice between the US and Africa is a fallacy. Home is not a singular, fixed location; it's a complex tapestry woven from experiences, relationships, and a sense of belonging. It can encompass multiple places simultaneously. It's a yearning for a space where one can exist authentically, free from the constant struggle against marginalization. Liberia, whose origins are connected to similar aspirations for contemporary Black Americans, exemplifies both the challenges and potential of movements like Blaxit. While the path forward is complex, I believe there is hope. By acknowledging the nuances of the Blaxit movement, engaging in open dialogue, and fostering empathy across borders, we can move towards a future where everyone, regardless of their origin, can find their true home: a space where love is cultivated, dreams are nurtured, and resilience thrives. The journey to “home” requires courage, self-reflection, and a willingness to confront uncomfortable truths. But through it all, let us remember the words of Maya Angelou: "Perhaps travel cannot prevent bigotry, but by demonstrating that all people cry, laugh, eat, worry, and die, it can introduce the idea that if we try and understand each other, we may even become friends." Stevenson, R. (June 2022). American Colonization of Liberia. Salisbury University. Retrieved March 1, 2024, from [URL] I added quotes here because it is unfathomable that the ACS did not foresee some of these consequences. Perhaps they had already decided it did not impact them, thus, not seen? ABOUT THE AUTHOR Béné Bicaba is a Burkinabè American currently calling the Pacific Northwest home. Her early teens were marked by a life-altering move from Ouagadougou, Burkina Faso, to Blair, Nebraska. This experience sparked a wanderlust that has taken her across the globe, from the landscapes of Africa, Europe, and Asia to the Americas. She's experienced both mainstream luxury and the need to boil water for a hot shower. She received a master's in health policy, planning, and financing, while living in London then used her knowledge and privilege to support social impact work in West Africa. She is the founder of Empathy Travels, a collaborative approach to transformative travel.

How will history reflect that damage that “anti-woke” theorists are doing with the prohibition of teaching true history? The erasure of the experiences and contributions of African Americans has served to severely slant the way we see and understand one another, and further censures will certainly continue to diminish this understanding. Only time will tell, but what is being done to counter lapses that continue to render Americans ignorant of their own history, is being addressed through art. "This landmark exhibition reframes the Harlem Renaissance, cementing its place as the first African American–led movement of international modern art,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “Through compelling portraits, vibrant city scenes, history paintings, depictions of early mass protests and activism,and dynamic portrayals of night life created by leading artists of the time,the exhibition boldly underscores the movement’s pivotal role in shaping the portrayal of the modern Black subject—and indeed the very fabric of early 20th-century modern art." When Denise Murrell, curator-at-large for 19th and 20th century art at the Metropolitan Museum of Art was a student, she found that none of the survey courses of 20th century art included the Harlem Renaissance. Well regarded for curating the 2018 exhibition Posing Modernity: The Black Model from Manet and Matisse to Today, Murrell who holds an MBA from Harvard, a Masters in Art History from Hunter College, and a Ph.D. in Art History from Columbia University, is changing the narrative around the measure by which African American artists shaped 20th century America, with the recently opened exhibit The Harlem Renaissance and Transatlantic Modernism. Archibald J. Motley, Jr. (American, 1891 – 1981) The Picnic, 1936. Oil on canvas © Estate of Archibald John Motley Jr. All reserved rights 2023 / Bridgeman Images, Image © The Metropolitan Museum of Art, photo by Juan Trujillo This is not The Met’s first foray into exhibiting art focused on the Harlem Renaissance, but no doubt it will be more successful than the controversial 1969 Harlem on My Mind exhibition. In protest of the exclusion of major Black artists living in Harlem at the time, members of the assembled community advisory committee abruptly withdrew their support for the exhibition. The exhibit drew strong backlash and was picketed every day by members of Harlem’s creative community. While Murrell has been clear that she has not been hired by The Met to correct the debacle of Harlem on My Mind, she has noted that one of the “bright spots” was inclusion of photography by Harlem life photographic chronicler James Van Der Zee. An archive of Van Der Zee’s work was established at (Black-led) The Studio Museum where in 1987 an exhibition on the art of the Harlem Renaissance was