‘Strengthening Your Identity While the Shadow Is in Front of You’ by Mwati Mwila

Published 10:00 pm, Thursday, August 10, 2017

Strengthening Your Identity While the Shadow Is in Front of You by Mwati MwilaIn her new memoir, Strengthening Your Identity While the Shadow Is in Front of You, Mwati Mwila shares her life story of experiencing diversity, finding her identity, and learning how to be strong in the face of turmoil, including being diagnosed with bipolar disorder.

Mwati is a true citizen of the world, and readers will be fascinated by and possibly envious of her many global adventures. Born in Zambia, Mwati moved, while still a young child, with her parents, two older sisters, and younger brother to Australia and New Zealand where she attended school. Even at a young age, she was aware that she was different from her classmates because of her skin color, and at times, she experienced racism and prejudice as a result. These experiences led her to question what it meant to be African when she was not in her native country.

Not all of her experiences were negative, however. Mwati shares many stories of her travels and also of the many good times she had as a child with her siblings and classmates. In later years, she would learn the power that those memories had to help her stay strong, and she would also appreciate how the years of traveling kept her family members tightly knit so that they became close and supported each other each time they were faced with adapting to a new culture and environment.

During her teen years, Mwati moved with her family to the Seattle area, and it was then that she really was able to embrace an identity she felt comfortable with. In Australia and New Zealand, she’d had limited exposure to black culture, but in the United States, she could watch BET and listen to R&B and hip hop and various black artists on the radio. She adopted black fashion and culture, and she felt she was finally able to express her true self.

But this happy period of her life was short-lived. By the time Mwati entered college, she began to experience some unsettling health issues, including blacking out. Soon, she was diagnosed with bipolar disorder. Her illness would at times regress and allow her to live a normal life, but then it would flare up and cause her to become depressed and even suicidal. In these pages, Mwati openly shares how she battled her illness and eventually came to terms with it, learning what might have set it off and how to avoid actions such as eating sugar that would make it worse.

Mwati also continued her world travels as a direct result of her illness. Her mother was unwilling simply to accept her illness and see her daughter suffer. Together, they set about finding a cure or at least a way to make living with bipolar disorder easier for Mwati. This illness was the “shadow” that was always there in front of Mwati, but it taught her how to be strong and to value herself and the gifts she had. Her mother’s determination to find answers for her led Mwati on spiritual journeys to countries like Brazil, where they met with the living saint John of God, as well as to Nigeria, and also back home to Zambia to receive counsel from her grandmother.

Today, Mwati Mwila is a strong young woman who is not letting her bipolar disorder stop her from doing all she can to make the world a better place. She is sharing her story through these pages, hoping it will help others also learn to be strong, no matter what forms of adversity they face. Throughout the book, Mwati offers motivational quotes she has written, including, “There are some things in life that you can only learn by being broken down,” to give people inspiration and hope. Finally, each chapter ends with one or more Reflection Questions so people can think about what they have just read, ask themselves how it applies to their own lives, and determine what changes they may need to make to improve their lives.

I greatly admire Mwati Mwila for her honesty and her willingness not to hide in the shadows but to come forward and share her story so it will help others. I’m sure her book will give hope to many.

For more information about Mwati Mwila and Strengthening Your Identity While the Shadow Is in Front of You, visit the author’s website.

View the original article on blogcritics.org

RankTribe™ Black Business Directory News – Arts & Entertainment

Last-Minute Plans: 101 Free, Cheap Easy Things To Do In Seattle This Weekend: Aug 11-13, 2017

Sick of hiding in your house from the smoky haze? Need to get out this weekend, but hoarding your dollars for a rainy day? Below, find all of your options for last-minute entertainment that won’t cost more than $10, ranging from the Lusio light show to the Frye’s artsy Community Day and from the Othello Park International Music and Arts Festival to Friday’s South Lake Union Block Party. For even more options, check out our complete Things To Do calendar, where you’ll find everything from outside events to the biggest August events.

recommendedGet all this and more on the free Stranger Things To Do mobile app—available now on the App Store and Google Play. recommended

Jump to: Friday | Saturday | Sunday



1. Art Up PhinneyWood
Walk around charming Greenwood/Phinney (just north of the zoo) and take in art from dozens of venues, from galleries to restaurants to bookshops, including Couth Buzzard Books, Naked City Brewery, and the Phinney Center Gallery. This month, make sure to check out the new show from notorious prankster Derek Erdman.
(Phinney, free)

2. Belltown Art Walk
On second Fridays, wander around Belltown and check out their hyperlocal art scene amidst the waves of drinkers and clubbers. Convene at the Belltown Community Center to pick up a map (and maybe some snacks/goodies), then head out to explore nearby galleries while taking advantage of all the artists’ exhibitions (and provided refreshments).
(Belltown, free)

3. Joe Bar 20th Anniversary
The adorable Joe Bar is celebrating 20 years of art, coffee, and crepes with a performance by band Gods of Silicon. Ben Beres will celebrate the little cafe’s history of displaying excellent art with a huge retrospective show, featuring impressive local artists like Amanda Manitach, Ben Gannon, Troy Gua, Jazz Brown, Jeffry Mitchell, and Deborah Faye Lawrence.
(Capitol Hill, free)


4. Curb Your Expectations (A Comedy Show)
The organizers promise stand-up from some of the “best comedians in the Pacific Northwest”: Ariel Evans, Matt Benoit, Birungi Birungi, and Stephanie Flynn. The price is certainly right!
(Capitol Hill, free)

5. Hoppy Hour Comedy
El Sanchez is a nerdy, big-hearted, occasionally foul-mouthed comedian who’s racked up plaudits from media across the country. Lindy West called El a “grumpy nugget of delight” during her tenure at the Stranger, and really, what other endorsement do you need? Josh Chambers of the Ballard Boyz will open, and Kirkland’s Sarah Skilling (of Wine Shots) will host.
(Bothell, free)


6. South Lake Union Block Party
Every year, South Lake Union throws itself a party, featuring diverse musical pleasures from local band talents from the likes of Hey Marseilles, Ayron Jones and the Way, and Eldridge Gravy & the Court Supreme. There will also be food trucks, a beer garden, a free print-your-own-poster station, a “letterpress steamroller smackdown,” and a “Community Village” featuring booths from local businesses. The event is co-sponsored by Amazon and will benefit Mary’s Place.
(South Lake Union, free)


7. Movies at the Marina
The Ballard marina will have free, family-friendly movies at dusk this summer (this weekend’s is The Secret Life of Pets), with seating available on the garden lawn and in the parking lot, guest moorage available, and free popcorn (on a first-come, first-served basis).
(Ballard, free)

8. Movies in the Park
Watch free movies downtown—a couple of classics and some winners from the past year or so. La La Land will start at dusk.
(Downtown, free)

9. Then and Now: Business in the Black
Emancipated slaves and free black workers began laying the foundations of African American business districts as early as the 1800s. Some were wildly successful, including several millionaires. It took the efforts of racist citizenries to tear down this progress. The documentary Business in the Black: The Rise of Black Business in America 1800’s–1960’s tells the story of these entrepreneurs. Stay after the screening to talk with the director, Anthony Brogdon, and DeCharlene Williams from the Central District Chamber of Commerce.
(Central District, free)

10. Three Dollar Bill Cinema: Parental Advisory
Three Dollar Bill will screen films about those folks your parents warn you about: Rebels, tricksters, and weirdos. Bring your own chairs and blankets and buy yourself (or a cute friend) a popcorn. This weekend, watch Beetlejuice make trouble.
(Capitol Hill, free)


11. 80s Dance Party
The Hot Lava B-52s tribute band are setting up their love shack in West Seattle for your dancing pleasure.
(West Seattle, $8)

12. Bootie Seattle: Beyoncé Mash-Up Night
Seattle’s only all-mashup dance party throws down for an all-out celebration by paying tribute to the current reigning scene queen: Beyoncé. Prep thyself for all the ’10s break-up bangers and Top40 hits you could possibly handle.
(Capitol Hill, $5/$10)

13. Clamor! A Musical Insurgency
Psych and dark synth rock by Salt Riot, part of Zombie Jihad, Robert Stewart, and Raging Maggots comes to the aid of resisters and those exhausted by the current regime. All proceeds will benefit the Black Prisoners Caucus’ T.E.A.C.H. Program at Clallam Bay Corrections Center.
(West Seattle, $10)

14. Concerts at the Mural
In true KEXP fashion, another enjoyable round of free family-friendly concerts this year are up at the Mural Amphitheater at Seattle Center. This weekend, hear Telekinesis, Y La Bamba, and Haley Heynderickx. DAVE SEGAL
(Downtown, free)

15. Downtown, Tit Nun, Jugs of Blood, L80
“Offbeat music blog” altfanclub.com will present a live rock showcase of some of their favorite local groups, including Downtown, Tit Nun, Jugs of Blood, and L80.
(Ballard, $10)

16. Full Toilet, The Chasers, Shit Ghost, Weird Numbers
Kurt Bloch’s spaz-punk outfit Full Toilet released their first proper LP, I Disagree, earlier last year. The album is a pure scuzz-rock document packed with loudly blurted thought fragments and condensed song formations; 17 30-second tracks rattle your ears before the epic 11.5-minute, punk-poet freak-out called “I Sayed Bang” closes out the disc. The self-released I Disagree, as well as 2011’s self-titled 7-inch on Sub Pop, are quick-and-dirty visceral experiences. You’ll listen to Bloch wet-breathe, sniff, and yell his parts during the course of a Full Toilet album, and I’ll bet you’ll get to know him even more intimately onstage. TODD HAMM
(Ballard, $10)

