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Justin Emeka wears many hats and dons multiple titles. His most proud titles include father, son, husband, and brother. Being a man whose roots are never far from connection to family, Justin has found his way through arts families as an actor, director, writer, and now, filmmaker. And like so many creatives from the Seattle area, Justin found much of his artistic grounding in Seattle at the Langston Hughes Performing Arts Center. Although the path has not been straight, Justin is returning to his creative roots in Seattle this fall, specifically the Central District, to shoot his short film, Biological, produced by his Fargone Films company, whose mission is to create films that celebrate the complexity and resilience of the human spirit. Giving voice to his Hip-hop roots in Seattle through Biological, Justin explores the realm of dreaming big dreams and putting them on hold in favor of family. The film is inspired by his own life becoming a husband and father at a young age and facing head-on, the challenges of making not just the right decision, but critical decisions that could alter the lives of others for a generation or more. The primary theme of the film swirls around the concept that “Sometimes, our dreams become less important than the dreams of those we love.” Before Justin and his family moved from Seattle to return to the alma mater shared by him and his wife Farah Emeka, and where Justin became a tenured professor of Theater and Africana studies at Oberlin College in Ohio, his theatrical impact on Seattle-area audiences and the Black creative community was already huge. In 1995, Justin created an original theatrical piece featuring the then-nascent hip-hop community. The piece, funded by the Seattle Housing Authority was called Pressure: A Hip Hop Theater Experience featuring 25 youth from three of Seattle’s Housing projects. Mention Peer Pressure to a 40-something Seattle hip-hop creative with roots in the CD, and the eyes light up! It was a groundbreaking experience that included performances and workshops. We asked Justin how that experience relates to this new film project. Pressure was the first full-length production I ever directed. It incorporated elements of hip-hop music, dance, style and art to reveal a story onstage about the conditions of life for young Black people in Seattle at that time. For me, the production gave me tremendous confidence in my creative abilities as well as the artists around me. It taught me how to have faith in myself, and my community. Before that time I accepted my position at the margins of the stage. Hip-hop helped create a universe where we, young Black artists could live comfortably at the center. It also inspired me to always think about hip-hop as more than a genre of music but rather as an artistic aesthetic and cultural force that still shapes and informs my approach to directing as a craft as I move from the stage to the screen. Beyond Pressure, Justin leaned deep into sharpening his skills in performing arts and community-building by founding Jungle Creations, another place where young people could create and share their voices through spoken word, music, capoeira, and acting. Justin worked to blend these different artistic aesthetics as a way of expanding the creative visions of the young people with whom he worked and to also stretch and find forums for expressing his love of Black culture with his love for classical theater. When the original version of the MAAFA was produced in Seattle in 2000, Justin played a key role in creating portions of the play that featured Seattle talent. Later, he would direct Seattle’s own version of the MAAFA in 2003 & 2004, Sankofa Theatre, written by his brother Gabriel Emeka. Currently, Justin Emeka is the Resident Director at Pittsburgh Public Theater where he recently staged an acclaimed production of A Midsummer’s Night Dream in Harlem. His directing and teaching credits include helming work by legacy and contemporary playwrights like August Wilson, Dominique Morriseau, Lorraine Hansberry, Lydia Diamond, Arthur Miller, Alice Childress, Amiri Baraka, Tennessee Williams, and Shakespeare, among many others. Justin’s latest foray into filmmaking has been aided by his being named a Fellow in Television/Film Directing by the Drama League, which led to a stint as a “shadow director” for Disney, and the making of his first short film, Six Winters Gone Still. Biological, his second short film pays homage to his adopted home of Seattle, and the growing hip-hop movement here in the 90s. Justin is always connected to his creative roots and whenever possible opens the door for others. It’s exciting to see him pull one of Seattle’s most dynamic talents into this project too, adding to the cast as the star of Biological, local entrepreneur, musician, “underground educator,” and rapper, Rell B Free. This collaboration promises sparks for sure! Through his life and his work, Justin has been a leading stalwart in the promotion of the power of the imagination, and he embraces this power with each new project. As we globally celebrate the 50th anniversary of hip-hop, Biological brings a unique perspective into the discourse. In Justin's own words: Biological shines a light on a Hip-hop community in Seattle during the 90s that was alive, vibrant, and largely overlooked. Although the history of Hip-hop is often told through major centers such as New York, LA, Atlanta, Chicago, and Houston, I am interested in exposing the richness and depth of Hip-hop in communities where you might not expect to look for it such as Seattle. I am less attracted to battles and competition and urban warfare that is often associated with the art, and more excited about telling the stories of young Black people who were able to use Hip hop as a tool and ritual to build better lives for themselves and/or just be better human beings. Learn more about BIOLOGICAL and join us in supporting and welcoming back, filmmaker Justin Emeka!

