Last night I was at Friday Night Jazz at the High Museum of Art.  The music was kicking and the vibe was cool.  I bumped into a college classmate who I have not seen in many years.  As we quickly caught one another up on the past four years I told him that I managed artistic programming at the National Black Arts Festival.  He was surprised that producing the Festival was a full time job and keeps me busy.  I was laughing hysterically in my head.  Busy?  That is an understatement.   Realistically his response is not out of the ordinary.  Audiences see the finished product and have no idea about the process of creating art.  Those of us in the Arts have to do a better job of sharing that process.  It will be through the sharing that artists, audiences and presenters connect in a more meaningful way.  From a NBAF standpoint, our sharing begins NOW!..:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

In addition to the work the National Black Arts Festival does to produce our annual 10-day Festival and year-round programming in Atlanta, we are also very active on the national and international arts scene.   The National Black Arts Festival is a member of the Africa Contemporary Arts Consortium which is comprised of 11 US arts organizations.  Each member organization has made a long-term commitment - on a curatorial, institutional and personal level - to cultural exchange with Africa.  Within the collective, our membership has expertise in creative residencies, scholarship, producing, touring, presenting and collaboration with African partners.  Last week I went to our Consortium meeting in Tunisia, which was the site for Danse l'Afrique Danse, a dance festival and competition which draws dancers, choreographers, festivals and organizers from all over Africa and Europe. 

Along with my colleagues, I saw new work and had amazing conversations with artists from Mozambique, South Africa, Kenya, Cameroon, Congo, Madagascar, Senegal, Tunisia, Ivory Coast, Beirut, Egypt and Nigeria. Yes, I said Beirut and yes, I know it is not in Africa but they were a part of the competition.  As with any festival, the performances ranged from fantastic to slightly confusing to "needs more development".  The language barrier impacted my ability to fully appreciate the messages that were being delivered in certain performances.  I really need to work on my French.  There were moments that I found myself thinking ... so this is what contemporary dance looks like in Africa?  There was work that was inspiring and work that was inspired by something --- I'm just not sure what. But that's all a part of it- a part of the artistic process. Sometimes the audience does not get it and sometimes they absolutely connect to what you are saying.

In speaking with artists and festival producers, I saw clearly that the struggles many artists face creating new work and developing art in Africa are no different than the struggles faced by American artists. The struggles they face developing audiences for new work are the same struggles artists and arts institutions face in the US. Funding, space and other resources are all at issue. Unique to the African artist is the necessity of living abroad in the US or Europe to work and study. Many voiced the preference of staying in Africa to work, build community, develop work that is relevant to their own aesthetic and build a contemporary arts scene. It is difficult to do however.

Following the week of a million dance performances the Consortium met with a group of artists and then with one another.  We compared notes and discussed which artist consortium members were interested in working with over the next few years.  The next part of our process is for each consortium member to visit the country of the artist of their choice to engage in further research.  How are they creating work in their countries?  What are the challenges?  What US artists could they collaborate with on work that will be appreciated by audiences in both the US and Africa?  Etc.  

I walked away from this experience with a new understanding of the contemporary arts in Africa.  The artists I met in Tunisia have a contemporary mindset and are creating a new artistic language.  I look forward to watching this language develop and figuring out with them how NBAF is able to cultivate that development. 

Peace,
Leatrice

On Sunday afternoon I went to the movies and saw an amazing film entitled War Dance. Set in Uganda, the film is about students at the Patongo Primary School in the Patongo refugee camp.  They are to compete in a nationwide competition held in Kampala where they will be judged on singing, theater, music and dance.  

Looming in the background of the film is the ongoing conflict in Northern Uganda and the atrocities perpetrated by the rebel army. It is estimated that at least 1.4 million people are displaced from their homes and living in refugee camps.  Children as young as eight are abducted by the rebel army and forced to work as soldiers or be used as wives. Thousands of children are forced to kill. The film tells these stories of horror through the voices of three children who at 13 and 14 year old have already seen too much in their young lives.

