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King Street Station in Seattle was all abuzz on Saturday, November 11th. It was Veteran’s Day, and the trains were running, but the buzz was happening on the main and upper floor of the elegant 1906 structure whose bell tower was fashioned after the San Marco tower of Venice, Italy. Hundreds gathered on the chilly fall day to celebrate the opening of Station Space, an interdisciplinary hub for some of the city’s most vibrant arts and cultural organizations. It was a year ago that the newest resident organizations gathered to break ground on what is now a vital space for Totem Star, Red Eagle Soaring, The Rhapsody Project, Whipsmart, and the Jackson Street Music Program. Station Space is more than just a reimagined use of a historic building. It is a testament to what can happen when government and community come together to imagine the creation of a viable organization like the Cultural Space Agency, to put the knowledge and skills of real estate development into the hands of arts leaders and enthusiasts. The result can be something empowering like providing critical space to five organizations that are led by people of color, serving people of color. It’s a lot like the adage - “give a man a fish and he eats for a day, teach a man to fish and he eats for a lifetime.” That’s the kind of power the Cultural Space Agency is putting into the hands of the community. Saturday’s show of support was a clear indication that this is the kind of transfer of power that is wanted, needed, and that works for communities who have been left out and left behind. Learn more about Station Space and the Cultural Space Agency as covered by KNKX/NPR.

I’m a native of Seattle. This is my home, and what I do and who I do it for is mostly rooted within the confines of the 96 square miles that make up the city, and extend into the 39 counties that make up Washington state, with of course special emphasis on the county in which I live, Martin Luther King, Jr. County. While being Black in Seattle can be challenging with a demographic that places us at about 7% of the population, this can make for a slightly disorienting experience from time to time. But this is home, and it’s been part of my personal mission to make my home as warm and welcoming as possible to all. ARTE NOIR has become that home. We are most proud to have created a loving home for Black art and culture in Seattle. This is personal for us as our greatest joy comes from supporting the creativity and soulfulness of Black artists and makers. We’ve been able to log one year of doing exactly that with your patronage and support. As we come close to the end of this year and prepare to welcome a new one, we are grateful for having made the following, and more, possible: GENERATE REVENUE for artists and makers whose products we carry and showcase (remember, we buy outright and/or cover the cost of production so creators can keep dollars in their pockets) HOST ROTATING EXHIBITS by Black artists in our state-of-the-art gallery CREATE ECONOMIC STABILITY for our employees FIRMLY ANCHOR A HOME for Black art and culture in the historic Central District neighborhood Your patronage has been essential to keeping our home available and secure. If you’ve been to our home, you know that our staff is top-flight! Maya Angelou said, “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” We receive countless notes and texts from people who have interacted with our staff and come away from that experience with a positive memory of how they were made to feel welcomed and valued. This means the world to me and I want to give a big shout-out to our fabulous Executive Director Jazmyn Scott, and our incredible Guest Services staff Marcus Mitchell, Nahshon Joshua, and Loren Perkins-Johnson. Thank you all for making everyone feel good in our home! To sustain our home, we hope you will continue to support us with your contributions and patronage. Our focus is guided daily by the vision of creating tangible results for artists and our community. We're living up to our mission and hope you will consider supporting our work with a fully tax-deductible donation this year. And don't forget that ARTE NOIR is the perfect place to spend your hard-earned dollars this holiday shopping season. Keep those dollars flipping in the 'hood while supporting Black art! Celebrating our One Year Anniversary, courtesy of Elite Collective

Last February, Dr. Henry Louis Gates wrote an opinion essay for the New York Times titled, "Who's Afraid of Black History?" The article is written against the backdrop of Florida Governor Ron DeSantis' declarations that schools should not be places of indoctrination. Gates counters this by reminding us that schools are the first places where we are shaped as Americans. That would definitely be a form of indoctrination. While this essay is almost a year old, we bring it back to the top of our consciousness as the political antics, also known as election and debate season are in full swing. Yes, there is war in the Middle East, and yes there is homelessness, and drug epidemics that plague all of our cities. And yes, there remains an absence of fair and honest acknowledgment of the matter of Black Lives in America. All things can be true at the same time. As we rush to denounce the ideals of one candidate over the other, we cannot dismiss the urgency to continue the demand for an accurate accounting of American history and that means Black history. Let's not wait until February to reacquaint ourselves with the double barrels staring us down today. In every election, it is within our rights and critical to our future that we know who is actually running a race to hurt us or help us. And that "us" is all Americans. If you deny me my history, you are denying my existence. Stepping down from the soapbox and encouraging a re-read of Dr. Gates's essay.

