These records document the planning, organizing, and launch of the Community and Creativity Project, an initiative to survey and document cultural venues and activities in wards 7 and 8 of Washington, DC. Materials include meeting notes, project brochures, research files, photographs, interviews, and video recordings.
Biographical / Historical:
Community and Creativity project launched in the summer of 2010 with a survey of art and cultural activities in wards 7 and 8 of Washington, DC. The project staff canvass daycare and senior centers, community centers, churches, and other institutions and organization in the area to ask about the kinds of arts and cultural activities that take place there. Project staff documented selected performances and activities and interviewed participants.
Provenance:
Records of Community and Creativity Project were created by the Anacostia Community Museum.
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Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Artist Roderick Turner, raised in Providence and attended RISD, talks about his artistic family, his early art experiences, the murals he painted, his inspiration and sources of encouragement, and teaching and working with youth and senior citizens. He explains his creative thought process, importance of creating art for the artist, how an artist works in regards to his/her mind as well as technique, and the value of art to the community. Turner describes how his work has evolved, and how his European experience changed his life and affected his art. He also describes the relationship between his artwork and where he lives; he records the changes in his community - Ward 8 of Washington, D. C. - through his paintings.
Interview. Dated 20110519.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Artist Kristopher Stith grew up in southeast Washington, D.C., and attended Duke Ellington School of the Arts and American University. Stith states Dragon Ball Z inspired him to draw as a child. He describes drawing Pokemon cards in the back of the classroom when he was in elementary school, and cartooning and creating his own characters when he was in middle school. He talks about his experience as a youth council member and earning a stipend; preparing his portfolio for entrance to Duke Ellington School of the Arts; and how the students and teachers at Duke Ellington inspired and motivated him to do better. Stith states the Anacostia community inspired and encouraged him to pursue his artistic skills. He talks about his competitive nature, preference of working with acrylic and charcoal, interest in painting people, strive to paint better, creative process, and artistic style. There are a few shots of his artwork; Stith talks about each of the pieces. Stith describes the similarities and differences between Washington, D.C.'s Wards 3 and 8; he talks about the changes he observes in Ward 8. Stith talks about how the community support and the arts, particularly how he thinks information and resources should be shared, and his desire to help people when he becomes successful. He also talks about Picasso, the evolution of Picasso's style, and Picasso's connection to his community through his artwork.
Interview. Dated 20110320.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Filmmaker Anthony Anderson lived in Anacostia in southeast Washington, D.C. until he entered high school when he moved to Montgomery County, Maryland. Anderson started creating and writing stories at a young age, and involved himself in the performing arts, including stage plays in high school. After several unsuccessful attempts to secure a role on 'The Wire,' Anderson was inspired by Spike Lee interview in which Lee stated you have to create your chance. Anderson explains this inspiration lead him to revisit his previously written scripts and start making films. He talks about his first film 'The Ties that Binds,' and his web series 'Anacostia.' Anderson explains his inspiration comes from people in Washington, D.C. and what success means to him. He talks about his creative process, where his ideas come from, trusting people he works with, and his biggest struggles creating the web series. Anderson provides advice to aspiring Anacostians.
Interview. Dated 20110210.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Maria Goodwin - member of the Daughters of Dorcas and Sons quilt guild - discusses her quilting experience, the evolution of quilt making, and the Washington, D.C. based quilting group - Daughters of Dorcas and Sons. Goodwin recalls her early memories of cutting out triangles and sewing them together with her mother, who was a seamstress; she states her mother taught her an appreciation for fabric. She explains she was not interested in clothes making, and decided to explore quilting because she found quilt making less confining. Goodwin explains how the members of Daughters of Dorcas and Sons interact with one another, and describes the various styles the members employ in their quilt making. She talks about how the quilt has evolved from a functional piece to a piece of artwork displayed on the wall; the development and evolution of art quilt; use of technology in quilting; the increase in pricing of quilting and sewing machines; the evolution of fabric house; special quilting fabric lines; the various types of quilting; and working with colors in quilting. Goodwin explains the debate and development of categories in quilt competition shows; use of other media, in addition to fabric, in quilting; the intersection between quilting, family history, and scrapbooking; the growth of quilting communities; the importance of a foundation for beginner quilters; and how quilters build their skills over time. Goodwin talks about her creative style, her creative process, how she designs her quilt, where she finds inspiration, and how her interest in quilting grew. She loves the challenge of designing and incorporating ancient history, including illuminated manuscripts, into her quilts. Goodwin talks about the future of quilting, including children learning to quilt; the importance of preserving old quilts because they document family and quilting heritage; and the importance of documenting the creation of the quilts through video and photographs so the creation process is preserved.