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!

August 2019 marked the 400th anniversary of the first Africans being stolen from their Ghana homeland and shipped to America. The Ghanaian government marked this anniversary by deeming it The Year of Return, which invited thousands of Africans in diaspora to flock to the shores of their ancestral homeland. The designation of this 400th anniversary was reason for many, to throw off those procrastinations and hesitations about traveling to Africa, and to just go. But if you didn’t go in 2019, or if you have never been to the home of our ancestors, here’s a nudge to not wait. Make that trek. You will be glad you did. Within the past year, I’ve had the pleasure of returning to Ghana twice. The people, the cultures, the food, and the ancestral memory that wells up inside, draw me in and embrace my spirit. My cup is always filled when I step onto the African soil. Ghana has one of the fastest growing economies in the world, yet there remain constant threats to sustained growth due to high costs of energy and low access to credit. You can imagine that, as is the case across the continent, foreign interests have their eye on this vast oasis and in many ways pose a post colonial-like threat to the country. Ghana’s history as the first Black nation to gain independence from colonial rule is a history to be remembered. This is a history of not just rebellion and revolution, but a history that illustrates the intellectual might of an ancient kingdom. Ghana is obviously a place of great pride and history. Now that you’re all set to go: passport in hand, Visa application complete, air travel and accommodations settled, here are a couple of recommendations of must-see experiences: The dungeons at Cape Coast and Elmina still teem with the haunting presence of Africans who were essentially stored in horrific environments. The spiritual and ancestral presence can be felt upon approach. I feel it is my duty to step inside those places of pain and death whenever I can, to honor the lives of my stolen ancestors. Another slave dungeon that is not a popular tourist stop is right inside Accra. The slave fort at James Town was built by the British as a trading post for gold and slaves in the 17th century. After slavery was abolished, Fort James served as a prison until 2008. Kwame Nkrumah, who led Ghana’s decolonization process, and became Ghana’s first President, was held there from 1950-1951 after being arrested for leading a disturbing campaign against British rule. James Fort has not been preserved in the same way as the more touristy slave dungeons at Cape Coast have and is now a UNESCO heritage site. But if you travel with the right guide, chances are you can get a quick visit. Also, if you happen to be in Detroit and visit the Detroit Institute of Arts, you can grab a look at the photography retrospective of Ghanaian native James Barnor whose first photo studio was located just adjacent to James Fort. Speaking of Kwame Nkrumah, the memorial and mausoleum dedicated to him in Accra had been closed for a bit while undergoing upgrades and renovation, and the wait was well worth it. The latest upgrades have created a renewed interest in the life and history of the first Ghanaian President. The underground museum strategically located directly behind his tomb, offers detailed information on his education, his political savvy, his dedication to his country, and his forward vision for the economic future of Ghana. The exterior of the memorial has been beautifully restored and a new wing now houses artifacts including Nkrumah’s official vehicle. I am not African because I was born in Africa, but because Africa was born in me. - Kwame Nkrumah The creative culture of Ghana shows up everywhere. In the food, architecture, fashion, history, people, and geographic landscape. A visit to the Aburi Botanical Gardens can be off the beaten path but well worth the travel. About a 45-minute drive outside of Accra in the Akwapim-Togo Range, the garden is a feast of nature. Our guide, who had been working on the garden grounds for over 30 years, introduced and welcomed us by saying that every spice known to man is present there. The gardens are filled with trees and plants that excite the senses, and one incredible tree carving that blew me away. The tree depicts a series of scenes with people from all walks of African life who can be seen either lifting one another up to help the climb to the top or pulling one another down. Which do you see first? No trip to Ghana is complete without a trip to a beach. Beaches surround Accra and the Cape Coast, so you are bound to happen upon or near one during your stay. My travel partner and I had the pleasure of being introduced to Bojo Beach for an afternoon of cold brews and beach breezes. It’s a bit out of the regular path located at the delta of the Densu River and the Atlantic Ocean, but that’s what makes it so appealing. Once you exit the main highway, a bumpy, potentially Dramamine-inducing 40-minute or so trek on the back road leads to the entryway to the resort area. Once there, access to the beach requires a short boat ride across the bay to arrive at the most relaxing and sparsely populated beach available. If you go on a weekend evening, you won’t even notice the bumpy roads because the distraction of music and weekend party preparations will capture your attention for certain. Get into it. For art lovers like me, there are a few places that are both on and off the beaten path. The Arts Cultural Center is a robust center where intricate carvings are being crafted and visual artists are churning out beautiful displays of Ghanaian still life, freshly packaged shea butter is abundant, drums are being carved and played, fabrics float on wall displays and in folded bundles on the ground, and basically, anything you can imagine is available. Looking for mudcloth, they have it. Beads, yep! Ready to wear clothing, you got it. Just mention the arts center and everyone knows how to get you there. If interested in more ancient art in a shared space with contemporary art, then Omanye House is the place for you. This is the home of the Artist Alliance Gallery and trust me, plan to set aside at least a couple of hours to explore 4 floors of sculptures, ancient masks and shields, and galleries crowded with the works of hundreds of Ghanaian artists. In part two, look for recommendations for restaurants, more art, hidden gems, and other hot spots, all to get you geared up for your own Return.

