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Photo: courtesy of The Arctic Refuge Experience

A Story of Beauty and Hope: The Arctic Refuge Experience Comes to DC

Adventurers, explorers and friends of the outdoors, pull out your maps and point to where the Arctic National Wildlife Refuge (ANWR) is. If you are not sure where to find it, your GPS should steer you toward Northeastern Alaska.

However, hold off from strapping your hiking boots, because for a limited time you won’t have to leave DC for a chance to experience the refuge. From November 8-11, The Arctic Refuge Experience. Step in. Step Up. is taking over the AutoShop near Union Market to provide a 4-D sensory art installation, with a look and feel that mirrors a walk through the Alaskan wildlife safe-haven. The exhibit is presented by The Wilderness Society and the Gwich’in Steering Committee, in conjunction with the Arctic Refuge Defense Coalition. 

This opportunity is something you do not want to miss out on because the ANWR, naturally, is difficult to visit. Every year only 5,000 people manage to make the trek, making this exhibit a can’t miss opportunity for both art lovers, people invested in environmental issues and even people who work on projects directly related to the refuge. 

“It is incredibly difficult to visit the Arctic National Wildlife Refuge,” says Edit Ruano, the director of regional communications strategy for The Wilderness Society. “So difficult that I, who, have worked on protecting the Arctic Wildlife Refuge, actually have never been.”

Upon entry, explorers will reach a threshold where the ground beneath you will suddenly change from the DC streets to the arctic tundra. Thanks to dozens of filmmakers and visitor testimony, you will see the region teeming with life through video and artistic recreations. Ruano and other team members wanted make the experience feel authentic, including the Gwich’in community.

“The Gwich’in are an indigenous community who rely on the Arctic Refuge for their way of life,” she says. “We had the head of the Gwich’in Steering Committee, Bernadette Demientieff, in New York, [where] we got to share the video of the experience with her and the council members, and they told us that it felt like being home. We teleported them home [from] New York. For us, that was the biggest compliment we could have received.” 

This 4D experience allows you to feel the arctic wind brush against you and even provides smells of the land. One of Ruano’s favorite experiences was when the wildlife surrounded her. Its artistic qualities not withstanding, the Arctic Refuge Experience also has a deeper purpose as this exhibit demonstrates how this beautiful land is in danger because of oil and gas drilling. 

While the Arctic Refuge Experience is designed to warn and inspire everyone, Ruano and her team spent a year designing it because of the urgency regarding the situation.

“Oil and gas companies and the administration have been trying to fast-track, and expedite sales of the Arctic Refuge ever since the 2017 Tax Act, which included a hidden provision opening up the refuge to oil and gas drilling,” she says. “Since then, they have been expediting the scientific review process, and not doing the due diligence and listening to the voices of people who know about the refuge.”

The experience is a story that shows the beautiful land, the villains, but also the heroes working to save it. This is a tale full of hope and serves as evidence of people working collectively to take action. By attending, you can help take action too, as there are physical phones on location that will empower you to call key individuals and leave voicemails wherein you can express your opinions. During the exhibit’s stop in New York, they managed to get 1100 voicemails declaring that the ANWR is too precious to drill.

Visitors will also become “shareholders” in the No Waaay Corp., the first-ever collective action corporation created with the intention of stopping “ big oil” from harming public lands.

Hopefully, The Arctic Refuge Experience will bring out your inner activist. With climate change constantly in the news, this exhibit hopes to truly connect and engage. This immersive experience is on the first leg of its tour, and Ruano wants to expand and reach other areas so the young people can make their voices heard. “We’re hoping that this that activism happens across the US: In red, blue and purple states alike.”

Though you do not need to be politically active to enjoy this one of a kind experience, the exhibit serves as an opportunity to see the beauty of a difficult place to physically explore, with grander designs to inspire you to protect it. All net proceeds will go to the Gwich’in Steering Committee and Gwich’in Youth Council. 

For more information about the exhibit, visit here.

AutoShop: 416 Morse St. NE, DC; www.unionmarketdc.com/retailer/autoshop

Drew Valins on the right // Photo: Michael Yeshion Photography

Iconic Character Vaněk Unleashed In The Havel Project

When I think of underground theatre, I think of gritty, non-glamorous shows waiting to be found. However, Alliance for New Music-Theatre is set to take ‘underground’ to the next level with their upcoming performances of Václav Havel’s Protest and Susan Galbraith’s Vaněk Unleashed. Their venue of choice – Dupont Underground, an abandoned streetcar station beneath Dupont Circle.

The first play of this double bill criticizes the communist regime that blanketed Czechoslovakia in 1948. Vaněk Unleashed then further develops Vaněk, a character from Protest, by giving him a voice in this spin-off, “absurdist musical fantasy.”
Drew Valins will portray Vaněk, as he transforms from a silent presence in Protest to a fully formed being in Vaněk Unleashed.

“[He] barely speaks. He’s very shy, so he doesn’t really step on toes,” Valins says. “[Galbraith] created a way to unleash Vaněk.”

Both plays concern themselves with communist-ruled Czechoslovakia, but Valins believes these shows are relevant to American audiences.

“When we started back in 2013, we felt like we kind of had to stretch to understand what it might be like to live in a totalitarian regime because that’s what these plays deal with,” he says. Over time, though, Valins realized that Havel’s plays continue to relate to America’s political climate.

Valins thinks of America as a country of division.

“People are suspicious of one another,” he continues. “No one really knows where to go for answers and that’s exactly the kind of world that Havel was writing about.”

From talking to Valins, I imagine the DC audience might see glimpses of themselves in these performances that will resonate in unexpected ways.

These performances will stand side by side, but their cultural influences seem entirely different. Valins describes Vaněk Unleashed as an “American response” to Czech theatre. For instance, in Protest Vaněk is a more emotionally reserved character, but in the spin-off it mirrors American theatre’s ability to dig underneath the silent character’s reserved exterior.

Havel’s plays were originally performed as “apartment performances” to deflect attention from his communist-ruled country, and the Alliance for New Music-Theater will attempt to mimic those hideaway performances in the Dupont Underground.

“We love the fact that its underground because Havel’s plays had to go underground or under the radar,” Valins says.

By meshing two cultures and honoring the original stagings, the Alliance for New Music-Theater has committed to celebrating the 30th anniversary of the Velvet Revolution and politically significant artists like Havel. Audiences will also witness a plethora of emotions onstage, in addition to various cultural influences, which is Valins’ favorite aspect of the production.

“I’m really excited about that fact that I get to sing. This character, Vaněk— the last thing you would expect him to do is sing. In Vaněk Unleashed, I get to go through every single human emotion. I get to go through joy, fear, anger. I break out in song. I dance. So it’s just a lot of joy. Ironically, that all happens while I’m in prison,” Valins says.