hosted. The new exhibit at The Met includes some never before shown Van Der Zee photography, a bright spot indeed. James Van Der Zee, (American, 1886 – 1983) Couple, Harlem. James Van Der Zee Archive, The Metropolitan Museum of Art; Gift of Donna Van Der Zee, 2021 2021.446.1.2 © James Van Der Zee Archive, The Metropolitan Museum of Art The Harlem Renaissance and Transatlantic Modernism exhibit has borrowed heavily from collections held at Historically Black Colleges and Universities around the country, as well as from the Smithsonian American Art Museum, the National Portrait Gallery, and private collections. The exhibit explores the comprehensive and far reaching ways in which Black artist portrayed everyday modern life, and includes some 160 works of painting, sculpture, photography, film, and ephemera to explore the new Black cities that took shape in the 1920s-1940s. The exhibit is on view now at The Metropolitan Museum of Art in New York, through July 28, 2024. The Met Museum Plaza, image courtesy of The Metropolitan Museum of Art

We are rounding out Women's History Month by highlighting the women whose seeds grow strong for future crops. What bubbles up to the top is the fact that we are all just ordinary humans planting seeds that have been held in our hands, prayed over, nurtured and honored, so that these seeds might one day bloom into extraordinary bouquets of hope and vision to undergird the next generation. What we do today has ramifications in the future, whether or not we choose to acknowledge this universal truth. We have the pleasure of creating space for women's voices and this month we have dedicated each page to celebrating art and intellect from Black women's perspective. It has been such an honor to open our editorial pages to more voices, and this month, if it ain't by Black women, it's about Black women! And what's more, in addition to adding more editorial voices, in April, we will be launching a new project that will assist local artists in expanding their reach and impact by creating a channel for individuals and organizations who are interested in hiring Black artists to get connected to them for various paid opportunities. Our upcoming Black Artist Roster and Speakers Bureau will also help to support the incorporation of more artist voices into various discussions, presentations, and more! This groundbreaking project pulls together, in one place, a full roster of Black artists and allows ARTE NOIR to receive and easily distribute information about opportunities for commissions, art purchases and more. What makes this roster unique is that it is for Black artists! This new project is graciously supported by The Gathering Collaborative of King County as part of their grants to address racism as a public health issue. ARTE NOIR received a capacity building grant to develop this resource for Black artists. We are most excited to have this project be led by NaKeesa Frazier-Jennings of NaKeesa Marie Enterprises, bringing her more than two decades of project management, artist management, writing and organizational expertise to this project. “I’m thrilled to have the opportunity to partner with Arte Noir on the Black artist roster and speaker’s bureau project! This project will support artists from our community to expand their reach through their individual art practice, allow their voices to be heard more broadly and allow them to more easily be found by individuals, organizations and companies who want to invest money and resources into the products and services they provide through their various artistic talents!” - NaKeesa Frazier-Jennings We're currently building the roster platform for an April launch. Be on the lookout for more details, including the official launch date, a full project description, FAQs, and links for connecting. We're looking forward to launching this fantastic project to further support the artists in our local community! Planting more seeds for future crops! Vivian Phillips, Founder + Board President

By Guest Writers Nia-Amina Minor and Akoiya Harris Nia-Amina Minor and Akoiya Harris are performers in Leviticus or Love and to walk amongst HUMANS. Along with their own reflections, they interviewed choreographer dani tirrell and performer/choreographic assistant Majinn O’Neal to provide a look into the new piece premiering April 20th. Guest Writers, Nia-Amina Minor, image credit Devin Muñoz, and Akoiya Harris, image credit Victoria Kovios. Our first rehearsal for Leviticus or Love and to walk amongst HUMANS began with a practice that would ground us throughout the entire creation process. Before we do anything else as an ensemble, we gather in a circle to witness and affirm each other. This circle, the cipher, is as essential to dani tirrell’s work as a bible is to church. It is a sacred and historic ritual that is familiar to many of us in the cast as people of the diaspora and dancers from a range of styles. During these ciphers we are invited to practice holding space for each other and often the circle radiates a