Equity Rising S2 : Episode 5
Equity in community arts & culture with Jazmyn Scott
“I’m a Langston baby. I grew up coming in and out of that space,” says Jazmyn Scott, referring to Seattle’s historic Langston Hughes Performing Arts Institute. Now, as the director of programs and partnerships for Langston, the non-profit arts org that leads programming for the larger organization, Jazmyn is continuing a life embedded in Black arts and culture and ensuring that others have that same access.
Trae and Jazmyn talk about coming up in a family of radio-makers, creatives, and movement organizers and what it takes to program and produce a Black arts institute in such a way that pays that lineage back, and forward.
You can find out more about Langston and their offerings and check out their offshoot, the Black Film Festival.
This week’s Chime In is especially personal; Jazmyn’s mom, Vivian Phillips (herself a venerated arts, culture, and media leader), introduces her daughter by way of an idea she sees so clearly in her: “serve your people first.” Vivian co-hosts a podcast called DoubleXposure and runs an arts platform called Art Noir.
This episode was producedby Julia Drachman, edited by Erika Hope, and mastered by Josh Berl. Description was written by Laura Cassidy. Transcribed by Susan Moskwa.
Transcript
Vivian Phillips 00:02
I know Jazmyn Scott as, first and foremost, my daughter; she is my oldest daughter and my middle child. And turns out that she is the one that, out of my three children, probably spent the most amount of time with me in art spaces. I see Jazmyn Scott as an equity changemaker first and foremost, because she comes from an environment of service first. And within that service-first concept, there is serve your people first, whenever possible. So this has led to her inclination to work in spaces where people who look like her and have been marginalized, and are in need of the most support, that's where she tends to gravitate. I think that Jazmyn also understands that equity is kind of a new age way of thinking about Power to the People. Essentially, it's a Power to the People kind of concept which comes out of the, you know, Black Panther movement, for the most part; but when you have a passion for your people, and a desire to be a part of making sure that your people are whole, you lean completely into the act of restoring that power. And so equity is really about restoring stolen power. It's not about how many people of color sit on your board. It's not about, you know, how many people of color you reach in your programs; it's about who's making the decisions, and that those decisions are being made through a lens that restores power. So that's how I see Jazmyn's function as an equity changemaker. My name is Vivian Phillips.
TraeAnna Holiday 01:48
Welcome, you guys, to Equity Rising: Season Two. I have an amazing guest with me today: Jazmyn Scott is in the building! So we're getting to do this in person for our first time this season. And I'm excited for it. Jazmyn, thanks so much for joining me.
Jazmyn Scott 02:04
Yay! I like in-person. Tired of Zoom.
TraeAnna Holiday 02:08
We've been on Zooms and getting Zoomed out. I agree. So the fact that, you know, you work right down the street, and we're in close proximity makes it easy. Yeah, yeah. We're gonna start with our First Things First. We love to ask everyone this question. How are you taking care of yourself right now?
Jazmyn Scott 02:28
That's a great question. And it made me actually think about it, too. And one of the things that I've been trying to put into practice is just, like, being intentional about setting boundaries. Just, like, not even with other people; of course, with other people, but more so, like, with myself. You know, we work from... we've been working from home for the most part for over, you know, a year and a half. And that makes things really hard, right? Where you just work. You can just end up working, working, working, and not really paying attention to, like, taking a break; stopping at a certain time; not working on the weekend; you know, things like that. And so I've been reminding myself to put limits on not overworking myself. And at the times when I have to, then I try to look ahead at my schedule and see where I can take a half a day off, or a day off. Well, you know, take some time off, to give that time back to myself to just do nothing, if I don't want to do anything; or do things that don't pertain to work. You know, and so one of the other things along with that is that I've started back, like, just thinking about, like, my overall, like, well-being and so getting, like, bodywork done (and I know that sounds weird, because people think, like, bodywork — are you getting plastic surgery?). No, not that. Body work in terms of, like, you know, massage therapy, cupping, you know, like, spinal alignments, things like that, like, you know what I mean, like, because also, like, when you're working too much, you're not really paying attention to, like, how you're taking care of your body; you know, my posture, when I'm always sitting at the, like, the kitchen counter working or whatever, all those things kind of — and your sleep patterns, too. So that kind of throws you all out of whack. So I'm getting back into, like, making the time a couple of times a month to get that kind of stuff done. So that, you know, I can maintain a little bit of myself 'cause you know, we're not... we're not so young anymore [laughter]. So, you know, we've — I feel young in mind, but yeah, this body is like, girl. So. You start to feel certain things. Yeah, yeah. Cracking and stuff [laughter]. So I want this stuff to crack in the right way. Yeah.
TraeAnna Holiday 04:53
I love that. And it's the first time that, you know, we've heard somebody respond in that way. I think it's so important. You know, we talk about paying attention to the body. I think you're absolutely right, that there's this thing that's happening, and I think that it's really benefiting companies and the institutions and stuff we work for because it's harder to really take those breaks when you're in the comfort of your home; it's very different than, you know, you actually having those two 10 minute or 15 minute breaks that are embedded in your schedule. And, like, folks like, "No, get away from your desk," right? Go take that walk or go out for lunch or whatever; it's very different. And so thank you for sharing that. Because I think it's really beneficial for us to kind of hear how people are doing it. And really, with regard to the guests that we have here on Equity Rising, it really is about showcasing equity changemakers, right? So, there's so many different ways that that shows up in our lives and the ways that we practice it, that it's — for majority of our guests, it's not about just the job they do. It's about who they are. And so the way that you're approaching things is very specific. And so thank you for sharing that. I'm glad you're getting some you time.
Jazmyn Scott 06:05
Well, and the reality is, is that if I'm not good to myself, then I'm no good to the rest of you guys. And so much of what I do is for public benefit, right? It's not about me. So if I'm in a bad space, oh, it's clear. If I haven't — if I'm not getting the right kind of rest and sleep and, you know, balance in my life, then it shows up in the way I perform. And so I don't want that to be the case. And so I have to make sure that I'm making space for myself personally, so that I can be the best me for y'all.
TraeAnna Holiday 06:43
There we go. There we go. We benefit from it. Thank you.
Jazmyn Scott 06:47
I'm trying.
TraeAnna Holiday 06:49
Well, we're gonna dive right in here. You know, I want to make sure really the audience knows who Jazmyn Scott is, what it is you do; just tell the audience a bit about yourself, and the institution you work for and the ways that you're kind of providing equity right now to the community.
