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Recently, Earshot Jazz presented Winter in America – An Homage to Gil Scott Heron envisioned and directed by bassist Camilo Estrada. Sitting in the audience listening to profound songs like Ghetto, Almost Lost Detroit, and The Revolution Will Not Be Televised, it got me to thinking about how Black art and culture have so many defining moments that have created a lineage intersecting across multiple genres and generations. Without social political poets and commentators Gil Scott Heron and Brian Jackson, there would be no Nas or Jay-Z. Without WattsStax Festivals, there would be no Georgia Black Arts Expo, and so on. The beauty of this lineage is that it continues to grow and take on manifestations that are in sync with the needs of current days and times. These necessary Black art happenings are movements that bring us closer together, bond us in our ancestry, and encourage our futuristic visions. Black arts movements are and will continue to be essential to the creative vitality that inspires the souls of Black folks. Looking back on what we can identify as Black Arts Movements, according to BlackPast.org, the official era of the Black Arts Movement is 1965-1975. This is when a group of politically motivated Black poets, artists, dramatists, musicians, and writers emerged in the wake of the Black Power Movement (thank you Black Panthers), led mostly by the one identified as the founder of the Black Arts Movement, Amiri Baraka, formerly known as LeRoi Jones. The official establishment of this movement was indicated when Baraka opened the Black Arts Repertory Theater in Harlem. We can thank this era for giving light to not only the commonly associated Black male creatives of the time but also pushing forth the voices of Nikki Giovanni, Sonia Sanchez, Audre Lorde, June Jordan, Ntozake Shange, and others. To keep us informed, alert, and connected to the many enduring manifestations of the Black arts movement, here are a few gatherings, happenings, and resources around the country to check out and support: The Soul of a Nation - Art in the Age of Black Power (past but provided as information) The Rise of the Black Arts Movement in California Black Art Movement National Archive Georgia Black Art Expo San Diego Black Artist Collective Colorado Black Arts Fest An Introduction to the Black Arts Movement - The Poetry Foundation WattStax For those unaware of what was termed as the “Black Woodstock”, WattStax was one helluva music festival described by Stax Records co-owner Al Bell as, “ a celebration of the African American experience and a testament to the transformative power of music,” that took place in the heart of Inglewood, CA, at the Los Angeles Memorial Coliseum and featured the crème de la crème of Black music never before assembled and never matched since. The 50th anniversary of WattStax was just last year and of course there are commercial offerings that celebrate the occasion, but rather than promote any pay-for-view outlets we’re just gonna drop this little clip below. WattStax created a pivotal moment in the era of the Black Arts Movement!

What do you say about a voice that sounds so pure it makes you believe in the real possibility that there are spirits on earth who have descended from an angelic choir? How do you describe a sound you’ve never heard before, yet when you hear it, there is an immediate and soothing familiarity? I can only describe these experiences by calling the name, Tiffany Wilson! The very first time I heard Tiffany sing, I felt as though my feet had been permanently cast into the floor, and found my mouth in need of power tools to assist in closing. The entrancing fluidity of her silky voice, coupled with her simple performance delivery, devoid of any special enhancements, seemed to come from an otherworldly being. Hers is a style that showcases a sense of humility for the divine gift of what sounds like perfect pitch, delivered effortlessly and with immense vocal control. When Tiffany sings, you know for certain that there is a higher power. In 2011, Tiffany joined the Seattle Rock Orchestra for a Tribute to Stevie Wonder performance. The music of Stevie Wonder is NOT to be toyed with, nor is it as easy to replicate as it may sound. Stevie Wonder is an undisputed musical genius whose orchestrations are pure works of art. When the orchestra began the first few chords of Yester-Me, Yester-You, a little cringe rose up in me in fear of a good effort that someone would try to give and miss the mark, and then Tiffany stepped on the stage. She owned it, from beginning to end and flawlessly performed every lyric and every note with perfection. While Tiffany masterfully sings beautiful songs by other artists, her own creations are equally enthralling. A consummate songwriter, Tiffany writes music that is as inspiring as it is a call and response to the times. In 2020, Tiffany teamed with master producer Vitamin D, and vocalist Lady Tasz to deliver a deeply felt commentary on inequality, gun use, and injustices in America. With the vocal style and elegance of a Vaughn or Fitzgerald, Tiffany’s music is soulful and thought-provoking. If you visit Tiffany’s website, you won’t find a long list of the who’s who with whom she has performed, although the list is long and impressive, nor will you find a ton of philosophic musings about the universal power of music. Instead what you will find is her music. You will also find a few quotes and Tiffany has chosen to let the people speak on her behalf. For instance: "She isn’t a rough-hewn belter but rather a meticulous vocalizer, able to hang back in poignancy, elevate in delicacy, or settle into intimate simplicity." City Arts Magazine "In the case of vocalist Tiffany Wilson—whose recent KEXP performance stopped me in my tracks when I heard it two rooms away streaming from my husband's phone—there's no denying the power and passion of her voice" Seattle Magazine For those who may want to check the truth in my testimony by experiencing Tiffany Wilson, you’re in luck! Tiffany is starring in Teatro ZinZanni’s 25th Anniversary Season of performances in Seattle at The Sanctuary venue at Lotte Hotel. What a treat! Whether you get a chance to see her in person or check out her music otherwise, you can also view some of her videos on her website, or check out the profile on Tiffany Wilson as part of the Black Arts Legacies, here. Tiffany Wilson is a musical treasure.

