Search Results

“Once I found myself on the other side of the ocean, I could see where I came from very clear…You can never escape that. I am the grandson of a slave, and I am a writer. I must deal with both.” - James Baldwin Thanks to the Smithsonian National Museum of African American History and Culture, their Chez Baldwin virtual exhibit allows a deeper glimpse into James Baldwin, the person. The exhibit is an exploration of Baldwin’s life and works through the lens of his house in St. Paul de Vence, France, where he spent the last sixteen years of his life and was an important social center for artists and intellectuals from around the world. The Chez Baldwin exhibit is presented in five parts: Power of Place: St. Paul de Vence – How Baldwin changed the trajectory of his life by changing the place in which he lived. Baldwin at a Glance – The will to transcend borders, maintain family ties, and cultivate friendships fueled Baldwin’s remarkable journey from Harlem to France. Transatlantic Commuter – Although Europe is where Baldwin spent the bulk of his time, he always considered himself an American writer living as a “transatlantic commuter.” Bearing Witness to the Movement – Explore how Baldwin used various platforms to become a powerful voice in the Civil Rights Movement. An Author for the Ages – For Baldwin, a true writer defies ideological labels because demands of art involve searching for truth, shifting paradigms, and changing attitudes and beliefs. The virtual exhibit also allows for the exploration of a few objects from Baldwin’s life in St. Paul de Vence. A series of five videos from public programs hosted by the museum is available for viewing, as well as a number of other resources to be experienced. The entire exhibit brings together various elements of Baldwin’s life for our consumption, enlightenment, and enjoyment. Nothing replaces an in-person visit to the National Museum of African American History and Culture, but this virtual gift on the life of James Baldwin is an offering to be appreciated. We invite you to take advantage of this unique opportunity to explore the special space of this important man and artist. Thank you everyone at NMAAHC! To support more amazing exhibits like Chez Baldwin, we highly encourage you to fill out this survey from the National Museum of African American History & Culture 👇🏿

Ismail Einashe is an award-winning journalist and writer. BBC News recently published one of Einashe’s letters on his exploration of the art that flourishes in East Africa, specifically Nairobi, Kenya. Noting that Nairobi has become “an anchor for those fleeing conflict across the region…and in the process have created one of the continent’s most exciting art scenes,” Einashe speaks to the imagination, boldness, and creative flair that is present in the Eastern region and declares that it is to be “recognized and celebrated.” We join the recognition and celebration and invite you to experience some of the vibrant representations of East Africa’s thriving art scene through the lens of Ismail Einashe here.

Before HGTV was a thing, Black folks were blazing the trail for reality design shows. In the late 1990’s Chicago filmmaker Barbara Allen produced Urban Suite. She teamed up with TC Carson, yep Kyle 'Baaarker' from Living Single, to give design-challenged urban dwellers tips for making their houses more of a home. There were no reality show opportunities for Black fashion designers back then, but perhaps the tide is turning with the ascendance of two Black women who are taking the design and fashion industries by storm, on reality television and IRL! In the recent season of Design Star: Next Gen, Carmeon Hamilton took the #1 spot, beating out seven other fellow designers. Memphis-based Hamilton is the creator behind Nubi Interiors. Architectural Digest named Carmeon a rising star in the design world and the latest news is that Carmeon now has her own show, Reno My Rental, premiering September 18th on Discovery+! Brooklyn-based Andrea Pitter beat out nine Making the Cut - Season 2 designers to take home the $1 million dollar prize! Pitter has spent a decade or more making certain that “engaged women are transformed into breathtaking brides.” Her commitment to representing the unrepresented in mainstream bridal flows through her Pantora brand. The Amazon sponsored Making the Cut series has made Pitter’s winning designs available online, creating more opportunities for the public to access Black women's creations. YES! Arté Noir congratulates these two beautiful Black women design leaders. Keep slapping the game hard, keep taking the winners baton, and keep us looking good and feeling good at home. Shouts out to other trailblazing Black women, Urban Suite producer Barbara Allen, and writer Wilma Randle. Ahead of your time ladies! PS: Check out this throwback episode of Urban Suite! 👇🏿