We’ve spent some time focusing on West Africa lately and encouraging plans for a Sankofa return. Sankofa is a word from the Twi language originating from the Akan tribe of Ghana. Sankofa translates into “go back and get it,” most often associated with a symbol of a bird flying forward but looking back. Some understand Sankofa as the necessity to reclaim your roots in order to fly freely forward. We also refer to Sankofa as the need to know where you are from to inform where you are going – “the way out is back through.” Several women have written books that compel us to embrace the history of our people in order to fulfill our ancestor’s greatest hopes and dreams for us. Influenced by their West African heritage, origins, and relationships, these women provide glimpses into the cultures of West Africa that have informed their journey forward. We recommend the following reads: At the tender age of 26, Ghanaian-born and Huntsville, Alabama-raised Yaa Gyasi won the National Book Critics Award for her debut novel HOMEGOING, a historical novel tracing the descendants of two half-sisters born into different villages in Ghana. The sisters follow different paths: one marrying a wealthy Englishman and residing at Cape Coast Castle, the other being captured and sold into slavery. Gyasi followed up Homegoing with the equally potent TRANSCENDENT KINGDOM, which is a portrait of Ghanaian immigrants experiencing the challenges of depression, addiction, and grief. Through it all, the novel elevates the intensity of faith, science, religion, and love. Peace Adzo Medie is a Liberian-born and Ghanaian-raised writer whose 2023 novel NIGHTBLOOM is also a story of two young girls. They are cousins born on the same day with lives that take on parallel journeys but with decidedly divergent experiences. Peace is also the author of HIS ONLY WIFE about a Ghanaian woman who marries a man she first meets weeks after the nuptials where he has placed a stand-in, and she eventually learns what it means to be a woman in a rapidly changing world. Educator, Dr. Cynthia Dillard’s THE SPIRIT OF OUR WORK: Black Women Teachers (re)Member, is not just for educators. Centering spirituality as the core foundation that has guided people throughout the diaspora, she illuminates the necessity for (re)membering identity as a key source for empowerment. Grounded in her firm relationship with West Africa, Dr. Dillard writes, “…This is not solely a call to return to the continent of Africa as a way to assuage or ‘cure’ whatever is inside us that diaspora has wrought. But this is about the absolute necessity for Black people to affirm who we are as Black people…” These women offer invaluable perspectives on the ways in which West Africa specifically, has and continues to shape who we are while bringing into clear view who we can be with the spirit of our ancestors guiding us along our paths. From the legacy of Queen Mother warrior Yaa Asantewaa to the unborn children whose lineage will continue a connection to the continent, through their writing, these women personify the words of Ghana’s first President Kwame Nkrumah, “I am not African because I was born in Africa, but because Africa was born in me.”

ARTE NOIR is proud to partner with Seattle Opera in support and celebration of local Black artisans. Visitors to the Black Artists Market will find nearly two dozen booths representing Black artists and Black-owned small businesses throughout the halls of the Opera Center, selling handmade gifts, one-of-a-kind decorations, and delectable treats for the entire family. “This Black Artists Market is an opportunity to celebrate the sheer quality and variety of artisanship in Seattle’s Black community,” said Dennis Robinson, Jr., Seattle Opera Director of Programs and Partnerships. “Showing up for and supporting the Black-owned businesses in our community is vital for fostering strong and diverse local communities. We’re honored to share our space with the skilled artists and industrious business owners who make Seattle such a special place to live and work.” Attendance is free and open to the public, and patrons should feel free to come and go as they please throughout the day. Attendees may purchase parking in advance at a discounted rate of $20 for two hours at seattleopera.org/buyparking. More information and an updated lineup of vendors at seattleopera.org/market. Saturday, December 16 11:30 AM–7:30 PM The Opera Center | 363 Mercer St. We look forward to seeing you all there!