17. Guy’s Massive Beach Birthday Bash
This party promises palm trees and other beachy accoutrements, so put on your best shore party wear and bounce to tunes by DJ Skribble and others. The guest with the best outfit will win a trip to Mexico. Sign up on the guest list for free admission. Full disclosure: We don’t know who Guy is.
(Pioneer Square, free)

18. Jupe Jupe, The Mondegreens, Susie G
Minor-key New Wave rockers Jupe Jupe will be backed up by the “California soul”- artists the Mondegreens and Susie G.
(Belltown, $8)

19. Knights of Trash, Bonneville Power, Ball Bag
Local good-timers the Knights of Trash play a rollicking set of original rock and roll, with Bonneville Power and Ball Bag.
(Georgetown, $5)

20. Otieno Terry with DJ Zeta
Otieno Terry’s multitalented singer/songwriter approach to R&B is completed by his effortlessly strong voice. And their EMP Sound Off! Competition win in recent years suggests, they can put on one hell of a live set. MIKE RAMOS
(Eastlake, $8-$10)

21. Planet Fly with Natalie Wouldn’t
Swing your hips loosely with Planet Fly’s unhurried, nostalgic funk, featuring the self-assured vocals of KJ Jones and Kate Davis.
(University District, $7)

22. ROMP: Ratchet Oldskool Music Party
DJ Mixx America will transform into DJ Ratchet with an especially steamy set, propitious to “twerking, grinding, stripping (yes, please).” If you’ve got enviable self-confidence, buy into the twerk contest for $5 and try to win the pot.
(Downtown, $2-$7)

23. Toe Tag, Power Skeleton, Suburban Hell Kill, The Sharp Teeth
In the early ’80s, a group of snotty kids from Oak Harbor called the Accüsed put Northwest hardcore on the map with a gruesome take on thrash that was later named “splatter rock.” Vocalist Blaine Cook fronted the band during their wildest years, and it’s that same energy that he channels into Toe Tag, alongside fellow Accüsed alumnus Alex “Maggot Brain” Sibbald and a couple local splatter heads, Steve McBeast and Diabolical Chris Diamond. Their music is raw and fast, and it comes complete with gory imagery, featuring song titles like “Bat Pussy” and “Sawtopsy.” If crossover is dead, Toe Tag are zombies of the genre—back to feast and thrash some more. KEVIN DIERS
(Eastlake, $5/$8)

24. Voices Raised: Some Things Gotta Be Said
David Guilbault will host an evening of progressive music about America’s diversity and “the state of our country” by the likes of Nancy K. Dillon, Gary Kanter, Elsa Hay, and others.
(Greenwood, free)


25. Les Lumières
This is Seattle Playwrights Salon production of Judy Jacobs’s new play about an innovative American choreographer in 19th-century Paris and her artistic struggles with the emerging technology of film—as well as obstacles posed by the French.
(Georgetown, free)


26. Gabe Hudson
Rising novelist Gabe Hudson’s new coming-of-age story Gork, the Teenage Dragon, has been praised for its “big-hearted optimism about all that’s possible in the world” by Dave Eggers.
(Capitol Hill, free)

27. Jan Maher: Earth As It Is
A young man in 1930s Texas, caught by his horrified wife in the act of wearing his lingerie, tries to find himself—and when her identity becomes clearer, herself—in various misadventures across the country, from a cross-dressing community in Chicago to the army to small-town Indiana.
(University District, free)

28. Problem Glyphs
Eliza Gauger, the creator of Problem Glyphs, draws symbols in reaction to problems submitted by the public. She’ll present her books, including a limited edition, and read from the introduction. Learn about the project and buy pins, art prints, and more. Plus, enjoy music and drinks.
(Capitol Hill, $5 suggested donation)



29. And Not Or
Every library, like every art collection, contains only a fraction of possible works—a reflection of curatorial choices that decide which narratives get told (or omitted). For And Not Or, a selection of artists (including Wynne Greenwood, Joe Rudko, and Ryan Feddersen) chose artworks from Seattle University’s Lemieux Library to be rehoused at the Hedreen Gallery for the duration of the exhibition, to be accompanied by books chosen by artist Abra Ancliffe. In turn, these artists will replace the missing library objects with their own artworks, to be accompanied by “labels” crafted by poet Natalie Martínez. It’s a complex maneuver, sparking dialogue about context, inclusion, and interesting accidents. EMILY POTHAST
(Capitol Hill, free, closing Saturday)

30. Duwamish Native Art Market & Jumble Days
Buy art and crafts, yard sale goodies, and food from enrolled Duwamish tribe members and others.
(West Seattle, free)


31. The Perks of Being a Misfit: Summer Break!
An improv troupe, Kangaroo Court, will weave a show around the themes of summer break and the doldrums of teenagerhood.
(Greenwood, $10/$14)


32. Role Players
Nerds in the 1960s play the very first ever tabletop RPG in this original musical comedy.
(Greenwood, $10/$14)



33. Bainbridge Island Studio Tour
Tour Bainbridge Island artist studios to get a glimpse of new, local works.
(Bainbridge Island, free)

34. Out of Sight
Established in 2015 as an unofficial addendum to the Seattle Art Fair, Out of Sight is an annual survey of Northwest art that thrives, as the name implies, in the margins outside the commercial gallery system inscribed by the official fair. As a result, it’s a place for artists to take risks and show edgier, more exploratory work. But it’s also a great chance to catch emerging artists destined to be scooped up by galleries—(before Seth David Friedman was represented by Season Gallery, his intimate, biomorphic sculptures were featured at Out of Sight). Curated by Greg Lundgren, Ben Heywood, S. Surface, and Justen Siyuan Waterhouse, this year’s Out of Sight promises to be a destination in its own right, full of promising young artists, seasoned veterans, and just about everyone in between. EMILY POTHAST
(Pioneer Square, $10)

35. Rhythm In Colors
The library will pay its respects to Seattle’s rich jazz history, an expression of local black artistry and culture attesting to the strength of its musical education programs and heritage. Hear recordings of interviews conducted with great area musicians as part of the Seattle Jazz Archive project, hear special performances, and attend talks.
(Downtown, free, closing Sunday)


36. Festival at Mount Si
This festival, which takes place in the shadow of the godlike Mount Si, brings you to North Bend for fireworks, live music, a beer garden, parades, raffles, and crafts, as well as food-based activities like the blueberry dessert contest, a chili contest, and a cherry-pie eating competition. There’s also “Tibetan rock-throwing” and “wife-carrying.”
(North Bend, free)

37. Kirkland Summerfest
Expect visual and performing arts, kids’ activities, live entertainment, a beer garden, and dozens of vendors and food trucks at Kirkland’s premier summer festival.
(Kirkland, free)


38. The Guac Stop
You may or may not feel skeptical about the possibility of flavored guacamole, including a “Seattle” special with apple, but the fact remains: Free guac is free guac—and, we imagine, you can opt for the normal sort of avocado-onion-cilantro-lime-etc. at the “nation’s first pop-up guacamole lounge.” The organizers of this touring event claim that pop-ups are “the most Millenial way to dine,” and, presumably in keeping with the theme, they’ll also have other things Millenials (might) like: chalkboard art sessions, facials, macramé classes, hula hooping, and live music.
(Seattle Center, free)

39. A Taste of Edmonds
Edmonds offers up its best for this two-day festival of food, drink, and music. There will be a beer garden, a wine garden and food vendors as far as the eye can see.
(Edmonds, $5)


40. Outdoor Shakespeare
This summer, GreenStage has been putting on four different Shakespeare plays at parks across the city: The Comedy of Errors, Hamlet, A Midsummer Night’s Dream, and Richard II.
(Various locations, free)

41. Xanadu – Ballyhoo Theatre
The nonsensical ’80s musical about a Greek muse who descends to earth and inspires the birth of roller disco will take the stage.
(Sand Point, $10)



42. Arts & Crafts Fair
Buy local crafts (jewelry, toys, prints, furniture, etc.) and drink local coffee in West Seattle. Good motivation for getting up early, because it’s all over at noon!
(West Seattle, free)

43. Chance Fashion Boutique and Retail Edition
Once again, Chance Fashion invites you to appreciate local fashion designers working in lingerie.
(Capitol Hill, $10-$20)

44. Georgetown Art Attack
Once a month, the art that resides in the tiny airport hamlet of Georgetown ATTACKS all passersby. In more literal terms, it’s the day of art openings and street wonderment. It’s a great chance to see Treasure Island: Beyond and Back and More, which closes Saturday.
(Georgetown, free)

45. Lusio: A Night to Awaken
This is a free, family-friendly, inviting evening of light, art, and sound, featuring more than 30 light installations, a sound showcase by Patchwerks, aerial performances by Apex Aerial Arts, and generally relaxing, immersive experiences. You’ll have to roam around the park to take it all in.
(Capitol Hill, free)

46. Wombgenda: Feminist Comix signing with Tatiana Gill
Advance the nefarious female agenda with Tatiana Gill, whose book of autobiographical comics, Wombgenda, depict the trials of living in a society where women’s rights are questioned all the time. The comics seem to focus on medical and reproductive issues: “Abortion, birth control, low self esteem, eating disorders, vibrators, and medical horrors.”
(Shoreline, free)


47. Bleeding Heart Militia Benefit for Homeless Youth
Raise money for underhoused kids with loud, hard, potentially shirtless rock by Kings of Cavalier, Lust Punch, KLED, and Transient Vultures. Pick up some cool art merch from Push/Pull and bid in the silent auction. Your purchases may well help someone access transitional housing and services.
(Capitol Hill, $10)

48. Community Day
Party for the opening of Storme Webber’s Casino: A Palimpsest exhibition with family tours, free Full Tilt ice creams bars (get them while they last), a “memory map” workshop using your family photos, a musical ancestor-honoring performance by Webber, her cousin Valerie Rosa, and pianist Amos Miller, and a gallery talk by Webber and curator Miranda Belarde-Lew.
(First Hill, free)