These performances deal with heavy issues, but as pieces of absurdist theatre, audience members are sure to be stunned by unexpected nuances.

If Valins could speak with Havel, he has a few things he would mention to the playwright. His message is poetic, meaningful, and quite fun, which I imagine is a precursor to his performance as Vaněk.

“Mr. Havel, you’re a terrible dancer, but thank you so much for your spirit. You’re a real inspiration in the way you hold yourself and enjoy life under pressure. And you’re just a cool person that I wish I could’ve known and rolled a cigarette with and had a smoke with. I wish you could see our stuff, and I think you would dig it.”

Valins’ passion for the upcoming performances makes me want to dive into the world of Havel that these actors will prepare for their audience – regardless of the playwright’s inability to dance.

“Havel wasn’t as concerned with artificial professionalism. He was concerned with enjoying the work, so [the cast and crew] puts in that spirit.”

New Music Theater will host performances of Protest and Vaněk Unleashed through November 17. All shows are presented by Alliance for New Music-Theatre in partnership with the Embassy of the Czech Republic. For more information on showtimes or ticket prices, visit here.

Dupont Underground: 19 Dupont Cir. NW, DC; www.dupontunderground.org

Guests interact with the 29Rooms: Expand Your Reality immersive art festival on Opening Night in Washington DC on October 18, 2019. // Photo: Getty Images for IMG/Refinery29

29Rooms Opens Doors To New Experience in DC

“The sacrifices we make for art.” 

This is what I muttered to myself at 6:30 a.m. on Friday, October 21. I was slated to venture from my Alexandria duplex to DC’s Armory on a cultural adventure to Refinery29’s “29Rooms: Expand Your Reality” exhibit, currently enjoying its first national tour, concurrently making its DC debut. 

The women’s publication first unveiled the concept in 2015, giving attendees of New York Fashion Week an opportunity to walk through 29 distinct artistic experiences, ranging from vibrant and fuzzy to interactive and talkative. Fast forward four years, and the exhibition is on the road visiting cities like Atlanta, Dallas and DC, along with bigger U.S. cultural hubs like Los Angeles, Chicago and New York. 

“When I heard we were coming to DC it was an exciting surprise,” says DC native Olivia Fagon, Refinery29’s creative director. “Most of our team is from New York, so there was a little bit of mystery as to what it would mean to bring it here. I think for me, I was super excited to tap local artists who are from DC.”

The DC Armory stop runs through October 27, giving residents of the nation’s capital a chance to walk into, and throughout, rooms created by artists such as Kali Uchis, Yvette Mayorga, Dan Lam and NNEKKAA, and others. As part of this year’s rendition, 29Rooms has added what they’re calling “The Art Park,” an initiative intended to highlight local artists from the cities on the tour, including a stairway toward your dreams created by local illustrator Trap Bob, aka Tenbeete Solomon

Artist Tenbeete Solomon poses at the 29Rooms: Expand Your Reality immersive art festival Photo: Getty Images for IMG/Refinery29

“I’ve always wanted to work with 29Rooms,” Solomon says. “I’ve been waiting for this moment for forever. My mind went to something expansive. I loved being able to explore with different mediums, because I don’t have the capacity to do these major rollouts, but it’s great to partner with people who have the same ideas and same values.” 

The team behind Refinery29 initially wanted a flat graphic, but she wanted something more engaging. When they suggested a staircase, Solomon approached the canvas thinking about its physicality from all sides, and though she wanted it to feel different than her illustrative works, it would still feel distinctly Trap Bob.

“It’s a weird thing to put a design on,” Solomon says. “I want to make sure each part is like its own piece, but still work together. I do hands a lot, it’s very relatable and something I love to do. They’re the perfect things. It’s my way to reach out to everybody and bringing that idea with the ‘follow your dreams’ theme, which is very, very close to me and my experience. It worked with the idea of climbing the stairs. Just the idea of elevating yourself and literally taking steps to get to where you want to get to. If I didn’t take those steps early in my career, there’s no way I’d be here talking about it.” 

For more local flair, Refinery29 tapped Howard University master of fine arts graduate Jamea Richmond-Edwards to construct a DC-centric full-scale billboard to welcome guests into the gallery. The murals are exclusive to the respective city’s art scene, to highlight the local community. 

Artist Jamea Richmond-Edwards poses at the 29Rooms: Expand Your Reality immersive art festival. // Photo: Getty Images for IMG/Refinery29

Upon walking past the “Traveling Billboard” and into the main area, you’ll notice the lighting in the Armory is dark, giving each room and piece a spotlight effect. This is apt, as all hold a unique point of view worthy of said spotlight. And no matter which you stumble into, they all are connected by the theme of a woman’s experience in several facets of society and empowerment, echoing that of the publication’s mission.

“It was amazing to bring this brand that is not only pro-female, but very intersectional,” Fagan says. “We’re looking at women from all kinds of points of view. There’s a lot of political undertones in the event as well and those aren’t necessarily supposed to resonate specifically to DC, but I think whatever city we take it to, it makes a strong statement.”

Giving a tour, Fagan identifies a few rooms as fan favorites including “Dream Doorways,” a display with several (you guessed it) doors leading to stunning visuals that could make you question whether you’re on psychedelics; “A Conversation With Your Inner Child,” an interactive room which allows you to tap into the dreams and desires of a younger you; and “29 Questions,” a collection of tables and chairs meant to evoke discussions among strangers congregating throughout the exhibit.  

The different perspectives from a diverse set of artists is meant to represent and reflect those same qualities in the audience of the attendees. For Fagan, the doors are open for everyone, and she hopes people are as excited to explore the rooms to find their own favorites. 

“We always welcome that,” Fagan says. “I think Refinery has perceptions around it: people know us as a women’s publication, people know us for having certain types of values. I think as much as we can attract people in, and then surprise them with something they may not have thought of in a certain way, it’s always a gift if we can. If we’re creating a space where our values are just resonating with that audience already, that’s great too.” 

Gallery times are 1:30-10:30 p.m. on Tuesday-Thursday and 10:30 a.m. – 10:30 p.m. on Friday-Sunday. Tickets start at $29 and guarantee access for one 2.5 hour session. For more information about 29Rooms, visit here.

DC Armory: 2001 E Capitol St. SE, DC; www.29rooms.com

Photo: Getty Images for IMG/Refinery29

Photo: Rich Kessler

Where Culture and Community Collide: Culture House DC

Art without restrictions. Interactive installations with immersive experiences. Structured, well-funded programming. Consistent, tangible support of the local community. These are among the priorities reinforced by the leadership at community arts organization Culture House DC in Ward 6. When three strong voices echo the same sentiment in separate conversations, the shared vision and determination of the nonprofit space’s team become palpable – and worth digging into further.