Come September, we will celebrate our first year of operation in our physical location as a Black art, culture, and retail space at Midtown Square. This past May marked our two-year anniversary as an online publication, and we continue to dream big for our future. Growth is on the horizon for this publication. Our goal is to engage more writers and contributors, expanding our ability to tell more stories that highlight the local, national, and international Black art world. Slow and steady growth is our motto, but we are excited about what growth we will experience in the not-too-distant future. Becoming the anchor tenant at Midtown Square last year, also put ownership on our horizon. From the start, our intention was to own our destiny by owning our space completely. Fortunately from the outset, part of our negotiations with the Midtown developers incorporated a path to ownership. We anticipate that by the end of September, our purchase of the over 4,700 square feet will be complete. We owe all of our gratitude to a set of donors, and grants from the City of Seattle and the State of Washington who have invested in our vision of ownership. Before the close of this year, we will also begin build-out of the small recording studio and maker space. These past couple of years have brought us closer to our community in so many ways. Friends and neighbors drop in just to say hello, and personally, I have reconnected with so many classmates from elementary through high school who have come through. My friends, just like me, like to shop and we try to keep it fresh for them to find something new with each visit. New retail tenants at Midtown have also energized our sense of community. The exchanged “hello’s” with Trey Lamont and Jerk Shack staff always offer a delight, and watching Takiyah “T-Dub” Ward, build out her Re-Sole space is thrilling. How perfect for her new retail venture, to be located directly across from the 120-foot mural that she designed and painted. Perfection! And soon more neighbors will join our Midtown crew. 23rd & Union was always a place for connecting and slowly but surely, we are witnessing some return of that familial environment. Two years ago when ARTE NOIR launched online, there were very few outlets with a focus on Black art and culture matters. We have now seen an exponential growth in artist spotlights, and Black art coverage in general, which we applaud. It confirms for us that there is an interest in, and a market for, spotlighting and celebrating our creativity and our culture. We are very clear that none of this would even be possible if not for the resilience and dedication of the artists to whom we dedicate all of our efforts. Our donors, supporters, and all of our subscribers have provided us with the incentive to keep it pushing, and push we will. Happy anniversary to us! Thank YOU!!! Vivian Phillips, Founder + Board President

Seattle Art Fair returns to the Lumen Field Event Center this week and we combed through the galleries, festivities, and digital spaces to bring you a list of locations to catch Black art + artists throughout the fair. From special programming to artists represented by esteemed galleries, along with affiliated and non-affiliated events, pick one or pick them all and discover your next favorite Black artist! *FYI: we cannot boast that this is a fully comprehensive list... AT THE FAIR Valerie Collymore is a French Impressionist artist, originally born in New Jersey, who is passionate about capturing the unique landscapes and seascapes of the French Riviera and Provence in her oil paintings. She will have multiple works on display. Chateau Garden, 2022 Oil on Canvas 24 × 48 × 2 in | 61 × 121.9 × 5.1 cm Fountainhead Gallery (Booth G09) Marita Dingus, a Black Arts Legacies featured artist, brings her politically and environmentally infused mixed-media sculpure work to the Seattle Art Fair as part of the Traver Gallery Booth. Where The Castoffs Grow Materials, 2022-2023 Plastic bags, wine cork covers, plastics of all kinds, wire 15 ft x 15 ft Presented by Traver Gallery (Booth B07) Barbara Earl Thomas, a Black Arts Legacies featured artist, will be part of a panel of artists and industry members discussing art collecting in times of social change. See the SAF Special Events section below. Julian V.L Gaines received widespread attention in 2020, when his series “KAREN(S)” was featured on the cover of New York magazine. As a painter, Gaines’ artwork addresses activism, education, and stories that need to be told. A Glass of Cognac, with James, 2022 Oil, acrylic, lead, ink, house paint on canvas 61 3/4 × 64 3/4 in | 156.8 × 164.5 cm Presented by Russo Lee Gallery (Booth D07) barry johnson, a Midtown Square + ARTE NOIR featured artist, recently signed on to Winston Wächter Fine Art and we will be keeping our eyes peeled for his vibrant paintings in their booth. Barry will also be part of a panel discussion on new artists and new collectors, see SAF Special Events section below. Lost Boy, 2023 Oil on paper 61 1/2 × 49 in | 156.2 × 124.5 cm Presented by Winston Wächter Fine Art (Booth A05) Mojo is a