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by Guest Writer Georgia McDade The African-American Writers’ Alliance (AAWA) is a unique group of writers who for myriad reasons had not had our stories told nor always had the opportunity to tell our stories. Californian Randee Eddins remedied this situation for writers in the Seattle area when she founded AAWA. A short article in The Seattle Times invited writers of African descent to come to Langston Hughes Cultural Arts Institute. Randee had many ideas: we would meet monthly; we would choose our subjects; we would write without censure. That was in February of 1991. Because AAWA reads as a group each second Thursday of the month..., the community can see and hear writers of all levels displaying their craft regularly. Others who have never written are often moved to write and then share what they wrote. The small group decided that AAWA aims to remedy this situation as soon and as much as possible. Name the genre; someone in the group practices it. We have poets, storytellers, essayists, journalists, playwrights, and novelists. Because AAWA reads as a group each second Thursday of the month at Third Place Books on Seward Park Avenue, each third Wednesday at South East Senior Center, and via Zoom each second Sunday of the month, the community can see and hear writers of all levels displaying their craft regularly. More importantly, audience members get to comment on the readings and question the writers. Persons who have never read in public get the opportunity to do so. Others who have never written are often moved to write and then share what they wrote. As a member of the Western Washington Poets Network, AAWA gladly provides information about journals, presses, conferences, retreats, and other relevant resources in our region. In the greatest sense of the word, ARTE NOIR sells art. Similarly, AAWA sells writing. AAWA works hard to sell writing to the community by presenting readings and workshops, often free. As more bestselling African-American writers appear on the national scene, more local African-American writers appear in the neighborhood—libraries, churches, bookstores, galleries, halls, schools on every level, etc. We like improving our communities and hope those we help will help others. Georgia McDade is an original member of the African American Writers Alliance and has been an eyewitness to the growth of numerous writers who have been involved in the organization over the past three decades. McDade also played a major role in the publication of the six AAWA anthologies and she is currently working on the compilation of a 7th anthology to debut during the organization's first conference this summer, June 7 & 8, 2024 Visit the African American Writers Alliance website to learn more.

We're not necessarily resolutions people but we can always get behind setting a goal to read more books. If that's something you're aiming to do in 2024, we encourage you to check out our neighborhood bookstore, LOVING ROOM: Diaspora Books + Salon, which is running a BLACK FUTURIST BOOK CLUB. Beginning this past October, Reading Our Futures: A Black Futurist Book Club, meets on the fourth Monday of every month at 6 PM. Meetings are hosted by Brooke Bosley, who holds a Ph.D. in Digital Media, specializing in Black Media, from the Georgia Institute of Technology and wrote her dissertation on the intersection of Human-Computer Interaction, Afrofuturism, Black Feminism, and Race & Technology. Each month the group devotes attention to a selected title from within the vast categories of Black futurist literature, centering the works of foundational authors such as Octavia E. Butler and Samuel Delany, alongside contemporary writers including N.K. Jemisin and Tomi Adeyemi. Not to worry, you don't need to have been a book club member from the jump, you can read and join gatherings as able. Black futurist literary lieux compel us to engage in generative dialogue and reflection about the substance of our living as Black folks-- to dream our futures, in light of the complexities of our pasts and present. We highlight and even venerate the ancestral, as we grieve the layers of suffering that have been inflicted-- the dystopias of Diaspora dealings-- and imagine futures unfettered. We consider the possibilities, implications, and ethical considerations of modern technologies and trends in design. Literally, and literarily, what do our (liberated) Black futures comprise? LOVING ROOM also hosts a mid-point virtual meeting every month for folks who are interested in having a check-in before the monthly meeting. The virtual option is also available for folks who are not located in Seattle or otherwise unable to attend the in-person book club meetings month to month. And of course, we encourage you to stop into LOVING ROOM to purchase your book in person, or through their online shop on bookshop.org. UPCOMING BOOKS: February 26th - The Comet, W.E.B DuBois (& other short stories to be announced) March 25th - The Memory Librarian: And Other Stories of Dirty Computer by Janelle Monáe You can learn more about the Black Futurist Book Club as well as RSVP and register directly for Zoom sessions on their Eventbrite page.

