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Art Inspired by Social Justice

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By Dr. James R. Gore 

Art can provide a platform of expression for social commentary. Poet, author, academic, and President of the Andrew W. Mellon Foundation, Elizabeth Alexander’s new book, The Trayvon Generation, is a reflection from the perspective of an African American mother and professor, expressing concern for her students. The book’s inner cover indicates that Alexander: 

“…wrote a celebrated and moving reflection on the challenges facing young Black America. Originally published in the New Yorker, the essay incisively and lovingly observed the experiences, attitudes, and cultural expressions of what she referred to as “The Trayvon Generation,” who even as children could not be shielded from the brutality that has affected the lives of so many Black people…” (Alexander, 2022). 

I Am a Man – Diorama of Memphis Sanitation Workers Strike – National Civil Rights Museum – Downtown Memphis – Tennessee – USA
May 14, 2012, 13:06:45. Source: Own work. Author: Adam Jones, Ph.D.

The opening chapter of the book provides a reference from Dr. W.E.B. DuBois’s Souls of Black Folks, published in 1903, critically examining America’s primary issue in the 20th Century, Alexander updates DuBois’s analysis stating, “the problem with the 21st Century remains the color line…. How does it feel to be a problem.” (p.3). He is inferring that Black folks may still be perceived as a “problem” by some in America. 

In the book, Alexander uses literary and visual art to express the African American perspective of the “problem.”  She cites the poem why some people be mad at me sometimes by Lucille Clifton, Maryland State poet laureate, written to commemorate Maryland’s 350th Anniversary:  

they ask me to remember 

but they want me to remember 

their memories 

and i keep on remembering 

mine. 

The perception of the “problem” in America is expressed overtly and covertly via multimedia channels and institutionally. The consequences of perceiving African Americans as the “problem” has cognitive effects on everyone, including African Americans. Therefore, to combat this perception, it is important to create positive self-expression and self-identity by African Americans artistically and in all forms of media.   

Historically, African American aesthetics have not always been positively received institutionally or individually, which may be a contributing factor to the “problem.” For example, the recent banning of the 1952 American literary classic Invisible Man by Ralph Ellison by school districts in our country, illustrates the perception of the “problem” still exists.

The questions related to the “problem” posed by DuBois and Alexander may be a double entendre, meaning, the questions are directed to the folks who are perceived to be the “problem” and the folks perceiving the “problem.”  

My question is, what is the solution?  

The Voice of Jazz In Literature

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by Dr. James R. Gore

American literary giants such as Langston Hughes, Tony Morrison, Ralph Ellison, and James Baldwin utilized Jazz as literal and metaphorical perspectives of African American life in literature. An essay by Mohamed Schir Syad stated: In terms of the black/white dichotomy, Langston Hughes explained in his 1926 short essay, “The Negro Artist and the Racial Mountain,” the idea behind the appropriation of jazz in his work:

“Jazz to me is one of the inherent expressions of Negro life in America; the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world […]; the tom-tom of joy and laughter, and pain swallowed in a smile.“

Syad, 2014

Hughes’ description of Jazz as part of the African American cultural experience — as expressed in his writings — illustrates how African American artists utilized art to present an authentic African American aesthetic.  

Smithsonian Institution Traveling Exhibition Service. (1997) Milt Hinton is a world-renowned double bassist who has played with Cab Calloway, Bing Crosby, and Louis Armstrong. Also a well-known jazz photographer, he lives in New York and California.

The proposition of literature adopting the attitude of Jazz was revolutionary. Jazz literary form reveals the seemingly invisible lives of African Americans. It voices their passions, pains, and disillusions about being Black in America. For example, Ralph Ellison noted Louis Armstrong’s song “What Did I Do To Be So Black And Blue” in his 1952 novel, “Invisible Man”; Armstrong’s song is parallel to the narrator’s search for identity in America.  

The literary storytelling by the aforementioned writers provides courageous human introspection and validation Jazz literary form may not be discussed often in American literature; yet, it is worth the time to investigate and enjoy this form of literature in its variations.

Explore Jazz in Literature


 

Artists at the Center 2023 Offers FREE Arts Experiences on the Seattle Center Campus

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Continuing for 2023, Artists at the Center offers a year-long slate of performances at Seattle Center featuring up-and-coming artists. The Seattle Office of Arts & Culture, and Seattle Center, along with funders Climate Pledge Arena and Seattle Kraken, have partnered to produce Artists at the Center 2023 — an opportunity for emerging artists and the community to enliven the campus and celebrate Climate Pledge Arena’s commitment to the arts. The Uptown Arts and Culture Coalition will continue to partner with Artists at the Center for community and year-end celebrations. 