contemporary artist based out of Miami, Florida who believes, "It is my dutiful responsibility to evolve into a beacon of light transmuting my soul’s unique purpose into creative expressions that will uplift the frequency of our collective human existence.” Seduction of paint, 2023 Oil on canvas 52 × 44 × 2 in | 132.1 × 111.8 × 5.1 cm Presented by Art Unified (Booth G15) Janice Stanley, is a talented Aboriginal artist from Ernabella in the APY Lands of South Australia. She is known for her unique style of painting, Pantu (Salt Lake) - an aerial depiction of the salt lakes near her Ernabella. She will have multiple works on display. Plus, bonus, our friend and board member Juan Alonso-Rodríguez will also be showing work with ARTX Contemporary. Pantu (Salt Lake) 525-22,, 2022 Acrylic on canvas 59 1/2 × 58 × 1 1/2 in | 151.1 × 147.3 × 3.8 cm Presented by ARTX Contemporary (Booth G05) Sharita Towne: the palimpsests that carry us over, selected works from 2018 - 2022, presented by Wa Na Wari. A mixed-media installation, the alluvial nature of Black collective thought and our physical relationship to land, water, and sky are brought into form here as atlas, blueprint and evocation. the palimpsests that carry us over, selected works from 2018 - 2022 Mixed media installation 12'x12' Presented by Wa Na Wari (#11 on map) Tariqa Waters, another featured Black Arts Legacies artist and recently named one of Seattle Magazine's most influential artists, brings her whimsical, conversation-starting work into the public project arena of Seattle Art Fair with a large-scale paper sculpture of a giant church fan featuring ball barettes. See the SAF Special events section below for more ways to experience Tariqa's artistry! 4th Sunday, 2023 Archival print, heavy-duty hardboard, paper ball shells 9 ft x 2 ft x 4 ft (location #6 on the map) Fox Whitney brings their queer, Black, mixed, transgender point of view to MELTED RIOT: Light Aloud, a series of live performances commissioned by Henry Art Gallery. The activation at Seattle Art Fair is a continuation of Fox’s on-going project MELTED RIOT, which investigates the effects peaceful and violent forms of support and sabotage have on the bodies, minds, and spirits of the transgender and queer community. MELTED RIOT: Light Aloud Presented by Henry Art Gallery (location #13 on the map) SAF SPECIAL EVENTS Tariqa Waters Presents: Thank You, MS PAM: In Front of a Live Studio Audience! Presented by Martyr Sauce Pop Art Museum Date & Time: Thursday, July 27, 2023 6:30 PM - 8:30 PM Location: Seattle Art Fair Collector's Lounge (#4 on map) As if Mr. Rogers living room and the Land of Make Believe collided, powerhouse multidisciplinary artist and owner of Martyr Sauce Pop Art Museum, Tariqa Waters presents: Thank You, MS PAM! Filmed in Front of a Live Studio Audience, this wonderland experience celebrates local artists and creatives. Featuring DJ 9 on the ones and twos, opening night of the Seattle Art Fair will feature surprise guests, comedy sketches, and fun performances with audience participation. You don’t want to miss it! Panel Discussion at Gray Sky Gallery: Collecting Art During a Time of Social Change Presented by Dot Red Date & Time: Saturday, July 29, 2023 5:00 PM - 8:00 PM Location: Gray Sky Gallery 320 1st Ave S, Seattle, WA 98104 Seattle-based visual artist Barbara Earl Thomas, whose intricate hand-cut paper work explores themes of activism, identity and social justice, joins a panel including Josef Vascovitz, Seattle Art Fair Host Committee member, arts advocate and activist collector, and John Goodwin, Director of Community Philanthropy for the Portland Art Museum. "Collecting Art during a Time of Social Change” explores the intricate connection between art, social transformation, and the evolving practices of museums, collectors, and artists. The conversation will delve into the pivotal role of art in activism and the expression of social struggles while underscoring the imperative of inclusivity and diversity in the art world, reflecting on their journey and providing strategies for the next wave of socially conscious collectors. RSVP for in-person event here. If you can’t join you can register for the online discussion. Official Seattle Art Week Afterparty Presented by Forest For The Trees Date & Time: Friday, July 28, 2023 9PM–12:30AM Location: RailSpur 419 Occidental Avenue South Seattle, WA 98104 Kick off the opening night of Seattle Art Fair on the rooftop of RailSpur at the Official Seattle Art Week afterparty hosted by Forest For The Trees! Forest For The Trees is taking over the historic RailSpur building in Seattle’s Pioneer Square for a 4 day, 50,000+ SQ art activation. Visitors will experience 6 floors of immersive installations, solo interventions, large group exhibitions featuring a handful of favorite Black artists, and live music including a series of exterior murals in the historic brick alley. Music Programming by POSSI Activation Produced by ARTXIV FFTT will be located two blocks from Seattle Art Fair. Admission is free and pre-registration is required. Register here. FAIR ADJACENT “After / Before” at Court in the Square At Court in the Square, you are invited to enjoy a pop-up art show featuring more than a dozen artists with Seattle roots including Moses Sun. Along with all of the art, guests can enjoy a stocked bar, food vendors, and musical performances Date & Time: July 27-30 Times Vary; July 27, 5:30-9 p.m.; July 28, 5:30-11 p.m.; July 29, 11-midnight;July 30, 11 a.m.