In the spirit of “gathering (n. / v.), To Gather supports and elevates the work of artists who use movement to excavate the rich stories that exist within the Black and Brown dancing body. ARTE NOIR is especially looking forward to the upcoming performances of To Gather at On the Boards, featuring some of the most talented dancers and artists performing right now, many of them from Seattle or currently residing here, all curated by beloved friends, Nia-Amina Minor and David Rue. To Gather is a celebration of dance artists residing and creating along the West Coast. Over two weekends, guest curators Minor and Rue invite choreographers and performers to convene and present new work to the Seattle community. To Gather supports and elevates the work of artists who use movement to excavate the rich stories that exist within the Black and Brown dancing body. In the spirit of “gathering (n. / v.),” this program encourages audiences and artists alike to witness, engage, and commune while supporting new works. Week 1 (October 5 - 7) features the work of guest choreographer Maurya Kerr (tinypistol) & local Seattle artists, including Akoiya Harris, Symone Sanz, and Cipher Goings + Benjamin Hunter. Week 2 (October 19 - 21) features the work of guest choreographer Bernard Brown (bbmoves) & local Seattle artists, including Jade Solomon Curtis, Emma Wambui, and Umalalengua Okan + Milvia Berenice Pacheco Salvatierra in collaboration with Naomi Macalalad Bragin. For tickets and more info visit the On the Boards website

We recently celebrated our first year of operation in the physical space that anchors the Midtown Square complex in Seattle’s historic Black community, the Central District. The backdrop for our celebration was a representation of a craft that has played a significant role in the history of Black folk art and American folk art. The Pacific Northwest African American Quilters exhibit – The Ties That Bind Us: Woven Stories of Celebration is now on view in the ARTE NOIR Gallery. There could be no better way to express our passion for the history, legacy, and future of our community than to have the opportunity to bring what is a Southern Black Folk art tradition into a contemporary space. These are the ties that bind us – our past, our current connections, our shared vision for preserving our culture, and our contributions to the cultures and traditions that also bind us together. Quilting is a kind of folk art that reflects stories about our heritage, which became a staple of Black life and Black art over time. Black American Muslim journalist Imani Bashir wrote that “quilts can be seen as powerful works of art that have held the hopes and dreams of Black American families for generations.” In her article for Sleep.com, How Quilts Became a Canvas for Black American Artists to Preserve History, Bashir states, “Black American culture can be understood as an interwoven tapestry of dialects, foodways, spiritual systems, and community-based customs that have endured for hundreds of years.” Quilting is an intricate and detailed craft that also serves as a kind of community gathering tool. While much work can be done alone, the gathering of quilters coming together to share stories and enjoy camaraderie is in and of itself, a cultural mechanism that builds strength and resilience. Weaving together visions for the future while connecting threads from the past provides us comfort and warmth, and also helps us map our way. Quilting in Black culture is noted to have begun in the 17th century and was mostly a method that enslaved women used to fuse together scraps from slaveholders to keep their families warm. The craft evolved over time to become a tool for messaging by using certain patterns and outlines for escape routes and indicators for safe places where refuge could be gained during long journeys to freedom. Today, we have the ability to view these works and explore how our history is being woven into new threads for our future and our imagination. Much to our surprise, one of the quilters shared with us that this is their first full exhibit in the Seattle area. This is what ARTE NOIR was made for, to provide the kind of space and place for our history to be shared and celebrated. We couldn’t be more proud and excited to have made a home for this exhibit, which will be on view now through January 7, 2024. The love these women have brought into our space to share with our community gives me chills and brings tears to my eyes. To celebrate year one, wrapped in the warmth and beauty of this exhibit is beyond anything we could have imagined would be the case. We celebrate the women of the Pacific Northwest African American Quilters and we thank you for entrusting us to provide a safe space for your craft to be experienced. Thank you! Please learn more about the exhibit and plan your visit to view these gorgeous, historic, and gracious offerings. Vivian Phillips, Founder + Board President