Artists at the Center 2023 will feature 26 free pop-up performances on the Seattle Center grounds, running from October 2022 through September 2023. The artist series will host music, dance, theatre, and multi-disciplinary performances, presented by individual artists and performance groups based in the Puget Sound region.   

“The diverse roster of artists showcases the incredible talent that flourishes here in Seattle. From theatre to dance, Jazz and Hip Hop to music from around the world, Artists at the Center showcases the creative spirit and artistic brilliance that bring us all together. We are truly grateful to Climate Pledge Arena for investing in our local artistic community.”

ARTS Interim Director royal alley-barnes

A total of 26 artists and groups were selected to produce a performance at Seattle Center as part of the new season. The program is designed to offer campus visitors a surprising and delightful array of arts and cultural experiences, encountering performances as they make their way to a Climate Pledge Arena event, pop by for a Seattle Center Festál festival, head to a resident organization production, stroll through Seattle Center, or visit businesses in the surrounding Uptown neighborhood.  

Performances will begin in October 2022. For performance schedules, and details, and to learn more about the artists, visit Artists at the Center.  

The full roster of artists selected: David Rue, The Djeliyah Band featuring Kouyaté Arts, Drama Tops, Drea & the Marilyns, Eroc-n-Sondra, Evan Flory-Barnes, Gia Falzone, Global Heat & Fraggle Rock Crew, International Capoeira Angola Foundation of Seattle, Joyas Mestizas, Kathya Alexander, King Khazm and the MAD Krew, King Youngblood/Hold Your Crown, Little Brown Language, MALACARNE // Alice Gosti, Marco de Carvalho, Miz Floes, O / TYPONEXUS, Robbi Moore, The Seattle Project, Seattle Repertory Theatre, Seattle Youth Symphony Orchestras, SIFF, South End Stories, Trío Guadalevín, and Washington Capoeira Center.  

To learn more about activities at Seattle Center this month and beyond, visit www.seattlecenter.com or call 206 684-7200.   

About Seattle Office of Arts & Culture 

The Seattle Office of Arts & Culture (ARTS) manages the city’s public art program, cultural partnerships grant programs, the Langston Hughes Performing Arts Institute, ARTS at King Street Station and The Creative Advantage initiative in the effort to foster a city driven by creativity that provides the opportunity for everyone to engage in diverse arts and cultural experiences. In alignment with the City’s Race and Social Justice Initiative, we work to eliminate institutional racism in our programs, policies and practices. The Office is supported by the 16-member Seattle Arts Commission, citizen volunteers appointed by the mayor and City Council. 

About Seattle Center   

Connect to the extraordinary at Seattle Center, an active civic, arts and family gathering place in the core of our region. More than 30 cultural, educational, sports and entertainment organizations that reside on the grounds, together with a broad range of public and community programs, create thousands of events on the 74-acre campus and attract over 12 million visitors each year. At Seattle Center, part of Uptown Arts & Cultural District and home to Climate Pledge Arena, our purpose is to create exceptional events, experiences and environments that delight and inspire the human spirit to build stronger communities. Activities at the Center generate $1.864 billion in business activity and $631 million in labor income.   

Culture Inspires Art

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By Dr. James R. Gore

Art can communicate cultural perspectives based on an artist’s experiences in society. A period in American history which expressed a unique cultural perspective was the Harlem Renaissance (1918-1937), where African American artists communicated their cultural worldview through artistic platforms of literature, poetry, visual arts, music, and photography. In 1925, an anthology entitled: The New Negro, edited by Dr. Alain Locke, consisting of literary works, essays and poetry expressed a new attitude for African Americans in the 20th Century.   

Note: This article defines attitude as, manner, disposition, feeling, position, etc. with regard to a person or thing, tendency, or orientation, especially of the mind, (Dictionary.com).   

One of the factors inspiring African American artists to express their self-defining perspectives of life in America was the Great Migration (1916 – 1970), an African American exodus from agricultural Southern states to industrial cities in America’s Northern and Western states.  In addition, many African Americans who fought in World War I, discovered the racial bias they experienced in America was not common in Europe. 

Artists of the Harlem Renaissance including Langston Hughes, Zora Neale Hurston, James Weldon Johnson, and Claude McKay received widespread recognition in America and Europe. Reflecting the attitude of the Harlem Renaissance, its most well-known poet, Langston Hughes, was inspired by Jazz and its increasing popularity in American popular culture defined as, The Jazz Age.  Hughes’ poem entitled: Jazzonia which was one of his contributions to the anthology: The New Negro, illustrated the new African American transformation of an urbane lifestyle in the city: 

Jazzonia

Oh, silver tree!