As a former dancer and the current President + CEO of ArtsFund, Michael Greer is an integral part of the arts community. Since 1969, ArtsFund has supported the nonprofit arts sector through grants and other organizational assistance, distributing more than $100 million in grants to more than 650 large and small arts groups that span a variety of disciplines throughout King and Pierce counties. In this role, Michael is naturally poised to understand what arts organizations and artists need and has an inside scoop into the exciting arts projects and initiatives in the works, not only in Seattle but across the region. Beyond that, Michael is a kind and thoughtful person and someone we love connecting with out in the community. He generously took time from his busy schedule to answer a few of our questions below. For those who don't know you, please share a little bit of your journey. What inspired you to become a dancer? Were the arts a prominent component of your childhood? Funny story, when I was young, I was pigeon-toed and the doctor recommended to my parents that we try ballet to help with that. That’s what got me started, but I think there were two components that kept me in. The first was my competitiveness. The girls were always much better than me and never ceased to remind me of that. I remember wanting to work as hard as I could just to prove that I could keep up. The second was an opportunity I had when I was probably 13 or 14 years old. I saw a poster on the wall of my dance studio for an audition for the Joffrey Ballet School in New York City. This was in St. Louis, Missouri, and at that point, I had not been anywhere other than my grandparents, so New York City felt like the biggest adventure I could possibly take. I told my parents about it and they said if I got a scholarship, I could go. Looking back, I don’t think they actually expected me to get a scholarship, but I did, and their hands were tied. I spent eight weeks in New York City as a young teenager and I was hooked. For me, it was a tangible example of how the arts could physically and mentally expand my world. Shortly after that experience, I had the opportunity to attend Interlochen Arts Academy as a boarding student and this was one of the most formative experiences of my life. Being surrounded by other young people who had a passion for the arts was something I’d never experienced before. We were all still kids, but everyone had a focus and everyone understood each other. That support and that community stay with me today and are one of the reasons that I do what I do. Providing a nurturing environment for young artists is critical and can literally change lives. "I spent eight weeks in New York City as a young teenager and I was hooked. For me, it was a tangible example of how the arts could physically and mentally expand my world." You bring a unique perspective to your work as someone who has been on the performing side as an accomplished dancer, working in the world of finance, and then leading prominent arts organizations. What excited you most about transitioning into an arts leadership role? Being able to bring several different perspectives to my current role has been important to any success that I might’ve had. Although it has been a while, understanding what it’s like to be a working artist is important for any administration or leadership role. I’m not saying that you have to have been an artist in order to be an effective administrator, but understanding what an artist’s experience is like is important when making decisions about how to support their work. I’d also say that it’s important for all of us to remember that the arts sector is an economic sector, just like any other business sector, and understanding some fundamental principles of how to run a company is as important in the arts as it is in manufacturing or finance or tech. Arts and culture are responsible for 10.8% of Washington State’s GDP and almost $1 trillion of economic activity in the United States alone. These are small- and medium-sized enterprises that are as connected to the local economy as any other business and require the same levels of management expertise as would be expected in any other business. Nonprofit leaders are not only producing economic results for their community, but they are also responsible for stewarding complex missions whose outcomes can sometimes span generations. Having worked in both for-profit and nonprofit leadership, my experience is that, quite often, satisfying nonprofit stakeholders can be the more complex job. Our nonprofit leaders are balancing a complicated set of expectations for what is traditionally a fraction of the remuneration of their for-profit counterparts. I have a lot of respect for nonprofit arts leaders and the role that they play in our communities. As for what excited me about returning to the arts world in an administrative capacity, I think it was about being able to use whatever skills I had to support artists in the same way that I was supported when I was dancing. I remember shortly after I took my first executive director role running a ballet company, I called the old executive director of Ballet West where I worked for years, and thanked him profusely. As an artist, I never really understood the machinery working behind the scenes to make sure that I could just focus on the art. Being an arts administrator is difficult, but knowing that your efforts allow an artist to truly focus on their craft makes it worthwhile. Speaking from experience, being an artist is an all-consuming effort. So many artists have to juggle that with administering their own work and maybe a part-time job in some unrelated field. My role at ArtsFund and as an administrator is to allow artists as much reprieve from these other distractions as possible. Many days, just knowing how important that is, is what keeps me going. You joined ArtsFund at a