When Dennis Robinson, Jr., was announced as Seattle Opera’s new Director of Programs and Partnerships in June 2022, Seattle Opera's statement noted, "Dennis’ impressive record of bringing opera to new communities gives him impeccable instincts for and insight into community engagement.” That was an understatement! Robinson has become a bit of a quiet giant in Seattle’s art world, making friends and creating new partnerships with ease and respect. Not one to shy away from actually getting out into community, Dennis has made his presence known with great aplomb. With so much changing in the world of opera where new librettists, new composers, and new stories are being told, Dennis has taken up the work of creating a more inclusive environment by extending authentic invitations and creating opportunities for the community to have more involvement in shaping the audience experience. Robinson arrived at Seattle Opera with a most impressive background having studied Opera Directing at Carnegie Mellon University and with managerial and directorial stints at Palm Beach Opera, Pittsburgh Ballet, Boston Lyric Opera, Pittsburgh Opera, The Glimmerglass Festival, and more. Robinson is also credited with having designed creative collaborations in Pittsburgh at organizations including the Children’s Museum of Pittsburgh, Carnegie Science Center, Pittsburgh Symphony Orchestra, and the Greater Pittsburgh Arts Council. Dennis’ work with community is evident in the impressive lineup of programs scheduled to accompany the February 24 – March 9, 2024, Seattle Opera performances of X: The Life and Times of Malcolm X. A recital, reading, and conversation, artist responses and connection opportunities with the librettist, composer, and writer have all been planned to augment the run. Seattle Opera is one of three US opera companies that participated in the commissioning of X, which has long been in the works and had its Metropolitan Opera debut this month, to great buzz and expectations that at long last, an important story of this magnitude might become an American classic. Speaking about the ways in which opera connects to community, Dennis shared, “Opera is not just an art form; it is a powerful force that weaves the threads of culture, emotion, and storytelling into the fabric of a community. Its impact resonates far beyond the stage, reaching deep into the hearts of individuals and binding communities together in a shared experience of beauty, passion, and the timeless resonance of the human spirit. My mission is to allow all of our brothers and sisters to experience that in a place where they feel welcome, comfortable, and included.” When you visit Seattle Opera, odds are Dennis will be prominently placed to greet you. Say hello and give him a warm welcome.