I just watched Summer of Soul…(Or, When The Revolution Could Not Be Televised). Wow! What a ride – the performances, the narratives, the times! Just a few weeks ago William Greaves’ Nationtime was made available for viewing by LANGSTON. Yet another piece of important Black history that lay dormant in a basement for decades, and was only recently restored and put back into the active volumes of Black cinema. So much of our history is left to languish or intentionally tucked away, as a means for eroding Black culture and manipulating the Black narrative. With each rediscovery, our collective memories are restored and our experiences are validated. At the end of Summer of Soul, which documented the 6-week long 1969 Harlem Cultural Festival, festival attendee Musa Jackson tearfully says, “Now I know I’m not crazy.” Seeing the film made him realize that his experience was not a dream or some made-up event. It actually happened - even though its documentation had been abandoned because no one cared. At the time, dominant news outlets focused on the first moon landing and Woodstock, which was to become one of the most iconic American music festivals. These would-be-erased watershed moments in Black history must be witnessed, remembered, and shared. Sharing is made much easier in these days of pocket technology and Internet transference. Thanks to social media, we now have instant archival capability. Not every iMovie will make it to Cannes obviously, but each of us has an obligation to bear witness to the history that unfolds around us. We just never know when we are participating in an event or activity that could serve to validate a future memory. Our daily experiences and our ability to call up those memories are reminders that we are not crazy! The richness of Black culture that unfolds at local restaurants, at festivals, in art exhibits, on theatre stages, in everyday interactions, is the evidence that we are here! July's edition of Arté Noir offers more glimpses into the ways in which we are showing up in the world – not to be forgotten. From Black business to a theatre visionary, the creativity of a fiber artist, Black leadership in an international arts institution, the visual documentation of Black life, and the gift of Black art collectors, our light shines brightly on the non-televised versions of our history in the making.

As the first African American photographer on the staff of LIFE magazine, Gordon Parks placed himself in the American lexicon through his deeply human images of racial segregation and Black life in the US. A new documentary, A Choice of Weapons: Inspired by Gordon Parks, which recently screened at the Tribeca Film Festival, proposes that “with his photography and filmmaking, Parks was able to create images of the Black community that allowed for them to be seen on their terms, and that this is why his work matters.” (ARTnews) Parks used his camera as a weapon. He was a champion for social justice at home and abroad and his work grew beyond photography to include films and novels, most notably the 1971 blaxploitation film, Shaft. His work empowered generations of photographers to pick up a camera and document the American experience and Black life. To drive this point, the film opens with a quote from Devin Allen, whose photograph of a Black Lives Matter protest in Baltimore was featured on the cover of a 2015 issue of Time. While taking that photograph, Allen said, “For the first time, I understood what Gordon Parks was talking about: that the camera is a real weapon. I realized how powerful I am with a camera in my hand.” While a public release date hasn’t been provided, the film is an HBO documentary, and it can be assumed that it will be available for streaming via the network soon. We’ll be keeping an eye out for that date, and you should too! In the meantime, brush up on your Parks knowledge by reading his autobiography of a similar name, A Choice of Weapons, written in 1966 and available at your favorite Black-owned bookstore.

“Founder,” “Curator,” “Ph.D. in medical biotechnology,” and “Professor,” are just a few of the impressive titles Bonaventure Soh Bejeng Ndikung holds, and now he will add a new Director position to his list. Haus der Kulturen der Welt, Berlin, Germany’s cosmopolitan venue for contemporary arts, has tapped Ndikung to begin his post as their Director in January 2023. In a statement, Ndikung said, “Berlin is home to citizens from 190 nations, and these people must be fundamental in the future structuring of a house of world cultures, as fellow travelers and co-creators of a house of complexity, of analysis of the diverse asymmetries of the world and ultimately of reconciliation of cultures. I am honored that I have been given the responsibility to open the way for such a future.” Co-founder of the highly regarded Savvy Contemporary arts space, best known for its innovative exhibitions, performances, radio project, publications, and archive-building projects, Bonaventure made a name for himself as an internationally sought-after curator, eventually earning the Order of Merit of the State of Berlin for his work there. His previous curatorial and artistic director roles include the recurring Dutch exhibition Sonsbeek in the Netherlands, Bamako Encounters, a photography biennial in Mali; curator at large for Documenta 14 in 2017, and a guest curator for the 2018 Dak’Art biennial in Dakar, Senegal. In 2020, he received the Order of Merit of the State of Berlin for his work at Savvy. It is going to be thrilling to see what he does at HKW. For all the details visit ARTnews. Congratulations to Bonaventure Soh Bejeng Ndikung on this well-deserved leadership role!