pivotal and challenging time for the sector (June 2020). What is one of your proudest accomplishments over the past three years? At the end of this fiscal year, ArtsFund will have been directly responsible for administering roughly $45 million worth of unrestricted funding to arts and cultural organizations in 37 out of 39 counties across the state of Washington since 2020. I’m incredibly proud of the leadership and advocacy work that we’ve been a part of since I joined. That includes all of the capacity-building seminars, the convenings, and the public and private sector advocacy that has led to hundreds of millions of dollars of public sector funding, but it is really that $45 million of direct, unrestricted funding that I am most proud of. I say that because those dollars have not only provided organizations the ability to produce new and meaningful work that benefits their communities in so many ways, but those dollars have also provided jobs, food, and rent for hundreds of thousands of people working in the sector. That includes for artists and also for all of the arts-adjacent workers that make this industry possible. Those are the carpenters, the caterers, the janitorial crews, etc. ArtsFund provides unrestricted funding for all of our grantees because we understand that what you see on stage or in a gallery is supported by a foundation of individuals doing a broad set of work that is often never recognized but is absolutely essential. What advice would you give to someone aspiring to a career in the arts? Understand your “why.” To make a living in the arts, whether as a practicing artist or as an administrator, is hard. It shouldn’t be, but it is. The history of our sector has included a lot of terrible examples of producing at the expense of the artist and the administrators. I believe that is changing, and we are on a path to recognize, both culturally and economically, the benefits of those working in the sector, but as it stands today, it is still a difficult profession. So my advice to anyone who is aspiring to a career in the arts is to really understand why it is that you want to do this. There are a million different “whys” and I don’t think that anyone should judge whether your reason for choosing this career is valid or not, but my personal experience is that there will be days that are very, very difficult. Difficult economically. Difficult socially. Difficult emotionally. If you are not clear on why you’ve chosen this path and what it means to you, those difficulties can win out. That said, if you know why you’re doing this, and what it means to you, I can’t think of a better way to spend your life. "ArtsFund provides unrestricted funding for all of our grantees because we understand that what you see on stage or in a gallery is supported by a foundation of individuals doing a broad set of work that is often never recognized but is absolutely essential." What are you looking forward to in the arts community in 2024? ArtsFund grants to nearly 700 organizations across the state so there’s always something to look forward to. That said, what I look forward to the most is the slow and incremental continuation of the work that we all do. This is probably not the answer that you were looking for, but what is driving change is the day-to-day work of everyone in the sector. That work will be the same in 2024 as it was in 2023 and as it will be in 2033. What I really look forward to is 5, 10, or 15 years from now looking back and seeing the progress that we’ve made. Some of the progress will come in chunks, but the majority of it will come from the accumulation of small, everyday wins that will continue to move our missions forward. What does "being in community" mean to you/look like for you? To me, “being in community” just means showing up and doing the work. Everyone has a part to play in creating the communities that they belong to. For some, that means being front and center in conversations and visible and vocal in their work. For others, it means quietly chipping away at something specific that helps to build a foundation that we all rely on. A community, in my opinion, is the sum of everyone’s collective work towards a better quality of life. We all have a part to play in that, and so being in community is about understanding your role and adding to that collective however you can. What was the last album you played? Joni Mitchell’s, Court and Spark What is the last book and/or film that you loved? Octavia Butler’s, Kindred What or who are you inspired by right now? My team at ArtsFund. It’s not easy to grow an organization and our team has not only embraced the idea of growth, but they are constantly using all the skills they have to come up with new and creative ways to serve even more people within our community. Watching them inspires me to be a better leader. MICHAEL GREER BIO: Michael Greer is one of those the President and CEO of ArtsFund. Having worked as a professional artist and an executive in the nonprofit and for-profit space, he brings a wealth of experience to the role that spans the United States, India, and Mainland China. With degrees in economics, education, and business, Michael brings a diverse skill set to the role and a unique perspective on the challenges and opportunities of the sector. In addition, he is a dedicated community partner and serves on a number of boards including the Downtown Seattle Association, Inspire WA, Puget Sound Regional Council's Economic Development District, Seattle Regional Chamber of Commerce, and United Way of King County. As a relationship builder, thought leader, and strategic planner, Michael is dedicated to supporting the mission of ArtsFund to support the arts through leadership, advocacy, and grantmaking in order to build a healthy, equitable, and creative Washington. Michael is also a dedicated husband and father and enjoys calling the Pacific Northwest his home.