Interview. Dated 20110131.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Artist Ira Blount talks about the influence of his father and mother as well as the Shaker Movement and their belief in frugality on his life and his art. He talks about ROTC training while he was a student at Tuskegee Institute and training troops to go overseas when he was stationed at Fort Lee, Virginia. Blount states his life after the army was unpleasant because of his divorce. When he moved to Washington, D.C., he focused on craft making, particularly calligraphy, to overcome his drinking problems. Blount gradually became involved in different programs in his church, Asbury United Methodist Church, and eventually started a handbell choir in the early 1990s. Blount talks about his other creative endeavors in basket weaving, origami, and woodcarving as well as his interest in oriental arts. Specifically, Blount talks about his first attempt at basket weaving, his fondness of the egg basket, using natural grapevine frames with commercial reed for his baskets, making origami kimonos and cranes, and the beauty of the grain when he carving wood. He talks about his creative process and working hard to perfect a craft. Blount explains an inner need to create and his hope that his work will inspire other people to do craft work. He talks about the need to engage senior citizens in creativity and craft; and the lack, and therefore necessity, of a craft museum in Washington, D.C. He stresses the need of a vehicle to encourage untrained people to create particularly those who live in Ward 7.
Interview. Dated 20110316.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Comedian Erin Jackson talks about her start in comedy, her first open mic experience, performing at comedy clubs in Baltimore and Washington, D.C., taping for Comedy Central, the semi-finals of Last Comic Standing, being a guest on The Ellen Degeneres Show, and her journey to full time comedian and leaving her full time day job. She explains the importance and specifics of the business side of being a comedian. Jackson talks about others' perception of the black female comedian, and the division line between black or urban comedy and mainstream comedy. She describes her comedic style: laid back, confrontational, and personal. Jackson talks about her favorite comedians, specifically Bill Cosby; the comedians who influence her style, which are different than her favorite comedians; how she prepares for a show, including her process right before she goes onto the stage; and stage fright. Jackson explains how living in Washington, D.C., particularly Ward 7, impacts her comedy; she tells stories of specific people. She talks about loving her job and the desire to be able to support herself doing what she loves. Jackson explains she has so much farther to go in her career, her interest in doing a show that involves sports and comedy, and her interest in writing for television and film.
Interview. Dated 20110302.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
As a long-time resident of Washington, D.C.'s Ward 8, Maurice 'Moe' Shorter - impresario for Junkyard Band - talks about the history of Junkyard Band and go-go music; and the marketing and management of go-go bands, particularly Junkyard Band. Shorter details the origin of Junkyard Band, which was formed by a group of children in the Barry Farms community of southeast Washington, D.C. He describes the band's various rehearsal spaces in the community; involvement in the community; creativity in regards to the creation of their improvised instruments and later the writing of their music; and the growth of their audience and change in performance venues over the years. He talks about working with Derrick McCraven, who brought two neighborhood bands together to create Junkyard Band. Shorter describes go-go as a musical experience and the community intertwined; he explains why Wards 7 and 8 of Washington, D.C. were attracted to go-go music. He talks about the evolution of go-go music and go-go bands from Chuck Brown to Junkyard Band to those of the late 1990s and 2000s; the subgenres of go-go music which include gospel go-go, bounce beat (beat-ya-feet), traditional, and grown and sexy; differences in the crowds who attend the various sub-genre performances; what influenced the development of go-go music; the improvisation and freestyle of go-go rappers; and the change in venues for go-go performances over the decades. Shorter talks about his ability to take the tools he learned at Howard University and use them to the best of his ability to promote and manage bands; he is able to combine his business skills with something he loves - music. In addition to managing bands, Shorter served as a commissioner for D.C. Commission on the Arts and Humanities for 12 years.
Interview. Dated 20101203.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Hip-hop artist Christylez Bacon plays the acoustic guitar, western African djembe, beat-boxing, ukulele, and spoons. Bacon explains he was raised to not curse in his music, and taught the importance of subject matter and topics in music. He performed his first open mic while attending Duke Ellington School of the Arts in northwest Washington, D.C. He studied web design and graphic design at Duke Ellington and during one semester at Montgomery College. Bacon explains he worked hard at his web design/graphic design while hitting the open mic scene hard throughout Washington, D.C. He states he realized what is happening in southeast Washington, D.C. is happening in other places through listening to the music of artists from other places. Bacon talks about the evolution of his career from open mics in Washington, D.C. to development of a children's album which led to a Grammy nomination to his present endeavors. He also talks about the MLK program with youth, Strathmore residency, what he learned during his residencies in Idaho and Utah, teaching hip-hop, and performing for children and adults. He states his performances are about teaching and education. Bacon discusses his musical style, the inspiration for his lyrical content, the future of his art, his desire to tour the world and learn about other types of music, and his advice for up-and-coming artists. At end of the interview, he raps freestyle a summary of his life.