Described as jubilant gospel music, dramatic dance, Black vernacular, and Biblical narrative, this staged holiday tradition has been a staple in Black communities all over the country, sixty-two years strong. In Seattle, audiences enjoyed Black Nativity from 1998-2012. The classic is coming back! Co-founder of The Hansberry Project, University of Washington School of Drama Head of Directing, and celebrated theater director, Valerie Curtis-Newton has been tapped by Intiman Theatre to bring new life to our beloved classic. Just after opening her latest directorial gem, Andrew Creech’s Last Drive to Dodge at Taproot Theatre, I spoke to Curtis-Newton about her vision for Black Nativity. Following are excerpts from that conversation, edited for length. How did Intiman Theatre make the decision to bring Black Nativity back? Pre-pandemic there was a meeting to figure out if all of the original players who were still around would want to be a part of making something happen. It didn’t happen out of those conversations, but the idea didn’t really die. Jennifer Zeyl and the folks at The Intiman reached out to me and said, “We found it in our budget to do a version of Black Nativity this year, we’d love for you to direct it, are you interested?” My response was, “I think the community needs a gathering moment, and so yes, I’ll participate.” I needed everyone to understand that we are not trying to do the Black Nativity that people are familiar with. We want to honor that, but we also want to make it something different. We were able to get Sam Townsend as the chorale director, and Vania Bynum to do the choreography, and I will work with the actors and so we have a nice triumvirate of people who were familiar with what Black Nativity used to be, but who are all interested in a new spin and in starting a new process of evolving it. How difficult do you think it will be for people who may have only experienced the Black Nativity that has been traditionally produced here in a particular way, to embrace something different? This is definitely something that we have thought about. We don’t have Patrinell Wright with us anymore. We don’t have Reverend McKinney with us anymore. And anything that we try to do would be trying to live up to those standards of a certain kind of excellence. I’ve been thinking about this a little like sorbet, the palate cleanser before the next course. This just gets people focused again on having a Black Nativity gathering, and mustering the energy and support that lets Intiman know, and other producers know that the community wants to have it back and wants to have the feeling of gathering back. You mentioned Sam Townsend who will be the chorale director. Starting there, how big of a choir will we see, and will voices from the past also be incorporated into this new version? It will be around 20-25 voices and Sam is largely reaching out to folks, many of whom have done it before so yes, there will be some familiar voices and then there will be some new voices. We’re trying to open the door to new things. We’re not completely untethering it, we’re putting our own stamp on it, but the cornerstone of that first act is what it has always been. Another element is the choreography and you mentioned that Vania Bynum would be doing that. What are you looking for as the director, in the choreography to move the story forward? I think we’re interested in it being as muscular a story as possible, and the movement and the dancers add that physicalized element. That expression of worship and praise, and theatricality that comes through the dancers is important. Vania definitely understands that. But again, we have this great legacy handed to us by these folks who have gone home and left it for us to do. The great thing about legacy work is that we are expected and entitled to make it our own. That is in fact what our role is – to take the gift that we’ve been given to make it our own reflecting our current time, and to leave it for those who are going to come after to do the same thing. I believe that Kabby, Pat, and Reverend McKinney would expect us to do no less. I don’t think any of them would be hell-bent on our just doing what they did and stifling our own impulses and our own artistic voices. I think they would be happy that we find something to build on what they have already made. It’s a really joyful piece. Can you describe the kind of joy that you hope audiences will experience in this new imagining of Black Nativity? What do you want them to feel? The desire to pat your foot, be moved to rock from side to side, to find yourself smiling and want to laugh or shout amen here and there whether that’s your tradition or not. I also want us to be able to share the fact that we’ve come through some things. There have been things that we’ve come through as part of our history as Black people in the Americas, the United States in particular, that we have reason to celebrate our faith. I feel like the opportunity to express that and to share that kind of elation that comes from it, and the release is important. There is something amazingly powerful about a multitude of