Jazmyn Scott 07:04
Yeah, so I'm the Director of Programs and Partnerships for Langston, the nonprofit, which is housed in the Langston Hughes Performing Arts Institute; hopefully your listeners know the difference by now. We've been around as a nonprofit, we're going into our sixth year, I believe; I think we're hitting year six in October. So yeah, like, we've been doing this work and the nonprofit was really created out of community giving feedback to the Office of Arts & Culture about what they wanted to see happen in the historic Langston Hughes building. The Office of Arts & Culture operates that building, and they made a decision some years ago that they would no longer do the programming — the primary programming in this space, and really hand that over to the community. So the way that they did that was to have the community basically develop this nonprofit. So over several years, about three years, it was a process of different people in the community, adding, you know, their voice to shape what Langston is. And of course, you know, it's taken on so much more since we started our work in 2016. And so we hopefully are just kind of continuing with what those folks had initially intended and doing even more. Our tagline is "Cultivating Black brilliance." And so that's really at the root of everything that we do. We're here to amplify Black voices, Black artists, audiences, we really cater and center them, and the artistry and the brilliance of Black folks. And it's not just art; it's Black art and culture that we focus on. And so it's also making sure that we're providing programs that also speak to other needs in that community — health and wellness, you know, that general well-being... Some of our programs make sure that we try to have... we address those types of things. We, you know, do a collaboration with Cierra Sisters for World Cancer Day, and focus on Black woman and metastatic breast cancer, you know... gosh, you know, we include health and wellness in our annual We Out Here festival that we celebrate during the week of Juneteenth. And so there's just a lot of ways that we try to make sure that we're uplifting Black folks and keeping Black folks at the center of everything that we do, and maintaining the legacy of what the Langston Hughes Performing Arts Institute was really kind of created for, which I know we'll talk about a little bit later.
TraeAnna Holiday 09:38
Well, yeah, I mean, that's exactly what helps me get into the next kind of question here. Because when we think about that legacy, right, you have been, you know, a part of it for a really long time. So how did you get to this place where now, you know, you're working for Langston and, you know, a bit of your background that really makes you such an amazing person to be in that specific position.
Jazmyn Scott 10:04
Yeah, I mean, sometimes I'm just like, look at God, look at how God works. Because, yeah, like, I'm a Langston baby; which, you know, so many of us that are from this community are and, you know, we grew up coming in and out of that space. So, you know, I've told you this story before; it's probably been on, you know, different iterations of different things that I've done with you. But kind of in short, you know, I mean, my parents had my sister and I involved there as, like, school-aged children, you know, when it was run by the Parks Department, and they would do, like, summer — like, day camp. We were doing day camp at Langston Hughes. And then in the early 90s, my mom was like, this girl got it, she needs something to do. And Steve Sneed was the director for many, many years at Langston Hughes and is also really good family. And today's his birthday, by the way. Happy birthday, Steve Sneed! I know this is gonna air later, but shout out to Steve. But he's a really close family friend. And my mom was like, "Put Jazmyn to work." And so starting at the age of 12, I was working at Langston Hughes every summer. And so of course, at 12, you know, they were paying me under the table kind of thing. It wasn't like a real job, of course. At 12, I was like, I got a job, where I'm making my own money [laughter]. And so that started and then I think by the next year I was eligible to actually work in, like, what was like the YES program, and summer youth employment and things like that. So I could officially work there. And so I worked there every summer, throughout my teens, and also just kind of on call, you know, when needed, you know, if it was throughout the school year, after school, things like different programs, you know, I would go and work. So, you know, Langston Hughes is really at the foundation of like, who I am professionally; like, that's where I learned how to work, like, have a job, take some direction, work in a professional setting; but also, in the same token, like, work in a professional setting that was also really, really rooted in community. And, you know, that's just how I was raised. You know, my mom always had me going around to everything that she did. And so, you know, I was like, a community child, you know, at different, you know, all the festivals, all the events, all the meetings, all... you know, the things that weren't so fun, but it really gave me that exposure, you know, to what community looks like, and why it's important, you know, that we have all these people. And, you know, there was always people, whether I liked it or not, that were looking out for me in the community; you know, when I was trying to be bad, it was obviously not what I wanted [laughter], because I was getting told on. But you know, in retrospect, it's like, you know, I don't see as much of that anymore. And so it feels really blessed to be able to look back and say, Man, when I was running around here in the Central District, there was always somebody that was making sure that I was okay. And a lot of that started with the time that I spent at Langston Hughes. And so that carried on, you know, even beyond my kind of teenage years; I always kept a relationship, you know, with that place, and some of the, you know, important programs. And so I would come back, they would ask me to, you know, come help with the film festival, you know, different fundraising programs and things like that. And so, you know, I was just always involved. And so, when this transition began to happen, I was really paying attention to what was going on with the Office of Arts & Culture, and what they were doing with Langston Hughes, kind of how that shift was happening. And so when they finally made the decision that they were looking to hire, basically, their — on contract, a program manager, somebody to start the work of the organization. So after they kind of figured out, okay, this is what we are, this is what we're gonna do, they had a board of directors who kind of had an outline, and then they were like, We need somebody to do it. So you know, that call went out, and I went and interviewed, and it was like, Who else are you gonna hire? [laughter] There's no, you know... who, who but me, you know; that was my approach. And you know, and so I went through, of course, all my experience, and of course, you know, some of these stories; but it only made sense, not only to me, but I think everybody else, that I'd be the one to come in and get that work started. So in 2016, I came on on contract to start the work of Langston and so I was basically like the only employee for a year and a half, until we hired our first Executive Director, Tim Lennon. And Tim and I have been working really closely ever since as a small but mighty team, and we actually just made another hire which will be announced. But we just made another hire recently. So, you know, we're a team of three now, after so many years, and so we're slowly growing. But that evolution has just been amazing.
TraeAnna Holiday 15:14
You know what, I gotta say, it doesn't — it amazes me every time. I don't care how many times I hear iterations of this story, right? Like, you know, I was so excited because, you know, having you on other platforms and stuff I said to you, Jaz, when you come onto the podcast, we're gonna do the deepest dive, we're gonna get into it even more, we're gonna go even longer. And I think that, you know, you are so fitting for it. But it's not just about the past that you have with Langston; it also connects to your parents. I mean, you really come from a legacy, in terms of your family, of people that have really been rooted in arts and culture, with their own careers and their passions, and the ways that they were so connected to community. Let the audience know a little bit about the history and legacy you come from; that brought you to where you are today.