“When you learn the history of the African American story for the first time, you see America with 2020 vision.” – Bernard Kinsey In 1963, Shirley Pooler found herself in a Tallahassee jail, just one of many college students having been arrested for protests as part of the massive civil rights movement happening on campuses and nationwide at the time. Bernard Kinsey was a fellow freshman at Florida A&M University, involved with a local group championing the movement and supporting student protestors who found themselves navigating a complicated system after being penalized and put on academic probation due to their arrests. While assisting Shirley, Bernard recalls being struck by her “quiet strength,” and the “nerve” she possessed as a young Black woman, taking to the streets and risking arrest in defense of her rights. They found themselves smitten, and fifty-four years later, Bernard proudly boasts, “You pick the right partner, you can’t hardly mess it up.” After the Kinsey’s married, they dedicated the first ten years of their marriage to travel, exploring the globe with the goal of visiting 100 countries. In each location, they would purchase artwork to remember their travels. However, when they returned home, they became aware that there was much they didn’t know about their own country’s history, particularly that of the contributions of Indigenous, African, and other immigrant populations. They thought deeply about America’s history and how the stories detailing who made America are mostly made up, realizing that what we all know is only a fraction of the narrative. Inspired, they were determined to learn more. Art became the catalyst for their education. Around the time their son Khalil was born, Roots: The Saga of an American Family by Alex Haley had just come out, another piece of art energizing them to dig deeper. They had already begun collecting African American art, eventually meeting Ernie Barnes, whose piece High Aspirations was one that Bernard had particularly loved, catapulting their collecting into high gear. But when their son was in 3rd grade, he was given a homework assignment to write about his family history, and again, the Kinsey’s found themselves considering how little they still knew about their own history. They began spending family time at the library, ordering in books that the schools didn’t have, and sparking a newfound dedication to collecting historical artifacts as well as their beloved art. Now made up of over 700 pieces of artwork and historical artifacts including paintings, sculptures, rare books, photographs, letters, manuscripts, and more, The Kinsey African American Art & History Collection is considered one of the most comprehensive surveys of African American history and culture outside the Smithsonian Institution. For the first time since it began touring, The Collection will come to the Pacific Northwest. Covering the lives, accomplishments, and artistry of African Americans from the 16th century through the years of slavery and emancipation to the civil rights movement and present day, an exhibit featuring 150 pieces, many of which have not been seen publicly, opens at Tacoma Art Museum on July 31st and runs through November 28, 2021. TAM will be hosting a free Opening Block Party on Saturday, July 31st from 1- 8 pm, including live performances, music, food, local artists, and more. "The Kinsey Collection strives to give our ancestors a voice, a name, and a personality, enabling the viewer to understand the challenges, obstacles, triumphs, accomplishments, and extraordinary sacrifice of African Americans in building this country,” said Bernard Kinsey. Khalil adds, “This is an American story, and most people only know a fraction of it.” This important exhibit presents an opportunity to experience Black life in America in a way many of us never have before, through works and artifacts collected and shared with love by a Black family who is dedicated to honoring the African American legacy. We hope you’ll add The Kinsey Collection at TAM to your list of must-do activities before it moves on!