Culture House DC turns six this month, fresh off the heels of a strategic rebrand that whittled the organization down to a simple, very focused ethos: to house all ideations of culture in an encompassing environment including everything from music, multimedia art and fashion to food and fitness.

“We were inspired by the German concept of a kunsthalle: a place for art but also for creatives and community,” says co-founder Stephen Tanner. “There isn’t a word in the English language like it.”

Tanner, who oversees financial planning for the repurposed historic church, had plans to redevelop the space in 2013 but first tried his hand at a short-term art experience with co-founder and executive director Ian Callender. What started as a pop-up in the more than 15,000-square-foot art space – one of several takeovers of abandoned, dilapidated facilities throughout the city to provide community programming – organically developed into a mixed-used, art-centered, long-term development project.

Tucked at the end of a cul-de-sac on Delaware Avenue in Southwest DC, the iconic building is likely one you’ve seen populate your Instagram feed. With bold swirls of color and abstract shapes lining the exterior in its entirety, it forms one bright, cohesive mural. And chances are, you’ve attended an event there too, or at least seen one pop up on Eventbrite. From Swatchroom Co-Founder and artist Maggie O’Neill’s monthlong “Superfierce” event promoting the female art community to TBD Immersive’s In Cabaret We Trust theatre experience – complete with fire performers and burlesque – the experiences housed in the space have been versatile, to say the least.

Tanner and Callender realized from the get-go that there weren’t other spaces like it, and they capitalized on the opportunity.

“It’s rare to have an art experience with this many different components,” Callender says of the building’s sheer size and scale. “We knew that, and we wanted to enhance the art experience with food and music, but really have an environment that encompassed that – especially in this part of Southwest.”

Since then, Callender has worked tirelessly to bring in a range of events to the space – from outside-the-box art exhibits and culinary experiences to private parties and weddings. As a space that relies on funding from the local community while also acting as a space to support that very same community, he built relationships with corporate sponsors to keep the organization on an upward trajectory.

Like many labors of love that undergo creative changes, Culture House has evolved with the times. The organization started out as Blind Whino SW Arts Club but switched to just SW Arts Club in 2017 when the connotations associated with “Whino” started limiting the scope of their collaborations. And now, after six years of hosting a vast and eclectic range of events while also creating opportunities for artists to expand their reach and display their works in original ways, Callender and Tanner are ready to streamline their mission and take Culture House DC next-level.

“We’re not looking to move or shift,” Callender says of his growing staff, which now includes resident art advisor Andrew Jacobson, a marketing and PR rep, a culinary team, and more. “We’re looking to build organically from the ground up […] with a newer identity.”

Jacobson joined the team this spring and is focused on increasing funding around exhibits and planning additional events to support and promote them. He believes this can be made possible by pushing Culture House to become a more structured organization where programming is set further in advance.

“If you have solid programming, it’s an all-around win for the organization,” he says.

Jacobson, whose background includes art curation, music production and involvement in huge art fairs like Art Basel, sees a wealth of untapped potential for the space and is eager to put those plans into motion.

“Culture House wants to be the premier art and events space in Washington, DC. I think we are en route, but we need to make some tweaks to really rightfully claim that title. There’s some things we can do that will really make the venue outstanding.”

Chief among his priorities is pursuing more interactive, thematic installations that can directly serve the community, especially underserved segments, that are right around the corner from the space. And he’s off to a great start, with a two-month exhibit from DC-based conceptual artist Maps Glover opening at the beginning of September. “Save The Seed” offers an interactive experience for audiences to “share and exchange stories and evaluate the value of the soul,” and is built around the artist’s vision of a black seed as a metaphor for the black soul.

Callender views Glover’s show as an artistic vehicle for utilizing Culture House’s space in ways that people haven’t seen, and to get more immersive and integrate unique experiences into the art.

“Maps, from what I’ve seen, has an ability to really articulate that conversation,” Callender says. “That’s what excites me the most: to be able to have a space where [artists] can get creative without any restrictions. I think this particular show will achieve that.”

He’s looking five steps ahead – way past the show being mounted and opening – to artist talks, panels, receptions and other opportunities for expanding “Save The Seed” and making the exhibit as multidimensional as possible.

“[We can] make it not just singular in its approach [by] taking advantage of the space and knowing this will be [Glover’s] home for the next couple of months. If it’s your home, what would you do at home? Invite your people into your home. I’m very excited to see what he has to offer.”

Looking ahead, Callender is envisioning other exhibits that move beyond utilizing just four walls to all six, where the ceiling and the floor also become part of the composition. At the top of his wish list is commissioning an artist to paint a basketball court in Culture House’s expansive upstairs space, and then installing a basketball-centric exhibit. And because the building is the organization’s best canvas, Callender and his team are considering a new iteration of the exterior’s mural – or maybe even just painting Culture House white and inviting people to throw paint balloons at its walls.

Though the façade might change and the scope of programming might narrow, one aspect of Culture House has remained intact since day one: supporting the artists and the surrounding community.

“This is always our goal,” Tanner reiterates. “We do this by making most events free of charge, with a suggested donation. With the community’s help and generosity, and with the city realizing how we support community, we can continue providing experiences and access like we’ve been doing for six years.”

Jacoboson shares this ethos, stressing the importance of raising more funds for Culture House’s no-commission art exhibits.

“Without money, you can’t do the right type of programming. You can’t get the right type of artists. You’re throwing things together at the last minute and hoping they stick. That’s not the way that you implement strong, consistent programming and without that, we can’t serve the community. I have a social and a moral obligation to support things that are going to contribute to the betterment of the community. With more help on that front, we can do a lot more.”

Their resounding commitment to functioning as a true community arts space is only reinforced by the third and final voice of Callender.

“It’s imperative for us to support [our artist community] in nontraditional ways – not just buying art but giving them a platform so that they can do what they do best. Community can mean so many different things to a person, but at the end of the day, it’s all communal. Culture can mean so many different things to a person, but at the end of the day, it’s all a singular node. There should always be a place where culture and community collide. Culture House is where culture meets community.”

Maps Glover’s “Save the Seed” exhibit runs at Culture House through September and October. Follow Culture House on social media @culturehousedc and learn more about upcoming events, including a soon-to-be-announced sixth anniversary party, at www.culturehousedc.org.

Culture House DC: 700 Delaware Ave. SW, DC; 202-554-0103; www.culturehousedc.org

Still from The Cowfoot Prince // Photo: courtesy of Bex Singelton

DC Shorts Returns With Impeccable Taste and International Flair

“We didn’t want to wait around for other people to let us do it.”