The music serves as a salve in the documentary.  It rejuvenates the spirit of the children and galvanizes the entire camp of adults and children behind them.  As they prepare to go to the capitol city and represent the Acholi people one child says, "I want to see what peace looks like".  Through music and dance these young people find hope. 

Go see the movie! Check out www.wardance.org for theatres near you.

Peace - Leatrice

The world community has lost a treasured artist, Andy Palacio.  He transitioned at 9 PM last night in his homeland of Belize. 

Last January I attended a panel discussion on World Music at the annual Arts Presenters Conference in NY.  It was a great panel with both presenters and artists represented.  One artist in particular caught my attention.  It was Andy Palacio, the Garifuna artist from Belize.  He caught my attention for a few reasons -- his passion for his music, clarity of his purpose and he made me ask myself "what the heck is Garifuna music?" throughout the entire session. I, the self proclaimed music junkie, had no trace of knowledge about Garifuna music.  I remember writing a note to myself to Google him when I got to the room.  I met him briefly following the session and we exchanged small talk about the music in the hallway on one of the days that ensued.  He had a great smile and a humble spirit.  That's what I recall about him. 

My colleague, Leslie Gordon, at the Rialto Center for the Arts had the great vision to make him a part of her 07-08 season.  It was a no brainer that this would be one of the performances that the National Black Arts Festival would partner with during her season.  I have been excited about his concert.  I had even hoped to produce a podcast with him and get a deeper understanding of his music and culture.  A conversation for another time and space.

So…. while audiences will no longer be able to experience Andy Palacio on the stage with his Garifuna Collective, they will be able to experience his spirit in the music.  That's where it now resides.  I encourage you to check him out and cop his music.  His album Watina has been in rotation in my iPod for quite some time.  Google him or visit his MySpace page at myspace.com/andypalacio.   Rest in Peace Brother….

Leatrice

All is quiet at the National Black Arts Festival offices at this moment.  It's like the quiet before the storm.  The heater is whirring and there is an occasional door slam in the hallway outside of the office.  Most of the staff is gone until January with Finance & Administration and Artistic Programming holding down the fort for the rest of the year.  As I'm writing this I am tempted to start rhyming in that "'Twas the Night Before Christmas" kinda way.  But I will refrain from taking this blog there.  Instead I will reflect on 2007 and look ahead to our 2008 20th Anniversary season in the quiet of this moment.  This year has been a big year for NBAF. 

First of all the Festival was pretty dope! Roberta Flack, Vinx, Les Nubians, Abdullah Ibrahim, Radcliffe Bailey, Julie Dexter, Marc Anthony Thompson, Fatima Robinson, Pearl Cleage, Andrea Frye, Suzan-Lori Parks, Portia Maultsby, Deborah Gregory, Stanley Crouch, Tina Ansa, Valerie Boyd, Cheryl Wall, Professor Arnold Rampersad, Kenny Leon, Glenn Turman, Eugene Lee, Alfre Woodard, Victoria Rowell, Russell Gunn, and many more visual and performing artists made 2007 one for the books. 

In 2007 our ongoing internal dialogue and work around issues of sustainability took giant steps ahead as we adopted a new strategic plan and completed work on the case statement for a 5.5 million dollar capacity building campaign NBAF has embarked upon.  We re-defined our relationships with key partners such as the Woodruff Arts Center and its Divisions and the Rialto Theatre for the Performing Arts while forming strong new partnerships with Brand Atlanta, African Ancestry Inc., Savannah College of Art and Design (SCAD), the Apollo Theater, Harlem Stage, the August Wilson Center for the Performing Arts and Houston International Festival.  In addition, we are actively working on strengthening relations with artists and artistic entities in Senegal, South Africa, Ghana, Brazil and France.  As we end 2007 the National Black Arts Festival is poised to impact more people through a further reach in 2008 and beyond.

So, what does 2008 hold for The Festival?  Hmmm… peering into my crystal ball I see unprecedented growth and new opportunities springing up every day.  I see a year of celebration leading up to a BLOW OUT Festival that will be talked about for years to come.  I see the Festival hitting the road and producing mini-Festival's in select cities.  I see NBAF taking its place in the global arena – working its mission and realizing its vision. 