49. Sodo Flea Market
Shop apparel, decor, furniture, art, and food at this fun local market.
(Sodo, free)

50. Stumptown Coffee Roasters Summer Market
Celebrate local artisans like Jacbosen Salt, Make Space Zine, Moon Femme Collection, Mountainfoxgoods, Oddflowers, Rodeo Donuts, and others, plus Lawrence Genette and Leo Shallat’s art. Deejay Res will spin the tunes.
(Capitol Hill, free)


51. AuburnFest
This new festival will offer a range of activities including a small press fair, music stages, crafts, bocce, inflatables, a rock wall, a parade, and a car show.
(Auburn, free)

52. Delridge Day
This annual celebration promises performances, picnic games, food (including free hot dogs), a skating competition, and more.
(West Seattle, free)

53. Hillman City Classic Car Show
See classic cars in all their lumpy chrome glory along Rainier Ave and enjoy beer, food, games, and music.
(Hillman City, free)

54. Iranian Festival
The Iranian American Community Alliance brings you the 11th year of its festival of Iran’s rich and expressive culture. Learn about the cultural roots and contemporary influences of Iran through live performances, visual arts, a Rumi poetry showcase, hands-on activities, an Iranian tea house, a variety of foods (YAY), children’s games, and a marketplace.
(Seattle Center, free)

55. Rainier Valley Heritage Parade & Festival
Celebrate the 25th year of this event with a parade and festival that includes DJs and live music, food and drink, street sports and outdoor games for all ages, a car show, and much more.
(Rainier Valley, free)


56. Movies at the Mural
Bring your lawn chairs and watch free, family-friendly movies on Seattle Center’s 40-foot-screen on the Mural Amphitheater lawn. Each screening will open with a short film by local students at Cornish College of the Arts. This Saturday, the film will be Hidden Figures.
(Seattle Center, free)

57. Seattle Asian American Film Festival: Outdoor Movies
Every Saturday from now to the end of August, gather in the ID for live performances at dusk, followed by a movie with Asian and Asian American themes, subjects, and creators. Eat free popcorn and watch The Mermaid!
(Chinatown-International District, free)


58. 80’s vs 90’s with DJ Indica Jones and Guests
Sweat it out to the almost-oldies with rival music from two great decades selected by local talent DJ Indica Jones, and special guests Wanz, Grace Love, Scarlet Parke, and #All4Doras performing live sets.
(Fremont, $8/$12)

59. All The Real Girls, Red Heart Alarm, Local Ghost
Pacific Northwest rock band All The Real Girls are finally back on the scene with some new music, and will play a live set with support from Red Heart Alarm and Local Ghost.
(Ballard, $8)

60. Day Break
Is your weekend in any danger of lacking chill? Nectar will supply the “island reggae,” DJ, food truck, and good vibes at this canna-themed day party.
(Fremont, free)

61. Feel Good Inc.
Do206 and Motown on Mondays are here to bring you a new night of R&B, soul, and funk staffed by local talents DJ100Proof, Blueyedsoul, and Sessions playing hours of the good stuff.
(Capitol Hill, $5/$10)

62. FRONDS, Ghost Soda
FRONDS, aka Dylan Tidyman-Jones from San Francisco, makes misty dreampop reveries, and Ghost Soda from Seattle will provide support.
(Downtown, $5)

63. The Guessing Game, Palooka, Max Fite
The Guessing Game’s heavy power-rock will take the watering hole by storm with help from Palooka and Max Fite.
(Georgetown, $5)

64. Happy Heartbreak, The Mountain Flowers, Timberfoot, Shookup
Join sad-face emo/indie pop quintet Happy Heartbreak for bittersweet ballads, with live support from The Mountain Flowers, Timberfoot, and Shookup.
(Fremont, $8/$12)

65. Inter Arma, Atriarch, Adaura
If you like metal and you’re not checking out the seasoned veterans at the Slayer concert, then you should hit Barboza tonight. Richmond’s Inter Arma haven’t had their breakthrough moment with the larger metal audience yet, but if you’re an obsessive scourer of new heavy music then you’ve undoubtedly seen the band’s name on every underground outlet’s end-of-the-year list. Unlike so many hyped albums, last year’s Paradise Gallows is worthy of the accolades. On their third full-length, you can hear echoes of classic-era Metallica balladry, Darkthrone’s troglodyte slash-and-burn tactics, Neurosis’s hallucinatory devastations, and a host of other reference points, but it all comes together in a cohesive and unprecedented sound. Sure, you could see the vanguard at WaMu tonight, but wouldn’t you rather brag about seeing the new pioneers before they blew up? BRIAN COOK
(Capitol Hill, $10/$12)

66. Letters From Traffic, Black Plastic Clouds, Guests
Letters From Traffic promise catchy soul from seven musicians on brass, bass, guitar, drums, and vocals.
(University District, $7)

67. The Morning After, The Band Ice Cream, Dogbreth, Free Samples
SeaTac-based punk-funk girl-group the Morning After play on feminine and adolescent stereotypes for a fun edge to traditional alt rock and punk tones. They’ll be joined by the Band Ice Cream, Dogbreth, and Free Samples.
(Tukwila, $5/$8)

68. Never Young
Northern California’s Never Young reportedly have been described “Sonic Youth, At The Drive In, and My Bloody Valentine having a ménage à trois,” and they’ve certainly got strident hooks aplenty to back that up.
(Belltown, $10)

69. A Night of
The full title of this event is “A NIGHT OF drinking and dancing while playing video games to Hiphop, house and retro dance music,” so there you have it! DJ ecchi will preside.
(Tukwila, $10)

70. NOI!SE, Legion 76, Junto
Street-punk four-piece Tacomans NOI!SE will join up with Legion 76 and Junto for a night of thrash.
(Eastlake, $10/$12)

71. Skelator, Weaponlord, Nasty Bits
Apocalypse-obsessed weirdos Skelator will bring their heavy speed metal praise to the University District, with Weaponlord and Nasty Bits in tow.
(University District, $7)

72. Sunset Flip, The Band Ice Cream, The Wild Lips
Get ready to bang your head around thanks to live sets by local punks Sunset Flip with the Band Ice Cream and the Wild Lips.
(Eastlake, $5/$8)


73. Happening17 the First
Literally no one knows what’s going to happen on this night, because it’s comprised of two group improvisations—one set structured, one set open—by monologists, dancers, actors, and musicians. The performers will include Mimi Allin, Emily Batlan, Will Courtney, Noelle Chun, Vanessa DeWolf, and many others.
(Capitol Hill, $5-$20)


74. Jockstraps and Glitter 2017
The naughty but charitable Sisters of Perpetual Indulgence will take on the athletes of Seattle Quake Rugby in a brutal kickball match. You won’t just watch the fun, you’ll also control it: You can buy clothing removal, strikes, and more. The fruits of this cheerful corruption will benefit the Sisters’ granting fund and the Quake’s season next year.
(Capitol Hill, free)

75. Bacon Strip
The drag company Bacon Strip, helmed by Sylvia O’Stayformore and Mizz Honey Bucket, sets a gaggle of mischievous queens to shocking shenanigans every month. The Trailer Park Drag Strip 2017 at the Georgetown Trailer Park Mall is free!
(Georgetown, free)

76. Testostérone™ Black Light Underwear Party
DJ Ron Hamelin will take Montreal’s underground gay music scene to you at this blacklit underwear party, where you’re free to strip down to your glowing skivvies and prance like the creature of the night you are.
(Capitol Hill, $7-$12)


77. Yoga, Zumba, Open Studio, and Tour
Practice yoga outside, shape up with zumba, take a sculpture tour, and explore Lion’s Main Art Collective’s interactive open studio at this Summer at SAM day.
(Belltown, free)



78. Eighth Generation Artist in Residence: Emily Washines
Emily Washines, the Yakama/Cree/Skokomish artist who founded Native Friends, will screen her short films “Yakama War: Ayat (woman)” and “Yakama Lullaby,” two works that reflect her passion for language, history, and culture.
(Downtown, free)

79. Michael Dormer: The Legend of Hot Curl
Multitalented artist Michael Dormer passed away in 2012, and he left behind a legacy of strange and wondrous works including the comic character Hot Curl, a selection of fine art, and the 1960s TV show Shrimpenstein! Now Fantagraphics is publishing the first-ever retrospective of the artist, Michael Dormer And The Legend Of Hot Curl, and will host an accompanying exhibit featuring a wide selection of his most interesting pieces. Celebrate the book launch and check out his work in person at this gallery show.
(Georgetown, free)


80. Stillaguamish Festival of the River & Pow Wow
This festival offers musical performances (LeeAnn Rimes will headline), a salmon obstacle course, a river walk with Stillaguamish biologists, a logging show, and a pow wow.
(Arlington, free)


81. T. rex Live: Opening Weekend
Did you know that the Burke has been squirreling away a 2,500 pound tyrannosaurus braincase for the past year? This specimen is only the 15th t. rex skull ever discovered. This weekend, Burke scientists will be freeing their bony friend from its plaster protections. Watch t. rex’s emergence from its shell, hear talks at 12:30 and 2 pm on fossil preparation and excavation, and let your kids unleash their creativity with dino crafts.
(University District, $10)


82. Outdoor Trek: Day of the Dove
Classic Star Trek lives on in the wild—or at least the park—with a gender-fluid re-enactment of “Day of the Dove,” an episode in which Klingons and humans are set against one another by a mysterious, hate-consuming force. Enjoy swordfights, live music, hot dogs for purchase, and more.
(Central District, free)