Actor, writer and director Mike Doyle, perhaps best known for his Law & Order: Special Victims Unit appearances, is telling me about his latest short film The Chase. Doyle is no stranger to feature films, adding that he has a romantic comedy making the rounds at festivals at this very moment. But there’s politics to producing a longform theatrical release – you need money, time and a prolonged story.

“The great thing about [short films] is that they’re distilled short stories that live in the span of six to 15 minutes,” Doyle continues. “I love that there’s a place like DC Shorts that promotes that kind of storytelling.”

The DC Shorts tagline is simply, “We champion short filmmaking.” Since 2003, the homegrown festival has proven Doyle’s sentiment correct, showcasing a variety of films in every genre from documentary to comedy to drama to action. This year’s International Film Festival & Screenplay Competition is no different, offering more than 156 films from 38 countries on September 19-28 around the city.

“It’s remarkable what you can tell in a short amount of time,” says Bex Singleton, director of short documentary The Cowfoot Prince. “It’s good for people to come away with questions they can explore on their own volition. I don’t think there’s any shame in leaving an audience wanting more.”

Singleton admittedly learned most of what she knows about shorts from film school; The Cowfoot Prince was her final project in college and made its international debut at DC Shorts. The documentary follows Usifu Jalloh, a storyteller from Sierra Leone, and his journey from his adopted home of London to the village where he was born.

The first-time director, who lived in Sierra Leone as a photographer, met Jalloh at a fundraising event. After being knocked sideways by his performance, she approached him with an offer to make him the main subject of her graduation film.

“The story is about the complexity of the relationship with the place you’re from and the place you live,” she says. “Sierra Leone changed the way I saw the U.K., and if you look at the source material that’s easy to access about Sierra Leone, it’s about war or disease. You don’t often see characters. Usifu is such a strong and interesting character.”

The documentary is about 28 minutes long, pushing the boundaries of a short, but Singleton acknowledges the struggles of even getting below 40 minutes. After seven weeks of shooting, both in the U.K. and Sierra Leone, Jalloh’s energy was captivating and worthy of an even longer feature-length documentary.

“He has more energy than anyone else I had ever met,” Singleton says of her film’s subject. “Actually, trying to have an emotional journey through the film and understand what an optimistic person he is – that felt like quite a delicate balancing act. I’m not that used to documentaries where there’s a lot of flipping through happiness to sadness to seriousness to lightness.”

While The Cowfoot Prince marked the first time Singleton and Jalloh had worked together, Doyle’s The Chase marked the latest of several collaborations between the director and scriptwriter Nick Jandl, who based the story on a personal experience where someone snatched his phone off of a restaurant table.

“He was out with his wife one night in Los Angeles and the phone was stolen from the table,” Doyle says. “His wife chased, and he followed. We wanted to fuse that with bigger stakes, more drama. Nick’s character, Tim, is ineffectual. His instinct is not to run after [her]. I wanted to make a road movie on foot.”

Upon reading the synopsis for The Chase, you’ll likely have little faith they can squeeze all it promises in the limited 11-minute runtime. In that short amount of time, the film features “a complex intersection of race, justice and self-discovery.”

“We’re living in a time of division and misconception of the other – from all sides,” Doyle says. “In telling this story about a white guy, a black guy and a mixed-race wife, it speaks to ultimately the good of human nature and how we can cast away some prejudgment and learn something about ourselves in the process.”

Doyle and the rest of the crew filmed the short over two night shoots. With a script of 15 pages, he knew he had to trim about five minutes of content for a better chance on the festival circuit. Luckily, the small-scale nature of the story lent itself to a compact runtime. But editing for tone proved to be the most creatively demanding aspect.

“The film walks a fine line between drama and comedy, and I wanted to make sure the comedic moments sprung from the drama and absurd elements,” he says. “I wanted to make sure we honored those moments.”

The short debuted earlier this year to applause and laughter in Los Angeles. While a premier for a film is always a bit nerve-wracking, the positive reception allowed Doyle to focus on how to market the piece going forward.

“DC Shorts was at the top of the list because I had such a great experience there previously,” Doyle says. “I think it’s a great showcase for stories such as these.”

The festival sticks out to him as a filmmaker because of its integrity and standards, and with films like The Chase and The Cowfoot Prince, this year’s selection is positioned to captivate audiences again and again.

“They just curate really well, so you’re getting the best of the best,” Doyle says. “It’s not just someone who slaps their iPhone out. They have impeccable taste.”

For more information regarding the two films, the entire DC Shorts schedule and ticket prices, visit www.dcshorts.com.

DC Shorts International Film Festival & Screenplay Competition: Various venues in DC; www.dcshorts.com

Alysia Lee and Ty Defoe // Photo: Tony Powell

The REACH’s Opening Festival

The inside spaces of the Kennedy Center’s The REACH are spacious and cavernous, like an underground college building with rooms ripe for seminars, classes, performances, films and whatever other kind of programming the Center offers, which is to say almost anything. The outside buildings are equally stunning, standing tall not in an intimidation, but a reassurance.

The facility had yet to open when we walked through the grounds in mid-July, but it was easy to close your eyes and imagine a swath of people congregating in one of the spacious fields for a concert or a movie projected directly on the side of their sloping creations. Soon, there won’t be much left to the imagination as the Center is set to unleash every kind of installation you can think of – big name to small name, hip-hop to opera, dance to painting, sculpture to DJs.

“We’ll achieve a vision in people’s minds,” says Robert van Leer, the Kennedy Center’s senior vice president of artistic planning. “And I mean everyone: artists, staff, visitors, civic leaders. When you open a new building, there’s a process that comes up with that vision, but it’s important to start with what it can be.”

From Saturday, September 7 through Sunday, September 22, the Kennedy Center’s The REACH Opening Festival will feature close to 500 free events inviting people to explore the space, participate in workshops, and see headlining acts such as Robert Glasper, Bootsy Collins, The Second City, Thievery Corporation and so much more.

“It’s a great way to illustrate what The REACH can do,” van Leer continues. “It’s a combination of all of those things and a chance to learn with the artists to see what the future opportunities can be.”

Artists Ty Defoe and Alysia Lee are perfect examples of the diverse range of creative talent participating in the festivities. Both will travel from different East Coast cities – Baltimore and NYC, respectively – to support The REACH and take part in the public’s first invitation to the campus.

“I like the word festival,” Defoe says. “I like the word joy and I like the word connection. I feel like among those words, it reminds me that we’re at a time right now where the arts are a place of healing, celebration and activation. The arts not only change people’s minds, but people’s hearts. I feel like we’re in a time where that is very necessary right now.”