It is with both humility and pride that we prepare for our 20^th Anniversary season.  We are a testament to survival - an inspiration, a transforming force, a legacy, a depository of intellectual property, a creative clearinghouse, a center for creative exchange and collaboration, an artistic resource and a celebration of the creative spirit.  Twenty years is a significant milestone and it is with pride that we declare, "We're still here."  The following is an excerpt from our completed case statement.

"Everyone involved in the National Black Arts Festival experiences something powerful – a moment of deeper understanding, a flash of insight, a glimpse of beauty.  Moments like these can educate and enrich us, but they also have the power to reach beyond any one individual… these are the moments that can help us bridge cultures and bring communities together."

I would add that bridging cultures and bringing communities together WILL change the world.  So as you see, we have our work cut out for us.  Thank you for your support of the National Black Arts Festival.  On behalf of Stephanie Hughley, the Board of Directors and Staff, we wish you a Merry Christmas, Happy Kwanzaa and Happy New Year TO ALL AND TO ALL A GOOD NIGHT.  Sorry, I couldn't resist!

Peace~

Leatrice

This weekend, I experienced the most memorable and enlightening retreat ever. I stayed at the home of singer, songwriter, drummer, all around great guy, Vinx. The retreat is called the Songwriter's Soul Kitchen in McRae, Georgia.  McRae is a small town in Middle Georgia and is known for tree farming. I would never have gone there on my own, but thanks to the Soul Kitchen, I can now say I've been there.

The first time I saw Vinx perform was at the Ken Batie tribute concert earlier this year after Ken's untimely passing. I was in awe from the minute this large man took the stage. It wasn't his size, or his appearance but rather his presence. His spirit fills up the room and commands your attention. The performance was phenomenal and Vinx had made a new fan. He was then subsequently booked for a few National Black Arts Festival performances. Again, I was moved to my core. His performances have a way of getting in you. Thank you Lord for having a job that allows me to hear and view art and get paid to do it.

I heard about the Soul Kitchen retreat from a friend last summer, but when another friend shared with me the music she created and the experience she had last month, I knew I had to go. I was so excited about going because I have always enjoyed singing and music is my passion. I have always been a writer but wanted to gain some experience and instruction in the area of songwriting. This was my opportunity to learn from one of the best in the industry, as well as a family of talented musicians, vocalists and all around creative people.

So on Thursday, I took the two and a half drive from Atlanta to McRae, iPod in tow, (thanks Zakee) and a full tank of gas, (thanks Salah). I didn't stop one time, the weather was fantastic, the traffic was light and my energy was positive. The unknown is a wonderful thing because with that empty canvass called the future, we can create the experience we want; so I thought positive thoughts the whole way there.

As I made the right turn onto Graham, I saw this beautiful home all lit up, plenty of bushy trees and my absolute favorite, five or six rocking chairs on the porch. I sat in the car for about 10-15 minutes in silence. I thanked God for my safe arrival and thanked him in advance for creative clarity. I always get a little nervous when I'm meeting new people, so I made certain to breathe and just be me. I rang the bell and this beautiful sister with bright eyes answered the door. She gave me a tour of the ante bellum home that I had heard so much about.  I attempted to pay attention to her words but couldn't take my eyes off the colorful art and poignant photos that lined almost every wall. Most of the artwork was created by the home owner Vinx. The red signature in the corner of every piece was so familiar to me...where had I seen his work before?...déjà vu perhaps.

She then led me to the Stankfish Recording studio where I was introduced to Vinx. He instantly put me at ease with his silky bass voice and commanding presence. I knew at that exact moment that I had made the right decision to come. After I found out that I would be staying in room three upstairs and not in a lodge or Inn down the street, (YES!), I went upstairs to gather my thoughts. Of course I journaled and then I sat on the edge of the bed and listened. I listened to the sound of music coming from what seemed like every room in the house. Voices and Melodies filling the house like a church on Sunday morning. I was at peace, in that moment.  After chilling in the backyard with "Our Lady of the Ghetto," I went back upstairs and turned in early.

