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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!

By Gregory Maqoma Dance, for me, has been a journey of unconventional rhythms, a symphony of movements that transcends not only the physical realm but also the cultural and societal norms that sought to confine it. As a Black South African, raised in the vibrant township of Soweto, my life's dance began as a silent protest against expectations rooted in a middle-class family with Christian values, where education was considered the sacred bridge to a promised land, a metaphorical Nirvana. Today, I stand not just as a practitioner of this art form but as an author, weaving the tales of my life, my dance, and my soul into the rich tapestry of South Africa's artistic landscape. "South African dance is a tapestry and a collision woven from the threads of diverse cultures, a rich mosaic of movements that echo the nation's history and resilience." Within the confines of these cultural and familial expectations, I discovered the transformative power of movement. Dance became my language, a rebellion against norms that sought to limit expression. The Township of Soweto became a place where each step I took echoed the resilience of a community navigating through the complexities of identity and tradition. The influence of my upbringing, firmly rooted in Christian values, created a dichotomy between the sacred and the secular. It was within this tension that the seeds of my artistic pursuits were sown. Education, often seen as the gateway to societal ascension, became a canvas upon which my dance unfolded, intertwining the structured discipline of academia with the boundless freedom of artistic expression. In the crucible of Soweto, the influences of tradition, spirituality, and the pursuit of knowledge forged a unique path for me as a dancer and my artistic endeavours but also the broader landscape of South African dance where often I am referred to as a leader and visionary, a position that comes with many responsibilities. Artistic Evolution in South Africa South African dance is a tapestry and a collision woven from the threads of diverse cultures, a rich mosaic of movements that echo the nation's history and resilience. As a practitioner within this dynamic landscape, I've witnessed the evolution of our art form – a dance that transcends mere physical expression. In the heart of this evolution lies the profound collision of collaborative ideas. It's not just a dance between bodies, but a convergence of time and space, a conversation between mind and body, an interplay of sound and silence. The stage becomes a sacred space where performer and audience engage in a dialogue that goes beyond words and often feels like a congregation with a dancer delivering a sermon. It's a communal experience, a celebration of shared narratives that traverse the boundaries of culture and tradition. "Our movements are a testament to the interconnectedness of the human experience, a global love letter etched in the fluidity of motion, where each step is a brushstroke painting a picture of human complexities in diversity..." South African artists, in their intricate choreography, become ambassadors of a universal language. Our movements are a testament to the interconnectedness of the human experience, a global love letter etched in the fluidity of motion, where each step is a brushstroke painting a picture of human complexities in diversity, thirty years into democracy and still the remnants of apartheid South Africa lingers within government structures and concomitant that continue to destroy the good that remains. As we explore the collision of ideas, we find that the very essence of our art lies in its ability to bridge divides. The dance becomes a living archive, embodying the stories of a nation navigating through history, offering a palpable connection to our roots. South Africa is a canvas where tradition meets innovation, and the stage becomes a safe space for a collective soul of South Africa. My Life, My Dance, My Soul In the pages of 'My Life, My Dance, My Soul,' my journey finds its voice, each chapter a rhythmic progression echoing the beats of my life. This book is not merely a recounting of events; it is a dance in written form, a choreography of words that encapsulates the very essence of my existence. Here, the dance becomes a narrative, a story woven with the threads of personal experiences, challenges, and triumphs. It delves into the intricacies of a life dedicated to movement, reflecting the broader tapestry of South African dance. From the humbleness of the streets of Soweto to the grand stages that hosted my performances, each page turns like a pirouette, revealing the layers of a dancer's soul. The book is not just an autobiography but a testament to the transformative power of dance. It serves as an archive, documenting not only my personal journey but also the collective journey of South African artists. In its essence, 'My Life, My Dance, My Soul' is a bridge between the tangible and the intangible, a mirror reflecting the spirit of a nation through the lens of movement, and each written word is a step in the perpetual dance of life. South African Dance as a Global Love Letter In the rhythmic articulation of South African dance, we find a universal language, a global love letter penned with the ink of movement. Our artists, in their graceful strides and spirited expressions, contribute to a conversation that extends far beyond our borders. The collaborative nature of South African dance serves as a bridge between cultures, a celebration that transcends geographical boundaries. It's a dialogue where the traditional meets the contemporary, and the echoes of our history resonate with the pulse of the world. This love letter of movements born in the heart of South Africa becomes an ambassador of a shared humanity, where the pain and devastating results of wars and similar atrocities are often left to the dance to heal and give a glimpse of hope. As our dances traverse the stages of international festivals, they carry with them not