Jazmyn Scott 16:03
Yeah; I mean, it's a trip, I mean, to, you know... it's a trip for me when I hear sometimes when I hear other people talk about, you know, my parents and my family, you know, because it's just like, that's just how I grew up, that's just my mom and my dad, you know, whatever. But it's really awesome. And it really is because of them, you know, that I am who I am today and where I am today, right? So I'll start with my mom. And I never know how to just fully describe her magnificence. But my mother is, you know, people call her an "arts instigator" kind of to general... you know, to... because you can't, there's so many things that she does. She's a consultant, she's a... she's just... she's just the shit [laughter]. You know. But she's been involved in the local arts scene for, you know, over 40 years, she — and the community as well; just like grass roots, community work, and arts. Right? So that intersection, which is... I have to make sure that I talk about because that's what's also like, that's what I do, right? Like, there has to be that intersection of, like, arts and community, and especially when we're talking about, like making sure that Black people have a voice and Black people have a platform, like, you can't do one without the other I don't think. And she really, you know, provided that example for me. So I mean she, you know, I remember when I was really young, she was a part of this organization called 101 Black Women. She's been, obviously, in radio. She was in radio for a few years in the late 70s, on air. She has done television broadcast. She did a local television show for many years, I think while I was in high school, called True Colors with Enrique Stanner; do you remember him? I think it was like Channel Five or something like that; great show. And, gosh... she has also, you know, produced... she's a theatre producer, arts producer. So when, you know, a lot of people have a lot of nostalgia around, like, the MAAFA Suite and Sankofa Theatre. She was the producer for those productions in the early 2000s when we put those on — the Seattle Theatre Group. She was the Director of Communications for the Seattle Theatre Group. She even was an Interim Director at Langston Hughes for a while when they were doing a bit of transitioning, you know. She's boards, boards, boards, boards; she was the president of the Arts Commission for a while, Seattle Arts Commission. I mean, I don't — right now she has a podcast with Marcie Sillman called DoubleXposure, which is awesome. So they take deep dives into arts not only locally, but nationally and internationally. And they're just a — they're an awesome pair too. Because Marcie, if people don't know, she was on KUOW for a really long time. And then she also just recently launched her website, Arté Noir, where again, it's all about Black art, locally, nationally, internationally; she highlights artists of all disciplines from all around the world, with some local spotlights as well. And there's some big stuff happening with Arté Noir in 2022, which we won't get into today. But just keep that name — Arté Noir — on your minds. And so yeah, like, you know, I'm her middle child, and so I was the one that was just with her all the time; still today, like, that's my BFF; we live three blocks away from each other [laughter]. And so, you know, we're always together, or we're texting or emailing or downloading with each other and just bouncing things off of each other's heads, contributing to each other's work. You know, with me being grown and kind of being a little bit more established in my career now, you know, she's able to come to me too. And so that's really special, to have that type of relationship with somebody who, you know, people think so highly of, and I'm like, wow, I got it honest. That's dope. And then, of course, my father was in radio for... his career in radio spanned over 30 years; he started on the radio as a teenager. So I think he was about 15 years old; when he was in high school. And, you know, I remember telling that story with you on the Morning Update show. So I won't get into all those details, but because there's so many details that I can't even keep track of; but, you know, he was able to start kind of with, like, a high school radio program. And then, you know, he was able to get in the door with a, you know, a few different radio stations; he was known for being on KYAC, which, of course, is no longer a station anymore. But that was the Black radio station in the 70s. And then switched, actually, to KFOX, which was the station that we listened to when we were growing up in the 80s. And he was on air; he was an on-air personality. And he also did, you know, like, back end marketing stuff as well. And he is known as the first Black on-air personality in Top 40 radio in Seattle, and maybe even this region; I'm not positive. So he's very, you know, known for that and kind of blazed the trail, as they say, for a lot of other radio disc jockeys that came after him, you know, Nasty-Nes (who I call Uncle Nes), for folks, you know, that grew up in our area/era, remember him and he always attributes so much of his career to my dad, because he was young and coming up and listened to the radio, looked up to my dad, and then my dad was able to mentor him. And then he went on to launch, you know, his hip hop shows and everything on KFOX and do all the amazing things that he's done. And so my dad kind of opened those doors for Black people and people of color to be on air on the radio. So he did that for his entire life. Unfortunately, he did pass away, gosh, it's been years... it was 1998. So he was only about 45 when he passed away suddenly, but he did live his entire life doing what he loved, which was radio. And so you know, again, with that growing up, for me, I got to do commercials. You know, so I got to do voiceover work as a kid, we got to go to all the concerts because he got all, you know, the tickets to the concerts. So I, you know, growing up, I saw everybody: Janet Jackson, you know, New Edition, Bobby Brown, Jody Watley, Truth. Like all the people that we listened to when we were kids, I was - I'll be sure about who I loved growing up. All the people that we listened to, you know, I got to be at those concerts as like a 10 year old kickin' it, because of what my — and meet, you know, local celebrities and stuff, just through the work, you know, that my parents were doing. So, you know, that was just the norm, the norm growing up for us.
TraeAnna Holiday 23:35
[Sigh] The norm! I mean, it's so amazing. It's like art elite in that live community, and it literally is, it's like, you know... I can't describe how dope that really is, right? And like, and what, you know, all of that really produced; because I get to see you now on this side of it, right? In community and staying so engaged and connected. And you have a history before Langston, that also had you connected to community doing events. I know we talked a little bit about you working at the Atlantic Street Center. And that's a place where my mother also works. So I understood; it's such an institution in our community. And now let's hear a little bit about your beginnings. Because that was like, you know, you cementing yourself in your career and really starting this path on your own.