-6 p.m Location: Europa Events at Court in the Square, 401 Second Ave. S., Seattle, WA 98104 EVOKE UPROAR After-Party Hosted at Seattle Art Fair Cultural Partner Taswira African Art & Design Gallery, the event will focus on networking and building community amongst creatives, professionals, business owners, and venture capitalists in collaboration with EVOKE UPROAR and The Seattle Public Library. Date & Time: Friday, July 28, 2023 6:00 PM - 9:00 PM Location: TASWIRA, 510 Occidental Ave S, Seattle, WA 98104 Nii Modo AIR Program During Art Fair weekend, Nii Modo, a cultural space committed to providing a platform for BIPOC, womxn, and queer artists, is hosting an exhibition featuring AIR fellows and additional artists for pubic viewing, including artist Jazzy Phillips will be showcasing paintings, photography and more. Date & Time: Saturday, July 29, 2023 Sunday, July 30 | 2–5PM Location: Nii Modo, 1404 3rd Ave, Seattle, WA 98101 The Official Unofficial Art Fair After Party Presented by Museum of Museums Seattle writer Jas Keimig composed a piece to accompany a new show by artist Monyee Chau in the Ramirez Room, along with a handful of additional new exhibitions to explore, free live screen printing, freshly spun cotton candy, music by Emerald City Soul Club, and a full bar by the Hideout. Seattle Art Fair attendees can receive 50% off admission to the afterparty by entering code SAF50 at checkout here. (Limited to the first 250 guests.) Date & Time: Saturday, July 29, 2023 8PM–1AM Location: Museum of Museums, 900 Boylston Ave, Seattle, WA 98104 AND... IF YOU WANT TO GET THE H*LL OUT OF PIONEER SQUARE, HEAD UP TO THE CENTRAL DISTRICT! Our friends and neighbors at Wa Na Wari have a new exhibit opening on Saturday, July 29th featuring works from Robin Holder, Mark Modimola, Vickie Pierre, and Adele Todd. From 6 PM to 8 PM, you can join them for an opening celebration, including music by Bluemeadows and light refreshments and of course, fabulous art.

Self-taught, award-winning Ghanaian artist Amoako Boafo brings Soul of Black Folks, his first solo museum exhibit, to Seattle Art Museum now through September 10th. In the series, Boafo explores the concept of “double consciousness,” the way in which Black people must navigate their self-identity through the gaze of others. From SAM's website: The portraits on view in Soul of Black Folks reinterpret what it means to elevate and “see” Black people. He considers his work to be a form of healing, as it creates space for Black individuals who’ve previously been overlooked and decentered. Taken together, Boafo’s paintings serve as a celebration of identity as they assert the dignity and importance of Blackness. Boafo began creating his tender yet vibrant textured paintings in 2016 and completed the finger-painted portraits in 2022 while drawing on inspiration from modern experiences including the COVID-19 pandemic, the media’s commodification of Black bodies, and continued systemic oppression, ultimately creating a moving telling of Black life in Ghana and beyond. WHEN I’M MAKING PAINTINGS, I WANT THE CHARACTERS TO BE STRONG, I WANT THEM TO BE FREE, I WANT THEM TO BE INDEPENDENT, I WANT THEM TO BE UNAPOLOGETIC. — AMOAKO BOAFO ARTE NOIR is pleased to offer tickets to experience Amoako Boafo's moving exhibit at SAM to our patrons. We have a limited selection of physical tickets available in the shop only. All you need to do to claim yours is visit us in person during regular business hours and let our Guest Services Associates know you'd like to attend. AMOAKO BOAFO: SOUL OF BLACK FOLKS July 13 through September 10, 2023 Seattle Art Museum Simonyi Special Exhibition Galleries

Sharon Nyree Williams's footprint is stamped across most sidewalks leading through Seattle’s art scene. A self-described storyteller, Williams is most often found making pathways for others to also tell their stories. This North Carolina native knows what it feels like to knock on doors that seem sealed shut for people who look like her. But after a few doors opened for her in Seattle, her foot has remained firmly lodged in spaces to assure safe passage for others. One would be hard-pressed to find stops through Seattle's art community and beyond that have not been touched by the physical or vocal presence of Williams. For over a decade, Sharon presided over the workings of CD Forum where she elevated and engaged hundreds of artists, providing them with space to create and expand, opportunities to produce works on their own terms, and readily sharing business advice on demand. As a holder of Master's degrees in Fine Arts and Business Administration, Sharon’s advice and guidance are a highly valued commodity. Her dynamic and signature voice is also highly valued. In between