According to Culture Type, a resource for visual art from a Black perspective exploring the intersection of art, history, and culture, the second half of 2023 saw Black arts leaders taking on dozens of new appointments. Communications leaders, curators, executive directors, CEO’s, programmers, and more, spanning the globe including from Pittsburgh, Los Angeles, New York, London, and Nigeria; arts leaders of African descent are taking up rightful leadership positions and shifting the narratives and relationships arts institutions are having with a broader community. Even institutions founded by and for African Americans are experiencing change and handing batons to younger leadership. Charlique Rolle, an arts administrator, interdisciplinary artist, choreographer, director, producer, actor, writer, and executive director of Congo Square in Chicago, has stepped into the role of President at the African Arts Alliance, the first board leadership change in 25 years. South African Gabi Ngcobo, an accomplished curator was announced as director of the Kumstinstituut Melly, in Rotterdam, Netherlands. Stateside, Thomas E. Moore, III, is the new executive director of the American Friends of the Louvre in New York. In San Francisco, David C. Howse was named the next president of the California College of the Arts. Black footprints are being made in the arts around the world. We hope this trend continues upward! Check the article and full list from Culture Type

The past year has been one of complete and authentic gratitude. In addition to marking the accomplishment of year one in the ARTE NOIR physical space in the heart of the Black community where my personal life was formed and shaped, I was also lauded on numerous occasions by organizations I respect and honor. Dr. Quinton Morris saw fit to extend the work he has done with his organization Key to Change and our decades-long friendship and collaborations by honoring me with the Inaugural Community Achievement Award. Cornish College of the Arts President Dr. Raymond Tymas-Jones and his board lifted me with an Honorary Doctorate of Humane Letters, and the Northwest African American Museum extended the honor of awarding me the Champion of Unity Award. As the year came to a close, the Urban League of Metropolitan Seattle under the monumental leadership of Michelle Merriweather, bestowed upon me the Legacy Award.  These recognitions, all within the same year, represented the acknowledgment of my lifetime commitment to community and each one served as a reminder of the importance of integrity, responsible leadership, and influence. But what I know for sure is that awards and recognition can fade. What is lasting is the power of influence and the responsibility that comes with it. The January/February 2024 issue of the venerable Seattle Magazine released their list of "Seattle’s Most Influential," in which I was included among some of the true heavyweights of Seattle, and world influence. In publisher Jonathan Sposato’s note, he stated, “…we are proud to amplify the efforts of so many who are truly changing the world for the better, while asserting and reasserting Seattle’s importance.” Seattle is a place of possibility and innovation. What we do here has resonance around the world. I have always understood that about my home city and have always carried with me a commitment to being a part of the possibility. I am still reeling from, and sitting with the surreal nature of a year that felt like the entire city had its eyes on little ole me. The gratitude I feel covers me with waves of emotion and also feels at times like living in a fishbowl. And while I was the individual named, these honors are less about me and more about those who have walked with me over the years, in solidarity of vision and action. But what I know for sure is that awards and recognition can fade. What is lasting is the power of influence and the responsibility that comes with it. Martin Luther King, Jr., said, “Power without love is anemic.” It is the pure and abiding love that I have for this city, my community, and the artists who have made the most difficult of times palatable and the best of times inspiring, that keeps my blood count high. On these pages and inside the walls of ARTE NOIR, our intention is to responsibly exert whatever influence we might have to assert and reassert our collective importance, love, and power, by consistently uplifting the soulfulness and beauty of Black art and culture. Vivian Phillips, Founder + Board President