Interview. Dated 20101203.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Entrepreneur Juanita Britton talks about her early entrepreneurial pursuits; traveling to Seoul, South Korea when she was 17; traveling overseas when she was a graduate student at Howard University; securing a job working with the state department so she could work with indigenous cultures overseas; the Anacostia Arts Gallery; Busy Bee Gift and Holiday Show at Shiloh Baptist Church in Anacostia; launching Red Bird water cleaning system in Senegal; and the importance of culture. Britton, who grew up in a middle class Detroit neighborhood, began her entrepreneurial pursuits selling lemonade at age 10 and expanding the business to 6 different corners by the age of 14. She held bake sales and built a relationship with the mayor so she could travel to Seoul, South Korea as an exchange student at the age of 17, and organized a reception for President Mugabe of Zimbabwe when she traveled overseas as a graduate student. Working with indigenous cultures overseas, Britton helped indigenous people sell goods at fair trade value, and she wanted as many people as possible to travel to Africa to see indigenous cultures and that life was fine in Africa. While visiting Anacostia in southeast Washington, D.C., Britton stumbled upon a house which she transformed into an art gallery and artistic community center. She was active in the Anacostia community taking neighborhood children on field trips. Britton speaks of the importance of spending time and mentoring children. She organized 78 Busy Bee Gift and Holiday Shows at the Shiloh Baptist Church over a 20-year period. Britton speaks of specific stories of artists and their successes, and teaching young people about business and entrepreneurship while they are working with her on the craft shows. Britton talks about the villages in Senegal in which she will launching Red Bird water cleaning systems; she states she figured out a way to transport the machine between communities in a single day so the communities will have clean water every day. Britton also talks about marketing events; how she brings culture into the corporate shops which she owns; East of the River artists including BK Adams; the development of an arts district in Anacostia; and the importance of involving the current community in the development. Britton - nicknamed 'Busy Bee' since she was a child - explains how her multitasking and networking abilities. Britton talks about her love of culture; anything different or unique; personal adornments; and learning other languages; and others' perceptions of culture and things that are different or unique.
Interview. Dated 20110302.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Melvin Deal - expert on African dance and drumming - talks about the Kingman Park neighborhood and working immigrant community in which he grew up in Washington, D.C. He talks about attending lectures at the Smithsonian Institution when he was a child, and his determination for a life outside of the neighborhood where he grew up. He describes how his interest in dance began with learning about Native American traditional dance. Deal talks about his vastly different experiences at Northeast Academy of Dance and Howard University dance department. He talks about completing field research on African dance in Africa; traveling alone in Africa; visiting different countries, cultures, and ethnic groups, including Yoruba people; and learning and sharing African dance. Deal discusses starting of a dance company of African cultural dancers and drummers, later named African Heritage Dancers and Drummers, in the early 1960s in Washington, D.C.; various locations where the group rehearsed throughout Washington. D.C.; obtaining funds to run the organization; and his experience as a resident artist at the New Thing Art and Architecture Center from 1968-1973. Deal describes how he touches the community through dance and music through working with children and senior citizens in his workshops; teaching and working with students at Duke Ellington School of the Arts; teaching the context of African dance and respect for African culture; and giving young people and adults an opportunity to embrace the art of dance and not be judged by it. Deal discusses the dehumanization of slavery how learning about African culture and dance improves black people's self-esteem; black people's acceptance or lack of acceptance and awareness of their blackness in the United States; African culture, particularly Afro-Cubana, in Washington, D.C.; and the customary differences of sexuality in African and European cultures. Deal also talks about his work ethic, creative process, spirituality, and commitment to helping and encouraging people; and the importance of God in life and his art.
Interview. Related to 'Citified: Arts and Creativity East of the Anacostia River.' Dated 20110420.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Drummer Marc Griffith and Rapper Cardel Prince of Cold Hearted Band, and Tyron Parker, a fan of Cold Hearted Band, talk about go-go music, how the band formed, and what keeps the members of the band motivated and moving forward. They explain they were drawn to go-go music because it was a way to express themselves; go-go is the way of life in Washington, D.C. Griffith and Prince talk about their experiences in the high school marching band, and their personal musical influences, particularly the go-go crowd (audience). They explain their creative process, particularly how the whole band works together to create their original music. They list go-go clubs in the Washington, D.C. area. Locally, Cold Hearted Band performs mostly in Prince George's County, Maryland. Griffith and Prince talk about performing on the road and the differences between a local crowd and an out-of-town crowd. Discussion includes their thoughts on women go-go bands; experience working with female singers; respect or lack of respect of females in lyrics of rap, go-go, and hip hop music; and the media's negative coverage of go-go music, particularly connecting go-go to violence. They stress go-go does not promote violence; it brings peace and togetherness. Griffith and Prince talk about the future of Cold Hearted Band, and provide advice for up-and-coming, and current go-go bands.
Interview. Related to 'Citified: Arts and Creativity East of the Anacostia River.' Dated 20110503.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Linda Leaks - co-founder of Empower DC - talked about her passion for limited equity housing cooperatives. She detailed her experiences while organizing and forming housing cooperatives, and the obstacles she and the community overcame in regards to securing housing cooperatives. Leaks talked extensively about housing, including public housing, rental housing, and mixed income communities, in Washington, D.C. She also detailed Empower DC's work with residents in Ivy City.
Interview. Dated 20110525.
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Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
This series include interviews with various artists and civil leaders participating in the Community and Creativity project.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Community and Creativity Project Records,2010-2012, Anacostia Community Museum Archives, Smithsonian Institution.