running things, making art, and guiding others, Sharon found time to lend her voice to the beautifully produced 2021 Kraken expansion draft promo video. In less than 3 minutes, Sharon’s voice created an impact that earned her an Emmy award. It’s easy to understand the reach of Sharon Nyree Williams when looking at her website and the long list of descriptors. Artist, advocate, producer, presenter, professor, storyteller, collaborator, HBCU grad, Emmy award-winner (don’t forget that!), and finally but also most telling Sharon includes “values-based North Carolina upbringing, living the dream in Seattle.” It is this straightforwardness that lets you know that what you see is what you get, as well as a slightly blatant admission to being respectful and having good manners. With her 10-plus-year tenure with CD Forum having come to an end, it is not the last we will see of this dynamic arts leader. Sharon is stepping into an interim leadership post at Spectrum Dance Theatre where she will join a longtime friend, artistic director Donald Byrd, in leading the organization through the remainder of its 40th season and perhaps beyond. While her voice is very strong, in this new position Sharon is eager to listen. Her first order of business is to learn, “what are the hopes and dreams for Spectrum’s future." Williams shared her excitement for the chance to work with “friend and peer” Donald Byrd and noted their relationship as her motivation for accepting this new opportunity. “I want to be of service to him and the artistic legacy he brings to the community,” said Williams. With a legacy of service already logged by Williams, we are certain her desires will be fulfilled. Check out more of Sharon Nyree Williams’ story through Crosscut's Black Arts Legacies profile. *Images courtesy of Sharon Nyree Williams

Arts organizations often struggle to find their footing when long-standing artistic leadership departs. Patrons often get nervous about the direction of new leadership and doubt can cloud the positive nature of change. Such is definitely not the case for Dance Theatre of Harlem, where very strategic and thoughtful actions have made room for Founder Arthur Mitchell’s artistic successor Virginia Johnson to hand over creative reigns to her longtime collaborator Robert Garland. Dance Theatre of Harlem Artistic Director Virginia Johnson pictured solo (L), and posing with former Company Artist Anthony Santos and Company Artist Amanda Smith (R). Johnson, a founding member of the DTH company was invited by Arthur Mitchell to step into the artistic directorship in 2010. Considered one of the finest ballerinas of her time, she attributes her refined skills to the guidance and expectations received from Mitchell. Undoubtedly, Mitchell knew that the company would find excellent leadership in Virginia Johnson, who has often been credited for saving Dance Theatre of Harlem. In November of 2022, Dance Theatre of Harlem made its final appearance in Seattle under Johnson's artistic leadership. DoubleXposure podcast co-host Marcie Sillman and I had the honor and pleasure of sitting down with Johnson to learn more about the art and soul of Dance Theatre of Harlem. We share the interview as her last words to us as DTH Artistic Director.

On a recent trip to Ghana, I sat with a group of women with whom I had traveled and we talked about the enormous value of the extracted export of people from the continent. We imagined what it might mean if there truly was a “Great Return,” and with that, an enrichment of lives lived within a majority population directly tied to our ancestral roots, with measures of creativity that are derived from within our own majority community. At almost the same time, Amoako Boafo: Soul of Black Folks exhibit was opening at the Seattle Art Museum. Boafo is quoted as saying, “I want to paint people who have had the same experiences as me.” While the women and I were not talking about creating images, we were essentially exploring the possibility of living within a common experience; an experience that heightens our connection to the souls (and spirits) of Black folks. Boafo is also quoted as saying, “I want to see myself and I want people to see themselves in me.” Presence, Beauty, and Power are the words used to describe the work of Amoako Boafo, but they might also be used to describe his vision. Having attained much success as an artist outside of Ghana, Boafo recognized the need to make space for artists at home, replacing the need to be seen by Eurocentric eyes in order to succeed. He used his success and his power, mixed in the architectural beauty delivered by Sir David Adjaye, and created a solid presence in his home of Accra to open dot.ateliers, an art gallery, café, studio, and library. It was a dream realized by Boafo to combine his passion for community and his love for creative expression. In his exhibit currently on view at SAM, the work of Boafo is speaking to the shared soulful experiences of Black people throughout the diaspora. And through his work, he is creating spaces for an expanded Black gaze to define and value African art at home.