83. Sandwich: A Storytelling Show
It’s a night for “three-way storytelling creation,” with live performers sharing tales in tandem. You might get to give your own short story reading.
(Downtown, $8-$10)


84. Caribbean Sea Fest
Eighteen artists representing some of the 32 Caribbean countries will perform at this green-focused, “grassroots” family festival. Of course, there will be food and dancing.
(Capitol Hill, free)

85. The Othello Park International Music and Arts Festival
Discover the cultural mosaic of this Rainier Valley community at this grassy festival full of music, food, dancing (including capoeira, Somali dance, and much more), lawn games, a petting zoo (they especially advertise the camel), and hands-on art.
(Capitol Hill, free)


86. SHRIEK: Get Out
SHRIEK is a pop film education series about women in horror, and this time they’re taking a look on a recent and wildly successful entry in black horror cinema: Get Out. Although the protagonist is a man, there will still be plenty of gender and race intersections to discuss, and you’ll get to discover or revisit one of the best-reviewed scary films in recent years.
(Greenwood, $10)


87. Pear-a-dise
Are pears an underrated fruit? Come to this community pear-gathering and recipe exchange, complete with a circus/dance show by Two of Wands to honor the harvest. The main show is at 4, but there will be shorter performance throughout before then.
(Beacon Hill, free)


88. Blues Sunday with Highway 99 Blues Club
The Friends of the Waterfront will look to Highway 99 for a blues roster, providing free jams by the Sound.
(Downtown, free)

89. The Buttertones, Snuff Redux
Surf, surf surf. Surf. The Buttertones are from Hollywood, so we should expect this. The lyrics, though, impassioned and filled with bad puns, remind me more of psych-pop, which after all took something from surf rock by way of the garage. Geetars twang. A sax shrieks like a buried-alive shlub pounding on his interior casket lid. Two-headed sharks rear twin nasty heads. Geetars twang, ping, twang. Apparitions appear from between the dunes at sundown, reminding me that the surf sound leads to the haunted-house rock, too. Dead girlfriends, or at least girlfriends who may be dead, seem to occupy the singer’s mind. Like they said in Solaris (the second film version, the popular one): Will she come back? Do you want her to? ANDREW HAMLIN
(Capitol Hill, $10/$12)

90. Destroy Boys, Hobo Johnson, The Lovemakers
Alt-poppers Iffy Comma and Sacramento garage rockers Destroy Boys will tear up the Vera stage, with Hobo Johnson and the Band Ice Cream as support.
(Seattle Center, $10)

91. Emerald City Beatbox Battle
Think you’ve got the percussive lips and powerful larynx to win the first annual Emerald City Beatbox Battle? Well, you’ll have to try again next year, because registration’s already closed—but you can watch the 16 competitors go at it.
(West Seattle, $5)

92. Free Blues & Cool Jazz Series
Loll on the grass and listen to chill jazz and blues from some of Seattle’s most popular local musicians, like Industrial Revelation, DLO3, and Big Road Blues. This weekend, hear Pearl Django’s Hot Club-influenced jazz.
(Downtown, free)

93. Ghost Train Trio, Double Or Muffin
Yowling twang-riffers Ghost Train Trio will be joined by Double Or Muffin for a night of rough and wild country rock.
(University District, $7)

94. Grease Ball II
Show off your greased hog at this car and bike show on the back lot of Slim’s thanks to the Sin Daddies Social Club, with live music throughout the day from Hobosexual, Sin Driver, Sir Coyler & His Asthmatic Band, Thee Perfect Gentleman, Clint Westwood, and DJ Hubba Hubba.
(Georgetown, free)

95. Hillary Susz, Cellar Bells, Arbor Towers
Boulder songwriter Hillary Susz will sing narrative-based songs about lesbian love and other aspects of ordinary life, backed by her four-piece band.
(Fremont, $6/$8)

96. Hundred Suns with Deathbreaker
Hundred Suns describe their sound as immersive “doomy groove, bass driven power, loud guitars, and surreal sonic tribalism.” To us, they sound like fast indie metal play pretty straight.
(Eastlake, $10/$15)

97. Quiet, Spinster, Shiftercar
Moody psych-punks Quiet will headline the Chop, with support performances by Spinster and Shiftercar.
(Capitol Hill, $8)

98. Songwriting Workshop with Larry Kaplan
Multi-instrumentalist Larry Kaplan will share his songwriter expertise.
(Fremont, free)


99. Starball
This eccentric improvisational astronomical science musical aims to educate and share the giddy joy of science and discovery. The cast members will stay after the show for a discussion.
(Capitol Hill, free)

100. Three Years of the Pocket
The Pocket is an excellent bookable venue for DIY comedy, plays, experimental performance, and dance, and thank the lord—they’ve renewed their lease for three more years. Paint the town with your fellow theater geeks—they’ll have a giant pocket to take photos in, special performances, awards, “maybe a kissing booth?”, and booking opportunities for YOUR VERY OWN SHOW.
(Greenwood, free)


101. Chad Stroup: Secrets of the Weird
Chad Stroup’s Secrets of the Weird imagines what happens when a dangerous, fantasy-fulfilling drug called Sweet Candy spreads on the streets of a dystopian society.
(University District, free)

RankTribe™ Black Business Directory News – Arts & Entertainment

Louisiana Mesothelioma Victims Center Now Urges a Construction Worker in Louisiana With Mesothelioma to Call Them for Instant Access to The Most Skilled Lawyers for Compensation

Every imaginable type of construction worker in Louisiana could have had heavy to very heavy exposure to asbestos prior to 1980”

— Louisiana Mesothelioma Victims Center

NEW YORK, NEW YORK, USA, August 11, 2017 /EINPresswire.com/ — The Louisiana Mesothelioma Victims Center specializes in helping former construction workers or skilled trades workers who have been diagnosed with mesothelioma with a specific emphasis on making certain these types of people receive the very best possible financial compensation. As they would like to explain anytime at 800-714-0303 the key to receiving the very best possible mesothelioma compensation settlement is having the nation’s very best mesothelioma attorneys assisting on the compensation claim. http://Louisiana.MesotheliomaVictimsCenter.Com

The Center says, “What makes Louisiana unique is asbestos was used on almost every type of building in the state built prior to 1980. This includes commercial buildings and military installations along with refineries, and oil exploration facilities. Every imaginable type of construction worker in Louisiana could have had heavy to very heavy exposure to asbestos prior to 1980. These types of workers in Louisiana would have included:
* “Carpenters
* “Electricians
* “Plumbers
* “Welders
* “Pipefitters
* “Insulators
* “Roofers

“As we would like to explain anytime at 800-714-0303 these types of people with mesothelioma in Louisiana can receive significant financial compensation if they were exposed to asbestos as a construction or skilled trades worker.” http://Louisiana.MesotheliomaVictimsCenter.Com

The Louisiana Mesothelioma Victims Center wants to emphasize there is a statewide initiative available to a diagnosed victim anywhere in Louisiana including communities such as New Orleans, Baton Rouge, Shreveport, Lafayette, Lake Charles, Kenner, Bossier City, Monroe. http://Louisiana.MesotheliomaVictimsCenter.Com

High-risk work groups for exposure to asbestos in Louisiana include Veterans of the US Navy, power plant workers, shipyard workers, oil refinery workers, factory workers, plumbers, electricians, auto mechanics, machinists, and construction workers. Typically, the exposure to asbestos occurred in the 1950’s, 1960’s, 1970’s, or 1980’s.

When it comes to treatment options for mesothelioma in Louisiana the Louisiana Mesothelioma Victims Center strongly encourages diagnosed victims to contact the following cancer treatment centers in Louisiana, and in Texas. Note: The MD Anderson Cancer Center in Houston, Texas may be one of the most capable mesothelioma treatment centers in the world. Ochsner Cancer Institute New Orleans: http://www.louisianacancercenter.org/research/partners/ochsner/

According to the CDC the average age for a diagnosed victim of mesothelioma is 72 years old. This year between 2500, and 3000 US citizens will be diagnosed with mesothelioma. Mesothelioma is a rare form of cancer that is attributable to exposure to asbestos.

The Louisiana Mesothelioma Victims Center says, “If you call us at 800-714-0303, we will see to it that you have instant access to the nation’s most skilled mesothelioma attorneys, who consistently get the best possible financial compensation results for their clients.” http://Louisiana.MesotheliomaVictimsCenter.Com

The states indicated with the highest incidence of mesothelioma include Maine, Massachusetts, Connecticut, Maryland, New Jersey, Pennsylvania, Ohio, West Virginia, Virginia, Michigan, Illinois, Minnesota, Louisiana, Washington, and Oregon.

For more information about mesothelioma please refer to the National Institutes of Health’s web site related to this rare form of cancer: http://www.nlm.nih.gov/medlineplus/mesothelioma.html

Michael Thomas
Louisiana Mesothelioma Victims Center
email us here

RankTribe™ Black Business Directory News – Arts & Entertainment

Notable Moments in Black History 1917-1942


The Houston Mutiny and other riot erupts between Black soldiers and White citizens; two Blacks and 11 Whites are killed. Twenty-nine Black soldiers are executed for participation in the riot.

Philip Randolph and Chandler Owen found The Messenger, a Black socialist magazine, in New York City.

The Supreme Court in Buchanan v. Warley strikes down the Louisville, Ky. ordinance mandating segregated neighborhoods.


A race riot in Chester, Pa. claims five lives, three Blacks and two Whites.

In nearby Philadelphia, another race riot breaks out killing four, three Blacks and one White.

In Oklahoma City, a precursor to the more famous 1921 Tulsa, Oklahoma riot occurs and, as reported by the AFRO, virtually wiping out segments of that city’s Black community.

The Armistice ends World War I. However, the northern migration of African Americans continues. By 1930 there were 1,035,000 more Black Americans in the North than in 1910.