The next morning at breakfast, Vinx called on singers around the room to give us a piece of themselves musically. The first person to sing was a nineteen year old young man from Savannah, GA that calls himself TubbyLove. All I could say was DANG Tubbylove...I thought to myself, "I'm not singing, I will not embarrass myself". Well, Vinx must have felt me because he called on me closer to the end...after I had built up my courage and made sure I wouldn't forget the words. I sang Asia by Stepchild (my favorite) and then I exhaled. I was proud of myself for not cowering as I have done in the past. I was present and at that moment, all that mattered was my free self expression.

So, I won't bore you with a detailed account of my every interaction over the weekend. I'd have to write for at least another two hours. I will say that his 50th birthday celebration on Saturday night was out of sight! I even mustered up enough courage to sing in front of everyone and I was free styling. KuKu played guitar behind me and we did the doggone thing. I co-wrote two songs...Butterfly, I co-wrote with Emelia Sam and Morning Glory, I co-wrote with Tubby Love and Donnie Garner.

Being in the moment and really being present, allowed me to truly understand the creative process. We started with ideas, what will this song be about, what's the melody, what's the chorus, who are you talking to in this song, where are you, is it raining outside or is it hot and sunny...then we chose a track...after all that was done, then we recorded it. I'm hooked now...BMI here I come.

I thank God for love, guidance and protection. I thank Him for making the teacher appear when I said I was ready. I am thankful for every little and big thing I have been through in my life, it's the reason I have so much to say and to write about. I thank God for the Soul Kitchen Family and for Vinx and his creative vision.  He gives established artists and closet artists like me, a voice, a home and a purpose.

One Love, Saniyyah

I was once told by long-time Ailey dancer Renee Robinson that Alvin Ailey always instructed them to absorb the essence of the people and cultures of the places they traveled in the world and to actively experience life.  That fullness provided a foundation for performance.  It impacted what they were able to give audiences from the stage. 

I have been blessed throughout my entire life to have amazing opportunities, meet incredible people and be placed in unique situations. The gift and the curse of this reality is that we tend to take for granted that which is commonplace.  I engaged for the moment as opposed to engaging in the experience of the moment.  It makes a big difference in outcomes.  A different energy, mindset and commitment is required.  And moments are fleeting, but experiences are building blocks.  It was with the passing of my father in 1999 that I got it.  I decided then to engage in my life differently and not take things for granted.  I haven't scored a perfect 100%, but I am getting closer.   

My position at NBAF demands engagement.  I have the opportunity to bring my most creative self to the table with leaders in artistic innovation.  On any given day I can end up having a vision meeting with Stephanie Hughley, breakfast with Maya Angelou, cocktails with Leon, dinner with Radcliffe Bailey, birthday cake with Vinx, a hang session with Russell Gunn, a debate with Stanley Crouch or a phone conversation with Tina Ansa.  But my life outside of the Festival requires engagement as well like moments with my family and friends or simply with myself.  I continue to learn how to fully engage in each and every moment so that I have something positive and powerful to give back to the world through my interaction with others and professionally through the work I do artistically at NBAF.

We all have experiences in our lives that we can draw on for inspiration along our journey, but these experiences are not always meant for us.  Often they are meant to be shared with the world to serve as inspiration for others.  My Grandmother always said, "Give to the world your best and the best will be yours in return."  I didn't get it as a young girl, but clearly understand it now.  What she imparted to her grandchildren and what Alvin Ailey imparted to his young dancers is the same. 

Last weekend I traveled to McRae, GA for Vinx's 50^th Birthday Party.  It was absolutely fantastic.  In the next post, our Marketing Associate Saniayyah Griffin who attended Vinx's Songwriter's Workshop that weekend will share her experience of being in the moment.  Enjoy.