Jazmyn Scott 24:26
Yeah, so I was with Atlantic — prior to, you know, my work at Langston I was with Atlantic Street for 13 years. So I spent the good bulk of my 20s and 30s, you know, at Atlantic Street Center, and was really able to, you know, kind of grow within that organization. And that's a historic organization that's over 100 years old. And you know, they primarily focus on serving African American and other families of color. They're a social services agency and so they're not arts-focused. But that's where I got, like, the community. I got to really, really, really be involved in, like, touching the community through the work that I did. So I worked a number of programs within Atlantic Street Center, but the way that I was able to kind of, like, bring in the arts — my passion for the arts — into my work was through some of our, like, one-off activities and things that we do especially with either in the community or with youth. And so one of the things that I praise Atlantic Street for is that they always celebrated — celebrate (they continue to) — they always celebrate Juneteenth. And that's before it became as widely known and popular as it is today. People weren't always, like... people didn't know what Juneteenth was in Seattle, like, let's be real. So, you know, there weren't a whole lot of organizations that were doing these annual community celebrations and Atlantic Street Center was. And so, you know, a couple of times throughout my tenure at Atlantic Street Center, I was able to help organize those Juneteenth celebrations that would happen in the Rainier Beach neighborhood on Rainier and Henderson. And so we'd partner with the Parks Department, with the Rainier Beach Community Center, and utilize that plaza on Henderson. And so I would bring the talent, you know; of course, like [laughter], I know, you know, when you grew up at Langston Hughes, you know everybody who does everything. So, you know, that's why I would be able to bring in, you know, DJs, dancers, singers, spoken word artists, drill teams, like anything that you can think of, you know, we would bring in entertainment. But that was also tied into whatever message we were trying to get across, when it came to how we celebrated Juneteenth. So that's something that we did, that I would do, to kind of bring the arts — arts awareness, I guess I would say. And then the other piece is with our youth programming, you know, we would often do break camps and things like that when the kids weren't in school. And so one... I remember one year, I brought in, like, Topspin, and he did a DJing workshop with the school, and these are school-aged kids. And so he brought in all his equipment and taught these kids, you know, the basics of DJing, you know, with the turntables and the laptop and the technology; don't ask me what it is, but he did it with the kids. But then I brought in, like, Maxie Jamal who's a dancer and choreographer, and she did dance workshops with these kids and taught them some simple choreography that they could learn and perform. You know, we've... I think Adelia, I think she might have did Juneteenth; I don't remember if she did a writing workshop, but I would bring in different people to do writing workshops with the kids. And you know, we even took — when I did the exhibit, co-curated the exhibit at MOHAI, we took the kids down to MOHAI to see the hip-hop exhibit. And so, you know, I was... I always liked, you know, those kind of parts of my worlds to intertwine, to collide a little bit. And so that was a way to show the young people in the community how to engage with art, and that it's something that you can do, it's attainable to you. So by bringing people to them, you know, that are doing things that they're interested in, was really fun for me. And I think it left some lasting impressions for those kids.
TraeAnna Holiday 28:32
Ooh yeah, for sure. It just continues on. Because I think that was really, that's... for me, when I think about equity changemakers, I really think about the things that drive them. And the ways that those drivers show up in their engagement in the institutions they work for, companies, I don't care if it's corporate community, whatever. But there's always this thing that's, like, these internal drivers, and they show up in a wide variety of ways. And you were doing it there, right? Because you've always had this artistic connection; you always will, always have; and you were able to bring that into that environment. So I'm sure it left a lasting impression on those folks. And really the institution, probably, too; because it's not something that they can easily replicate. Once Jazmyn's gone, it gets a little harder to like, you know, make those things happen. I think that's really, for me, that's one of the greatest things and one of the greatest gifts around people who really center themselves in the things that they're doing. Because it's not that you were allowing the institutions to make you do a specific thing. You were like, oh, no, I know that there's value in there. And I'm gonna show you there's value in this.
Jazmyn Scott 29:45
That's funny. I never, you know, I never thought about it that way until you said that because one of my best friends still works for Atlantic Street Center. And it's funny that you know, from time to time she calls me and she's like, Aah, I'm trying to do this and I need help with this that and the other. You know this thing, you know the dance; like, give me... I need... you know, and so that's... it didn't occur to me, but you're right. You know, because, yeah, I mean social services, I don't think that they think, necessarily — when they think about, like, art — because it's a mental health-focused organization, so I think when they think about, like, art therapy, it's just about drawing or whatever, which is great. But that's not the only way for people to be expressive and to release and stuff. And so that was my thing, was like, kids need releases in all kinds of different ways. And we have to show them, you know, that it's more these — I can't draw, so I can't relate to that. So if you ask me to do therapy and to draw, then it's gonna be stick figures [laughter]. It's not going to be very effective. But I can take pictures. And so if you expose me to photography, then there you go. I love music. If you expose me, you know, to ways where I can participate in making music or engaging in music, then there you go. So that... I think that that's what's important. My heart is so vital. And just like everything that we do.
TraeAnna Holiday 31:10
It's truly multifaceted, right? And there was a time in my life where I wasn't sure if I would do creative works. And this kind of brings me to, you know, some of the mentors. I know you talked about Steve Sneed. And we've shared some stories around Justin Emeka. And just, he was so monumental in my world, you know, him and Felicia Loud, and I mean, Nana Kibibi. I mean, we share so much, yeah, in that regard, because really, we're just born and bred at the CD, and like, we were here, and that was, you know, those were the folks that were around, and, you know, they were pouring into us. But I think about the time where I tried to kind of get away from the creative field. And I remember, you know, hitting up Justin, and I'm like, Uhh, you know, this program, you know, these actors, they're not about characterization. I was so into, oh, they don't know what they're doing. And I'm going to do something else. I'm going to, you know, become a physician's assistant. He just laughed, and he was just, you know, he's like, Oh, yeah, no; like, you're one of those people, like, you will always find a way to bring creativity into your world.
Jazmyn Scott 32:15
Yeah.
TraeAnna Holiday 32:15
And I thought he was like... I was like, No way. Like, you know, I know I can be logical, and I could do this work, right. And I look at where I am today, and I just laugh at that. Because, you know, our mentors really are folks that I think, particularly around arts, there's something special about that mentorship relationship, because they see you at your fullest when you are creating. What are some of the ways that you find that those experiences from your childhood and young adulthood, have now allowed you to have this vision? You know, as you think about programming for Langston now?
Jazmyn Scott 32:53
Well, I mean, I just want to say, too, isn't it amazing how people see us in ways that we don't see ourselves? Especially, you know, in our formative times, where, you know, we're trying to figure life out for ourselves, and we think we can just snap our fingers and okay, oh I'm not gonna do this anymore. I'm'a go do something else. And our people are like, No, you're not.
TraeAnna Holiday 33:14
Right!