Defoe is an interdisciplinary artist from New York slated to participate in two events: a panel titled “The New Contemporary in Native American Art” and an interactive participatory hoop dance. The latter is only allotted 15 minutes, but despite this expedited runtime, the movement has several different layers all geared toward a unique experience.

“I’ve been working on this since I was 7 years old,” Defoe says. “It gets at a lot of intersections that I like to operate in, which is contemporary indigenous culture, community, spectacle, and utilizing spaces [both] indoors and outdoors. Also, [knowing] this festival will have all these amazing people of culture coming together in that circle, there was no other thing in my mind that came up besides this.”

The dance starts off with a story about finding a way through fighting and warring as a community, but it’s not all spoken. For some, the narrative is better understood through a series of physical steps, hence the hoop dance.

“I’ll weave myself in and out of these hoops to make different shapes – things you’d see in nature like trees, plants, flowers and animals – to pay honor to the equity of all living things,” Defoe continues. “The interactive part breaks down the multigenerational part because as adults, we are sometimes living in our heads and not able to feel. No matter who you are – shape, size, color – you’re standing shoulder to shoulder with your friend or relative.”

While Defoe’s interactive performance welcomes all people in attendance to gather around and dance, Lee’s workshop about protest songs will focus on inspiring middle school children to express themselves in tune. As a Kennedy Center 2019-2020 Citizen Arts Fellow and multifaceted vocalist, Lee is an obvious choice to lead an educational workshop for the opening festival.

“I really want to have something where kids walk away with something they created,” Lee says. “I want collaboration and sharing, and something where there will be high incentive and high reward to move quickly together.”

Lee came up with the activity upon learning that a majority of 60s protest songs were parodies of oldies from the 40s and 50s. The format took form when she thought of using modern pop music to help kids write their own pieces.

“What do we care about and how can we use music as a way to voice our opinions? The accessibility of these protest songs is super cool because you can get kids to take their favorite hits and use them for social change.”

Lee feels confident that the children participating will be up for protesting, whether it be concerns about global warming or requests for more snack machines.

“Kids nowadays are so in tune because of social media,” she says. “They’re so in touch with the world in a way that I wasn’t. Kids really feel very strongly and passionately about things that are beyond them. They feel more connected to the global society.”

The REACH is also slated to feature a number of DC-based artists as part of the festival’s lineup. GIRLAAA Collective Founder Dominique Wells has coordinated a full slate of curation on opening day with a panel of female DJs – including Mane Squeeze, Ayes Cold and Niara Sterling – followed by a performance.

“We want to discuss women in the music industry and how they’re doing more than just following contemporary trends – they’re breaking barriers,” Wells says. “I feel like what they’re doing is important and monumental and necessary.”

The DC native sees The REACH as an opportunity for the Kennedy Center to better serve the underprivileged in the community by introducing them to art by way of free workshops and performances, much like the programming for the festival.

“It’s about what’s happening beyond their main space,” Wells says. “I think The REACH is going to offer a lot of people who otherwise might not come there an opportunity to experience something inclusive and diverse. They have a great team of people who are working really hard, and they’re listening to people.”

From local to national, big to small, contemporary to classical, the Kennedy Center’s The REACH Opening Festival is a multi-dimensional playground for patrons of the arts from any background. Van Leer says there are no plans to make this an annual tentpole event, so you will definitely want to revel in it while you can.

“You see all the cross-pollination that’s occurring,” Lee says of the festival programming. “It’s really inspiring and makes me think about the through-line of creativity and how things can speak. I love that the festival is a place for that. It’s hard to even fathom missing one day of it.”

To peruse the comprehensive list of events at The REACH’s Opening Festival, visit https://cms.kennedy-center.org/festivals/reach. For announcements about upcoming programming at The REACH, go to www.reach.kennedy-center.org.

Photo: Nic Lehoux

I Spy a New Building: International Spy Museum Moves to L’Enfant Plaza

Spies are constantly in search of upgrades. The enhancements enable them to gather more data, intelligence and information, which in turn help them do their job more effectively. In this sense, DC’s International Spy Museum isn’t unlike the topics it covers. The establishment recently underwent its own upgrade, ferrying its collection, staff and visitors across town from their original downtown location into a sparkling, almost transparent building in L’Enfant Plaza.

The 140,000-square-foot space opened on May 12 and immediately doubled the museum’s size while providing more opportunities for interactive, spacious exhibits. With bright red accents, columns and a pleated glass veil, this architectural addition sticks out next to its Brutalist counterparts, making it easy for scouts to identify the city’s new addition “hiding in plain sight.”

“It had always been a dream to [move to a bigger space],” says Aliza Bran, the museum’s PR and marketing coordinator. “We had so many things we wanted to share with the public and there were only so many things that we could do in the building that we had. It was a fabulous building, but it had some limitations in that it was a historic building – you can’t change that. The subject matter we wanted to cover was far broader than what we could cover in that space.”

The concept of a new, larger space for the museum began five years ago, according to Bran. Before worrying about size, design and other physical attributes, the braintrust went about deciding what new artifacts, exhibits and displays they could bring to light if not for certain limitations. This included more in-depth looks at international stories and tactical collections, and how to make intelligence analysis digestible for visitors.

“We really tried to find a number of people so when we were putting this together, everything looked absolutely right,” Bran says. “It’s going through a lot of individuals and brains, and that was the most important thing while we were doing this because it was covering a lot of areas we had not before.”

Along with more room for their permanent collection, the building also features a lecture hall/theater, a multifunction event space and an area designated for a rotating collection. Though the temporary programs won’t roll out until next year at the earliest, the existing materials have experienced new life.

“We built this from the ground up,” Bran continues. “We got to choose where the walls went up, how big the theater is, how big the event space is and what we can do in each of the spaces. It really is beyond our wildest dreams.”
With this new lease, materials that once veered toward a reading-centric display are now more accessible to those more inclined toward an interactive experience – for instance, analysis.

“How can you make analysis interesting in a museum? Analysts laughed and said, ‘What? Are you going to have a coffee cup and a bunch of papers [and] have people sift through them?’ Fortunately, it turned out really well, but we really needed the input from people who worked in that space.”

These enhancements include games and impeccable displays in a breathable way that couldn’t be accomplished at the old location. And though the floor is set for now, Bran says the museum is still making tweaks to perfect that visitor experience.

“This is the first time doing it this way,” Bran says. “We’re figuring out how the flow works. We have been focused on that 100 percent since we opened. We want to be dynamic within that permanent space, but the first step is making sure everything is exactly how it should be and then seeing how we can adjust and update.”

Though the new space has sparked the imagination of new and old visitors alike, the next big event on the docket is sure to be of interest to those looking for a reason to check out DC’s upgraded place of everything espionage. On August 9, the museum is partnering with Brightest Young Things for Mission Impossible: Party Protocol.