just the tales of a nation but also the aspirations of a global community. The themes embedded in the choreography – resilience, unity, and the celebration of diversity – echo the sentiments that resonate with people across continents and the calls for ceasefire in Israel-Palestine, Russia-Ukraine, Sudan, calling for humanity to prevail. Challenges and Triumphs The path of a dancer and author in South Africa is not without its hurdles. As I navigated the intricate steps of artistic expression, I faced challenges rooted in societal expectations, financial constraints, and sometimes, the struggle to be heard in a world filled with myriad voices. "I envision a pragmatic future for South African dance – a future where our movements continue to transcend borders, where the collision of collaborative ideas evolves into a harmonious symphony that reverberates across the global stage." In a society shaped by diverse influences, breaking away from conventional norms posed its own set of challenges. The fusion of traditional values with the avant-garde nature of dance sometimes led to misunderstandings and skepticism. However, within these challenges emerged a resilient spirit, a determination to redefine the boundaries of expression and carve a space for South African dance on both national and global platforms. Financial constraints often cast shadows on the pursuit of artistic dreams. The dance, fueled by passion, had to coexist with the practicalities of life. Yet, it is within these limitations that creativity thrives. The ability to transcend financial barriers became a dance of its own, a choreography of resourcefulness and innovation. Triumphs, on the other hand, manifested in the moments of connection with audiences, the recognition of the transformative power of dance, and the realization that my journey resonates with others. Each standing ovation and every word of appreciation in response to my book echoed not only personal triumphs but the triumphs of South African dance as a whole. It's a testament to the indomitable spirit that propels artists forward, transcending obstacles to share the beauty of South African dance with the world. Image 1: Chief Maqoma and his wife Kayti, South Africa, c. 1869 (photo by William Moore) Image 2: In Exit/Exist, Gregory as Chief Maqoma asks, ‘Where are the cattle?’ (photo by Arthur Dlamini) Conclusion: Dancing Through the Politics In the intricate dance of life, my journey as a Black South African dancer and author becomes entwined with the political currents that shape our existence. The collision of collaborative ideas, witnessed in the fusion of tradition and innovation, takes on a nuanced layer when viewed through the lens of societal and political dynamics. South African dance, in its rhythmic articulation, becomes a form of resistance, a silent protest against the norms that seek to confine. The streets of Soweto, once a crucible of political upheaval, find their echoes in the movements that transcend the stage. 'My Life, My Dance, My Soul' unfolds not only as a personal narrative but as a political statement—a declaration that our stories, our movements, are an integral part of the broader narrative of South Africa's struggle and triumph. Amidst challenges, whether societal norms or financial constraints, the dance takes on a political charge. It becomes a platform for voices often marginalized, a canvas where the politics of identity and expression converge. Each pirouette, each leap, becomes a subtle act of defiance, a reclaiming of space and narrative in a world where politics often seeks to silence. As we envision the pragmatic future of South African dance, it is impossible to divorce it from the political landscape. The collision of collaborative ideas becomes a metaphor for the ongoing dialogue between tradition and progress, a dance that echoes the complexities of a nation navigating its political journey. As I reflect on this odyssey, I envision a pragmatic future for South African dance – a future where our movements continue to transcend borders, where the collision of collaborative ideas evolves into a harmonious symphony that reverberates across the global stage. It is my hope that the love letter we inscribe with our dance becomes a source of inspiration for future generations, fostering a legacy that goes beyond the limits of time and space where every movement is a revolutionary act. ABOUT THE AUTHOR Born in Soweto, Gregory Vuyani Maqoma became interested in dance in the late 1980’s as a means to escape the political tensions growing in his place of birth. He started his formal dance training in 1990 at Moving Into Dance where in 2002 he became the Associate Artistic Director. Maqoma has established himself as an internationally renowned dancer, choreographer, teacher, director, and scriptwriter. He founded Vuyani Dance Theatre (VDT) in 1999 when he was undertaking a scholarship at the Performing Arts Research and Training School (PARTS) in Belgium under the direction of Anne Teresa De Keersmaeker. Maqoma is respected for his collaborations with artists of his generation. In 2006 he worked with the British-based choreographer Akram Khan and the London Symphonietta to the music of Steve Reich Variations for vibes, pianos & strings. He also created Neon Flight for the South African Ballet Theatre, which premiered in Russia in June 2006. Maqoma is perhaps best known for producing trilogies. He first created the award-winning Rhythm Trilogy (comprising Rhythm 1 2 3, Rhythm Blues, and Rhythm Colour) followed by, respectively, the Beauty Trilogy – Beautiful, Beautiful Me, and Beautiful Us. Beautiful (a duet with Shanell Winlock) premiered in South Africa in a VDT/ Moving into Dance Joint Season that took place at the Dance Factory from June 22 to 25 in 2005. After finalizing his extensive research on Beautiful Me, Maqoma took up residency at the Centre Nationale de la Danse, Pantin, outside Paris to prepare the South African premiere at the 2007 FNB Dance Umbrella. In 2006 and 2007 Maqoma won the Gauteng MEC Award for the group work Beautiful Us and solo Beautiful Me, respectively.