palpable energy full of laughter, sweat, and even tears of joy. These moments allow each of us to practice vulnerability, give up perfection, claim our right to speak, and be in the moment. Together we build a sanctuary of safety not always afforded to us in other spaces. To be in a rehearsal process with dani tirrell is to enter a vibrant creative space cultivated with a true ethic of care. As a collaborator, you feel held because community and connection are the primary concerns, creating a “dance” comes secondary. Truly collaborative processes can be difficult to create, but dani has an exceptional ability to foster compassion and fellowship. “It's an experience that a lot of people I don't believe get in the dance world,” said Majinn. “Whether that's from being acknowledged for adding to the work, being credited in the work, or again, just being met where you are that day.” Everyone who steps into one of dani’s processes is there for a purpose greater than their skills solely as a mover. dani makes the trust and respect for the cast evident and a huge part of that is being explicit about how and when collaboration will show up. As a large ensemble representing different backgrounds, gender expressions, and movement vocabularies, rather than asking us to fit a mold, we are highlighted for our strengths. “The cast of this project consists of individuals whom I trust deeply. I have faith not only in their physical abilities but also in their intellect. They are all makers of dance and are unafraid to engage in conversations with me and hold me accountable for the work and process.” dani Leviticus or Love and to walk amongst HUMANS, is a world that evokes both the club and the sanctuary. Crafted by dani tirrell and The Congregation, a community of collaborative artists, the work explores the possibilities of spirituality that emerge from queer, trans, cis, and non-binary bodies. “I want to be clear about what this space is not.” said dani. “I don't want it to feel like a church or an attempt to emulate the function of a church. Rather, I envision it as a sanctuary where people can find solace, express their beliefs, and question things that don't sit well with them.” While the church is referenced, Leviticus is not trying to replicate it. It is not a sermon. It is not a rule book. It is a place where spirit can be found, however it may need to be. That could be through movement of the hips, the subtlety of rhythmic footwork, or witnessing a cast member in prayer. In this piece, spirit transcends the body and connects to a realm where Black joy is uninterrupted. “I hope that people will reflect on what it means to sin against Black and Brown bodies and recognize that these bodies are divine and walk amongst us.” - dani Originally inspired by the Book of Leviticus and the historic transgressions of religious institutions, dani explained that while developing the project a different calling emerged. “I did not want to create another work that only dealt with the pain and destruction of Black people'' recalled dani, who decided to focus the work on joy, Black dancing bodies, and prayer– an important shift as the Book of Leviticus is often used to promote hate and violence towards Queer communities. Yet, inside this work, all of us are welcome. “I want them (audiences and performers) to know that they can be part of the community and find a connection with their higher power, regardless of whether they attend religious ceremonies or not,” said dani. Leviticus or Love transforms the stage into a sacred celebratory space. One way audiences and performers are transported is through the soundscape. There’s no church without the choir so music plays a huge role in grounding the performance. Keyes Wiley, a collaborator and DJ in the piece, traverses between spiritual and secular worlds with ease. As performers, we understand that the club can become a spiritual place because house, disco, and gospel all came from a Black desire to get the body free. “..there's something about gospel that speaks to my healing, growth, and where I fall short. It helps me express gratitude for the beauty of my life. When it comes to prayer and working out my feelings, you can find me on the dance floor to house music. House music is my freedom, and its soundscape is designed to get people singing and dancing in the aisle and their seats.” - dani If the body is a container for the spirit, then anywhere the spirit is fed becomes holy ground. With this in mind, Leviticus or Love becomes a place where the club meets the sanctuary and where Black folks can begin to suggest that they are indeed free. Witnessing this piece will remind the audience that they are divine and that transcendence is not an individual journey but a collective one. Leviticus or Love and to walk amongst HUMANS runs April 20 & 21 at The Moore Theatre Tickets available now at stgpresents.org Project Support Leviticus or Love and to walk amongst HUMANS (Book I) is presented By Seattle Theatre Group; with support from NEFA ~ National Dance Project Grant and the Kennedy Center's Office Hours residency, as well as Central District Forum for Arts and Ideas. dani tirrell and The Congregation are raising $100k to support the work of Leviticus or Love and to walk amongst HUMANS Contributions are facilitated by Northwest Film Forum and can be made through multiple means: Online through Paypal or Givebutter By check, made out to Northwest Film Forum with ‘Leviticus’ written in the memo field. Checks can be sent to the following address: Northwest Film Forum 1515 12th Ave. Seattle, WA 98122 Join dani tirrell and the Congregation by subscribing to their newsletter