“We’re excited to open up our space to [BYT] and the public for a rare look at the museum afterhours,” Bran says. “Whether it’s people who want to come to a cocktail event or people who want to see an author, we try to look at all of our different audiences.”

Whether you’re an espionage neophyte or a walking encyclopedia of all things top secret, the Spy Museum is likely to surprise and wow you in their facility. And you don’t even have to sneak your way in.

Go to www.eventbrite.com for tickets to BYT and Spy Museum’s Mission Impossible: Party Protocol on Friday, August 9. Tickets are $65-$80. For more information about the Spy Museum’s new location and upcoming programming, visit www.spymuseum.org.

International Spy Museum: 700 L’Enfant Plaza, SW, DC; 202-393-7798; www.spymuseum.org

Vintage Tea Party // Photo: Dominque Fierro

Different Artists, Influences Come Together With One Voice

One Voice, an exhibition featuring numerous DC LGBTQ artists created an inclusive space for activists, art lovers and pride month participants for an intimate experience at the Kimpton Carlyle Hotel. Creatives like Tom Hill, Jorge Carceres, Dominique Fierro and Wayson Jones each displayed individual works that illustrate their viewpoints in the selection. 

The exhibit runs through September 2, and opened at the beginning of June for Pride Month. Though the art is free to see, there is a $5 suggested donation for The Trevor Project.

Walking into the lobby of the Carlyle Hotel near Dupont Circle, you’re immediately greeted by works from Hill, both bright and captivating:  “Scratch Where It Itches, In a Whirl,” draws you into the building, until suddenly you’re into the main lobby area, where an entire room is utilized. Throughout, each artist is generously given their own separate gazing area, which allows the viewer to better take in and interpret the message behind the work. 

A DC native, Hill has always been an advocate for civil rights. From a young age, he’s been driven to bring peace and prosperity to those fighting for equality, which has given him a unique outlook on life, one that eventually brought him to his career in art. He’s specifically interested in what it means to be “queer,” in the modern era. Hill uses male figures, accents of glitter and striking acrylic. He draws his audience in with the intention to question the life of a man living in the gay community. With bold lettering and their own individual message, he defines it as sublime and multi-dimensional. Particularly placed within the exhibit, it casts light on the depiction of the queer man. 

As you make a lap around the exhibit, you also run into the work of Fierro, who uses photographic depictions of vulnerability. The black and white images of “Vintage Tea Party and Raw” have dire emotion, where you see women covered by shadows who appear timid and irrational. The presentation provides no particular direction, you observe in caution as though they were in the room with you. Fierro uses uncomfortable scenes to truly captivate her impression: their souls and she uses photos to show their world.  

Lastly, Wayson Jones places an element of surprise within his gallery. Surrounded by vibrancy, his luminous and eerie paintings rein over the room, stricken with curiosity an observer could even question the reality behind the creations. Does it relate to his identity? How does it portray to being in the LGBTQ community? And what type of impressions would this make on the everyday person?  But as he exclaims, the art is up for interpretation. His portrayal of black shaded figures within a white materialistic background; “Ancestor, Death Threat, Boxed In,” abides by his idea of a distaste for the mistreatment of his community. Members of the black and LGBTQ community have faced years of discrimination and supreme adversities.

These are all very different artists with unique influences who came together for this one night to help form a powerful message with a variety of perspectives influenced by nostalgic sentiments, nature and civil rights. Though each are strong and loud enough on their own, the impact of these works under one roof is undeniably heightened as they intersect and compliment to form “One Voice.” 

“One Voice” runs through September 2.  Learn More about the exhibit at here.

Kimpton Carlyle Hotel: 1731 New Hampshire Ave. NW, DC; 202-234-3200; www.carlylehoteldc.com

No Kings Collective’s Brandon Hill and Peter Chang

No Kings Collective Is Here To Play Forever

“A mural’s not going to stop anybody from getting murdered. But is it less likely for bad things to happen on a super visible corner? Probably.”

I’m sitting across from Brandon Hill and Peter Chang when Hill tells me with full earnestness that it’s easy for an artist to tell the narrow story of, “We painted a mural, so things are better now.” But it’s the ability to shift a community’s perception by making a street corner feel safer that truly makes an impact.

We’re sharing a high-top overlooking an eerily empty Nationals Park on a recent Saturday morning, just a stone’s throw from the pair’s latest mural capturing the Americana spirit of DC baseball. When I arrive, the artists are putting some final touches on their new work, and it’s immediately apparent to me that the founders of creative production brand No Kings Collective embrace the hustle.

I don’t mean this in a buzzwordy kind of way. They’re not “creatives” or “tastemakers” that press the flesh at events and slap their name onto a project for brand recognition. They haul gallons of paint, set up ladders, break down scaffolding, brave the elements. They paint for a living.

But that isn’t to say they don’t use their brand for good. They’re both adamant about supporting the city’s art scene, especially in neighborhoods that benefit directly from their work.

“We’re all about bringing accessibility for arts and culture to the DC community,” Chang says.

He brings a fierceness and intensity to the conversation, one that commands respect, as he and Hill open up about some of the misconceptions of how No Kings came about and what they actually do.

“I’ll take this chance right now to set that straight. We’ve done a mural for Turner Elementary in Southeast. We have multiple projects in Ward 7 and Ward 8. We work with so many different nonprofits in the city. We’re all about not taxing the artists, not taxing the people. Almost all of our events have been 100 percent free.”

The artists say community projects like Turner Elementary are no-brainers, and while they are working artists relying on paychecks from commissioned pieces, they go above and beyond on a regular basis to give back to the city’s many neighborhoods – especially those that are struggling.

“I think artwork in public spaces is the bee’s knees,” Hill says after letting me know that he’s about to get super meta for a second. “I just think that it’s the bee’s knees to be able to get paid for something that benefits the public.”

A SCRAPPY START

No Kings is a familiar name in the District, attached to a myriad of projects and pop-ups. But like so many of us that play in creative spaces, what they actually do sometimes gets lost in the shuffle of their hip factor. 

“It’s interesting to hear how we’re perceived because I know what the story is, and it’s a lot more scrappy than it might seem,” Hill says.

The pair banter like an old married couple, ribbing each other mercilessly and bouncing ideas around weighty topics off one another in the same breath. Their friendship goes back 14 years to senior year of college; Hill hails from Baltimore originally, but has called DC home for the last decade, and Chang grew up in Silver Spring.

Chang says as a brand, No Kings stretches back to 2009 but became a business in 2013.

“A lot of people don’t understand a lot of the things we’ve done even before No Kings was a brand,” he says. “They think we’re just this thing that popped up out of nowhere.”