voices joined together, sharing worship, sharing praise. That does something to the spirit and that’s part of the joy feeling I want folks to have - a lightening of the spirit and a sense of being a part of something bigger than themselves. One of the reasons I make theater is because I love the idea that it can help people feel less alone. This kind of production is exactly the kind of work that inspires us to feel a part of something. I think that if people come out of the theatre smiling at each other and giving a “howdy neighbor” nod we will have done a good thing. Given Black Nativity audiences were part subscriber base and part Black community, do you think this is going to introduce you as a director to a new audience? I think that there are a lot of Black folks that have not seen my work. As an artist, you could get tied into knots wanting people to love everything you do. I hope to bring my level of expertise and a sense of discernment to the work and give it the best we’ve got with the resources we have. Do you have a measure of success? If the people involved in making it ultimately feel proud of having made it, I would love for the people in the audience to enjoy it. I absolutely would. I’m just trying to bring out the best in the people who are making it so that we have our own sense of community, and then we can offer the invitation to the greater community to participate. If a few heads nod during the production, I’ll be okay. Will you do it again? Let me get through this one first and we’ll see. If the people like it I’d be happy to do it again and if they like the idea of it and I’m not the one to direct, I’m okay with that too. I guess I hear you saying that you believe that Black Nativity is an important production to be annualized. Absolutely! And it might in fact be good for it to move from director to director and for us to see lots of iterations of Black Nativity. Will there be songbooks? Yes, there will be! We decided that the program would likely be a songbook. In the second act, some of the actors will share some of Langston Hughes' poetry. Not the sermonette, but actually some of Langston Hughes's poetry. And some of it is definitely religious in nature and some of it is just Langston’s view of Black folks in the world. What is your history with Intiman Theatre? When I first moved here in 1993, I met a few Black women who introduced me to the community. Tawnya Pettiford-Wates and Jackie Moscou, who were kind of the mavens of Black theatre at that time. Jackie was working at Intiman directing Flying West, and I was a grad student and asked if I could assistant direct. I assisted Jackie on Flying West at Intiman, which was the first theatre organization that I ever worked for. Once I got out of grad school, (former Intiman artistic director) Kate Whoriskey asked me to direct All My Sons which was the last show mounted at the old Intiman space. I did Trouble In Mind when Intiman came back, as part of the first festival that Intiman did in its revived state. I did Dirty Story, Bulrusher, and Wedding Band for them as well. I’ve directed 5 or 6 shows for Intiman. You also have a pretty deep history with local Black playwrights. Talk a little about the Black playwrights that you’ve worked with as well. Andrew Lee Creech wrote Last Drive to Dodge and I’ve worked with him on two or three projects. I’ve been working with Reginald A. Jackson on The History of Theatre and we premiered part one in January of this year, and we will do a workshop of part two in October. I’ve worked with some of the women writers from The Mahogany Project, Alma Davenport’s (Restoration of the Arts) project, and I’ve worked with Cheryl West. We’ve got a lot of writers in town who are doing things and more of them coming along all the time. Part of what The Hansberry Project is trying to do is give them a lifeline, an oxygen hose to keep them going until their work catches traction. I’m hopeful that people will get a sense of how you have been working on behalf of the Black community of writers and playwrights, actors, choreographers, and Black Theatre for a very long time. I do feel really proud that many of the theatre structures in the city now include people of color in decision-making positions. And we remember going on and on for a very long time about how we weren’t represented in decision-making positions and I feel really proud of the work that has resulted in the next generation having the opportunity to shape our experiences and shape the theatre landscape in Seattle. A lot of what I do is behind the scenes but the fruit of what I do is very visible. What’s that one thing you always tell your cast or playwrights that you’re working with? I tell them that I go through the process and I pray for the moment that it doesn’t suck. If we can get to a place where we know it doesn’t suck, then art is possible. I also tell them that I promise if they give their all, I will not let them look bad! Black Nativity runs December 12 - December 30, 2023, at The Broadway Performance Hall.