“One can tell a great deal about a country by what it chooses to remember: by what graces the walls of its museum, by what monuments are venerated, and by what parts of its history are embraced.” The above quote comes from Lonnie Bunch III, the 14th Secretary of the Smithsonian and the first African American to hold the post, from an essay in The Atlantic. The stories of African Americans have been taking a slow crawl out of darkness and are now taking up rightful space in museums, the annals of history, monuments, literature, and film. One such story is that of Bayard Rustin, the true architect of the 1963 monumental March on Washington. His is a story that had faded in the dark for decades and has finally come to light in the film RUSTIN. Some of the reasons for this obscurity are made clear in the film, but without his tenacity, vision, and pure energy, that fateful day, August 28, 1963, when Martin Luther King, Jr., gave the "I Have A Dream" speech may not have had the enduring significance it does even now, 60 years later. Bayard Rustin died on August 24, 1987, just shy of the 24th anniversary of the march. The film RUSTIN, is directed by the venerable playwright, theater, and film director, George C. Wolfe and should be on your holiday watch list. Available now on Netflix.

Anyone remember the lavish Ebony Fashion Fair shows that used to tour the country? In Seattle, it was a highly anticipated annual event presented by the National Council of Negro Women, Seattle Chapter. To get a glimpse of the cadre of Black models strutting the runway, particularly the male twin models Rod and Ron Fuller, and a look at the work of Black designers like Patrick Kelly, Willi Smith, and Stephen Burrows, was to always be delighted and excited and left wanting more. Ebony Fashion Fair brought couture and beautiful Black style to the masses from 1958 - 2009. During that time, Bethann Hardison was making her way through the world of high fashion as a model-turned-activist for Black representation on the runways of Paris, Milan, London, and New York. Bethann’s life and life’s journey have been documented in INVISIBLE BEAUTY. The film shares intimate elements of her life as a key figure in the fashion world and includes a few bumps along the road with her son Kadeem Hardison, best known for his role as DeWayne Wayne in A Different World. There are pieces in the film between the two of them that illustrate just how much Bethann, as a single parent, wanted for her child, always pushing him to pursue his passion. It is her formidable success, constant drive, and candid nature that seem to challenge Kadeem’s view of his own success. It’s also the passion and love that Bethann has for the legends of models of all stripes that floats to the top in the film. Supermodel Tyson Beckford sheds a few tears talking about the impact Bethann had on him. Taking him under her wings, one thing led to an introduction, which helped Tyson to become the first Black male to be showcased in a suit, in advertising campaigns for Ralph Lauren. The Polo brand was and still is quite popular as street wear, but Tyson Beckford gave “getting dressed” a whole new meaning in his pinstripe suit. Ads featuring his dreamy look were pulled from magazines and pasted on the bedroom walls of girls all over the world. The careers of Naomi Campbell, Iman, Tyra Banks, Veronica Webb, Roshumba Williams, Kimora Lee Simmons, and so many others, all have a straight line back to Bethann Hardison. “Bethann is the godmother of fashion.”  Tracy Ellis Ross After leaving the runway, Hardison opened her own modeling agency and represented young talent from every walk of life and every ethnicity. As an agent, she was absolutely a proponent for appropriate representation for Black models, but she did not pigeonhole her own capabilities and reach. Fashion is the industry she rides for and as such, she rode the backs of design houses, and opened doors for hundreds of fresh faces seeking their spot on runways and in fashion magazines. The story of INVISIBLE BEAUTY is one about advocacy, representation, and equity, but it is also about creating and leading a community and being a vulnerable human. At one point in the film she says, “I know, because I have lived long enough, that you can change things.” She is an agent of change as much as an agent of fashion, and in her elder years, Bethann is still seeking to be poured into. In the film, she is candid about having cared for so many others, and remaining desirous of having that kind of care come back to her. It’s a truly touching human moment that perfectly contrasts her super hero status with her vulnerability as a woman and a Black woman of a certain age. INVISIBLE BEAUTY is available for streaming on multiple platforms including YouTube, AppleTV, and Amazon Prime. Please take a moment to learn more about the incredible life, career, and beauty of Bethann Hardison here.