“Everything I do will always be about unflattening the reductive idea of Blackness.” Berette S Macaulay is a living, breathing example of a diasporic human. She is international and not just because air travel has allowed her to see the world. On the contrary, Berette is from Sierre Leone, has lived in several countries and holds passports from three, speaks multiple languages, and is an interdisciplinary artist and writer whose curatorial practice is well known and highly respected across the globe. Last week upon the opening of the new Jacob Lawrence Gallery at the University of Washington, it was announced that Berette has been named the Guest Curator for the 2024 Jacob Lawrence Legacy Residency. The residency will host New York-based Jamaican artist and filmmaker Simon Benjamin. Spending time in the presence of Berette is a deeply spiritual experience. She is what my elders would call, “beyond her years.” Beautiful, vibrant, indisputably intellectual, and still young, Berette is a woman who embodies all that it means to be a global citizen. “The very concept of a Black person having multiple cultures in their body is not an identity that Black people are allowed to have,” Macaulay notes. She speaks emphatically about the international nature of her existence and the constant navigation of belonging. When talking about the absence of a place for her to feel her global self, Macaulay notes that often, hers is "an invisible reality." Her work however is highly visible and unapologetically global. As we were speaking the same week as the Jacob Lawrence Gallery curator announcement was being made, Berette was preparing for an exhibit in Rotterdam, after which she will visit home – Sierre Leone. Even though her work is global, Berette finds it a bit dismaying that she is not known as an artist locally. “My art practice largely exists outside of this area, yet, it is the thing that informs everything else. I am an artist with a curatorial practice. It changes how one curates when you are an artist serving artists based on lived experience,” she shared. Bringing artists and communities together is a sweet spot for Berette, as was evidenced in her spring 2023 presentation of the UN-[TITLED] project, an immersive, multisite-specific experience centered on the ways in which communities are displaced by gentrification, and focused on community meaning, cultural memory, and healing in the Central and Chinatown International Districts of Seattle. This project brought together no fewer than 30 distinct partners, artists, and managers to immerse participants into a world of experiential learning about shared histories, with the primary location being a former Immigration and Naturalization Center building that now serves as an arts space. When speaking about the continuum of UN-[TITLED] and the Jacob Lawrence Gallery residency, Macaulay notes that “the legacy residency program is an embodied and activated way of engaging Jacob Lawrence’s legacy, as a community-centered artist, as an artist who saw it as important to keep history and story, and to document the community organizing and community movement and migrations and what political, and governmental, and legislative activities in the history of this country led to all of these kinds of movements. His dedication to that as an artist is a very alive thing and is very instructional as to how we should move as artists. This residency allows for the continuum of that.” Berette is very clear about how she sees her role as curator as a responsibility to support Simon Benjamin in the work he is interested in doing. “My influence in that is the ability to think across multiple cultural histories and ways of looking at Black culture that comes from my indigenous background of being born in one place and naturalized in four different countries. I can’t help but look through multiple lenses of Blackness.” The fire in Berette’s belly for her people is also evident in the passion she puts into all of her projects, including Black Cinema Collective, and Imagine | Evolve, an intersectional multimedia arts incubator supporting cultural, educational, and individual creative projects. She has an authentic heart for whatever community she might find herself working, and the utmost respect for the histories and legacies of the streets that may not have raised her, but for whom she is willing to make unlimited deposits of culture, intellect, and respect. She is an oracle with the world as her home. Learn more about this phenomenal woman artist here. A short reel from a few of Berette Macaulay's projects, courtesy of the artist

Brooklyn-based experimental musician Josiah Wise, known as serpentwithfeet, is bringing a new theatrical production centering queer Black nightlife to Seattle's Moore Theatre on November 1st. Together with seven dancers in a theatrical dance and musical performance, Heart of Brick, tells the story of two men finding themselves and falling in love in a gay dance hall—and captures the multi-generational spirit of the Black queer community. The dance hall is where the utopian potential of a safe space and a great love story unfold, with serpentwithfeet on stage himself. Combining music created for the performance, along with material from his new album Grip, Heart of Brick is an evocative new work that embodies the sweetness and sincerity at serpent’s core. “The dance floor has been a medium for Black queer people to decompress and build community. Going out has given me incentive to go inward and I am a better person because of it,” Wise said in a statement about Heart of Brick. “Engaging the body is essential to engaging the spirit. I have proof.” - Josiah Wise for Pitchfork Heart of Brick was co-written with poet Donte Collins, and MacArthur "genius" fellow Wu Tsang joins the production as director, with choreography by Raja Feather Kelly. Wise, who has a background in R&B and classical music, expresses desire and pleasure in his songs so beguilingly gentle that he has become one of the most exciting alternative R&B voices. He has performed with Bjork, Moby and was the opener for the North American leg of Grammy-winner Rosalía's 2019 tour. HEART OF BRICK Wednesday, November 1, 2023 The Moore Theatre Doors at 6:30 pm, Show at 7:30 pm TICKET DISCOUNT OFFER! ARTE NOIR is partnering with Seattle Theatre Group to offer an exclusive 20% discount on tickets to this special event. Simply hit the "unlock" button on the ticketing page and enter the discount code SWF20 in the box to have the twenty percent off applied to your purchase. Purchase your tickets here