Oh, shining rivers of this soul!

In a Harlem cabaret

Six long-headed jazzers play.

A dancing girl whose eyes are bold

Lift high a dress of silken gold.

Oh, singing tree!

Oh, shining rivers of the soul!

Were Eve’s eyes

In the first garden

Just a bit too bold?

Was Cleopatra gorgeous

In a gown of gold?

Oh, shining tree!

Oh, silver river of the soul!

In a whirling cabaret

Six long-headed jazzers play.

Oh, silver tree!

Oh, shining rivers of this soul!

In a Harlem cabaret

Six long-headed jazzers play.

(Hughes, L. (1925). Jazzonia. In A. Locke (Ed.), The New Negro (p.226). New York, New York: Albert and Charles Boni, Inc.).

Artists of the Harlem Renaissance influence continues for over a century.  Their perspectives on race, gender and humanity were revolutionary with national and international impact; however, the Harlem Renaissance evolved from the African American cultural experience to become one of Western Civilizations most epic artistic periods! 

Jazz As Part Of The African American Cultural Diaspora

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By 

Dr. James R. Gore, Executive Director, Jackson Street Music Program 

Jazz can mean many things to many people musically; however, for the purpose of this article, the African American cultural perspective is from the focus of Dr. Michael Eric Dyson, who in his book, “Entertaining Race” states:

Jazz for instance, was born in irreverence, expressing the unrespectable thoughts, outlaw perspectives, and outside-the-box beliefs of Black life. It eventually came to represent Black genius and humanity in the battle over the cultural status of Black art. It is now widely viewed as the quintessential American art form to which other Black art is compared and often found wanting.”

Dr. Michael Eric Dyson, “Entertaining Race” (2021, p.10)

Dyson’s statement is an understatement of the role of Jazz as an art, rooted in the African American experience.

JAZZ-DESIGNATION AN AMERICAN NATIONAL TREASURE
Whereas, jazz has achieved preeminence throughout the world as an indigenious American music and art form, bringing this country and the world a uniquely American musical synthesis and culture through the African-American experience

United States Congressional Act, H.Con.Res.57, (100th), Jazz Preservation Act of 1987

A cultural institution, Jazz gave African American artists a platform to communicate their worldviews. Art as part of cultural identities of all human beings, is especially important to African Americans whose unique culture in America has not always provided institutional platforms for self-definition. Yet Jazz as an original American art form, expresses a part of African American cultural identity, just as all human cultures illustrate their perspectives and philosophies through the Humanities. Amari Baraka provides the following insights to this fact in the “Anthology: The Jazz Cadence of American Culture”:  

We take for granted the social and cultural milieu and philosophy that produced Mozart. As Western people, the socio-cultural thinking of the eighteenth-century Europe comes to us as legacy that is a continuous and organic part of the twentieth century. The socio-cultural philosophy of the Negro in America (as a continuous historical phenomenon) is no less specific and no less important for any intelligent critical speculation about music that came out of it.”

(A. Baraka,1960/1998, p. 139). 

Therefore, Jazz music rooted in the Blues became an institutional platform of African American culture to tell their stories, self-define their identities and express their attitudes through music. 

Even so, the history of African Americans in America is complicated. As Jazz music became an element of American popular culture in the 20th century, due in part to technology such as, the invention of the phonograph and radio and exposure in films. Nevertheless, systemic, and institutional racism persisted, causing one of the world’s largest and longest migration of people. The Great American Migration witnessed six million African Americans leaving the Jim Crow South for cities in the Northern and Western United States. Many African American Jazz artists also migrated to Europe and experienced humanity not available in their own country. 

Jackson Street Jazz district entrepreneur Russell “Noodles” Smith and associates. Courtesy of the Black Heritage Society of Washington State, Inc.

Seattle, a destination of African American migration, became one of America’s Jazz epicenters in the early 20th century. The Jackson Street Jazz District, which encompassed 5th Avenue to 15th between Jackson and Yesler was Seattle’s primary Jazz eco-system which incorporated jazz performance and supporting economy such as: hotels and nightclubs. One of the city’s first Jazz clubs was the Alhambra Cabaret, named in tribute to the Moorish palace in Spain (Alhambra de Granada, The Red One). The African American business ownership of entrepreneurs like Russell “Noodles” Smith established the Jackson Street Jazz district as an important economic and artistic zone for the nurturing of Seattle Jazz artists and developing audiences. Located in a cultural pluralistic neighborhood, the Jackson Street Jazz District was a result of the City’s red-lining housing statues; however, it was ideally located near Seattle’s two main train stations in downtown Seattle. This meant accessibility to audiences and touring artists which is important for business regarding supply and demand. 