Following its revival in 1915 at Stone Mountain, Ga., the Ku Klux Klan by the beginning of 1919 is operating in 27 states. Eighty-three African Americans are lynched, among them a number of returning soldiers still in uniform.

The West Virginia State Supreme Court rules that an African American is denied equal protection under the law if his jury has no Black members.

There are 25 race riots that take place throughout the nation prompt the term, Red Summer. The largest clashes take place in Charleston, S.C.; Longview, Texas;  Washington, D. C.; Chicago, Ill.; Omaha, Neb. and Elaine, Arkansas.

Claude McKay publishes If We Must Die, considered one of the first major examples of Harlem Renaissance writing.

Father Divine founds the Peace Mission Movement at his home in Sayville, New York.

South Dakota resident Oscar Micheaux releases his first film, “The Homesteader,” in Chicago. Over the next four decades Micheaux will produce and direct 24 silent films and 19 sound films, making him the most prolific Black filmmaker of the 20th century.


Zeta Phi Beta Sorority is founded at Howard University.

The decade of the 1920s witnesses the Harlem Renaissance, a remarkable period of creativity for Black writers, poets, and artists, including among others Claude McKay, Jean Toomer, Langston Hughes and Zora Neale Hurston.

Andrew Rube Foster leads the effort to establish the Negro National (Baseball) League in Kansas City, Mo. Eight teams are part of the league.

The 19th Amendment to the Constitution is ratified giving all women the right to vote. Nonetheless, African-American women, like African-American men, are denied the franchise in most Southern states.

Marcus Garvey leads the first international convention of the Universal Negro Improvement Association which he calls the International Convention of Negro Peoples of the World. The meeting is held at Madison Square Garden in New York City.

Former heavyweight boxing champion Jack Johnson opens the Club Deluxe in Harlem. Two years later, gangster Owney Madden buys the club and changes its name to the Cotton Club.


“Shuffle Along” by Noble Sissle and Baltimorian Eubie Blake opens on Broadway. This is the first major play of the Harlem Renaissance.

At least 60 Blacks and 21 Whites are killed in the Tulsa Race Riot in Tulsa, Oklahoma, today referred to as ‘Black Wall Street’.  The violence destroys a thriving African-American neighborhood and business district called Deep Greenwood.

Sadie Tanner Mossell Alexander, University of Pennsylvania; Eva B. Dykes, Radcliff and Georgiana R. Simpson, University of Chicago, become the first African-American women to earn Ph.D. degrees.

Harry Pace forms Black Swan Phonograph Corporation, the first African American-owned record company in Harlem. His artists will include Mamie and Bessie Smith.

One of the earliest exhibitions of work by African-American artists, including Henry Ossawa Tanner and Meta Vaux Warrick Fuller, is held at the 135th Street branch of the New York Public Library.

Jesse Binga founds the Binga State Bank in Chicago. It will become the largest African-American bank in the nation before it collapses during the 1929 stock market crash.


W.E.B. Du Bois resigns from the NAACP in a dispute over the strategy of the organization in its campaign against racial discrimination. Roy Wilkins becomes the new editor of Crisis magazine.

After operating under a number of names, the theatre today known as the Apollo Theater opens under its current name in Harlem.


The Harlem Race Riot, a one day riot, erupts leaving two people dead.

The Michigan Chronicle is founded in Detroit by Louis E. Martin.

The Maryland Supreme Court rules in Murray v. Pearson that the University of Maryland must admit African Americans to its law school or establish a separate school for Blacks. The University of Maryland chooses to admit its first Black students.

Mary McLeod Bethune calls together the leaders of 28 national women’s organizations to found the National Council of Negro Women in New York City.


The first meeting of the National Negro Congress takes place in Chicago. Nearly 600 Black organizations are represented.

Mary McLeod Bethune is named Director of the Division of Negro Affairs, the National Youth Administration. She is the highest ranking Black official in the Roosevelt administration and leads the Black Cabinet. She is also the first Black woman to receive a presidential appointment.

Track star Jesse Owens wins four gold medals at the Berlin Olympics.

Dr. William Augustus Hinton’s book, Syphilis and Its Treatment, is the first published medical textbook written by an African American.


William H. Hastie, former advisor to President Franklin Roosevelt, is confirmed as the first Black federal judge after his appointment by Roosevelt to the federal bench in the Virgin Islands.

In October, Katherine Dunham forms the Negro Dance Group, a company of Black artists dedicated to presenting aspects of African American and African-Caribbean Dance. The company eventually becomes the Katherine Dunham Group.


Joe Louis beats Max Schmeling in a rematch of his 1936 defeat by the German boxer.

Jacob Lawrence holds his first solo exhibition at the Harlem YMCA and completes his Toussaint L’Overture series.

Crystal Bird Fauset of Philadelphia becomes the first African-American woman elected to a state legislature when she is chosen to serve in the Pennsylvania House of Representatives.

The U.S. Supreme Court in Missouri ex rel. Gaines v. Canada rules that a state that provides in-state education for Whites must provide comparable in-state education for Blacks.


Popular contralto Marian Anderson sings at Lincoln Memorial before 75,000 people after the Daughters of the American Revolution refuse to allow her to perform at Constitution Hall.

Jane M. Bolin becomes the first African-American woman judge in the United States when she is appointed to the domestic relations court of New York City.


Hattie McDaniel receives an Oscar for Best Supporting Actress in her role in “Gone with the Wind.” She becomes the first Black actor to win an academy award.

Dr. Charles R. Drew presents his thesis, Banked Blood, at Columbia-Presbyterian Medical Center in New York. The thesis includes his research which reveals that plasma can replace whole blood transfusions.

Benjamin Oliver Davis Sr., is named the first African-American general in the regular army.

The NAACP Legal Defense Fund is established in New York City.


Mary Lucinda Dawson founds the National Negro Opera Company in Pittsburgh.

The U.S. Army creates the Tuskegee Air Squadron, which will soon be known as the Tuskegee Airmen.

President Franklin Roosevelt issues Executive Order 8802, desegregating war production plants and creating the Fair Employment Practices Committee (FEPC).

The United States enters World War II following the attack on Pearl Harbor. Dorris “Dorie” Miller is later awarded the Navy Cross for his heroism during that battle.

The desperate need for factory labor to build the war machine needed to win World War II leads to an unprecedented migration of African Americans from the South to the North and West. This migration transforms American politics as Blacks increasingly vote in their new homes and put pressure on Congress to protect civil rights throughout the nation. Their activism lays much of the foundation for the national Civil Rights Movement a decade later.


While teaching at Livingstone College in North Carolina, Margaret Walker publishes the award-winning poem For My People, which she began as her master’s thesis at the University of Iowa.

The Congress of Racial Equality (CORE) is founded in Chicago by James Farmer Jr., George Houser, Bernice Fisher, James Russell Robinson, Joe Guinn and Homer Jack.

The U.S. Marine Corps accepts African-American men for the first time at a segregated training facility at Camp Montford Point, N.C.  They will be known as the Montford Point Marines.

Charity Adams Earley becomes the first Black woman commissioned officer in the Women’s Army Auxiliary Corps (WAACs) while serving at Fort Des Moines.

RankTribe™ Black Business Directory News – Arts & Entertainment

PHOTOS: Crystal Bridges Museum schedules 3 exhibits for 2018

Crystal Bridges Museum of American Art’s 2018 temporary exhibition schedule consists of one U.S. debut and two exhibitions organized by the Bentonville museum.

Rod Bigelow, the museum’s executive director, said in a news release the three exhibitions “complement the story of American art shared through our permanent collection.”

• “Soul of a Nation: Art in the Age of Black Power” was organized by the Tate Modern in London and will be on display from Feb. 3 through April 23, 2018. The exhibition includes 150 pieces from 60 artists, examining how American culture was reshaped through the work of black artists during the 1960s, 1970s and early 1980s. Crystal Bridges will be one of only two American venues — joining the Brooklyn Museum in New York — to host the exhibition.

• Two Crystal Bridges acquisitions — Georgia O’Keefe’s Jimson Weed/White Flower No. 1 and Radiator Building — Night, New York — will be featured from May 26 to Sept. 3, 2018, in an exhibition of her work and how it has influenced emerging contemporary artists like Sharona Eliassaf and Monica Kim Garza. “Georgia O’Keefe and Contemporary Artists,” organized by curator Lauren Haynes and former Crystal Bridges curator Chad Alligood, will travel to additional venues after its debut at the museum.

• “Native North America,” on display from Oct. 6, 2018, through Jan. 9, 2019, will present 75 works by American Indian artists such as Kay WalkingStick, Carl Beam, Fritz Scholder, Andrea Carlson, and Kent Monkman. Crystal Bridges said the exhibition is the first to chart the development of contemporary indigenous art from the U.S. and Canada from the 1960s to the present. Like the O’Keefe exhibition, “Native North America” will travel to additional venues.

Metro on 08/09/2017

Print Headline: Museum schedules 3 exhibits for 2018


–> RankTribe™ Black Business Directory News – Arts & Entertainment

Dameun Strange and Venessa Fuentes create ‘Mother King’ for Black audiences to see themselves in opera

In college, I enrolled in an opera program where I was one of three women of color in the entire undergraduate vocal department. So as I sat in the audience awaiting the final preview run of “Mother King” to begin, I couldn’t help but reminisce on the days when pursuing opera meant being surrounded by mostly white, upper-middle class peers from the suburbs. Sitting next to me that evening was my college opera friend and fellow woman of color, Stephanie Broussard. Like me, she formally studied opera and singing to fulfill a lifelong dream of taking the stage, only to be discouraged by the lack of diversity in the program and course material overall.

”If I had seen myself reflected in school, I think I would still be singing opera and performing more,” Broussard said.