In the 90s, it was popular to engage in TQM staff training. Total Quality Management was supposed to teach people how to be more effective in their leadership positions. I don’t remember what, if anything, I actually learned about leadership but I will never forget the exercise that led me to write my goals in increments of 1, 3, 5, and 10 years. I still have the piece of paper where I wrote, “Go to Africa.” My investigation into the continent of my origin began in earnest in 2001. As a local producer of The MAAFA and Sankofa Theater, both productions focused on the trans-Atlantic Slave Trade, and both productions were very heavy community lifts. The MAAFA brought over 100 individuals from Brooklyn to Seattle, with Sankofa Theater becoming Seattle’s own version of this dramatic healing journey. Each of these endeavors required intentional community engagement and a large amount of volunteers. One of those volunteers was a dear friend, Delbert Richardson, who is now a much sought-after speaker and exhibitor with his award-winning and powerful The Unspoken Truths: American History Traveling Museum. During the time that we engaged in The MAAFA (a Ki-Swahili term for great tragedy), Delbert shared that he didn’t really understand the significance of excavating the deep history of our past then, the way he does now. His immersion has led him to assemble a vast cache of artifacts and information that has become a valuable teaching tool being used in communities, schools, and places of employment to enlighten and uplift the vital history of Africans and Africans in America. Delbert’s travels to Africa are also enlightening and fun to witness, as he shares many of his experiences on social media and in person. On his most recent journey to Ghana this summer, he took along his wife, a good friend, and a mentee, and was able to witness their unfolding in the fullness of their heritage. He introduced me to both new experiences and some we have in common. For your own Sankofa return, Delbert shared the following recommendations: Nkyinkyim Museum You will likely immediately recognize the sculpture work of Kwame Akoto-Bamfo, the museum founder who has dedicated his work to archiving African history and heritage. The museum brings together African art, history, performance, drumming, dancing, traditional rites, and food as a means for healing from the legacies of African enslavement and colonization. Makola Market Delbert’s search for Adinkra imprinted fabric led him to the Makola Market, the largest market in all of Ghana, centrally located in Accra, and populated by a majority of women vendors. My last visit to the market was in search of a needed suitcase, which was easily located, along with anything else I could have wanted. Delbert and I agree that Makola is not easily described, but it is definitely worth the experience. Here’s a short YouTube clip to help you get the feel for Makola. Caution: if you are not comfortable or find it hard to navigate in large, tight crowds, this is not the place for you! African Ancestral Wall – Prampram If you travel about 40 miles north of Accra, you will find the area where many Black ex-pats have settled. California native Jerry Johnson has made Prampram his home since 2003, and while the roads are challenging on the trek to Prampram, do get there any way you can! The African Ancestral Wall is not only a place where African ancestors are memorialized on a wall that encases the entire area, but it is also a place made sacred by the efforts of Mr. and Mrs. Johnson. In addition to the photos provided by Delbert, here is a brief YouTube clip featuring Jerry Johnson. And of course, all of the adventures will work up your appetite and we’re here to give you the 411 on our combined favorites because everything is better when the belly is happy: Zen Garden Brings serenity to the city! Literally set in a garden, this is a restaurant that brings culinary delicacies from all over the world to your plate. And what’s better, there is a weekly schedule of cool events happening there to keep your entertainment palate sated as well. Breakfast-To-Breakfast is around-the-clock goodness! Delbert is a morning person, so no wonder he would be attracted to a breakfast spot, but judging by the menu and the 4-star ratings, I’m betting he found his taste buds brightened there. Located in Osu, Breakfast-To-Breakfast is not just a name, they are ALWAYS OPEN! Treehouse Restaurant It’s the ambiance, the live music, the outdoor setting, and my goodness, the food and the Aphro Spirits. Also located in Osu, Treehouse was founded by Ashesi University alum Kojo Bucknor. Ashesi was founded by Patrick Awauh whose ties to Seattle track back to the 10 years he spent at Microsoft before returning home to Ghana to start a whole university. That’s a topic for another edition, but Kojo has found magic and serves it up at Treehouse. Delbert also highly recommends a guidebook provided by the Ghana Tourism Authority, The Diaspora African Return. If Ghana is not your primary destination and you’re considering Senegal, it just happens that the New York Times recently ran a luscious article in the travel section, Baaba Maal's Dakar. These recommendations should also be on your must-do/must-see list!