Jazz has flourished in Seattle for over One Hundred years. The Jackson Street Jazz District no longer exists; however, its musical influence on Seattle is still relevant. Likewise, the institutional status of Jazz has risen from its humble beginnings, its foundation of inclusive self-expression is still its artistic core value, “an indigenous American music and art form” which has become a global tool for diplomacy! 

Totem Star offers online music programs to youth in response to COVID-19

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The idea for the youth-focused nonprofit was formed in 2010 when Daniel Pak and fellow co-founder Thaddeus Turner hosted a summer program at Rainier Community Center for 10 youth recently released from Juvenile Detention. Over the summer, Pak and Turner spent 240 hours with the youth creating and recording music.

Totem Star artists supporting Kiddus Fecto during Winter Magic – Photo by Avi Loud

“We had Bloods and Crips in the same studio, and we were all a happy family,” Daniel Pak, co-founder and Executive Director of Totem Star.

Three weeks after the conclusion of the program, Pak had what he calls an, “aha” moment when he found out 1/3 of the youth had already been booked back into the detention center. In that moment, Pak remembers thinking, “We need to have a place where young people can always come. A safe and encouraging creative sanctuary.”

That creative sanctuary is now 10 years old and, according to Pak, has mentored about 2,000 youth. Located inside Youngstown Cultural Arts center in West Seattle, Totem Star has become a central hub for young artists looking for studio time, mentorship, and most importantly, family.

“It’s a real thriving and beautiful community”, youth artist Mirabai Kukathas explains. “Once all this [COVID] started, it was like, ‘I can’t see my family anymore!’”  Kukathas, who was set to compete in the final round the MoPop Sound Off! before the event was cancelled due to COVID, is one of many youth who were worried when Totem Star was forced to shut its doors in March. However, due to quick action from Totem Star staff, the programs never missed a beat. “Pretty much immediately, I get these emails saying not to worry because everything is moving online,” she recalls. “We can book sessions like normal, but only through Zoom. We can’t record stuff, but we can chat, we can write songs, we can cry, we can make jokes, and it’ll be the same.”

It may not be fair to say that everything remained the same, but there are some ways Totem Star has improved. With all sessions becoming digital, it has become easier for artists outside of the Greater Seattle area to participate in programs. Since closing their doors in March, Pak has brought in a singer/song writer from Auburn and reconnected with an alumni who is currently studying abroad in Holland. Speaking of using technology to expand Totem Star’s reach, Pak says, “The whole remote sessions model really gives us a sneak peek into what the future looks like should we decide to expand. We could literally serve any young artist in the world right now.”

Co-Founder Thaddeus Turner (right) working with Mirabai Kukathas (left) in The Studio. Photo by Tracey Wong

Totem Star has shifted smoothly to the new world of remote meetings. During normal times, teens would come to their studio Monday-Friday during after school hours to hang out with friends and work on music. Now, in addition to remote one-on-one mentor sessions, they host big virtual meetings via Zoom every Wednesday and Thursday where youth can still connect with their Totem Star family. Communications Manager Tracey Wong points out, “We had a physical open mic night that was twice a year, but we have now brought it online at #TotemStarLive and it’s a virtual open mic every first Friday.”

Mirabai performing at Summer Kick Off – Photo by Maurice Harnsberry

Totem Star is currently accepting applications for new artists. To any youth considering joining, Pak says, “Totem Star has always been a welcoming and inclusive space for any young person passionate about music to discover a new family.”
For more information visit: https://totemstar.org/

Downtown Summer Sounds 2019

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Produced by DSA and presented by Virginia Mason, Downtown Summer Sounds brings free local music to downtown Seattle throughout July and August. Formerly the Out to Lunch concert series, Downtown Summer Sounds continues a 42-year DSA tradition of supporting free live music for Seattle workers, residents and visitors.

New this year will be concerts at King Street Station Plaza, the new home of ARTS at King Street Station. You can listen to music and then check out the gallery on the top floor.

In addition, concerts will be at venues across the city including City Hall Park, Harbor Steps, City Hall Plaza, and King Street Station Plaza. Full Lineup

The concerts will take place from 12-1 p.m. every Thursday, July 11 through August 22, 2019.