The world of museum collections is experiencing shifts that have begun to broaden the values that guide approaches to both collecting and exhibiting. For instance, just last year, the Seattle Art Museum opened a reimagined American Art installation that for the first time in 15 years presents art that is more relevant to the present moment. What this seems to mean is that museums are discovering that the “white gaze” may not be the most important view, especially at a time when institutions of art are grappling with changing world views, representation, authentic community engagement, and future sustainability. All institutions are being forced to examine their legacy of exclusion. What hangs on the walls of museums has power. The power to shape ideals about what is art, who makes it, who collects it, and ultimately signals the value of art and artists in society. And of course, exhibits that celebrate the creativity from traditionally excluded communities often cover the walls in museums but these exhibitions are often traveling and are not the same as a permanent collection. Decisions about collections are made in rooms behind the walls where the art hangs. Who are these decision makers and what do they represent? One man at the Portland Museum of Art is on a mission to change what hangs on the walls, and who gets to make the crucial decisions, while also evangelizing the necessity of expanding the world of art collectors. John Goodwin, Director of Community Philanthropy at PAM pushes hard to ensure that 24/7 exposure is given to Black artists. Goodwin was a docent at PAM before taking on the position of director of premium experience for the Portland Trailblazers. An art collector himself, John supported PAM and through his NBA connections brought along new supporters landing him on the museum board. He has had his position at PAM for the past five years and his influence can be seen and felt. In just the past few years PAM has exhibited Color Line: Black Excellence on the World Stage featuring the photographs and data charts from the 1900 World Exposition exhibit created by WEB DuBois, Hank Willis Thomas: All Things Being Equal, and Art & Race Matters: The Career of Robert Colescott. So much Black art in the heart of one of America’s whitest cities, but also the place where Carrie Mae Weems grew up, and where Mickalene Thomas lived. No doubt that John Goodwin has had a major influence on the expansion of Portland Art Museum’s perception of art appreciation and moves toward greater inclusion. The notion that only that which reflects oneself is of value is challenged by this expanded view, while also broadening the opportunity for more people to see themselves reflected in the halls and on the walls of these institutions whose job it is to preserve and present reflections of the creativity that gives us all the ability to better understand ourselves and the world in which we live. Now through March 2024, Black Artists of Oregon is on view at PAM. From the 1880s through today, the exhibit captures the Black diasporic experiences that are particular to the Pacific Northwest, featuring 69 artists, over 200 objects, and accompanied by a podcast. Coming to PAM in November is Africa Fashion from London’s Victoria and Albert Museum, exploring African creativity, cultures, and histories using fashion as the catalyst. We’re checking you out John and thanking you for your influence and passion for Black art! Learn more about John Goodwin and follow him on Instagram @johngpdx. Currently on View at PAM: Black Artists of Oregon

Fade to Black is the section that is often dedicated to honoring a Black arts leader who has transitioned, and for recognizing work that has had profound impacts on Black culture. We've also used this section to spotlight work that continues to lead to new pathways for Black artists. The very first entry was dedicated to Langston Hughes’ poem, I, TOO, acknowledging the fact that Black Americans often feel betrayed rather than embraced as Americans. We have embraced the concept of Fading to Black as a metaphor for the gradual return we are witnessing, of a Black presence in the historic Central District, and our annual celebration is our way of saying, WE BELONG HERE. As we celebrate our first year of operation in our home location, we share some imagery of our Fade to Black anniversary gala. Thank you to our loving community of artists and supporters for celebrating with us! Anniversary Gala video courtesy of Elite Collective Photos courtesy of Elite Collective and Smile Patrol

The art of Ernie Barnes is forever immortalized in one of his most recognizable paintings. Barnes’ Sugar Shack, which graced the cover of Marvin Gaye’s 1976 album I Want You, sold last year for $13.5 million. The art of Ernie Barnes and Sugar Shack, in particular, changed the way Black artists entered the lives of millions in Black communities around the world. Our favorite music was wrapped in collectible art and for many, the obsession of reading liner notes is where we learned the names of artists never before heard of during the days of only group photography as cover art. Ernie Barnes was a game changer and what many may not know about Barnes is that in addition to being an art master, he was also a star athlete. His NFL career spanning from 1960-1965, saw him play for the Baltimore Colts, the Titans of