As we enter a new season of shorter days, longer nights, comfort food, and more time spent indoors, I can’t help but reflect back on the past year of activity. Amid devastation and conflict in the world, there are some small slices of the exact opposite that seed positive energy, feeding our souls and lifting our spirits. So much of this has been true in and around our physical hub in the Central District. Issa whole new vibe happening in our community! The opening of Jerk Shack at Midtown has fed more than our souls and we delight in seeing Trey Lamont and his crew introduce folks to his signature style of ‘down home’ cooking. Soon, Takiyah Ward will open the first and only sneaker dry cleaner at Midtown, The Re-Sole, and she has been activating excitement with opening events and is now officially open for business. Wa Na Wari has been a consistent instigator of goodness and they keep raising the bar. This year’s Walk the Block was the biggest ever and people arrived from all over the city to participate. It was a whole homecoming kind of vibe for many of us, running into folks we had not seen in a while, and checking out the art that encompassed the community. More goodness comes from Wa Na Wari year-round with exhibits, events, and let’s not forget, the feeding program that is open to anyone who wants a meal, free and no questions asked. That’s radical care for the community. The Midtown Square was on and popping the entire year too! Twerk classes, double dutch, African dance, food markets, art markets, community celebrations, play readings, and more. If you haven’t been to the CD in a while, come on by and check us out. Vivian Phillips, Founder + Board President

It’s difficult to think of Black arts leadership and not have Marc Bamuthi Joseph be a central part of the conversation. For years, Bamuthi, who is just barely into his 5th decade, has accomplished more than one would imagine possible for a single person. At a young age, Bamuthi, a native New Yorker would traverse from his home in Queens, NY through the vast artistic vestiges of Manhattan. He describes this as becoming aware of the difference between availability to opportunity and access to opportunity, and it apparently fueled his passion for creating a world where access and opportunity are synonymous. He is a trailblazer, an artist, an intellectual, and the epitome of what it looks like to be an artist, activist, and leader. Prior to his keynote speech at the ArtsFund gathering in Seattle, in September 2023, Bamuthi (as I have come to affectionately call him), spent time with me and Marcie Sillman on our podcast DoubleXposure (available wherever you get your podcasts, btw), and shared more about his work. He summarized what he feels artists bring to the world by saying, "If you're a lawyer, your job is to prosecute or defend. If you're an artist, you're in the hope business." To try and summarize all of who Bamuthi is and embodies is a feat we cannot take on in this short space. But to know who he is and what he offers in the way of hope and inspiration is a must-do for anyone interested in the possibility that artists strive to illuminate. If you do not know about Marc Bamuthi Joseph, please take a few moments to check him out! If you are in the Seattle area and want to experience the art of Marc Bamuthi Joseph, run do not walk, and secure your tickets for the world premiere of his work, Carnival of the Animals, making its world premiere at Meany Center, April 6, 2024.

One hundred and two years ago, in May 1921, 10,000 Black people were mostly just living their lives and minding their business in the neighborhood of Tulsa, Oklahoma when their existence would be shattered. The destruction and pain that would befall the residents of the Greenwood neighborhood, aka Black Wall Street, after the Tulsa Race Massacre, would send a devastating signal to Black people around the country that whatever you strive to build will ultimately be destroyed in the blink of an eye. It took less than 24 hours for everything to be destroyed, but a few people managed to live to tell the story. Hughes Van Ellis was one of the Race Massacre survivors as well as World War II veteran, and recently at 102 years, Hughes has now signed into an even larger Black Wall Street as he takes his eternal rest. For all of your enduring years of life and memory, we salute you and wish you eternal peace. You can support the efforts to bring reparations to the descendants of the Tulsa Race Massacre on the Justice for Greenwood website. For a detailed account of the Greenwood neighborhood before and after the destruction, check out this well-done interactive representation of Black Wall Street, courtesy New York Times.