Alicia Keys is all about creating new ways to tell her story about the city she loves - New York, New York! Never shying away from putting music to her Big Apple experiences, Keys is about to open a new Broadway musical, HELL'S KITCHEN. While she's gotten help from Broadway veterans including choreographer Camille A. Brown and Tony-nominated director Michael Greif, you can bet that every note and lyric was written by Ms. Keys. Put this on your Broadway must-see list for sure! This isn't all Alicia has been up to lately either. Along with husband Kasseem Dean, aka Swizz Beatz, the two avid art collectors are taking their collection to the Brooklyn Museum. The exhibition titled, GIANTS: Art from the Dean Collection of Swizz Beatz and Alicia Keys, will be on exhibit from February 10 - July 7, 2024. Keys and Dean have long been ardent advocates for Black artists and creatives, and have shown their support through the development of what has been called one of the most important collections of contemporary art. Works from nearly 40 artists will be featured in this exhibit and include pieces by Jean-Michel Basquiat, Amy Sherald, Lorna Simpson, Kehinde Wiley and the most works by Gordon Parks held by private collectors. A trend seems to be growing among the hip-hop generation of appreciating and collecting Black art and arts institutions seem to be taking notice and making space. In fact, should you be in NY before February 4th, another rare Black collection is on view at the Brooklyn Museum; Spike Lee: Creative Sources is an immersive installation of objects from Lee's private collection, that tell a bit about what has inspired his creative offerings.

Rick DuPree is a native of Seattle, yet, his familiarity with the Seattle Chapter of the Black Panther Party was almost non-existent. By the early 1980's the Panther Party had ceased operation nationally, and it would be another three decades before the local history would take center stage as the Seattle Chapter of the Black Panther Party celebrated 50 years since it's forming. Over time, there have been several iterations of local Panther history documentation including co-founder Aaron Dixon's book My People Are Rising. The University of Washington also has a comprehensive archive, and co-founder Elmer Dixon recently released his book Die Standing: From Black Panther Revolutionary to Global Diversity Consultant, but for DuPree, a personal angle to the full story had not been explored. Rick and his son Marques set out to address what they felt was an important and intimate look at the story of the Seattle Chapter through the eyes of the two founders, brothers Aaron and Elmer Dixon. SEATTLE BLACK PANTHERS FIGHT FOR JUSTICE & FREEDOM is the film that the DuPrees are currently working to complete. It is the telling of the Seattle Chapter formation, existence, relationship to the most prominent California chapters, told mostly from the perspective of the co-founders and through the eyes and voices of those who were actually there. The film also takes into account the racial environment in Seattle during the time. Redlining was in full effect and the assassination of local civil rights leader Edwin T. Pratt in front of his Shoreline home had a chilling effect on the prospect of Black people living outside of the Central District. The Black Student Union at the University of Washington stood in protest of administrative reluctance to sever ties with Brigham Young University for BYU's documented history of racism and discrimination against Black athletes. By contextualizing these important elements in Seattle history, the film encompasses much more than the revolutionary aspects of the party. Rather, it sheds light on why these revolutionary acts were necessary at all. At a screening earlier this year, Marques DuPree talked about his surprise in learning about this powerful group, something that was not included in any of the pages of his school books, nor was it the topic of any discussions in his local public school education. It causes him to wonder why that was the case and inspired his enthusiasm for ensuring that the story is told and made widely available. Rick also reflects on the absence of a full story about a time in history that marked a major shift in how Black people saw themselves. Not unlike many Black families who found a home in the Pacific Northwest, Rick's parents migrated to Seattle at a time when being Black had severe consequences in their native southern towns. The threats to Black life during and post Jim Crow forced many parents to fly below the