In 1959, Lorraine Vivian Hansberry became the first African American woman to have a Broadway production of her work. A Raisin in the Sun, named for a line in the Langston Hughes poem Harlem, debuted on Broadway in 1959, just six years before her death in 1965 at the age of 34. An artist/activist, Hansberry’s life and body of work served as the inspiration for The Hansberry Project, a professional Black theatre company dedicated to the artistic exploration of African American life, history, and culture, co-founded by Valerie Curtis-Newton in 2004. It’s worth noting that sixty-two years after Raisin opened, seven new productions by Black playwrights will debut on Broadway this season.* Perhaps this signals a shift on the Great White Way. Broadway notwithstanding, there are local, regional and national stories to be told by countless Black theatre-makers, and there is a powerhouse in our midst doing the work to pave the way. Valerie Curtis-Newton is a Black theatre artist, activist, playwright, director, educator, and mentor. Having led The Hansberry Project through 20 productions and co-productions, as well as premieres of new works by African American writers, she is an acclaimed theatre leader who is also responsible for preparing hundreds of students for careers in theatre as the Head of Directing at the University of Washington. Her list of directing credits span across the US at regional theaters in Kentucky, California, New York, Minnesota, North Carolina, Alabama, and beyond. Her accomplishments are many and there will always be space to sing her praises and give appreciation for the role she has played in keeping the voices of Black theatre artists audible, and for bringing new life to forgotten gems. We are so honored that Valerie agreed to a brief Q & A to help us shine a bright light on her and her work for the July Arté Noir Spotlight: How did you first get involved with theatre and how did your initial experience lead the way to where you are now in your career? I got dragged to an audition in my freshman year of college. I did not get cast but got connected to the theater department and found a kind of community. After graduation my aunt connected me with the Operation PUSH Performing Ensemble and I was with them for 11 years before moving to Seattle for grad school. Again, another community. Community has been very important to an Air Force kid like me. You teach a course at the University of Washington called “Resilience and the Creative Process: Courage, Optimism, and Creativity.” What does resilience mean to you as a Black woman and as an artist/educator/activist? Why is resilience so important in art? Resilience is like jazz. Repetition with change. It is the ability to learn from every attempt and to keep attempting. Mandela said, “I never lose. I either win or I learn.” Losing is not final; it represents the opportunity to try again with more knowledge than you had last time. It is the essence of art. Overcoming our fear of failure – even momentarily - sets the stage for success. The pilot program you co-founded with Jamil Jude, Artistic Director of Kenny Leon's True Colors Theatre, called The Drinking Gourd: Black Writers at Work, launched this year. Please tell us more about this program, its inspiration, and what you are looking forward to achieving as it continues? The Drinking Gourd: Black Writers at Work is a multi-year project that ultimately seeks to create a coalition of five Black theatres. Hansberry Project and True Colors piloted the program in 2021, with each presenting readings of four plays. The vision over time is for all five member theatres to produce staged workshops and readings, creating a pipeline of new works for eventual full productions. We are working on the 2022 lineup right now. This project has the potential to add new Black plays to the theatre ecology through a rolling process of commissions, readings and workshops, and productions. The Black artists engaged in The Drinking Gourd will have an unprecedented opportunity to work with a number of producing theatres serving different communities of color across the country. You have said that empathy is a keystone to your work. Please speak more on that. Theatre is one of the few places where we are called to embrace the feelings and experiences of others. I believe this and have seen it happen repeatedly over time. We actually expect to “feel” at the theatre. If it is doing its work – empathy is a given. Having just received the University of Washington Faculty Lecture Award, an honor that is part of UW’s Awards of Excellence program for outstanding faculty, staff, students, and alumni whose achievements exemplify the University’s mission, what does this recognition mean to you personally and professionally? How does this award enhance the recognition you have received previously for your artistic excellence? I have to say that it was a complete surprise. Ana Mari Cauce just called me up out of the blue. Of course, it is always nice to be seen. And to be acknowledged for both my teaching and my research is truly special. I’ve really just been trying to do my work. I think that if you can do that things will add up over time. I’m not actively working for the accolades. I’m just doing my work. I’m always surprised when recognitions come my way. With the recent developments around Nikole Hannah-Jones’ denial of tenure at UNC and the development of a funded journalism program that she (and Ta-Nehisi Coates) will lead at Howard University, what are your thoughts about the challenges of Black professionals in white-led institutions of higher learning, and the opportunities that may exist for these professionals in institutions designed specifically to serve the Black community? I have always gained strength from the Black community. It is wonderful to teach Black students. To have our work and history honored and respected is a great gift. And I have also long been convinced that the work of eliminating racism is the work of the white community. We have to be ready to bring our whole selves into those environments. We have to stand our ground. There is a letter out there from Howard Faculty, asking Nikole Hannah-Jones to side with the faculty concerns of her new home. Cornel West just resigned from Harvard. Most institutions are not truly made for people. What are you currently inspired by and how are you taking that inspiration into your work? I’m inspired by generators – folks who create things from nothing. I made the decision a couple of years ago to look toward writing and devising as a bigger part of my next chapter. As soon as I started to be more clear about that piece of my artistic identity, opportunities began to find me. I’ve now got 2 commissions and 3 additional projects on my plate. In many ways, this phase reminds me of my youth and what it meant to get bold about making things happen. In theatre we often use the phrase: “beginner’s mind”. How do we gain knowledge and still be open to risk-taking and surprise? I want to awaken my beginner’s mind. How do you envision the future of Black Theatre in the United States, particularly post-COVID and after such a tumultuous year for race relations? There is a lot of attention on us right now. Lots of people are trying to get in on the idea of adding Black voices to their institutions. Finding our way to having our own institutions AND making sure that we get our fair share of the money currently in the sector will be our biggest institutional challenge. We have to be more in control of our own destiny. And just like it is in academia, folks working inside PWIs (Predominantly White Institutions) will need strong support systems. The real test for us will be when the spotlight fades. How will we stay the course? Getting started is not and never has been our problem. We hit the wall at creating institutions. Do you have a question you wish someone would ask you but hasn’t? What do you want to share with the world? I do not have an unasked question - people seem to like asking me stuff! I believe that achieving one’s full potential is the definition of Heaven. Creating the conditions for those around me is the purpose of community. Theatre is a metaphor for this journey. One has to take care of their scene partner if the story is going to work...if it is going to be lifted up to the level of art. Otherwise, we are all just trying to hog the spotlight. Nothing more boring to watch, ever! *Among the plays premiering on Broadway this season is Alice Childress’ Trouble In Mind, directed by Valerie in 2013 at Intiman Theatre and 2016 at The Guthrie. Check out the list of upcoming Broadway productions by Black playwrights here!