I ask the guys for clarity: No Kings is a group of artists that does large-scale public fine arts projects and gets people really excited about art content and art happenings. They use the term creative agency(ish) to demonstrate they’ve got the resources to take on projects much broader in scope than what a typical artist or art group could tackle.

When it comes to division of labor, Chang gives Hill full credit as creative director for the past year. And Hill says Chang’s ball game is creative direction in the agency(ish) space, “where murals or public artwork can be merged with social happenings or activations and require real strategic planning.”  They split administrative work, business development and other unsexy parts of the daily grind evenly; they both have zero interest in taking all the credit or making it about themselves.

“We just do what we have to do when we have to do it to get things done,” Chang says matter-of-factly. “Everything just falls under the No Kings wheelhouse, so anything we produce, we just tell people we [are doing it].”

Their refreshing lack of pretention extends to their team of five part-time artists who support projects as needed. They’re not looking for the biggest names in the local art world. They need problem solvers who aren’t afraid to get their hands dirty.

“Just because someone’s a really, really talented artist doesn’t mean they’d be a good worker to paint murals because you have to problem-solve a lot of practical issues, and those issues do not exist in a controlled studio,” Hill says. “Sometimes you’re just fighting the weather or you’re coming in at night to do your projection work. You’re always defeating something and none of that can aesthetically be shown. People see flowers. You need a mixed bag of art and contractor: someone who can think with both of those brains.”

GOOD ART FIRST

It’s been a busy year for No Kings, with no plans to slow down anytime soon. The agency(ish) turns 10 this year, and Chang says they’re going big. Next up is their block party on June 29 to close out the Apple Carnegie Library’s StoryMakers Festival, and the launch of a No Kings-themed corned beef and kimchi sandwich at old-school Brentwood deli MGM Roast Beef on July 13.

Hill says they’re also currently working on 15 walls throughout the city, and while the Nats mural had its big unveiling in mid-May, he still plans to make minor changes throughout the summer to ensure it’s fan-proof. He wears the hat of a sentimentalist and a pragmatist simultaneously, walking me through the symbolism of this homage to America’s favorite pastime while also being real about the high-traffic location of the artwork.

“A really good piece of art can age, so that was a challenge to think through. How can we execute these more pressing goals – to reflect the organization and baseball as a whole and to make it as Nats-y as possible – but then also make sure it’s something that can age well both from an aesthetic and technical perspective? There’s going to be beer and popcorn and children and people leaning on the wall. How do you keep this thing looking good?”

Hill takes the collaboration seriously, especially because the team approached No Kings directly and had a vision in mind for what they wanted the piece to represent. He likens murals to getting a tattoo, where you navigate any gray area with your tattoo artist before deciding what that rose or anchor is going to look like on your body. But with the Nats, he and Chang had to encapsulate the feeling of newness in the ballpark while also reflecting the nostalgia and family values tied to the sport.

“Baseball is a really unique thing because it goes back to the 1850s, but it’s [also] a completely modern thing. Everything in this ballpark is modern – alien grass, alien dirt, Under Armour – there’s technology in this park, right? But we still think about it with a nostalgic lens. That’s a constant challenge [with] anything that’s OG: trying to always be relevant, [and] trying to explain its newness and oldness at the same time.”

Hill and Chang had another first this spring in terms of creative direction for a commissioned project. Amtrak contacted them to help visually inform its annual Sustainability Report, taking form in a mural behind social sports company DC Fray’s Brentwood office [full disclosure: No Kings shares office space with DC Fray, which owns On Tap Magazine]. Hill collaborated with Amtrak’s creative team to tell a visual story about what Amtrak does through the piece, including the incorporation of lesser-used colors in the railroad service’s color palette.

Now, he’s working with Amtrak’s head designer in the sustainability department to bring the report to life by the end of this summer, with photos of rail workers and other Amtrak employees in front of the mural on hand. Hill is all about the process: he’s drawn to projects that give him the opportunity to inform the public, and possibly shift their perception of a piece or area. 

“I love the ability to be able to defend work and tell a story. If you were already familiar with a piece, that’s the best kind of art because you get to learn new things about a thing you thought you were already familiar with.”

I’m not the first reporter to ask the artists how they feel about the potential impermanence of some of their work, but they tell me it’s something they take into consideration often. Hill says in a weird way, painting a building that might be demolished soon is actually desirable because they can take greater risks with the content and attract more eyeballs.

“If it’s a really awesome piece and it’s got a shelf life, people are going to rush and make sure to catch it before that shelf life’s over.”

I ask another common question because I find it truly fascinating: how do they feel about their work being so Instaworthy? Hill doesn’t view the selfie as a unique issue for art but says it’s strange nevertheless to have an entire group of people who have nothing to do with fine art distributing your work.

“When I’m on the computer designing, I am not inserting a little character of a person to figure how good they will look,” he says.

Still, he says it’s a net win for artists if their work is included in a vanity shot on someone’s Instagram, and someone in another city can easily follow the photo credit back to the artist’s website and consume their content. Chang cuts to the chase with a more direct answer.

“A lot of our clients will say, ‘We want it to be Instagrammable.’ And we’re just like, ‘Why don’t we make good art first? And if it’s good, then people can decide [if they want to post it to Insta].’”

BREAD + BUTTER

Nearly 90 percent of No Kings’ current output is commissioned work pitched to Hill and Chang, but they remain selective about what projects they take on. The real bread and butter, they tell me, is the opportunity to take projects they’ve been asked to approach in a traditional way to the next level. Sometimes this happens by chance, and other times because they’re charged up about the subject matter and know they can take it up a notch in record time.

The former “Work It, Gurl” mural on 14th Street is their self-described bread-and-butter case study. The piece (originally meant to be a 20 x 20-foot mural on a building wall) was commissioned by the Whitman-Walker Clinic at Elizabeth Taylor Medical Center to bring visibility to their work in the LGBTQ+ community.

When the guys learned about the clinic’s efforts, they refused payment, got a grant from the DC Office of Planning and reached out to their sponsors for support. No Kings painted the entire building and threw 14 events in two months.

“We just ballooned that,” Hill says. “We had this public art thing, but we went beyond the aesthetic to try and figure out: How can it be used? Who can we help? But we don’t know everything so it’s kind of like if you build it, they will come, right? We knew people would interact with it. But we didn’t know how, so let’s execute the aesthetic and then let’s just see what else can happen.”

The inspiration for these projects seems to be mostly altruistic in nature, but I see a bit of a competitive flicker in their eyes – not competitive with other artists in the market, but with themselves to face the challenge of making something bigger than anyone originally though it could be.

“That’s why our goal for every event that we do, every mural we put out, every project and collaboration that we do, [is to] push the bar further,” Chang says.