radar, unable to fully embrace the concept of Black pride. Recalling a conversation with Aaron Dixon, Rick notes Aaron's comment: "Stokely Carmichael was using this new term, Black power." As film producer, Rick has found himself in a new creative lane that he hopes to explore further after completion of this film. Since 2012 DuPree has been the Director of Community Partnerships at Seattle Academy where he manages the Senior Project Program and the upper school student service learning. His intentional work with youth in the community is quite well known, but there are other elements of his family and history that may surprise. For instance, Rick's grandfather JW Morris, helped to build Washington State's oldest Black church, First African Methodist Episcopal, where one of the stained glass windows is dedicated to his service. Brother David DuPree was the first African American journalist hired by the Wall Street Journal and also has to his credit an interview with then incarcerated, Huey P. Newton. The shift from administrator to a creative practice of filmmaking is one that Rick looks forward to and he already has an eye on his next project. This process of film producing has taught Rick many lessons and increased his interest in creating greater access for others wanting to tell more Black stories, especially at a time when history is being dramatically twisted. "I am a storyteller and want to tell more stories. Black filmmaking seems to be emerging so Seattle has some learning to do," Rick notes referring the level of community support that is or is not available. When asked what was the most surprising thing he has learned about the Seattle Chapter of the Black Panther Party during this process, DuPree smiles and pauses, then notes, "How well respected and thought of the Seattle chapter was as one of the most prominent chapters in the country." Rick attributes much of this to the leadership of the Seattle Chapter. "Aaron and Elmer were raised in a family that taught them to be respectful and not radical to the point of disrespecting others." Through this filmmaking process, Rick and Marques have had the opportunity to learn an enormous amount of information about the history of the Seattle Chapter of the Black Panther Party. It is clear to them that the fight for freedom and justice continues and the hope is that this film will bring new insight to the ways in which the young Dixon brothers, teenagers at the time, found themselves at the forefront of a movement that is as prominent today as it was when started 55 years ago. SEATTLE BLACK PANTHERS FIGHT FOR JUSTICE & FREEDOM is the untold story.

The newly reimagined take on THE COLOR PURPLE is all anyone is talking about right now. There is probably a whole generation of people out in the world who think Oprah Winfrey originated the film, which is based on the groundbreaking novel by Alice Walker, whose name is rarely uttered in connection to the film. Another person not widely mentioned is the director of this new take on the classic. It's awards season and everyone will be looking to see which of the star-studded cast will get a nom and who won't. In 1985, the original THE COLOR PURPLE film garnered 11 Oscar nominations, but, wait for it, did not receive a single win. However, that film's director Steven Spielberg received a Director's Guild of America award for Outstanding Directorial Achievement, so it's going to be quite curious to see how all of this shakes out in the 2024 award season, particularly given how this new film brings together both African and African American sensibilities to reimagine. The spirit of West Africa is at the helm of this new film in the form of Ghanaian-born director Samuel "Blitz" Bazawule. Born in Accra, Blitz, aka Blitz the Ambassador, is as solid an artist as one can be. Not only is he a director of beautiful films like his debut, The Burial of Kojo, but he is also an author, singer, songwriter, rapper, and record producer, and this just scratches the surface of his enormous talents. In 2015, Blitz lit up Seattle's MoPOP with an electric performance at Madaraka Festival. Backed by a band of Seattle music legends and legends in the making, Blitz gave us an unforgettable performance. Five years later, he would be named director for the remake of this groundbreaking story and film. The significance of bringing the spirit of Ghana into the making of THE COLOR PURPLE is the ingredient that perhaps we didn't know we missed or needed. Like with Celie and Nettie, Africa and America are important portions of our colored lives.