Oh, the times they are a'changing, and it seems like those times just never end. These days, the saying "the more things change, the more they stay the same," seems never more true. Upsetting the comfort of the status quo has now become the norm, and we are seeing a lot of change happening across the entire arts spectrum. One of the interesting aspects about the shifts now being made in many arts enclaves, is rather than drastic moves, there is a sense of a continuum as well. For instance, with the departure of the lauded Virginia Johnson as artistic director of Dance Theatre of Harlem, the reigns have been turned over to someone with a very long artistic history with the company. There remains a sense of safety and familiarity that has been invited, as well as an encouraging level of freedom for new Artistic Director Robert Garland, to expand his own signature within a company that has been a strong part of his entire dance career. I marvel at this mostly because it is an example of succession planning that has obviously been well thought out. When Judith Jamison left her post as Artistic Director for the Alvin Ailey American Dance Theater, dancer, choreographer, and former Ailey artist-in-residence Robert Battle was selected by Jamison, and he has served as Artistic Director of the company since 2011. What the changes in both these companies reflect for me is a strategic and thoughtful sense of mentorship and preparation. Both Jamison and Johnson took obvious pride in preparing the next leaders to assure continuity while inviting fresh ideas. This kind of thoughtful change doesn't happen enough in the art world in general. Rather, we witness the tight clutch of power that can hinder long-term sustainability. If you are leading an arts organization and have not engaged in the process of strategic replacement, consider the ways in which whatever hard work you may have put into growing and holding the organization might all be lost. Play a positive role in making the needed space for new ideas and next-gen leadership to occur, whether or not you have planned your exit. Legacy organizations can only become such if the past is well honored with a plan for the future. Be the change you want to see! For further education on the topic, Americans for the Arts put out a report entitled Succession: Arts Leadership for the 21st Century, which you can find on their website.

The art world can be an intimidating place. From high-end, white-walled, and primarily white-owned gallery spaces, to the barriers of entry for artists considered outside of the mainstream including LGBTQ and artists of color, and lest we not forget the often exorbitant prices of artwork, it's no wonder many folks believe this space isn't a place for them. But just like the mixed media installations, sweatshirts, and tote bags she creates with her signature phrase, award-winning artist, curator, and gallerist Tariqa Waters says "NO" to all of that nonsense. Bursting onto the Seattle art scene in 2012 by way of Virginia, a four-year detour to Sicily, Washington DC., and then Atlanta, Tariqa opened Martyr Sauce—whose name is derived from a silly phrase her son used to blurt when upset—an unconventional gallery space in Pioneer Square built into the stairwell of her family's apartment. Martyr Sauce quickly became known for Waters' vibrant, tongue-in-cheek artwork displayed in the windows and stairwell, as well as being THE first Thursday spot with rotating exhibits from at the time up-and-coming artists including Jazz Brown, Aramis O. Hamer, Tracy Clayton, Jake Millet, Zorn B. Taylor, and a handful of raucous musical performances Disrupting the conventional white-box gallery setting continues to be one of Waters' missions, as she conceptualizes new and innovative ways to create space for Black artists, particularly Black girls, the so-called weirdos, anyone who's "down to do something crazy and cool," or who has felt like an outsider in traditional art spaces. Eventually relocating in 2016 from Martyr Sauce's original stairwell location to a funky, under-ground, multi-use gallery space just around the corner on Jackson Street, Tariqa knuckled down on her larger-than-life pop art and multi-media displays. Amidst a fresh rotation of curated exhibits and hosted performances by hot acts like Liv Warfield, The Black Tones, and DoNormaal, a selection of stylish merchandise was added to the mix, quickly making Martyr Sauce an underground staple for the city, literally and physically. During the pandemic, when many storefronts were closing, including her neighbor, vintage athletic clothing company Ebbets Field Flannels, Waters bucked the system, conceiving MS. PAM (Martyr Sauce Pop Art Museum), a street-level extension of the gallery that moved into the former clothing company's storefront. Not to be outdone, she began plotting its companion piece, the educational arts show Thank You, MS. PAM. One part Pee-Wee Herman's Playhouse, one part Chappelle's Show, with a hefty sprinkle of Mr. Rogers, Tariqa has managed to whisk up all of those pop culture inspirations into a concoction uniquely her own, and most important, she's cooked up yet another vehicle to showcase talented artists. With Thank you, MS. PAM strategically segmented into a series of vignettes, featured