New York, the San Diego Chargers, the Denver Broncos, and a short stint with the Canadian Football League, where an injury ended his playing career and marked the beginning of his entrance into the world of full-time artist. Barnes is an example of the possible duality between sports and the arts, making them mutually inclusive as art collecting has become a major focus for NBA rookie players, guided by Boston Celtics star Jaylen Brown. Brown has partnered with Set Free Richardson to introduce art collecting to top rookie draft picks and teach them a little about finance at the same time. By gifting draft picks with art and encouraging them to develop a collector's muscle, players learn how the value of art appreciates over time, unlike other luxury items, like cars, that tend to be the focus for players who find themselves with suddenly swollen bank accounts. Richardson is no stranger to the art world and is the perfect partner for Brown. Richardson’s creative advertising agency The Compound has long been on the cutting edge of creating bold and imaginative campaigns for clients that range from fashion, music, arts, and sports. Richardson also ran an art gallery from The Compound’s former home in the Bronx, and the fusion of all the aforementioned creative disciplines naturally merged with the culture of hip-hop. Set Free is also well known among the elite players with an already established nose for art collecting. While the world of endorsements will remain an important element in wealth-building for sports stars, thanks to Jaylen Brown and Set Free Richardson, art collecting is gaining steam as a means for maintaining and passing along wealth long after players are no longer in the paint.

Step into her shop off Rainier Avenue in North Columbia City and find yourself immersed in an upgraded frequency experience. The vibrations emanate from every corner—lovingly selected vintage art and jewelry, energy-infused crystals, and one-of-a-kind adornments, including her in-demand Soul Chains. This is the world of Rainbow-Renee Wyola Manier, a Reiki Master, Jewelry Designer, Soul Alchemist, and Sound Healer. It's in this space that Rainbow created a profound and uniquely powerful healing practice. Her custom-designed Soul Chains are much loved by high-frequency souls, from celebrities to her local community, and her Soul Journey Ceremonies are always a transformative experience. She is renowned for her spectrum of healing therapies addressing everything from reclaiming the soul, to cleaning, clearing, and letting go. Guests who meet with Rainbow can expect to experience an awakening like no other. We're all in! Where does your spiritual/cosmic/creative inspiration come from? My parents were Bohemians hippies. I didn’t choose this life it chose me! It’s in my DNA, I was taught to question and search, to nurture my creative energy. I was born into a pescatarian, Macrobiotic diet. I’ve never had fried chicken, never had a beef burger, much to my Texas relatives' dismay. My first yoga class was back in 1976 when I was five, taught by one of the first women yoga teachers in Seattle. I was a mixed girl named Rainbow who didn’t eat meat and had wildly creative- counter-culture parents. I was named by my father who was inspired by the Jimi Hendrix song, Rainbow Bridge. I was born into an authentic Bohemian lifestyle, raised by a mixed-race hippie tribe of musicians and artists, who were dedicated to a natural, authentic way of living. I had to find and grow confidence and own my uniqueness at a young age. What inspired you to open your shop, Ola Wyola, with your mother? This is actually our second coming of our shop, Ola Wyola. I first opened back in 1991, in Belltown next to my mom’s dance studio, when the neighborhood was an artist’s playground. My mother, Elaine Bonow, has taught Ballet for 40 years and owned various dance studios. She is a living legend, an iconic diva! And yes, she still teaches, 73 and firey!!! In 2019, we saw a spot a few blocks from my Columbia City neighborhood, and we took a chance and followed our intuition to reopen, after a nearly 18 to 20-year hiatus. Can you tell us more about the process of creating your beloved Soul Chains? I got the download from the Universe to create my Soul Chains at the same time I received my first Reiki attunement on the island of Kauai. I’ve always loved jewelry. I still have some pieces from the ’80s! My past career as an Interior Designer re-ignited my creativity, it sparked artistic embers in my inner Sacral cauldron. Like the phoenix from the flame, I reinvented my life design to create and heal, after the struggle bus of life tried to tap my flame on multiple occasions. I listened to my authentic SOUL and cleaned the muck from my 3rd eye to really SEE and listen to my quantum future self. And Soul Chains were alchemized into a much loved, empowering culturally significant, sustainable, and super-fly jewelry movement. My clients collect and cherish their chains. I search high and low for my vintage treasures. I design most of my crystals. I reuse the charms and findings. The vintage beauties are all one of a kind. I create necklaces, earrings, bracelets, body jewelry, and custom pieces. This Fall, my Soul Chains ring line (and more!) will drop! My creations go through an extensive spiritual clearing process with my spiritual toolbox, my melange of