It’s a season of expansion at ARTE NOIR. Not only have we further solidified our commitment to our physical community, fulfilling our mission to create a permanent space for the celebration of Black art and culture, by completing our purchase of the space, but we are also fulfilling our commitment to spotlight the talents of Black writers. Thanks to The Gathering Collaborative Grant to Address Racism as a Public Health Crisis, we are now able to hire contributing writers to these pages. This is a huge milestone for us, and the fulfillment of a desire to seed revenue to Black artists across the creative spectrum. Our first guest writer Georgia McDade was featured last month, and this month we are excited to hear from South African dancer/choreographer/author Gregory Maqoma. I had the privilege of meeting Maqoma almost 18 years ago as he led a dance festival in Johannesburg and twice had the honor of working with organizations to present his work in Seattle. The reverence Gregory has for his ancestors and his lineage, have consistently been at the center of his work, while also inspiring for the future. We are so excited to introduce this great artist and thinker to our readers as a way to expand our relationships with people on the African continent. We can't forget that as Africans in America, we stood firm against apartheid rule, and as we strive to eliminate the harmful effects of racism in America, we draw closer to our ancestry and learn from their struggles for freedom. In addition to expanding the base of writers, this grant is also supporting our strategic planning process, and a Black artist roster project that you’ll hear more about in the coming months. What an honor to be entrusted with funds that are targeted for our wellbeing. For our non-Black readers, we hope that you will find information shared here to be of benefit toward enhancing your understanding of the ways in which Black people continue to use creativity as a means for achieving greater health and wholeness. Black History is prevalent in our world every day of the year, but February always gives us the opportunity to reflect, envision our future, and learn from the past. The Washington State History Museum in Tacoma is currently hosting a traveling exhibit focused on the 1968 Poor People’s Campaign. Solidarity Now from the Smithsonian National Museum of African American History and Culture illuminates an often-overlooked history of a multicultural movement to confront poverty that redefined justice and activism in America. A reminder that rights movements in America for all people, have always included the voices and actions of African Americans. Make February a time to intentionally learn more history, honor history, and make history! In the spirit of Sankofa, take time to look back while making a way forward. Vivian Phillips, Founder + Board President

Fellow artist, colleague, and friend of artist Pope L, Theaster Gates noted, “He gave us the constant question of ‘Are you being sincere in the work that you make?’ It’s the kind of questioning that Pope L embodied in his work which tracks directly to his self-description as the “fisherman…” His work was provocative and made people uncomfortable. He mined what lay beneath the surface to see the absurdity of society and made it into art. Examples of his provocative work cited in the Chicago Sun-Times obituary include his well-known performance The Great White Way. Pope L crawled the length of Broadway in New York in a Superman costume with a skateboard strapped to his back. Arriving at a 2017 exhibition in Switzerland, he emerged from a white-stretch limousine in a white Gorilla suit carrying a white umbrella. His performance art was as provoking as his mentorship was sincere. He made space for others and he used his mind, creativity, and his body to forward the stories he needed to tell. He took risks and laid foundations for other artists like Gates, to explore and challenge the bounds of their creativity. (William) Pope L transitioned to ancestor on December 23, 2023, at age 68, in his Hyde Park, Chicago home. Rest well, dear Pope.

In the world of African contemporary dance, Germaine Acogny is The Mother. Period! Born in 1944 in Benin, the Senegalese dancer and choreographer is internationally acclaimed for originating the Germaine Acogny technique which is taught at L’Ecole Des Sables, the international center for traditional and contemporary African dances in Toubab Dialaw, Senegal. Founded in 1998 by Acogny and husband Helmut Vogt, Germaine remains among the staff of teachers. About an hour's drive outside of Dakar, L’Ecole Des Sables, which translates to Sand School, is a mostly outdoor array of training spaces both in the sand and in studios, all of which have open exposure to the natural environment. Having founded her first dance studio in 1968 in Dakar, Acogny credits the influence of the dances she inherited from her Yoruba priestess grandmother that led to her studies in traditional African dance. Acogny would also study classic and modern dance in Paris and New York. At 80 years old, The Mother of African Dance has not languished. Au contraire!!! In 1913, Igor Stravinsky premiered the ballet and concert work, Le Sacre du Printemps, (The Rite of Spring).  While not the original choreographer, Pina Bausch is most associated with this particular ballet. Germaine has stated that the ballet always “felt African” to her, and she is now bringing her African-ness to the piece. In a truly rare series of presentations, Germaine Acogny has partnered with the Pina Bausch Foundation for a very special tour of The Rite of Spring. Already performed in New York, the tour stops in Charleston, North Carolina on February 3rd, in Los Angeles from February 9th to 11th, and in Berkeley from February 16th to 18th, before heading to Switzerland and The Netherlands. If you have never experienced the artistry of The Mother of African Contemporary Dance, we urge you to check out one of the North American performances. More info on Germaine and the tour here in the November 25th issue of The New York Times.