“Where’s Seattle’s Black community?” Oh, the refrain heard over and over, especially during the drought years when the residency of Black people living in the city, specifically the Central District, saw dramatic declines from nearly 75% in the 1970s to just around 15% in 2020 (Seattle Times, Percentage of Black residents in Seattle is at its lowest point in 15 years, June 16, 2020). Partnered with the decline in Black residency is the decline in Black businesses, either owned by and/or intended to serve the Black community. Black communities nationwide can be identified by the presence of Black businesses offering basic and specialized services. The culinary arts feed our soul and our spirits and are as essential as the art of adornment and the art of self-care are in creating a sense of place and community. Seattle may just be on the rebound if the latest emergence of Black-owned businesses is any indication. We certainly hope that is the case! To encourage your exploration and patronage, below are a few places to check out that are easily accessible along the primary Central District corridor, anchored by East Union and South Jackson Streets. This is not intended to be an exhaustive list! Rather, a nod to some of the newest offerings to check out, whether you live in the area or for when you visit: Communion Restaurant and Bar – Recently voted one of the best restaurants in the world by Conde Nast Traveler, located at 24th & East Union. Rooted - Jewelry, wellness, clothing, children’s gifts, art, accessories, and events, located at 1105 23rd Avenue, open Tuesday – Saturday, 12 pm - 6 pm. Queencare – Body care products infused with healing aromatherapy, located in the small business kiosk at 23rd & So. Jackson. The website is not updated with new location information, but you can call for hours/information at 425-200-4027. Jackson’s Catfish Corner – Needs no description!! Located at 2218 So. Jackson, open hours vary, closed on Mondays. Other business openings to watch for: Café Avole opening soon at Liberty Bank Building, 24th & Union Simply Soulful Cafe coming to Jackson Apartments complex at 23rd & Jackson Black commerce powers Black communities!