Mark your calendars and plan a trip to the Henry Art Gallery at the University of Washington to catch this iconic exhibit, opening February 24th. Hank Willis Thomas: LOVERULES - From the Collections of Jordan D. Schnitzer and His Family Foundation February 24, 2024 — August 04, 2024 Hank Willis Thomas: LOVERULES is an expansive exhibition featuring 90 works covering the 20 years of artist and activist Thomas’s prolific interdisciplinary career, including photo-conceptualist works and sculpture that examine American culture, with a particular focus on perceptions of race and gender. LOVERULES also highlights several important series, including Branded and Unbranded: Reflections in Black by Corporate America. In Branded, Thomas explores and re-contextualizes the history of brand advertising and sponsorship through the iconography of sport. In Unbranded, Thomas digitally removes advertising punchlines and logos, with both series thereby highlighting the consistently dehumanizing strategies of corporate media, the commodification of African-American identity, and the ways in which dominant cultural tropes shape notions of race and race relations. Thomas employs both archival and contemporary imagery from popular culture to take on urgent questions:What is the role of art in civic life? How do advertising and visual culture create narratives that shape our notion of value in society? Recent years have thrown structural inequality into sharp focus. Critical awareness, civic engagement, inclusive collaboration, and empathy—among the core invitations of Thomas’s work—are powerful tools for our times. Thomas’s work guides us to the intersection of art,politics, and social justice. With incisive clarity, Thomas asks us to see and challenge systems of inequality that are woven into the fabric of contemporary life. On your way to the exhibit, we highly suggest you take the scenic route to experience Thomas' permanent installation featuring Seattle legend Jimi Hendrix, entitled Crosstown Traffic (It's So Hard To Get Through To You), located at Judkins Park Light Rail Station on 23rd Avenue South, the first in Seattle’s Central District and part of Central Puget Sound Transit Authority (Sound Transit). For more information on Hank Willis Thomas and his work, visit his website For tickets and exhibit information, visit The Henry Art Gallery website

February 11th marked the 12th anniversary of the tragic passing of one of music's greatest voices, Whitney Houston. Like most monumental events, many of us can recall exactly where we were when we heard the news. The recent Grammy Awards was also a stark reminder given her death was on the eve of the 2012 Grammy celebration. The slate of 2024 Grammy winners may have no memory or knowledge of the dynamic power of Whitney's multi-octave voice. They may be drawn to the drama that dominated headlines and led to the decline of one of the greatest singers of all time. But we remember her greatness. The stunning high notes of I Will Always Love You, the soulful groove of How Will I Know, the sultry delivery of the Black girl anthem Waiting to Exhale, her funky paring with Chaka Khan on I'm Every Woman, and the poised, powerful, and flawless delivery of the 1991 SuperBowl National Anthem withstand the test of time and outlive her physical life. Whitney Houston lives on in our memory forever and stands as a standard of true vocal excellence for a generation lucky enough to have lived with her music. There is also a generation that will never understand the thrill of hearing the twang of a guitar before the lyrics, "This is our fork in the road, loves last episode, there's nowhere to go," sang by Bobby Smith of The Spinners. Fingers popped and heads bounced. Produced by the architect of The Philidelphia Sound Thom Bell who recorded often in Seattle at the former Kaye Smith Studios, and died in Bellingham, WA, in December 2022, The Spinners topped the charts in the 1970s with a string of hits - Could It Be I'm Falling In Love, Mighty Love, Games People Play, Then Came You with Dionne Warwick, Rubberband Man, and they commanded audiences worldwide with signature smooth moves that was once synonymous with Black music groups. For the thrills and joy they gave a generation of boomers, we pay homage to the recent passing of the last original member of the Spinners, Henry Fambrough who became an ancestor on February 7, 2024, at age 85.