Jazmyn Scott 33:15
Like you're in, like, this is what you're meant to do. And I just find that so amazing. And I'm glad you brought up like those names. Because, yes, you know, exactly the same, like, those people, in addition to so many more, are the people who always rooted for and continue to root for us, right? It doesn't matter how old we are, how far along in life we are. Those people are still like, You're doing a good job. All I need to — I don't need you to go into detail about how I'm doing it. But for certain people to be like, I see what you're doing, and you're doing a good job. That's validation for me, because I know that they know what it's taking. Everybody isn't — you know, there are people who be like, Oh, that's great. You're awesome, whatever. But they don't really know what it takes. And so it's kind of surfacey when it's like, you know, people think that working in the arts is just all fun. And it's not. You know, I'm an arts *administrator.* I'm not an *artist,* necessarily. So this is not easy work. Working with artists is hard [laughter]. Let's be clear. They don't be on time. They don't communicate with — God bless all you artists, because it's your creativity that drives so much of, you know, what we do; but, you know, it's difficult. It's challenging. And so, you know, people like Steve who really just were an example. And they didn't... it was never like this... never... I can't recall any time where any of those people were like, You have to be this way, or you have to do things this way in order to be successful or to do, you know, make it here, you know, whatever. They just led by example; they were just examples. Steve Sneed was an exemplary example of a leader in a community space. And so when I think about how I want young people, especially, to feel when they engage with programs — or not even programs, just coming into Langston Hughes — when they talk to me, wherever I'm at, I want them to feel the way Steve Sneed made me feel, which was welcome. Accepted. I always had a place. And that's one thing Steve made sure of: he never turned any young person away. And you know how it was up here when we were teenagers; it was a little rough; it's sometimes unsavory. You know, we — everybody wasn't doing all the right things. And if they came into Langston Hughes when Steve Sneed was there, he welcomed them. He never made them feel shame about who they were, or what they were doing. You know, he got to know them, even in the slightest of ways; to, you know, figure out if he can make a space for them there. You know, one example I give a lot is that, you know, everybody's not a performer, right? Everybody doesn't have a desire to perform. And so that's one thing: to be able to come and engage in, like, the teen musicals and plays and things like that. But what if you're interested in light design, sound, set? He would get to know people in ways where he could kind of just figure out how their brain worked and be like, I got something for you to do. And then there were young people running lights for shows, like major shows, it didn't have to be just the youth shows, it was whatever productions were happening. And so it was things like that: that's a legacy that I want to carry on, you know. I don't want that to be lost within what Langston, what Langston Hughes Performing Arts Institute is. And then of course, you know, you mentioned like, Justin Ameka, Felicia Loud, you know, we got Darcell Hayes, we got Rico Bembry, Sheree Seretse... like, so many people who were just there, like you said, pouring into us, you know, and really becoming family. Justin is not my friend; that is my *brother,* you know what I mean? He's been my brother, since I don't, you know, however old I was, like, that's my brother. And so, you know, his kids are my nephews, my godsons, you know what I mean? And so it's that kind of thing where you become so close in a space that's meant for us, that we're supposed to be in, where we can explore our creativity, express ourselves, be who we are, who we want to be, and come together in community. And then what becomes of that? Like, we're all family, like, for real for real, and they're continuing to support us. And so, you know, like I said, those people coming back to this day, and being like, Wow, you know, especially the elders who really kind of laid a foundation and have seen things kind of be rocky from time to time. For them to say, This is great. Like, I really like what you're doing, or I appreciate what you're doing means a lot, because I hope that that indicates to them that their work isn't lost; like, they didn't do it for no reason. You know, we were paying attention even when we were cuttin' up [laughter]. I always have to insert that because I was no angel, okay?
TraeAnna Holiday 38:44
Well, you know what, you're right: there's a life long lasting impression that those formative years really have on us. And I think about all of the things I was able to do in the creative space that, you know, I — when I was trying to, like, I was hitting my head in the corporate world, right? Because I was like, how is it that all of this experience, you don't understand the value of it, right? And there was this thing for me because I was so poured into that I always knew the value of it, right? And I think I was working through a lot of that to get to a space where I was able to utilize the knowledge I gained through those experiences to benefit the current thing I was doing. And that's where I had some of my own struggles in my career when I think about, you know, forming myself as a person who was like, I know I'm a creative, but I guess I'll do this bit right now. You know, I know that that's always there, how can I infuse it in where I am?, just like you were doing at Atlantic Street Center; same thing. And I think that there's so much that I carry with me from that timeframe, of just being able to create and perform and, you know, and be, you know, inspiration for others, right? And I think that that's really — when I think about equity, you know, for me, that's really one of the things that is a constant driver for me. Because I realize that there's a lot of things that we may do, particularly in Black communities, that, you know, inherently it's almost all equity work. Because, you know what I mean? It wasn't like, Hey, here's the pathway, this is just, you know, it's all laid out for you. You just, you don't know; there's so much that you're doing in terms of, like, building it brick by brick to understand, like, this isn't just about me doing something that's great, or producing a great show, right? But it's about me also being able to utilize my opportunities and my leverage in any way I can to provide that space to showcase this brilliance, right? Particularly in arts. And so I know you have a real specific lens about how you approach a lot of the programming that you guys are doing right now out of Langston. What are some of the things that you really are excited for that you guys have done? You guys have been doing some amazing things there, in terms of the shows, programming, you guys have some reoccurring partnerships... I know you mentioned the Cierra Sisters... But there's so much that you guys are producing, really, it's phenomenal that you guys have had such a small team [laughter] all these years with the output that you're giving into community. But what are some of those things that really are constant drivers for you?