Peace ~

Leatrice

Most of the time in our business it all comes together.  The moment is perfect.  Stars (check).  Moon (check).  Everything is aligned.  But sometimes you are not supposed to get what you hope for.  We've been in talks with the Don Cheadle camp for the 2008 Festival.  Got the word today that he wouldn't be available.  I'm pretty dissappointed, but it's the buisness.  It simply means that the time isn't right.  We'll try another time.  So no Cheadle in 08.  Damn!

Peace, Leatrice

Well we're shutting it down for the holidays to take a deep breath because when January rolls around .... it is so on.  The National Black Arts Festival turns 20 years old in 2008.  It's our Platinum Anniversary!!!  It's going to be a big year.  We are inviting everyone who has ever been to the Festival to come to Atlanta and hang out with us.  This year's dates are July 18-27 so Save the Date and plan to come to the A. 

We're trying to figure out a special event to invite all of our MySpace and Second Life friends to.  We'll keep you posted.  If anyone has any thoughts or ideas let us know.

While we have confirmed many of the 2008 artists, we haven't contracted them yet, so I can't give you a sneak peek just yet.  But there are some pretty blatant clues on our page... maybe you'll find them. 

Peace, Leatrice

What's up Fam?

Another Festival put to bed.  Yaaaay!!!!  It was incredible.  The staff is pretty worn the hell out.  Even had a few meltdowns in midstream, but it's the nature of the beast.  I thought I would share the highlights with you.  Wish you were here...

This year we spotlighted DNA and invited people to find their ancestry using DNA technology.  There was an amazing response. We kicked off the Festival in June with the opening of In The Returnal, the collaborative work between visual artist, Radcliffe Bailey, choreographer, Fatima Robinson and composer, Marc Anthony Thompson which was based on their DNA findings and subsequent trip to West Africa.  The artists explored themes such as Black identity and the move movement of Africans throughout the Diaspora.  It has received great reviews in the visual art world and is poised to move to different cities.

In lieu of the usual kick off press conference we opted to reveal the ancestry of some of Atlanta's most notable citizens like Mayor Shirley Franklin, Hank Aaron, Chauncey Davis from the Atlanta Falcons, Dr. Louis Sullivan, Russell Gunn, Joi and Ingrid Saunders Jones of The Coca Cola Company to create a buzz around the project.  Folks were ecstatic to trace their ancestry to the Mende or the Fulani or the Mandinka.  We also revealed Roberta Flack on the night of her performance (which was amazing) as well as Alfre Woodard and India Airie.  This project will be ongoing for NBAF because we believe it to be an important initiative.  

Aside from the focus on DNA we also did what we do.... music, literary, theatre, dance and film.  There were many dialogues and panel discussions as well. 

On the music front... Roberta Flack, Les Nubians, Vinx, Russell Gunn, Julie Dexter, Abdullah Ibrahim, Ndambi (stopped through), the return of Funk Jazz Kafe and a hot mainstage at the International Vendor Marketplace featuring many of our MySpace Friends. 

The Literary Festival focused on the classics this year.  Specifically Their Eyes Were Watching God and The Invisible Man by Ralph Elison.  A day of panels that included Stanley Crouch, Tina McElroy Ansa,  Dr. Arnold Rampersad, Valerie Boyd, Lawrence Jackson and Cheryl Wall.

Creative Outlet Dance Theater of Brooklyn came to Atlanta and turned it out at the Rialto Theater.  They were phenomenal. People are still in awe.

Pan African Film Festival was once again in the house to take us on a cinematic journey through the Diaspora.  Highlights include conversations with Alfre Woodard and Pearl Cleage and Victoria Rowell and LaTanya Richardson Jackson.  Film highlights included Have You Heard Johannesburgh?, Carmen and Geoffrey, Rwanda Rising, Salud, The President Has Aids and A Goats Tail.

Of course we continued our programming and book fair for young people, workshops for adults and hosted, Deborah Gregory, author of the Cheetah Girls book series.

Now we rest and prepare to get ready for the 20th Anniversary.  Going to sleep for a week.  Lata.

Leatrice