The holidays bring us closer together as we take time to celebrate family, friends, the gift of life, the spirit of generosity, and the turning of our calendars to a new year. At the end of each year we often find ourselves planning to reset and start fresh in the new year. For some of us, Kwanzaa principles help us take stock of the ways we function in the world. The seven principles of Kwanzaa are: Umoja (Unity) To strive for and maintain unity in the family, community, nation, and race. ... Kujichagulia (Self-Determination) ... Ujima (Collective Work and Responsibility) ... Ujamaa (Cooperative Economics) ... Nia (Purpose) ... Kuumba (Creativity) ... Imani (Faith) At ARTE NOIR, our daily practice is rooted in the Kwanzaa principle NIA (Purpose). Over two years ago when we first considered the possibility of expanding our footprint by creating a physical space, our first consideration was to firmly understand our purpose. Our mission easily articulated that purpose: To create space, stability, opportunity, and training to serve the needs of the displaced Black creative community. To accomplish this mission we committed to investing in the process of repairing the damage done to Seattle's Black community through a history of restrictive covenants, redlined banking practices, anti-Black government policies, and gentrification. Our investment has not only provided an anchor space in the historic Black community to showcase the creative excellence and diversity of Black artists, but it has also led us to ownership. Our ownership is about creating stability and authority to lead our own destinty. The creation of a long-term legacy is the direction our purpose has taken us, and as Executive Director Jazmyn Scott so eloquently articulated in her email earlier this month, there are several other ways that our purpose manifests. Our investment has not only provided an anchor space in the historic Black community to showcase the creative excellence and diversity of Black artists, but it has also led us to ownership. Truth is, each Kwanzaa principle is at work at ARTE NOIR throughout the entire year. As this year comes to a close, we hope you will consider a gift to ARTE NOIR and invest in our purpose. Our work continues and with your support, our ability to be an anchor for celebrating the rich legacy of Black art and culture while also driving positive economic outcomes for Black creators will be strengthened. We've accomplished a lot and still have more to do to maintain the momentum of sustainable revitalization of the Central District community and support for Black artists and makers. Your gift of $10, $100, or $1,000, or any amount you feel called to give will help us maintain our focus on the purpose that led us here. Your contribution will also help us: Continue to put money in the hands of Black artists and makers Expand our curatorial vision by specifically engaging Black women curators Provide free and low-cost music production programming to youth upon the completion of our recording studio buildout Provide a free space for hands-on classes, workshops, activities, and presentations; as well as a dedicated workspace for artists in our soon-to-open maker space So much more... And don't forget, if you're looking for unique holiday gifts, ARTE NOIR has you covered. Happy holidays, Vivian Phillips, Founder + Board President Jazmyn Scott, Executive Director

If you haven't experienced the soulful, laidback vibes of singer-songwriter and Pacific Northwest native LIV†, née Olivia Thomas, then you need to get your tickets ASAP to THE FLY BALL: An “I Just Want My Bitches To Fly” EP release show on January 27th. The talented multi-disciplinary artist (who also directs short films and her music videos in her spare time) is headlining Neumos along with friends and fellow hip-hop artists Laza, Yonny, and Saint Deon. LIV† already has two highly successful EP's under her belt, "Pink and Orange" (2022) and "Flowers in the Void" (2020). She was recently chosen as one of Sonic Guild's 2023 grant recipients, whose mission is to support the creation and performance of extraordinary new music. LIV's extraordinary music is described as 'a reflection on love, what it means to be Black and outspoken, as well as what it takes to get out of your own way and be whoever you want. Be damned anyone else.' Sounds like the energy we want to take into 2024! Check out LIV† on bandcamp Follow her on Instagram LIVt - I Just Want My Bitches To Fly Release Show with LAZA + Yonny + Saint Deon NEUMOS Saturday, January 27th at 8 PM 21+ event Tickets $15 Get Your Tickets HERE