“Mother King” is a conceptual Black opera about the life of Alberta Williams King — slain activist and mother of Rev. Martin Luther King Jr. From July 20 to July 29, the cast and crew performed six preview shows in partnership with Public Functionary to fundraise for a future larger production. The idea to do an opera emerged as Venessa Fuentes and Dameun Strange of OperaRising 52, a music and storytelling partnership, were discussing the 2014 Ava DuVernay movie “Selma” and its omission of women’s contributions to the 1960s Civil Rights movement. Fuentes, who had recently been introduced to the story of Alberta Williams King, pointed out the importance of telling this story.

Leaving church after the funeral of Martin Luther King, Jr. From left, Coretta Scott King; Alberta Williams King, King’s mother; and Christine Farras, King’s sister. Atlanta, Georgia, 1968. Photo courtesy of the Bob Fitch Photography Archive at Stanford University.

“Alberta Williams King is Dr. Martin Luther King Jr. We all hold him up (as we should) as this iconic leader of the Civil Rights movement. But who informed him and shaped him?” Fuentes said, “I started to talk to people in my immediate circles and literally nobody had heard of her, except for Dameun.”

“Mother King” opens with the assassination Alberta Williams King as she sits playing the church organ. To take the audience along this journey, Strange and Fuentes relied on each other’s respective music and poetry backgrounds: Strange took lines from Fuentes’ original poems to create a libretto and score, Fuentes trusted Strange’s musicality to put the characters she wrote into song with one another. “Mother King” is the first project out of OperaRising 52 and both Fuentes and Strange are looking to be a part of the larger narrative of uplifting the contributions of women of color, along with those of other marginalized peoples.

Why opera?

Black arts organizations are not new to the Twin Cities. Black opera, however, is. The very words “Black” and “opera” seem antithetical to many who know the art form to be one that excludes people of color and indigenous folks (POCI). At a talkback after the final performance of “Mother King” on July 29, artist Ananya Chatterjea brought up that though she loves the aesthetic of opera, she cannot get past the consistently racist stories that use POCI characters as marginal. She posed the question: “Why opera?”

“For me that is the whole question and the question that I’ve been struggling with,” Strange said, “I’ve always been a fan of opera because of the huge stories and the big way you can tell stories. It seems to encourage a lot of different art forms within one art form.”

Strange grew up in Washington, D.C., surrounded by art, in a family rooted in the arts, and in a church that regularly performed western classical music. He fell in love with opera music at age 5 when he saw a production of Georges Bizet’s famous “Carmen.” Once he reached college and took a course on African American theatre, his childhood interest turned to intrigue.

“The way the professor talked about the beginnings of African theatre, especially the part about Egyptian theatre and the way they would tell stories, it was a huge production, more of a populist event,” Strange said, “so in thinking about that, it seemed like opera was actually a very natural way of telling stories in antiquity and for the people.”

Fuentes also carries with her a longtime love of opera sparked by a viewing of “La Bohème” at the Metropolitan Opera in New York. But as many times as she been to the opera, she recalls never seeing a Black person on stage, or in the pit, or even taking tickets. This sparked another revelation, “I think as a Black, Latina and a queer person I really wanted to bust through a lot of those kinds of dusty ideas and notions about who can come and who is reflected on this stage,” Fuentes said. “Opera to me is all these different people coming together to tell a story.”

“Calling it an opera is really claiming an art form that was for the people,” Strange said, “we didn’t want to limit it to just being a theatre piece or a musical. ‘Opera’ in our minds is really meaning a big work or all-encompassing work.”

On art as a whole, Fuentes pointed out the importance of having a message that resonates with folks who have been historically excluded or oppressed, not just with folks looking for escape and luxury. “Art is also a vehicle to reflect movements and sustain people who are really shouldering a lot of the weight of making change and progressing ourselves as a humanity, as a society. It’s medicinal sometimes,” Fuentes said, “so that’s the kind of art that I want to serve.” OperaRising 52 is opera for the people, as the tagline states. “Where else are you going to go in the Twin Cities, or anywhere. Where you’re going to see an all Black cast?”

“The most powerful that a human voice can be”

As Fuentes and Strange created the show, they always had singer Liz Gre in mind for the title role of Alberta Williams King because of her extensive background in opera. “It is the most powerful that a human voice can be,” Gre said.

“The sound of opera was never new to me, primarily because my parents, my mom in particular, introduced me to traditional and historic Negro spirituals and other historical Black music that sounded a lot like opera,” Gre said. She recalls seeing Denyce Graves, a great Black opera diva, at Carnegie Mellon Hall when she was 10 years old. For Gre, that moment was when she made the connection between opera as a genre of singing and Black women as carriers of that message. Gre began taking classical voice lessons in high school from a Black voice teacher in Nebraska and moved to the Minnesota to find other kindred and socially conscious artists. Gre, who has performed on stages across the Twin Cities, says she will not audition for just any part.

“I don’t know that I would ever consider doing a traditional opera. I can’t just tell anybody’s story,” Gre said, “I would want to do things like ‘Mother King’ that focus on accessibility, that focus on doing weird [stuff] that is just different and wild and crazy and experimental.”

Before each performance during the preview run, Strange introduced “Mother King” as an “experimental opera,” a trait clearly evidenced by his scoring and selection of music. True to his last name, much of the music Strange writes could be called strange. He writes in unusual meters and makes use of atonality, which many people find unpleasant or inaccessible. However, Strange also grew up surrounded by jazz and gospel. He says that just as he cannot help but let the influences classical music inform his writing, he also cannot help but be influenced by Black music. In writing “Mother King,” Strange included recurring musical themes, or leitmotifs, that harken to gospel and jazz, so that even if some aspects of the music seem odd to people, these leitmotifs provide reference points for them to connect to the music.

“How do I write opera ‘for the people’ but also express my tendency to be a little strange, if you will, and write contemporary music that is sometimes atonal?” Strange said. “Really what I want to do with my music is still be authentically me but still approach the opera as a storyteller, recognizing that some things may be inaccessible and where they may be inaccessible to add some accessible elements to that.”

In an interview with KFAI, Strange said that he initially thought because “Mother King” is a Black opera, “it should sound like Black music, or what other people think of as Black music,” i.e. hip-hop or soul. He went on to acknowledge, “I’m a Black composer so whatever I write is Black music.” Talking about this, Strange recalled a poetry class he took in college with writer Alexs Pate who told him that because he’s a Black man he would always be a Black poet — and because he’s a Black poet anything he writes will inherently be political. By taking on an opera, and scoring it with music true to who he is as a composer Strange challenges notions of both opera and Black music. He creates a work that is wholly both.

“Mother King” further pushes these boundaries with its performers. Including Gre, only two of the six cast members have classical training. The others come from jazz, hip-hop, musical theatre and soul backgrounds. Some had not read music since their childhood. Each talked about how challenging learning the music was, but they also spoke about how liberating it was to come out on the other side of knowing the music, to allow themselves to not be perfect. Gre spoke of learning to feel the heartbeat of the different rhythms as they changed and let that heartbeat connect them to the story and to each other. They all talked about how this opera forced them all to trust each other, creating a community, a voice, within the production.

Miko Simmons, projection designer for the opera, said in a talkback session after the final show, “these are very poignant times to remember, to reconnect to members of our communities and to have different thought processes… We need to root ourselves in history and family and fellow artists whose identities have also been marginalized.” Similarly, Strange and Fuentes shared these sentiments about the importance of telling King’s story especially in this moment. Both spoke to the poignancy of the present as being a moment of movement reinvigoration.

“I feel like this story has found us and we’re going to interpret it and tell it,“ said Fuentes.

Update: OperaWorks 52 has been renamed OperaRising 52. This article has been updated to reflect that change.

RankTribe™ Black Business Directory News – Arts & Entertainment

The Reveal: Lonnie Holley Is the Ultimate Outsider Artist

On the June day that “Revelations: Art from the African American South” opened at the de Young Museum, artist Lonnie Holley shared a stage with two actors who are among the most celebrated in their fields (Danny Glover and Delroy Lindo) and with art scholars who are equally esteemed. The introductory discussion was supposed to give the audience a more tangible connection to the paintings, sculpture, and other objects on display. It did, but it also confirmed something for those who had never heard of Holley: He keeps people spellbound with his oratory, humor, and insights into art-making.

Holley’s art does the same. He makes the kind of sculpture — and produces the kind of music — that changes people. It gets into their emotional and intellectual core and forces them to rethink art and history, as well as their own assumptions about how the world works.

This is not an exaggeration. This is a fact. Anyone who attended Holley’s panel discussion will testify that Holley has a gift of “vision” and “spirit” that is undeniably powerful, and that he links art — poetically and practically — to things like humanity’s ability to steer the earth’s environment back to health.  

“We are the doctor, and the art is the medicine,” Holley said to rapturous applause that June day at the de Young.

Who is Lonnie Holley? He’s the artist who made a piece called A Box for Woman: The Pure White Spirit Trapped in Her Space, a work whose pink veneer and white cross overlap with a mouse trap, mouse skeleton, other animal bones, a syringe, leaves, and organic debris. Holley created it from parts he found in the kitchen of a virtually blind neighbor in Birmingham, Ala. The neighborhood was economically poor. The neighbor, an older woman, was also poor. This was 1989, when Holley was in his late 30s and had been making art for 10 years. He already had a reputation of being “an outsider artist” for his use of found materials. His first piece in 1979 was a pair of tombstones he made from sandstone after the deaths of a sister’s two children. A Box for Woman, now ensconced on the first floor of the de Young, is an apotheosis of Holley’s approach to art-making. Holley birthed A Box for Woman from a scene that would have repulsed and depressed many other people.