When Brian Carter first interviewed at 4Culture for the position of Heritage Lead, he was frank in his response to the question posed about where he saw himself in the next 5 years. He saw himself in his current position as Executive Director of Martin Luther King, Jr. County’s arts and cultural funding agency. It was not about being overly confident or boastful, rather, his personal values lie deep in the belief that making audible professional desires is key to cultivating an organizational culture that understands and nurtures skills development and advancement of its staff. Two years after the beginning of his tenure at 4Culture, Brian was confirmed by the County Council as the Executive Director upon the retirement of his predecessor. A Stanford University alum, with a Master's degree in Museology/Museum Studies from the University of Washington, Carter’s background is steeped in history and museum leadership. He has served as the President of the Association of African American Museums and has previous directorships at the Burke Museum, the Northwest African American Museum, the Oregon Historical Society, and as an instructor for the University of Washington Museum Studies Program. Carter found himself ready to explore leadership within a public funding agency to better understand and influence where funding goes and who gets to decide where investments in the arts and cultural sector are made. “In public funding, there is a moral responsibility and power that’s different from a corporation or family foundation for instance. Something about the nobility and honor of being in public service and looking at the full range of residents and people who pass through King County” attracted Carter. 4Culture uses funds provided through the hotel-motel lodging tax and 1% for art to support grant programs for public art projects, and community initiatives, putting public dollars to work that fosters creativity in King County. In December 2023, the King County Council unanimously passed the Doors Open legislation to increase funding to King County arts, heritage, science, and historic preservation through a 0.1 percent sales tax. Tax collection will begin in April 2024 and is estimated to generate approximately $100 million annually over seven years. The agency that Carter leads, 4Culture, is the designated agency that will implement the funding distribution. Carter’s leadership has been essential to preparing his agency to manage this new funding source, with a keen eye on measuring impact, while maintaining an application process that allows the arts sector to amplify the work they are already doing. Brian explains that 4Culture had already piloted new programs in response to what was needed by the sector. “If lodging tax remained our only source of funding, we would still be moving toward a more effective model based on community listening,” he stated. Carter set out to lead the development of an integrated funding model that would not have significant impacts if no new funding materialized. Brian is one of few African Americans in the country responsible for guiding such significant investments into the arts and cultural sector. The passage of the Doors Open funding comes after decades of work toward the creation of the new funding stream that it provides. However, the legislation failed to pass public muster in initial ballot measures, which provided an opportunity to reflect and focus on creating successful and more equitable outcomes. A primary key to the successful passage through the County Council is the intra-agency trust that had been built. Brian and Inspire Washington Executive Director Manny Cawaling came into their respective positions at the same time. This allowed them to build on an already established relationship and to create a culture of trust across both their agencies. There was cross-staff coordination and planning that engendered a degree of mutual ownership and shared visions. This coordination was also an important part of developing cogent distribution models that were thoroughly vetted and presented to Council. This team approach created a high degree of confidence in the elected officials whose responsibility it is to serve their communities where this funding provided greater benefit to the people of King County’s 39 cities. Brian noted that the 4Culture budget will be approximately half that of the National Endowment for the Arts.  He is one of few African Americans in the country responsible for guiding such significant investments into the arts and cultural sector. But there is nothing singular about his leadership style. Brian is highly conscious of the legacy that precedes him. When asked what keeps him up at night, Carter responded, “I didn’t build 4Culture. The people who came before me built something. As a steward and caretaker, I have just this moment. I want it to work well against the mission and the vision that this organization has set for itself. And I want to make it easier for the next person that comes along. I want the community that we support, that we say we care about, to trust us. I want to be able to hand that off. When you are in the midst of great change, the possibility of that culture of care can shift.” “In public funding, there is a moral responsibility and power that’s different from a corporation or family foundation for instance. Something about the nobility and honor of being in public service and looking at the full range of residents and people who pass through King County” attracted Carter [to the role]. In addition to sustaining a culture of care that is evident to the people served by 4Culture, Carter is equally concerned about the people with whom he works. He noted that the majority of staff at 4Culture come from the sector and have worked in non-profit arts and cultural organizations as practitioners. It is their continued desire to do this work and the necessity to prioritize staff wellness that also robs him of sleep. Brian Carter represents an era of arts leadership and arts investments that has not previously been dominant or even common. His success will continue to be guided by his values and his obvious love for the arts, heritage, science, culture, historic preservation, and the legislative community that depend upon his studied guidance and leadership. We are all nurtured by his commitment to a culture of care.