City Hall and King Street Station Plaza Concert Schedule:

Thursday, July 11 City Hall 12-1 pm Naomi Wachira
Thursday, July 18 King Street
Station Plaza 		12-1 pm Bleachbear
Thursday, July 25 City Hall 12-1 pm SPL Playback
Showcase:
Gabriel
Teodros &
Tiffany Wilson
Thursday, Aug. 1 City Hall 12-1 pm Abbey Arts
Showcase:
Hoop & Drench Fries
Thursday, Aug. 8 King Street
Station Plaza 		12-1 pm Evan Flory
Barnes
Thursday, Aug. 15 City Hall 12-1 pm Otieno +
Rain City
Rock Camp
Thursday, Aug. 22 King Street Station Plaza 12-1 pm Totem Star
Showcase

For more information and a full schedule visit Downtown Summer Sounds

Downtown Summer Sounds: noon concert series at City Hall

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New Name, New Venue as DSA’s Concert Series Turns 40
Downtown Summer Sounds – formerly Out to Lunch

For the 40th consecutive year, the Downtown Seattle Association is producing Downtown Summer Sounds, a free outdoor concert series featuring shows across eight venues including City Hall throughout the summer.

The City Hall concerts will take place from 12-1 p.m. every Thursday, July 12 through August 30th at 600 4th Ave., Seattle

City Hall Concert Schedule:

Thursday, July 12, 2018 City Hall 12:00-1:00 Sassy Black
Thursday, July 19, 2018 City Hall 12:00-1:00 ZAHARA
Thursday, July 26, 2018 City Hall 12:00-1:00 The Blacktones
Thursday, August 02, 2018 City Hall 12:00-1:00 Sundae Crush
Thursday, August 09, 2018 City Hall 12:00-1:00 SWOJO
Thursday, August 16, 2018 City Hall 12:00-1:00 Honcho Poncho
Thursday, August 23, 2018 City Hall 12:00-1:00 Special Explosion
Thursday, August 30, 2018 City Hall 12:00-1:00 Katie Kuffel

For more information and a full schedule visit Downtown Summer Sounds

Wanted: Musician/Composer for Fremont Bridge Residency

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Photo of the Fremont Bridge by Joe Mabel.The Seattle Office of Arts & Culture (ARTS), in partnership with the Seattle Department of Transportation (SDOT), seeks a practicing composer and/or musician to be an Artist-in Residence in the northwest tower of the Fremont Bridge. The selected composer and/or musician will undertake an in-depth exploration of the historic bridge’s role and meaning for the city of Seattle and create music in response to this residency.

The project budget is $10,000 USD ($5,000 for residency, $5,000 for sound project, presentation, documentation), inclusive of all residency costs, project, presentation, documentation of the work, and applicable taxes. Payment will be made in installments based on benchmarks established by ARTS in consultation with the artist.

Eligibility

The call is open to established professional musicians/composers living in Seattle or within 100 miles of Seattle. The artist selection panel will consider artistic diversity as one factor in the selection process. Artists who are well represented or have received City Artist grants may not be prioritized as highly as those who have not. Students are not eligible to apply.

Deadline

11 p.m., Tuesday, March 20, 2018. (Pacific Standard Time)

Application

Apply on CaFÉ. For assistance with the CaFÉ online application process, contact CaFÉ tech support or call them at (888) 562-7232, Monday-Friday, 7:30 a.m. to 4 p.m. Pacific Standard Time.

Info

Please email Kristen Ramirez or call 206.615.1095 with any questions about this project.

Photo by Joe Mabel.

Out to Lunch Concerts are back this summer!

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Kicking off its 39th year, the Out to Lunch (OTL) concert series is back and bigger than ever, with live concerts every day of the week!

This highly anticipated outdoor series is bringing free, live music to downtown Seattle for everyone to enjoy. Both up-and-coming and renowned local, Pacific Northwest bands will be jamming all summer long.

Join us every Thursday from noon to 1:30 p.m. City Hall Plaza, 600 4th Ave.

Thursday, July 6 12–1:30 p.m. Pearl Django City Hall Plaza

Thursday, July 13 12–1:30 p.m. Abbey Arts presents: Katie Kuffel, Paris Alexa and a live painter City Hall Plaza

Thursday, July 20 12–1:30 p.m. SWSPP City Hall Plaza

Thursday, July 27 12–1:30 p.m. Down North City Hall Plaza

Thursday, Aug. 3 12–1:30 p.m. En Canto City Hall Plaza

Thursday, Aug. 10 12–1:30 p.m. SWOJO with Gail Pettis City Hall Plaza

Thursday, Aug. 17 12–1:30 p.m. Cosmos the Band City Hall Plaza

Late-afternoon shows for the after-work crowd will be held on Mondays in South Lake Union to go along with regular lunchtime shows, Tuesday through Friday. This free outdoor series brings 47 live concerts to 12 downtown locations from July 5 to Sept. 1. Full OTL line-up is at downtownseattle.org/OTL