“That piece we’re honoring a woman that I had found all this material in her house,” Holley tells SF Weekly in his distinct vernacular during an almost-hour-long phone interview from Atlanta, where he now lives. “She had cataracts in her eyes, and she could hardly see. So something had been stealing her meat that she had prepared for herself to eat, and she didn’t know if someone had been sticking their hand in the window and getting food off the stove. It was at the time when we were getting to move her out of the house — because of the [Birmingham] airport expansion, they had bought her property. The airport inspector had been alarming people to either clean up or get rid of certain amount of things that they had on their property. We was in the house, and I moved the refrigerator and the freezer — and that’s where all of that material was found, underneath the freezer. I tried to explain to her, ‘This is your problem, and this is what had been eating up your meat.’

“The reason I did the paint box and did everything pink is the condition that a lot of women — especially African-American women — are living in, in America,” Holley adds. “It’s not so much that we should be ghostly afraid, or spiritually afraid. Sometimes, the thing that’s actually in our household that we don’t know about is in the manner of spiritual and ghostly. So me putting that into that box, and putting a white cross there — the white cross indicating the spirit that we cannot see. You got to remember that this woman was half-blind. What I do is try to take the terms of everything and mix it into the conversation about a piece of art. I’m an African-American artist, and I try to show nothing but the truth with the materials that I gather, about our involvement, our adventure as we adventured through the time periods.”

In the American South, Holley and generations of African-American artists before him have made art in a vacuum. Few major art museums were interested in their work, let alone collected it. Most of these artists were self-taught, and came of age at a time when racism, de facto segregation, and lynchings were commonplace. Without support from traditional institutions, these artists made art anyway, often out of discarded objects.

“I am the alarm clock,” Holley says, “of the wake-up of what materials there are for us to use.”

Instead of exhibiting in galleries, these artists displayed their work in streets, on lawns, and anywhere else they found promising. Through word-of-mouth and the occasional champion like art historian and patron William Arnett, the art world eventually came calling.

“I’m a part of something,” Holley says, “that’s greater than my individualness.”

Lonnie Holley’s A Box for Woman: The Pure White Spirit Trapped in Her Space. (Photo by Jonathan Curiel)

Among the best-known works in “Revelations” are Gee’s Bend quilts, from Gee’s Bend, Ala., from a collection that first toured in 2002 at the Museum of Fine Arts, Houston before going around the country, including a stop at the de Young in 2006. “Revelations” showcases gripping art by Purvis Young, a Miami painter whose Talking to the System depicts three young African-Americans addressing two rows of oversized heads; Joe Light, a Tennessee artist whose enamel-and-wood work Jealousy is a graphic depiction of a woman interrupting a potential fist fight between men; and Thornton Dial, an Alabama artist whose Strange Fruit: Channel 42 uses spray-can tops, clothing, wood, and other objects to depict the hanging of a man from a television antenna.

Dial passed away last year, Light in 2005, and Young in 2010. Most of the artists in “Revelations” are dead. And their late recognition as professional artists is bittersweet — an example of an artistic shift that mirrors the culture at large. More Black Americans than ever have advanced to positions of prominence in the arts and academia. More Black Americans than ever are middle- and upper-class. The nation elected its first Black president. But the education system is still skewed against many Black Americans. And even as someone like Holley has made huge advancements in his life — even as he was invited to the White House under President Bill Clinton in 1995, and even as institutions like the Smithsonian began collecting his work — he faced challenges that amounted to virtual discrimination.  

In 1997, Holley lived on a property that, like his neighbor’s, was just minutes from the airport. That year, the Birmingham Airport Authority condemned the property, which was also Holley’s art studio and exhibit space, saying it needed the space for its $30 million expansion. The authority offered him just $14,000 to cover his costs, implying that the scores of artwork scattered in Holley’s yard amounted to junk. Holley sued the authority, asking for $250,000. He settled for $165,700 — and then, he had to move his life’s work to another Alabama property. The authority’s staff were akin to mainstream art collectors who thought Holley’s work was worthless. Vandals desecrated Holley’s work in his Birmingham yard, sometimes with feces.

“When I did get to be an artist, the hardest thing I had to deal with was the critic,” Holley tells SF Weekly. “They was criticizing me. People were coming into my life saying that what I was doing didn’t make no sense, didn’t have no message. It was junk to them. It was garbage. They didn’t see nothing but a refrigerator full of cans and things. They didn’t see the leftover product of a woman’s life.”  

“I’m grateful,” he adds, “to have lived this long, in order to have achieved [what I did]. Art has proven to be the best function of education that I have seen in my life.”

Holley, who now lives in a one-bedroom apartment, frequently travels around the country for art exhibits and gigs. His songs are otherworldly and trance-like, a unique mix of roots music, blues, quasi-gospel, quasi-folk, and spoken word, with lyrics and a voice that are uniquely Holley’s. On a track like “From the Other Side of the Pulpit,” where band members use guitar, keyboard, and other instruments along with such non-instruments as metal pipes, Holley intones and growls, “Been want to go somewhere / Been want to tell somebody. / Been a loooong time. I want to tell it and I ain’t lyin.’ / … See what I got to talk about. / … How I see the world. / … The car is runnin’ out of gas. The tires are going kind of bald / May pop at any time, they may pop off. / … I want to climb mountains. I really do want to climb.”

As visitors enter one of the de Young exhibit’s main galleries, Holley’s music is playing overhead — seven songs, including “From the Other Side of the Pulpit,” that turn the gallery into an echo chamber of inspired, complicated feelings. It’s that gallery that contains Holley’s work, including A Box for Woman. It’s that gallery where you see art-goers squinting and closing their eyes and reacting to the art, both externally and internally. The entire exhibit is, indeed, a revelation — not just because this is art from the past, but because it exists in the present.

Holley is still alive. He’s still making great art. (“The art and the music,” Holley says, “are coming from the same brain formations. … It’s like Siamese twins.”) So are other Black artists in the American South. And the Atlanta nonprofit that William Arnett inspired, the Souls Grown Deep Foundation, is actively promoting the work of these artists. The de Young’s exhibit is the culmination of its recent purchase of 62 works from the Souls Grown Deep Foundation, whose trustees include Jane Fonda. Matt Arnett, whose father is William Arnett, is one of Holley’s managers.

“Lonnie was certainly ready to bring his message in music and art to the world 30 years ago, and my dad was trying to get museums to bring this art to the public 30 years ago, and the de Young exhibit we could have done in the 1990s,” Arnett tells SF Weekly. “Lonnie was no less relevant in the 1990s than he is now. It’s wonderful for all of us who’ve been following this art — and it’s wonderful for Lonnie — to finally be recognized and celebrated, but his art was this good 30 years ago. … Lonnie has been ahead of the curve of contemporary art for decades. In the ’80s, the world wasn’t ready for Lonnie, so he got dismissed in all kinds of ways.”

Holley himself is more matter-of-fact and philosophical about the circuitous route he’s taken from the margins of the art world — and society — almost to its center. He’s the son of a woman who gave birth to 27 children. They had no money, and she gave Holley away to a woman who asked if she could have him. A few years later, that lady gave Holley to another woman, trading him for a bottle of whiskey, Holley says. That new woman’s partner abused Holley: beating him up, forcing him to do laborious chores, and leading him to run away. He got into trouble, and was sent to a kind of juvenile hall — to what was then called the Alabama Industrial School for Negro Children, where he endured more beatings, one of which broke his legs. Holley learned farming. He was not formally educated, and became a father for the first time at age 15.

Holley, whose grandmother and mother wanted him to be a preacher, doesn’t say his life is “better” because of all the hardships and challenges he’s faced — just that his life is kind of emblematic of many things about Black life in the southern U.S. He could have been an anonymous casualty. Instead, major media — including The New York Times — have profiled him in the past five years, and he’s invited to perform and talk around the country. At age 67, Holley is more celebrated than he’s ever been. And younger people — artists or not, art-goers or not — look to him for inspiration. He uses art to teach young kids, telling them that creation and art-making is a satisfying way to channel their energies.

“Malcolm said, ‘By any means necessary.’ That’s what Malcolm X said,” Holley said at the de Young panel discussion. “But my thing is to get them away from the weapons, and see that all of this stuff is your dreams. By any means. Every plank on this slope — instead of seeing a kid deny himself or herself an opportunity, I want to show them the patterns within each plank. I want to show them the groove — the pine knot — and what a knot means. A knot is to be or knot to be. You understand what I’m saying?”

The audience laughed and applauded Holley. Then Holley said this: “Somebody said, ‘You think you can do good on Broadway?’ I am Broadway.”

There was more applause for Holley. No one disputed him. No one disagreed.

“Revelations: Art from the African American South,” through April 1, 2018, at the de Young Museum, 50 Hagiwara Tea Garden Dr. $6-$15; 415-750-3600 or deyoung.famsf.org.

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PHOTOS: Harambee Black Arts Festival wraps up in Homewood


Live dance, tables full of art, jewelry and other handmade items lined the streets of Homewood this weekend for the 50th anniversary Harambee Black Arts Festival. The free event kicked off Friday with the annual Soul Stepping Parade and closes tonight at 8 p.m on Kelly Street.

Homewood resident NeeNettia Edmonds described the event as fantastic.

“I came down here after all the violence and everything that’s going on in the Homewood area, I decided to step out and try to join the peaceful activity.”

Check out our photos and social media posts from around the community.

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Arias Rise To The Occasion At Glimmerglass

When the artistic mecca in verdant Cooperstown changed its name from Glimmerglass Opera to Glimmerglass Festival a few years ago, it signaled that new audiences were welcome. Notoriously demanding opera audiences would still travel extravagant distances to see top productions of rarities.