Jazmyn Scott 41:20
Yeah, I mean, we were able to, you know, obviously take on the film festival, you know, so that was created out of the folks that were running the Langston Hughes Performing Arts Institute several years ago with some community members, and they decided to start this... what they... what was then called the Langston Hughes African American Film Festival. And when — and, of course, so it was supported through Langston Hughes. And so when that transition happened, and Langston Hughes was no longer — you know, the city essentially was no longer doing programming, then it was important to us as the nonprofit that we pick that up so that that program could be maintained. Because it's one of the most — I feel like it is probably one of the most popular and known programs that has come out of Langston. And so this year was year 18. And so we rebranded it a couple of years ago and changed the name to Seattle Black Film Festival for a number of reasons; one of which, you know, "Langston Hughes African American Film Festival" is a mouthful [laughter]. And we wanted the focus on it to be that it's a Black film festival in Seattle. There's no other Black film festival in Seattle. And so we, you know, while the Langston Hughes name is important, the connection outside of Seattle wouldn't make sense, right? When we're trying to connect with the filmmaker community, the film lover community, you know what I mean? Just the film community in general. What... that kind of, what makes... necessarily makes sense. And so having a name that's shorter, and that's straight to the point — Seattle Black Film Festival — is like, Oh! You know, people are always like, There's Black people in Seattle!? Mmhm, and we do a film festival. And by the way, we got this organization called Langston, where we do so much more. So the film festival is one of those things, while it is A LOT [laughter] — it is a lot of work — it's really fulfilling, and especially the way that we've been able to kind of grow it as the nonprofit, and over this, you know, COVID period, doing two virtual festivals now, and moving forward, doing — having some virtual aspect to it, and all of our programs from here on out, is really, really meaningful. And then, you know, we have had this partnership with Seattle International Film Festival (SIFF) to do youth filmmaking workshops, which our series is now starting again. So we have some starting up this Saturday. And then we'll do some in October, and then a Thanksgiving one as well. We've been able to engage young people in filmmaking. And just the real basic, we — you know, they're grouped with adult mentor teaching artists. And it's called CRASH because it's basically a crash course in filmmaking, where they get together in their groups, they determine what it is their story's gonna be, and then they get to storyboard, figure out who's gonna do what, who's gonna shoot, who's gonna act, who's gonna edit, who's gonna do all the things within, like, their five or six person group of kids, and their mentor, and then they go out and shoot. And then at the end of the day, you know, they edit and do all that. And at the end of the day, they present their short films. And so we're really excited to continue that, and then kind of see what develops out of that, working with more community-based people to continue to provide that kind of programming. No shade to SIFF, because they really helped us get that started. But the purpose of them helping us to get that started was to pass it on to us so that we can continue it on with or without them. And so that's the process that we're looking at probably starting next year, is how can we really just make this a fully, like, community-involved, Black, you know, program from top to bottom. So, really excited about that, and having that as an ongoing youth program. And then as you know, we're still trying to figure out how we can engage youth in other ways. And, you know, that's a challenge to an extent. But I think, as we continue to grow our offerings, both virtually and in person, we're going to be able to kind of expand our reach and reach people in unique ways. And so there's been a lot of ideas on how to reach young people, of course, through technology. I don't know TikTok and things like that, but I know YouTube, all that; but that's the way to get 'em. And so bringing in the experts who know how to work with young people on that level, and sit in, you know, getting them to make, you know, short, like — be content creators, essentially. And so we're looking forward to being able to hopefully launch some different types of programming like that. And then like you said, you know, our ongoing partnerships, Cierra Sisters, Restoration of the Arts... gosh, I mean, We Out Here with Michael B. Maine... There's so many. I mean, and then we have, you know, kind of we do programming with Seattle Public Library, Elliot Bay Books, do a lot of literary events. We have some coming up this fall. Seattle Theatre Group, I mean, the list goes on.
TraeAnna Holiday 46:34
You guys just produced Earshot, Let the Strings Speak, too.
Jazmyn Scott 46:37
Yes. And then, and then that one, and then that one. That's one of our favorite ones, one of our favorite programs. And it's really, you know, not only because of what the program is, which is so phenomenal, but the *people.* The people who are involved in that project are just incredible Black women. And I always, like... y'know what I mean, real talk: like, Black women, we're just kind of at the foundation of everything, if you really think about it. Like, look at everything that's going on: who's the reason why? [laughter] You know, it's us. And so let the stream speak with, you know, the driving force, the visionary, being, you know, the incomparable Dr. Maxine Mimms, and then Lesa and Mona Terry, Tonda Hill; their just greatness in what they do to produce that event is just amazing. I mean, like, the music already, right? Like, Black people just playing these stringed instruments, and composing, it's just some of the most beautiful music you'll ever hear. And then the intention when they talk about, you know, the themes that they put together when they're doing these annual productions. And what those themes mean to them. And what they're trying to tell us through the music is just incredible. So we really, really love being able to co-present that production every year. Because it's just, you know, I love kind of this different, like, out-of-the-box, like, you know, just because it's Black don't mean it's always hip-hop, or it's always our — which we're great at! But we're also great at everything else. Everything else, right? And so putting those things on display, you know, putting Black writers on display, you know, authors and things like that, like, that's what I really love is like, you know, we want to show you this little something different. And sometimes I know that that can be a little uncomfortable for folks. And I think that that's been my personal challenge, is like, What's wrong with y'all? Come, come — this is amazing! You know, but it takes a little bit of finessing to get people to understand, like, this is also incredible. And you should be a part of it.
TraeAnna Holiday 49:02
Well, the great thing about it is that there's been so much programming, honestly, that is changing the game, when you think about how intentional you have to be to build up to what people's expectations may be, of what it is. And I think that that's really so key to it when we talk about, what are some of those drivers? And I just love that you just described a wealth of programming that is attacking people and touching people wherever they may be. And then also bringing them in, if they're a little bit on the outside of it; like, Well, this is what this looks like. And this is how you can engage with it. But so much of that goes back to that tagline of "cultivating Black brilliance." And when we think about that there's been all of these changes with the neighborhood and the demographics of the neighborhood, and connecting with Black youth is not necessarily as easy as it was back in our day, right? We were just already here.
Jazmyn Scott 50:02
Yeah.
TraeAnna Holiday 50:02
You know, it was like, that was like the neighborhood place to go after school and stuff. Like you said, there was a after school program. There was a lot of Black people here in the Central District. But not only is it the changing of the demographics, but now we have the pandemic. So it's kind of this, like, multi-pronged litany of things you have to actually deal with and maneuver through in order to even produce some of these things. And how are you dealing with that and dealing with, you know, the fact that now connecting is different? You just talked about digitization, right; you talked about the partnership with SIFF. I think those are some of the ways that really speak to it. But this pandemic is shaking us all up. And when we think about how we keep an equity lens on the ways that we're engaging with community, it takes a different approach right now.