Reclamation of space is a growing theme around the world. In Togo, Palais de Lomé, once a symbol of colonial infringement by the Germans, British, and French, has been reclaimed and is now the country’s first major art and culture park. What was once a disdainful reminder of the invasion of European nations to claim what was not theirs, now serves the creative expressions of the people of the land. Established in 1905, Palais de Lomé has shed its history of colonization and pretentious so-called royalty and now stands as a rich symbol of cultural pride. In her book, "Reclaiming Your Community," Majora Carter writes extensively about ways to, and reasons why reclamation of our own communities is a significant ingredient to self-determination and liberation. She writes in the preface, "White supremacy, the media, public and private policies, and even local traditions and attitudes often lead us to believe that neither we nor our communities are worthy of consideration or respect. I believe that the reclamation of those types of American communities, the very ones that have been written off as intractable problems that can never be solved, will advance human potential, save money, and soothe our own souls as well." Majora is talking about a kind of resiliency that is more than simple survival through tough times. She is talking about a level of ownership that supports the lives we want and need to live. And how to do that within the communities we built that have become foreign lands and home to new iterations of colonialism. "We needed to use Black art as a symbol of our existence, our brilliance, our history, and our glowing beauty and creativity to make us feel alive and worthy again in our community." On December 29, 2023, ARTE NOIR became owners of the space we occupy. We are in the heart of what was once a thriving Black community, redlined by restrictive covenants until the 1970s and turned into a highly sought-after central community rife with gentrification. We wanted to and needed to reclaim this space. It is where our families raised us and planted seeds for our futures, only to have those seeds uprooted over time. We needed to use Black art as a symbol of our existence, our brilliance, our history, and our glowing beauty and creativity to make us feel alive and worthy again in our community. Wrapped in the warmth of a supportive community of generous individual donors, and supported heavily by The Cultural Space Agency, the City of Seattle Economic Development Initiative, the Black Future Co-op Fund, the TEW Foundation, Threshold Philanthropy, Washington State Building for the Arts, a village of Black artists and creators, and every person who has supported us as patrons, we have solidified our hold on a space that carries history and inspiration for generations of Black families. With enormous gratitude, we echo the sentiment of the Togolese who have reclaimed their stolen history and transformed it into a place of pride when we say, this place is now ours!