artists now have access to high-quality samples of their work that can be used for securing funding and other arts opportunities. Guests on the show include an eclectic mix of creatives, from tattooists to dancers, musicians, visual artists, chefs, her son 9 Coleman-Harvey as the in-house DJ, and so much more. As Waters told Crosscut for Black Arts Legacies, “I want [their work] to be documented well so that they don't feel like the only place that happens is in an institution where the old guard resides.” As a partner with the 2023 Seattle Art Fair, happening July 27th through the 30th, the public will have multiple opportunities to interact with Martyr Sauce and Tariqa's creations. Accompanying a selection of public partner pieces placed between gallery booths at the fair, you will find Waters' latest, 4th Sunday, three large-scale sculptures, at least one featuring a giant vintage church fan with ball barrettes that is meant to depict an allegory of stillness without resolution. True to form, she reimagines and constructs by hand culturally important Black items in a "lampoon to consumerism and the sticky contradictions inherent in vices rooted in Americana-distorted memories and tall tales." Along with her sculpture, on opening night of the fair, you can experience Thank You, MS PAM: In Front of a Live Studio Audience! Located in the Seattle Art Fair Collector's Lounge, the show starts at 6:30 PM and will be filmed in front of a live studio audience of fair attendees. Boasting a wonderland experience celebrating local artists and creatives, there will be surprise guests, comedy sketches, playful performances with audience participation mixed in, and of course, DJ 9 on the ones and twos. ARTE NOIR will be there and it goes without saying you should be too! If you need any more convincing, enjoy a preview episode below, courtesy of The Seattle Channel. It comes as no surprise that Tariqa was recently named One of Seattle's Most Influential Artists. Throughout her time in Seattle, she has exhibited in numerous local galleries and institutions including The Hedreen Gallery; Northwest African American Museum; Frye Art Museum; Seattle Art Museum; and this past spring presented her five-part glass immersive installation at The Museum of Museums. She also curated the highly anticipated group show, "Yellow No. 5" at Bellevue Art Museum, and was a co-founder of "Re:definition at The Paramount" along with the late-great, legendary hip-hop and arts scene fixture, Jonathan Moore—a yearly rotating exhibit highlighting artists of color and once again providing a platform to creatives who might otherwise be overlooked. Furthermore, she has also amassed a number of accolades and awards including the 2016 Conductive-Garboil Grant. The Artist-Trust- Fellowship Award; The Seattle Art Museum’s Kayla Skinner Special Recognition Award; The Gary Glant Special Recognition Award; The Neddy at Cornish Open Medium Award; and the Arts Innovative Award. Oh, and she has her very own, first-of-its-kind crosswalk mural! We expect there will be more. At first glance, Tariqa Waters and her many accomplishments may strike some as yet another intimidating aspect of the art world. We, however, can assure you that her whip-smart creative acumen is only bested by an infectious sense of humor, a charming love of all things pop culture and zany, as well as a genuinely deep sense of commitment to uplifting her fellow creatives and the next generation of artists. And while Martyr Sauce's physical space in Pioneer Square recently closed up shop, we know Tariqa has something exceptional planned for her next artistic venture! Until then, you can catch her at Seattle Art Fair or keep an eye out for her technicolor blend of humor and social commentary on her show, Thank you, MS. PAM, and throughout the city at large.

2023 marks the 50th Anniversary of Hip Hop and one can’t help but be reminded of the evolution of this cultural phenomenon. And while Seattle seems geographically and culturally as far removed from the center of the hip hop headquarters of Bronx, NY, there is still history in our backyard that reigns as equally important. Had it not been for the presence of Black radio in Seattle, where the Sugarhill Gang’s "Rapper’s Delight" was first played, much of our history may go completely undocumented. As someone who was quite past the age of innocence when hip-hop made its entrance onto the cultural scene, I will admit to not being immediately drawn to it. In 1979 when I was still a deejay on Seattle’s Black radio station KYAC, I recall being handed Sugarhill Gang’s "Rappers Delight" to play by program director Robert L. Scott, and thinking, “Dr. Seuss is making records now?” But after reading the liner notes I was intrigued by the fact that the producer was a well-known Black female music industry legend, Ms. Sylvia Robinson. Before becoming founder and CEO of Sugar Hill Records, Sylvia had been one half of Mickey and Sylvia who won hearts and ears with popular recordings in the late 1950s. Until the mid-1980s Sugar Hill Records would be responsible for introducing many of the most well-known hip-hop artists to the world. May the next 50 years of hip-hop reveal more of the women, who like Sylvia Robinson, make it their business to push the genre forward.