Jazmyn Scott 50:49
Yeah; I mean, I think the pandemic, like, pushed us forward to something that we were already trying to get to. But in our minds we were like, We're working on it; you know, we were kind of like sluggishly like, Okay, we got to figure out how we can *also* present our programs virtually, how we can *also* livestream while people are in the building as well. So we have been talking about that pre-pandemic, and then the pandemic hit, and it was like, Oh, okay, so we got to figure this out. And so that's what we did. And so I guess, you know, the beauty in it, if you will, is that we've been able to figure that out and continue to figure that out. Because it's really important to be able to meet people where they're at. And that has been really helpful for me, because, as you know, like, the frustration is, because we're not here, like, we were trying to think out of the box; like, how do we get people here? And how do you plan a program? You know, there's so many things that go into thinking about how you're going to plan your program, or a little event, like, Okay, well, if we do it in the evening, and it's on the weekday, then you gotta think about the fact that people work, and they might work downtown, but they might live in Federal Way. So they're gonna have to go home, get their kids situated, make dinner, and then think about if they want to drive back to Seattle for a hour-and-a-half program and then drive back... Y'know, ALL that. And that's really a lot of the reason that people weren't, like, the butts weren't in seats. The Black butts, let's be clear, weren't in seats; because it was plenty of other people who were taking up space [laughter]. And I'm not, you know, it's like, I'm not... I'm not all mad at it, but it's — we're not doing it for them. And so, you know, when we're selling tickets, or offering a program, and it's all the people who it's not necessarily intended for, like, you're welcome to it, but it's not *for* you, that rubs me because then it's like, I'm doing all this work for the benefit of, you know, the people that look like me, and then everybody else is sitting in the room. And so, being able to offer our programs virtually as much as possible really helps to alleviate that a little bit. But, you know, that's one of... that's just what we're doing, is that we're looking at it like that, like this is now our pivot; you know, life isn't the same anymore. And that whole thing of, like, getting back to normal: normal wasn't good anyway. So let's figure out our new normal and figure out how to better approach what we do so that we can make sure that we're hitting who we want to hit. So it's an ongoing thing that we've been working on. And then also, like you said, you know, I really appreciate that, you know, as much as I can't stand this phrase, it is very true: Black people aren't a monolith [laughter]. It's such an annoying because it was, like, overused; and it's just like, okay, we get it. But it's also very true, you know; and I mean, and so, you know, we're not focused on any one thing because blackness is *everything.* And so we want everybody to feel comfortable to engage either in person, or however we're offering this program, this event, whatever; to feel comfortable to participate and feel like it was meant for them. So that's always like a driving factor as well. Like, for me, it's just like my only bottom line — my only, like, non-negotiable — is Black people [laughter]. Beyond that, however else you identify, is... it doesn't matter as long as you Black, you know, because we're centering you. So be Black and great, you know, and come participate in greatness. That's what I hope that's how that feels for people.
TraeAnna Holiday 54:43
Well, I think you're doing a great job because I've been the recipient, and I gotta tell ya, there's so much intentionality in the ways that you're shaping programming there at Langston. I've said it already several times, but just such a perfect person in the job you're doing and literally that centering of blackness really is that equity piece for me. Because there's enough things that are for everyone else.
Jazmyn Scott 55:07
Yeah.
TraeAnna Holiday 55:08
There's enough things that are like, Hey, we're just, it's — no. We really needed to understand and feel that sense of agency and ownership. When we come into space, when we're on, logging on to these programs, virtually, when we're thinking about crafting programs that are going to be specific toward our youth, there's a different way that we do it, when we're that intentional.
Jazmyn Scott 55:31
And this should be, there should be no shame; not to cut you off, but there should be no shame in being able to say that.
TraeAnna Holiday 55:36
Yeah.
Jazmyn Scott 55:37
And that's what I'm trying to remove from the situation. And so I'm very clear. So, you know, when people approach me to partner, you know, where the Black people? Like, what did... you know. Or just be very clear, like, are you wanting to partner with us *because* you don't have a Black audience? Right? And you need to diversify your, you know, your audience? You know, or whatever the reasons are; but let's be clear, let's be honest, and then let's figure out if it's something that's mutually beneficial. Because if it doesn't benefit our folks, you know, then there's no reason for us to move any further. And so, you know, that's usually one of my questions. Does your program center Black art, audiences, or artists? No? Okay. Well, you might want to go talk to somebody else. I won't name no names [laughter], but there's plenty of other places that you can go.
TraeAnna Holiday 56:32
That's right.
Jazmyn Scott 56:33
You know, and so, you know, our spots, our stuff, is far and few in between. And so we have to hold on to that. And so that's what I really appreciate, that the city did: was say, Okay, we're backing away from doing the program so that the city politics don't have to be, you know, spilled into that independent nonprofit. We can say, we are a Black arts organization, and this is what we do. And the politics piece isn't relevant to how we do our work; *we* define how we do our work. And so that's been really, really great for me, because, you know, I've been in other situations where it's like, Well, oh, yeah, think about all the funders; or You might offend a funder if you say Black lives matter or something like that. And it's like, but they... what?? You're not even... that doesn't compute to me.
TraeAnna Holiday 57:27
Yeah.
Jazmyn Scott 57:27
You know, and so we don't have to shy away from any of that. And I love it. I love it. I mean, just be who I am. It's like, ooh, yeah: I can't do anything else. I can't imagine going backwards in doing anything that's not about Black folks.
TraeAnna Holiday 57:43
Yeah. You know, that really leads me to, I guess, my last question, really, Jazmyn. You know, we think about the enormity, right, of what Langston has always been, how you're continuing on. We also think about the legacy you're leaving, and how people are going to remember all of the love and care and intentionality that — oh my God, I'm getting emotional. It happens to me every time! [laughter] Every time, every time... because it's so much, and you're doing so well! What is that for you when you think about your legacy that you're leaving at Langston?
Jazmyn Scott 58:28
I... you know, I don't... I don't... I have not put a lot of thought into my personal legacy, I guess. I want just what I do to speak for itself, so that Black people now, and for years to come, can always go into that space or identify with that space and the organization as belonging to them. It's ours, right? Like, that's what's important to me. And I think that that was instilled in me through, again, Steve Sneed, through my mother, through the people in the community, who made us feel — when we were young and growing up — that that place belonged to us. And that we were welcome to be whoever we wanted to be in or outside of that place. And so for anybody that's Black — because that's my focus is that I just want... I want them to always know that it belongs to them. And so, anything that I have done, am doing, or will continue to do while I am involved in this organization in any capacity: That's what I want to leave behind. Is that. Is the org... like, leave Langston. It's ours. Like, so yeah, it's... I can't think of, from a, you know... I don't need people to be talking about *me* necessarily, but talk about... you don't have to say my name, just say, you know, how great XYZ event/program/class/workshop/Zoom call/whatever it was, was; how it impacted you, how it made a difference. That's it. And if I had anything to do with it, then great.