healing modalities, that will clean and empower my potent Soul Chains. They get the same treatment my clients do, from plant smoke to Reiki, they ride the ascension wave of energetic healing. Every Soul Chain is one of a kind. They are POWERFUL spiritual healing tools, created to balance your Chakras, clear your Aura, and protect your Quantum Energy Field. SOUL CHAIN amulets tap into your Superpowers! INFUSED WITH Reiki Sound healing Smudge Mantra Crystals Sun - Moon ENERGY MEDICINE Created with love frequencies and positive affirmations. Collect them and cherish them! When did you start offering Soul Journeys and what can people expect from signing up for that experience with you? I started my healing practice in 2018. I’ve always been an Empath. Born a healer. I am a Reiki Master, Soul Alchemist, and Sound Healer. I offer my popular Soul Journey Ceremonies, Retreats, Reiki, Sound Healing, Crystal Healing, Readings, and more. My clients range from one on one, groups, to corporate events. Soul Journey Ceremonies, in particular, are a vibrant spectrum of abundance igniting Alchemy awakening—chakra clearing, frequency raising, energy healing will go down! Modalities include Reiki, Crystal Grids and Gem Altars, Somatic Trauma Release, Sound Healing, Hotbox Smoke Clearing, and Cord Cutting, Ancient Alchemical Healing, and Guided Visualization. Align and shine with energy-flowing, heart-chakra-palpitating goodness! What are some of your favorite memories of growing up in and around the Central District? I was in the CD, my first home was on 20th and Lane. Jimi Hendrix came over to my folks' house to vibe and share musical frequencies with my pops, Dan Bonow, when I was in utero, and my mama served him Tang. I went to Nova High School on Cherry, across from Garfield, in the 80’s. I would meet my Garfield girlfriends at lunch, and dip over to the discount Dilettante chocolate shop that was on 23rd and Cherry. My oldest child was a CD baby. We lived on 29th and John until he was two! His first barbershop cut was Earls! Anything else you'd like to share with our readers? Owning a brick and mortar is not easy, it is a constant grind to raise awareness about our business. We have a healing center in the HOOD! Right on Rainier Ave. We have a Black-owned jewelry shop in the middle of Seattle. We need your community support to thrive! We host fabulously intimate and highly engaging events! We have a crystal shop and my Soul Chains earrings start at only $40 - the perfect gift! Stay tuned for Sound Bath and Meditation events. I’m bringing them back after the Covid hiatus. We are here to serve and lead with love. Flex your Frequency. Rainbow-Renee's family-owned shop, Ola Wyola, is located in North Columbia City and is open to the public Fridays through Saturdays from 1 to 6 PM and Sundays from 1 to 5 PM. She is always open for Healing and shopping by appointment. Find Rainbow's contact below for more information about her beautiful Soul Chains and to find out more about booking info for her Spiritual Healing Practice. Her offerings, programs, retreats, and programs (solo and corporate) include: Soul Journey Ceremonies Reiki Sound Baths Guided Visualization Breathwork Team Building Guided Meditation Email Wyoladesign@gmail.com Website https://www.olawyola.com Instagram @rainbowreneemanier @soulchainscollection @olawyola

Takiyah Ward is a formidable force in the community. Call her by any of these monikers—activist, artist, television show host, arts catalyst, Seattle native, and owner of the soon-to-open Re-Sole, Seattle’s first sneaker cleaning service—and she will answer. Takiyah has been on her artistic journey since a youngster. In a recent Black Arts Legacies profile written by Jasmine Mahmoud, Takiyah shares the story of how her practice of sneaker customization got started. “I was working on a class project,” she recalls, “and a blob of paint fell from the brush and hit a shoe that I had next to my desk.” For most, this would have spelled the end of useful life for prized sneakers, but for Takiyah, it was the start of a new awakening and one that not only keeps the feet fly but helps to sustain the earth. With Re-Sole, Takiyah is creating access to options for sneaker customization while extending the life of what can be expensive footwear. We all know the perils of stepping on a fresh pair of white sneaks. Remember the altercation that ensued when the character Bugging Out chased down the character Clifton who ran over his Jordan’s in Do the Right Thing? Bugging Out paid $100 for his Jordan’s and his friends deemed them ruined. This scene is a highly dramatized characterization of some real-life issues, to be sure. Yet, in a world where Re-Sole exists, these kinds of conflicts can now be avoided! One can thankfully access an enormous amount of information on Takiyah Ward, and there is not much that we can add. Except to say that we are extremely excited that Re-Sole will soon be our neighbor at Midtown Square, and to encourage our readers to learn about this person who is changing the game on multiple fronts. Takiyah has given enormous gifts to our community through her artistic practice and her dedication to rebuilding our Black community. As she continues to strive toward getting her store open, we urge our readers to support her efforts with a donation. Learn more and support on her GiveButter page.