A more recent example, and undeniably their most successful art event yet, was 14th Street’s UMBRELLA in April. The opportunity to plan the three-day pop-up in a mixed-use development fell into their laps; they were approached about using the space before it was torn down and decided to put something together with people they respect who are doing cool things in the District.

“Afterwards, our project manager was like, ‘Wow, I think that was the most successful art fair that DC’s ever done,’” Chang says. “And Brandon and I were like, ‘We threw an art fair?’ And then we looked back at it and we were like, ‘Yeah, it was an art fair.’”

The guys are particularly proud of this effort, as they should be – the event was planned in a whirlwind month-and-a-half and brought in at least $100,000 for participating artists.

“We made zero dollars on UMBRELLA,” Chang continues. “We didn’t take a commission. That money directly impacted those artists.”

They also speak in earnest about the crowd that UMBRELLA – and all No Kings events – brought out. Chang says it’s super diverse, which feels uncommon in what they describe as a segmented city that still self-segregates itself along money lines.

“When you go to our events, it’s all ages, all races, all different demographics. I think that’s the biggest thing we’ve been proud of is to create excitement for the arts for everyone.”

REAL RECOGNIZE REAL

I’m admittedly surprised when Chang and Hill get real with me about how they’ve had to fight to carve out a space for themselves as working artists in DC’s creative scene. They recall countless galleries and “creatives” who wouldn’t give them the time of day a decade ago; and now, some of those same folks are reaching out to collaborate with No Kings. In fact, Hill says their name is reflective of their struggle to get into the “polished art scene” in their early days.

“It strikes a nerve because we’ve been busting our asses for 10 years and no one gave us the time of day or recognition,” Chang says. “Now [when] we get a little bit of it, people come out of the woodwork just hating.”

Hill keeps it light, inviting the haters to come out and work one of his days.

“Be my guest,” he says, chuckling.

Even still, he says the memory of No Kings’ evolution is long, deep and littered with lack of acceptance from DC’s art scene.

“[The haters] are still just not getting that a smaller city can make a bigger footprint by working together and not being divisive. If someone is going to say ‘No,’ I already can’t work with you. So we’re just going to do our own content and work with people that want to work.”

At the end of the day, the guys remain unphased because they knows the proof is in the pudding.

“When it comes down to the actual creatives in the city who are doing stuff, it’s just real recognize real,” Chang says. “I know who is actually putting in the work and they command respect, as we command respect from other people in our industry. The more you can open people’s eyes up about what’s going on in the city, and what artists are doing and what real creatives are doing, then the people who have just been masquerading really can’t get away with it anymore. I think it’s slowly happening.”

But Chang and Hill are still playing the game, because they are in DC for the long haul and they’re not about burning bridges – as tempting as it may be.

“I mean look, this ain’t 8 Mile,” Hill says. “I’m not going to drop a mic after the rap battle and be like, ‘F–k you all,’ you know? It’s a small town. You’ve still got to work with these people. It’s not personal, right?”

Resiliency seems to be the secret sauce for No Kings; there’s a lot to be said for maintaining a thick skin and positive attitude when you have to play in the same sandbox with artists determined to compete for the same resources instead of banding together to create and promote interesting content.

“They view us as this new guard or whatever, but me and Brandon have been here 14 years,” Chang says.

“On a lift working,” Hill chimes in, before Chang tells it like it is yet again.

“We’ve seen trends come and go, but we’re here to play forever.”

Follow No Kings Collective on Instagram @nokingsdc. Learn about their projects at www.nokingscollective.com.

Photo: Roy Rochlin

Daveed Diggs of “Hamilton” Talks Career-Spanning Work at Sixth & I

Rapper and actor Daveed Diggs called the Sixth & I Historic Synagogue, and spaces like it, “empathy gyms” – where audiences use live performances to work on how to negotiate feelings in real time.

In Monday’s wide-ranging onstage interview by NPR’s Ari Shapiro to celebrate the synagogue’s 15th anniversary, Diggs, whose mother is Jewish and father is African-American, discussed his career, including his latest role in the play White Noise and life after Hamilton.

“Daveed’s artistic choices mirror the multifacted nature of his talents and his personal background,” said Sixth & I Executive Director Heather Moran. “Offering colorful and provocative art at the intersection of race, culture and identity, Daveed Diggs embodies the essence of what Sixth & I stands for.”

Diggs won a Tony and a Grammy in 2016 for his dual part as Marquis de Lafayette and Thomas Jefferson in the musical Hamilton. While Diggs made his entrance to the song “Guns and Ships” from the musical – the conversation focused on his hip hop group Clipping and more recent work, not just the founding-father themed phenomenon.

He performed “Something in the Water” from the soundtrack of Blindspotting, the 2018 movie he wrote and starred in with friend and collaborator Rafael Casal. Mutual friends introduced the two and set them up on a “rapper playdate” shortly after college and they have been creating music and art together since, Diggs said.

He dismissed the idea of dividing his career into pre- and post-Hamilton eras, instead saying his spot in the musical was actually “part of a very long progression.”

At first, working on the musical was just “doing a piece of art with my friends,” he said. “It felt very small until the whole world wanted to see it.”

“What Hamilton did for me, more than anything else, was allow me to keep working in the way that I’ve always been working but making money off of it,” Diggs said.

He had been writing raps and doing plays with his friends for as long as he could remember, “and nobody cared, and then Hamilton happened and everybody cared.”

Days after wrapping up his three year stint as Lafayette and Jefferson, Diggs said he flew straight to play a teacher in the movie Wonder. He later had roles in Black-ish, The Unbreakable Kimmy Schmidt and the upcoming small screen adaptation of Snowpiecer.

“I just wanted to keep doing things that I have never done before,” Diggs said, so film and TV were the logical next steps.

But Diggs has also found his way back to the stage – although he emphasized he was looking to do another play, not musicals, as Hamilton was a unique scenario.

His latest role is Leo in Suzan-Lori Parks‘ White Noise that opened last month off-Broadway. The piece tackles how two interracial couples who are longtime friends deal with the aftermath of Leo getting attacked one night and brings up intense racial discussions.

The conversations Park’s play or Shapiro’s discussion with Diggs at Sixth & I can spark are why live performances are needed in an age of so many screens and media choices, Diggs said.

“We just are all here negotiating whatever we’re talking about in real space,” Diggs said. “Places that have committed to creating these kinds of spaces are so important because they create community.”

Diggs’ appearance is a part of a larger fundraising campaign for the synagogue’s 15th anniversary celebration this year. for more on his work, visit www.daveeddiggs.com.

Sixth & I Historic Synagogue: 600 I St. NW, DC; 202-408-3100; www.sixthandi.org