TraeAnna Holiday 1:00:37
Jazmyn, you're phenomenal. I've said it so many times, just truly such a bright star. And I'm so thankful to know you and to be able to call you my sis, to be in this work with you. It is... it's just phenomenal. I so thank you for giving us your time today. Because as I said, I knew it. And I was just holding on, all the way to the end [laughter]; it was all the way to the end, I'm like, oh, no, here it comes. Because I'm just so incredibly impressed with your output. And, you know, honestly, as a fellow equity changemaker myself, you and I share so many different things. And we've talked about that passion that drives us. And it's just so evident in your work, in your output, in your approach. And the fact that you stay relational through it all; because that, for me, is what I think Black brilliance is really about. It's because we understand foundationally that if we don't have those relationships, what do we have?
Jazmyn Scott 1:01:40
Yup.
TraeAnna Holiday 1:01:41
If I can't go to my community and be embraced in love, what am I doing? Right? If I've done something that's gonna rub folks the wrong way, I'm doing the wrong thing.
Jazmyn Scott 1:01:52
Yeah.
TraeAnna Holiday 1:01:52
And I just appreciate your approach, your brilliance, your care, your love for all of us. Thank you so much. How can folks, you know, get in contact with the programs you guys have going on? If they're looking to, you know, participate or collab with you? How can they get in touch with Langston?
Jazmyn Scott 1:02:11
So our website is langstonseattle.org, or on Facebook as Langston Seattle; Instagram, @206Langston; Twitter, @langstonseattle; I'm jazmyn@langstonseattle.org. Everybody might not know how to spell my name, but that's okay; go to the website, you'll find me. And you can email me through there. But yeah, connect with us, subscribe to our newsletter: that's how you can stay up to date with what we have going on. And yeah, I mean, that's it; we had our mush moment awhile back [laughter]. But, I mean, I can't sign off without also just showing you love and appreciation and also giving you your flowers as well. Like, I'm big on that, you know, because I don't know, I don't feel like there's ever enough of that, you know; we miss the mark sometimes in our community, because everybody is just going, going, going. And sometimes we don't take the time to just stop and say, You're dope! Or, you know what I'm saying? Like, you inspire me too, and I think, you know, when we talked before, you know, and when I brought up how, you know, you can relate to how difficult this work — and challenging, you know — this work can be at times, it's really special to know, for real, that there are people out there who get it, and who see you for real. And I just, like, mutually, like... everything that you said about me I can say about you times ten. Like, I — when I think about you, I'm like, this has gotta be the hardest working Black woman in Seattle. Because I don't... When do *you* take a break? Like, you know, when you heard me talking about how am I taking care of it, girl, let me buy you a massage or something. Because — spa days, something! Because you're grinding. I mean, you're everywhere. Like, I'm a little exhausted. And I'm just... and part of my taking care of myself is saying, I don't have to be everywhere. And that's just me. You're everywhere, girl. I mean, with consistent energy. Right? With consistent love for the community. And there's not a lot of people who do that and can do that and be genuine. You know when it's authentic, and you know when it ain't. And one thing about you is that you're always authentic. And so I mean listen: you're doing this podcast, you're doing the Morning Update Show, you're doing another show, you're doing all this — you're at *all* the community things, you're... you know, you did our thing for Strings. I mean, you're doing so many things! And so, you know, if nobody else will tell you, I'm'a tell you: I appreciate you. And I also want to make sure that you are taking care of yourself and taking time to just sit back and enjoy your flowers. Right? Let's not wear ourselves down. We got to take care of us in order to take care of the rest of the community.
TraeAnna Holiday 1:05:21
That's right. It's the only way [laughter]. It's the only way. I love you so much. So, so much. You're amazing.
Jazmyn Scott 1:05:27
Mush fest!
TraeAnna Holiday 1:05:29
Mush fest indeed! Like I told Julia, I said, it's gonna happen, because this is my girl, I'm just so elated that we got this all recorded, because again, you know, for me, it's how can we be making sure that the legacies we're building are there, and being captured in real time, right? So again, I just thank you for everything you said. It's a mutual love. You know, this?
Jazmyn Scott 1:05:54
It is. I mean, I think I told you before, I mean, I don't want to belabor this, but it's just like, there are times when I'm just like, Nah, I'm good. Like, a few times a year I'm like, You know what, y'all don't appreciate this work that I'm doing. I'm trying to do this for you. A nd like you said, when you were like, "I had a moment where I will just be a medical assistant." Like, I was... I think I had put a post and I was like, You know what?! Y'all like basic; I'm'a just go be a basic bitch instead of doing this art stuff, because, you know, I could just live my life, go work a nine to five, come home, play with my dog, make dinner and do it again the next day. But that's not... it's not in us to do that, right? Is that... we're just not built for that. And so, you know, within that, like, we have to see each other. You know what I'm saying? Because it's just not easy. It's just not easy. It looks easy, but it's not.
TraeAnna Holiday 1:06:51
The right vessels make it look easy, but you're right. You're right. It's not.
Jazmyn Scott 1:06:55
It's not. It's exhausting. So thank you. Thank you. And thank you, you know, again for just for inviting me to run my mouth.
TraeAnna Holiday 1:07:03
I mean, come on. Absolutely [laughter]. Hands down. Hands down. You guys heard it here: Jazmyn Scott, one of the great equity changemakers not just in Seattle, but really throughout our region, just killing the game with her love and care for this community. And bringing all of that and that passion and that amazing family legacy to bear in our arts community. Jazmyn Scott of Langston, thank you again so much for being with us.
Jazmyn Scott 1:07:32
Thank you.
TraeAnna Holiday 1:07:34
Wow. You guys, stay tuned because you guys know we keep it coming with equity changemakers every chance we get. This local season is blowing my mind — Season Two — because I actually know these people. I get to be in community with them. And as you just heard there, there's such a mutual love because that's what it takes for us to actually be together, be in community, and continue to love on one another. Thank you guys for listening to this episode of Equity Rising, Season Two.