Ahhh, the sweet smell of diversity. For those of us who have worked in the field of arts and culture over the past several decades, the proclamations for achieving diversity have been many. In the last few years, equity has become the clarion call. But over time, what we have also heard is the inability of many white-led organizations to “find the right people.” I put it in quotes because that’s how I’ve heard it. There is certainly truth in the cry of difficulty for identifying, cultivating, and honoring what people of color bring to arts institutions as volunteers. For far too long, we sat at tables with big money donors, leaning into our commitments by making recommendations and giving what we had – time, only to be discounted and left to feel tokenized. There was no cultivation of our skills and commitment, and no honor for our time. We were numbers to be filled in grant applications to show the “diverse make-up” of organizational leadership. Where we have found the respect, joy, and containers for our volunteer commitments has been within our own organizations. ARTE NOIR has a board of directors to be envied by ANY arts organization in this region.  They are living and breathing Black history makers with so much to offer our community and they have chosen ARTE NOIR as a vessel for their service. We are thankful for these Black History keepers and makers: Karinda Harris is one of our founding board members. Until recently, Karinda served as the Senior Community Relations Manager at Vulcan Inc., where she was responsible for local corporate social responsibility initiatives. Her help and support for the establishment of Black businesses at 23rd and Jackson is revered. A Seattle native, Karinda is known as a connector of people and resources with a passion for strategy and social impact. Karinda takes impact seriously and is the leader of our "eyes on the prize” team, always checking us to ensure that we are mission-focused. With few words she lets us know that if it isn’t making a difference, we shouldn’t be doing it! Juan Alonso-Rodríquez is also an ARTE NOIR founding board member as well as a humble servant to the arts.  Cuban-born and self-taught, his success as an artist has only catapulted his dedication to creating pathways for other artists. While Juan has won numerous awards and recognition for his work and is represented in galleries in Oakland, Scottsdale, and Seattle, before relocating to Florida, Juan’s Pioneer Square gallery was always a welcome space for the work of other artists. His name is often noted as a mentor and supporter to artists, an advocate for the arts, and a supporter of various arts organizations. Juan is the ARTE NOIR touchstone. As a practicing artist, he keeps our eyes keen on the part of our mission that seeks to be of benefit to artists! Donna Moodie is a Seattle legend! Period. Some may mistakenly refer to her as Marjorie, which is the name of the famed restaurant she opened in 2003. Named after her mom, Marjorie Restaurant was where things happened, where people met and met up, and where everybody knew your name. It’s that feeling of warmth and welcome that Donna engenders in her every endeavor. While Donna is rebuilding Marjorie Restaurant 3.0, coming soon to join us at the Midtown Square campus, she leads initiatives that intersect social justice, community building, and neighborhood activism in her current role as Chief Impact Officer and EcoDistrict Executive Director at the Metropolitan Urban League of Seattle. It’s her multi-sensor lens on business, community, social justice, and activism that gives ARTE NOIR an edge for our future. Eric Gerard Parsons is a social change agent. His years working in policy development in Seattle and New York, his love of research, and his knack for strategic approaches to problem-solving, show up in his profound passion for establishing and implementing projects that accomplish justice and equity. Eric recently served Community Roots Housing as the Senior Manager of Philanthropy where his focus was on developing resources for long-term transformation. He now serves as Director of Partnership and Advancement for the Metropolitan Urban League of Seattle, where his focus on transformational change has become more magnified. Our vision for community partnerships, transformation over transactions, and strategic advancement has been at the core of Eric’s service to ARTE NOIR. Tyrone D. Smith is an admitted analysis wonk, and we love it! As a relative newcomer to the Seattle area from New York, where he worked as a Business Analytics Manager and Corporate Finance Analyst, Tyrone is all about statistical modeling. Tyrone consistently queries, what do the numbers say to us, and how do we best make our numbers sing and harmonize for maximum benefit to the community of artists first, and to us for long-term sustainability?  Tyrone is our performance tester, which is perfect as he is also our Treasurer. His resume has a line about his recent projects that reads, “…recovering $35M in loss revenue…” Hello!!! We’re not trying to lose anything and he is on a mission to see to it that our revenues are stable. And in his day job, Tyrone is Senior Manager, Data Science & Analytics at Expedia. It’s also an opportunity to shine a light on a former board member, Raymond Tymas-Jones, Ph.D, President of Cornish College of the Arts. Dr. Tymas-Jones, the first African American president of Cornish, served on the ARTE NOIR board for a year before having to take leave. We keep him on speed dial and are regular recipients of his vast knowledge and approaches to the advancement of the arts. These individuals deserve all of the spotlight we can shine on them. They have, and continue to give of themselves in service to the ARTE NOIR mission, and our ability to make a positive impact on our Black community specifically, and the greater community in general. It has been their leadership and guidance that has given us the courage to take bold steps into our future, where we are the absolute captains of our destiny.  Y’all, this is Black History right now!