These would include the American premiere of Gaetano Donizetti’s Siege of Calais, new works like Paige Hernandez and Victor Simonson’s Stomping Grounds about contemporary refugees or Derrick Wang’s Scalia/Ginsburg, about the unlikely friendship between two justices who disagreed about almost everything. On the other hand, the audience-friendly Oklahoma! renews its vigor when golden voices are proclaiming “Oh, What a Beautiful Mornin’.”


Also at Glimmerglass are productions of George Frideric Handel’s Xerxes (Aug. 12, 18), in which the lead is sung by a countertenor, and George Gershwin’s Porgy and Bess (Aug. 13, 17, 19, 21), now established as America’s greatest opera. Rarely juxtaposed, they both present their most memorable vocal expressions in the first arias.

Although several selections from Porgy, like “It Ain’t Necessarily So” and “I Got Plenty of Nothin’,” are among the best-known from the Gershwin corpus, many audiences have had a difficult time seeing the whole work for two reasons. Some black artists were unwilling to appear in roles portraying prostitution and drug dealing, and eminences such as Desmond Tutu have disdained Porgy. It’s also huge, with more than 22 singing roles sometimes running three-plus hours. Black playwright Suzan Lori Parks wrote a truncated version titled The Gershwins’ Porgy and Bess in 2011 for Broadway, ostensibly to make it more appealing to contemporary audiences.

The Glimmerglass production can boast of authenticity. Artistic director Francesca Zambello mounted her Porgy for the Washington National Opera in 2005, employing the 180-minute 1935 book that retains charming non-plot items, like the Vendor’s trio, songs for the Honey Man, Strawberry Woman and the Crab Man. Conducting the pit orchestra is Gershwin specialist John DeMain, who has been in charge more than 300 times, going back 40 years before the opera’s status was so secure.

Glimmerglass has scoured the earth for the right voices with the right look. Silver-voiced soprano Meroe Khalia Adeeb as Clara has come from Torrance, Calif., to begin the action with a goosebump-inducing “Summertime.” From the beginning, we know that director Zambello is following Gershwin’s wishes that his masterpiece be sung by trained voices in operatic mode and not merely be a Broadway show with ambitions. Even when the action turns to Catfish Row street life, we hear the same precision in “Roll Them Bones.” Clara’s husband Jake (Justin Austin) responds with the cynical “A Woman is a Sometime Thing,” paradoxically as a lullaby.

Stocky South African baritone Musa Ngqungwana sings the role of Porgy, limping with a crutch rather than on an encumbering wagon. Seen last year in Rossini’s Thieving Magpie, he is initially unrecognizable despite a distinctive body set. As an actor he resolves the contradictions of Porgy’s character, a needy, crippled beggar who nonetheless projects enormous reserves of strength. Ngqungwana’s heart-swelling “I Got Plenty of Nothin’” might have been aimed at audiences in the depths of the Depression but here is a coruscating declaration of resolve. The title of the DuBose Heyward novel that inspired Gershwin was indeed Porgy.

The emergence of the flawed Bess as a counterweight is what makes the opera a drama. Talise Trevigne has an established reputation as an interpreter of Richard Strauss and Giacomo Puccini, but as an actress she’s extraordinary in conveying all the contradictions: Bess’ street flash, her fatal need-driven weakness as well as her sweetness and beauty. Her major solo, “I Loves You, Porgy,” throbs with deep-felt sincerity.

The love duet “Bess, You Is My Woman Now” toward the beginning of the first act in this configuration caps all musical expression. Gershwin is at the peak of his genius, and Ngqungwana and Trevigne soar with lyrical passion. This is the most ecstatic moment on upstate stages this summer.

Porgy and Bess’ musical abundance includes at least two other showstoppers, which require some plotting to explain. Bess’ previous boyfriend, the villainous stevedore Crown (Norman Garrett), in a drunken rage, murders the innocent bystander Robbins (Chaz’men Williams-Ali) with the hook from a cotton bale. The disposal of the body and the law’s processing of the murder consume much action, but it also leads to the blockbuster lament, “My Man’s Gone Now” by Robbins’ widow Serena (Simone Z. Paulwell).

Enticing villainy is the Mephistophelean Sportin’ Life (Frederick Ballentine), the neighborhood “happy dust” dealer who aspires to become a procurer with the right lady to sell. His “It Ain’t Necessarily So” delivers blasphemy at its most winsome.

Glimmerglass has spared no expense in production value, with Peter J. Davison’s scenery filled with grubby, rusting metal, convincing poverty. And the second act’s hurricane is enough to rattle bones.

Handel’s Xerxes also begins with one of the composer’s best-known melodies, usually called the “Largo,” although marked larghetto in the score. Its Italian lyrics are “Ombre mai fu,” or “Never was a shade,” in praise of the plane tree. The title character is taking his rest from world-conquering before contemplating his love life. A useful program note by classicist Olga M. Davidson explains that although most of the plot is fanciful contemporary invention, the episode of the plane tree derives from reliable ancient documents. The opera is often known by its Italian title Serse, as his name is pronounced in the lyrics.

A notorious flop at its 1738 opening, Xerxes is supposed to be an opera seria, meaning it would emphasize the august expression of deeply felt emotion, with most voices in the upper ranges. The title role was written for a soprano castrato and is taken here by countertenor John Holiday Jr., who brings the physique of a professional athlete. Nearly all the other singers are at home in the upper ranges, except for basso Calvin Griffin as the comic servant Elviro.

Low jinx buffo in the midst of all the seria is what led to Xerxes’ failure at its opening but now appears to be a welcome asset. Director Tazewell Thompson, former honcho at Syracuse Stage, enhances the comic interludes while never betraying the seria. His production team of star set designer John Conklin, costumer Sara Jean Tosetti and lighting master Robert Wierzel ensure that the ever-changing surreal set seduces the eye, beginning with that alluring plane tree.

The libretto by Nicolo Minato and Silvia Stampiglia exists to position singers to sing about different aspects of love, mostly unrequited. Contrived though situations may be, the music is exalted and its expression often moving. Still, the path is so convoluted that the program prudently includes a cartoon page with lines drawn between characters to help you remember who loves whom and who is being squeezed out.

When Xerxes turns from the plane tree he espies soprano Romilda (Emily Pogorelc) in red, the daughter of a second basso, his vassal Ariodates (Brent Michael Smith) in blue and gray, and immediately intends to marry her. Alas, Romilda has set her eyes and heat on Xerxes’s brother Arsamenes (soprano Allegra De Vita in a trousers role). The comic Elviro is his servant. Simultaneously, Romilda’s sister Atalanta (soprano Katrina Galka) in green also yearns for Arsamenes. And Xerxes’ original fiancée, Amastris (contralto Abigail Dock) finds herself passed over and disguises herself as a man to observe how things will play out. We are always sure who she is, but the characters in the cast are willingly gulled.

Baroque opera in general and countertenors in particular are thought to be acquired tastes. The excellence of this production, as well as John Holiday Jr.’s musicianship, can lead many to those acquisitions.

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Crystal Bridges to Debut ‘Art in the Age of Black Power’ Exhibit

Crystal Bridges Museum of American Art in Bentonville on Tuesday announced its exhibitions for 2018, including the U.S. debut of “Soul of a Nation: Art in the Age of Black Power.”

Also appearing next year will be the Crystal Bridges-organized exhibitions “Georgia O’Keeffe and Contemporary Art” and “Native North America.”

“Our 2018 exhibitions complement the story of American art shared through our permanent collection,” said Rod Bigelow, the museum’s executive director and chief diversity and inclusion officer. 

The museum called “Soul of a Nation,” organized by the Tate Modern in London and debuting in the United States at Crystal Bridges, “a look at how American culture was reshaped through the work of Black artists during the tumultuous 1960s, ’70s, and early ’80s.”

Crystal Bridges is one of only two American venues to host this exhibition. Following its debut at Crystal Bridges, the exhibition travels to the Brooklyn Museum in New York.

The exhibit will feature artworks by more than 60 black artists, including Romare Bearden, Melvin Edwards, Betye Saar, Faith Ringgold, Charles White, Alvin Loving, Alma Thomas and Lorraine O’Grady.

And the art includes a wide range of styles and media, including painting, photography, fashion, sculpture and mixed media work, as well as street art in the form of murals and posters by artists of the AfriCOBRA collective, the graphic art created by Emory Douglas for The Black Panther newspaper and black feminist art.

“Soul of a Nation opens a window into the heart of the Black Power movement in all of its beauty, pride, power, and aspiration,” the museum said.

Soul of a Nation runs Feb. 3 through April 23, 2018.

As for the Georgia O’Keeffe exhibit, Crystal Bridges is building on its collection of major works by O’Keeffe — including Jimson Weed/White Flower No. 1 and Radiator Building-Night, New York — and is bringing together a selection of O’Keeffe’s most important works.

Alongside the works by O’Keeffe, the exhibition will display artworks by emerging contemporary artists “that evoke, investigate, and expand upon O’Keeffe’s artistic legacy,” the museum said. “This exhibition demonstrates the continuing power of O’Keeffe’s work as a touchstone for contemporary art.”

These contemporary artists include Sharona Eliassaf, Monica Kim Garza, Loie Hollowell, Molly Larkey and Matthew Ronay.

This exhibit will run May 26 through Sept. 3, 2018.

The exhibit “Native North America,” which will be on display Oct. 6, 2018, through Jan. 7, 2019, is the first exhibition to chart the development of contemporary indigenous art from the United States and Canada from the 1960s to the present, the museum said.

The exhibition will present about 75 works of art by important native artists — such as Kay WalkingStick, Carl Beam, Fritz Scholder, Andrea Carlson and Kent Monkman — and features works in a variety of media, including painting, drawing, photography, videos, sculpture and sound, installation and performance art.

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