Barely a year into the life of the Northwest African American Museum, in 2011, Seattle-born textile artist Xenobia Bailey’s creations breathed an air of funky vibrancy into the walls and halls of the museum. That exhibit, The Aesthetic of Funk, was just a peek into the vivid world that Xenobia creates. Her Funktional Vibrations glass mosaic in the #7 Hudson Yards station, located at 34th & 11th in Manhattan, is definitely worth experiencing for even the most subway-averse folks. Before leaving Seattle, Xenobia brought the funk and life to costumes as an intern with Black Arts West theatre. Her vibrations have been the center of numerous exhibits, and just as the Winter Garden at Brookfield Place in New York reopens its doors to the public this summer, Xenobia’s Mothership and Hallowed Be Their Names installations will greet and enchant visitors. We’re cheering on our hometown sister and making space here for her personal artist statement below. Thank you Xenobia for holding that vibe up high. We love you, sis! Xenobia Bailey Artist Statement My practice is about the vision of contemporary African descendants living in North America, building up positive, higher voltage cultural bridges between the underserved African American Household, to a more evolved wholesome, cultivated lifestyle in design, cuisine, medicine, fine art and spiritual beliefs. This practice is redefining the fractured and distorted Contemporary African American natural way of life, specifically the lifestyle that emerges from the Beautiful Pacific Northwest that opens the possibility of creating academies that includes Agricultural Cosmic Frequencies in the aesthetic of Funk. This aesthetic is inspired by the undervalued domestic skills and sensitivities of the rural, urban and suburban African American Homemaker/caregiver/ domestic, specifically my Mother. My practice is also about regenerating the generations of lost young Black talent that are sabotaged, disoriented and distracted from their gifts in the African American Communities.

In a recent conversation about Black giving, I was reminded that years ago I learned that voluntarism is the nation’s greatest natural resource. Without volunteers, so many things would come to a screeching halt! The consistent display of art from Black artists in the Pacific Northwest region would be limited at best, and completely absent at worst, if not for the efforts of a group of volunteers who operate the Onyx Fine Arts Collective and Gallery. Stepping into spaces filled with Black art is an experience to be treasured. Gallery Onyx soothes the spirit and opens the heart, surrounding every guest with special embraces from the lens of Black artists. The teams of volunteers who make this gallery possible are a mix of elder states-people who epitomize the popular term “holding space.” For sixteen-plus years, these creatives have given of their time and talent to assure that a professional gallery space, and exhibits showcasing the work of Black artists, would be available to the public. And while they have only occupied their current space in Pacific Place in downtown Seattle for a few years, collectively they have been hosting and presenting the work of Black artists for decades. We’re shouting our appreciation for Gallery Onyx, all of the volunteers and artists that make up the collective, and for the decades of service these creative men and women have given to our arts community. This month, Gallery Onyx is hosting its annual fundraising campaign. If you are so inclined, we invite you to support their efforts by donating via this link!

One of the best parts of my personal arts and cultural life has been the ability to experience a multitude of African artists on the continent. While in the states, we often talk about the role of Black art in politics, as if there was a magical thing that separated the two. In Africa, I got to experience the political activism of artists in ways that were enlightening to me. A number of years ago while attending the Danse l’Afrique Danse encounter in Tunis, the group I was traveling with – representatives of the Africa Contemporary Arts Consortium – held a meeting with African artists. Among the many artists in attendance, Nigerian creative Qudus Onikeku spoke passionately and memorably about his desires for his art. He shared his vision of gathering African artists, encouraging them to come together and determine their own destinies as creatives, community organizers, and leaders. In his website bio, Qudus states, “It is my belief that the social-economic-political condition of a given time, usually informs the given culture of the time.” In this, he is expressing his own understanding of the role art and culture play in reflecting our human condition at any given moment in history. Qudus developed the Qdance Company and Qdance Center in his Lagos, Nigeria home, and also choreographs, performs and teaches around the world. I’ve stayed on his mailing list and remain inspired by his creative offerings and his intellectual musings. A recent email communication included a link to view an excerpt from his recent piece MY EXILE is in my head, inspired by the prison writings of Wole Soyinka. Arté Noir readers, please meet Qudus Onikeku.