Up now through September 10th in the ARTE NOIR Gallery Space, MIDTOWN SOUL celebrates the beauty and soul of the Central District. Featuring works by Juan Alonso-Rodríguez, Myron Curry, Adam Jabari, barry johnson, Yeggy Michael, Perri Rhoden, and Takiyah Ward, the artists in this exhibition are representative of the historic and growing Seattle community of Black art and artists. Reclaiming a sense of place and presence, they exhibit a range of artistic excellence, while also extending themselves as active members of the historic Black cultural landscape in the city. MIDTOWN SOUL honors these artists—whose striking public art resides throughout the exterior of Midtown Square—and their commitment to the re-emergence of Black art and culture in the Central District. The original eight artists, seven of whom are featured in Midtown Soul, submitted proposals in response to the Midtown public art plan theme, Reverence and Discovery, and were selected by a distinguished arts advisory group. ARTE NOIR is thrilled to present this first-ever exhibit of their work, bringing all of the artists together again to celebrate their dedication to art, culture, and community. Come through and celebrate these wonderful artists bringing the soul back into the CD!

Two years ago when we launched this publication, this section, Fade to Black, was thought to be a space for sharing the last word, if you will. It’s been a perfect close for many issues, and it has also served as a place to honor the transitions of far too many Black arts makers who have left us on this plane to take up creativity in another realm. When we started to think about how to celebrate our first anniversary at 23rd & Union, Fade to Black provided us the perfect way to say and acknowledge our participation in the gradual return of Seattle’s historic Black Central District community, to a state of Black prominence. It’s not a quick or drastic reversal, it's a fade, like a fresh trim up from Earl’s Cuts. Our Fade to Black is a celebration of belonging, reclamation, and recognition of the growing revitalization of Black culture in Seattle’s Central District. During September, we’re focused on highlighting our community collaborations. Here’s a quick rundown of some of the happenings that will occur during our month-long anniversary celebration: September 3 - Farmer’s Market in the Square with free produce for visitors, in partnership with Nurturing Roots September 13 - Pacific Northwest African American Quilters exhibit opening in the ARTE NOIR Gallery September 17 – Free celebration with music, activities, and giveaways in the Square September 30 – Wa Na Wari’s Walk the Block with entertainment curated by ARTE NOIR in the Square Stay tuned for details and additional information so you can plan your time to come celebrate with us, and remember our summer hours are Wednesday - Saturday, 11 AM to 7 PM, and Sunday 12 to 6 PM. And we don’t just celebrate ourselves. No, no, no, no. We will always lift up other Black-led entities, especially those right outside our front door, and along Union and Cherry Streets. It hasn't been this Black in a long time. The fade back to Black is real y'all. AVOLE COFFEE CENTRAL CAFÉ & JUICE BAR COMMUNION EARL’S CUTS & STYLES FAT’S CHICKEN AND WAFFLES FLOWERS JUST 4YOU JERK SHACK MADE SPACE METIER BREWING & TAPROOM SHIKORINA PASTRIES SOUL COLLECTIVE SALON SO BEAUTIFUL SALON THE POSTMAN THE LOVING ROOM WA NA WARI Our hearts beat together for our community!