Under the new banner Arts at ���ϲ�����, are top-notch museums and galleries, active maker spaces, robust community centers and a myriad of creative events and programs.

The new name is part of a rebranding and profile-boosting effort to highlight the University’s arts offerings and strengthen and grow awareness of its diverse group of centers and programs, says , assistant provost for arts and community programming.

The initiative includes the , which comprehensively illustrates the range of arts centers and programming available to students, faculty, staff and community members. The site also includes a dedicated that highlights events, ongoing programs and exhibitions.

Spaces and programs include , , , , , , at ���ϲ����� Libraries, , the , ���ϲ����� Artist-in-Residence Program and the in New York City.

Outdoor visual displays are conducted at the Urban Video Project.

New ideas about how academic and community arts programming and experiences are presented to a range of constituencies—students, faculty, staff and the general public—and as part of student experiential learning, teaching activities and individual entertainment and enjoyment resulted from a year-long planning process spearheaded by the , Traudt says.

Miranda Traudt

“This is much more than a name change. It’s a true rethinking of the arts at ���ϲ�����,” she says. “We purposefully considered how all the individual units and centers that are doing such fantastic work on their own could band together to have greater overall impact and visibility and to create wider local, regional, national and international awareness of these exceptional offerings.”

In addition to enhancing the visibility of the separate arts programs and centers, Arts at ���ϲ����� highlights how, grouped together, the units offer distinctive experiential learning opportunities for students that are typically available only at much larger national and international venues, Traudt says.

���ϲ����� Stage puts students and their artistic presentations at the center of downtown ���ϲ����� and hosts theater offerings that are enjoyed by all of Central New York.

“The ���ϲ����� Art Museum has one of the largest university-owned art collections in the country. La Casita, as a vital part of the ���ϲ����� Near West Side community, is the only Latin cultural center in this part of New York state. The Community Folk Art Center is a vibrant seat of community programming for people of all ages. Light Work’s renowned Artist-in-Residence Program has hosted more than 400 artists coming from every U.S. state and 15-plus countries. Urban Video Project is an important international venue for the public presentation of video and electronic arts and one of the few projects in the U.S. dedicated to continuous and ongoing video art projections. Exhibitions of nationally and internationally known artists hosted here mean you don’t have to travel to New York City to see that kind of artistic excellence.”

Elisa Dekaney

Elisa Dekaney, associate provost for strategic initiatives, makes this comparison. “We pride ourselves on the fact that the University’s study-abroad programs utilize their locations as classrooms. We say, ‘Florence is our classroom; London is our classroom’ because of what these cities offer in the arts and cultural experiences. But we can also say ‘���ϲ����� is our classroom’ because of the rich arts programming the University offers right here.”

Other goals defined in the strategic operating plan include serving as an international model of arts and humanities engagement for institutions of higher education; expanding community partnerships; growing reciprocal relationships with local, regional, national and international arts and strategic partners; increasing faculty, alumni and donor engagement with the arts programs and centers.

Organizers of the community photographic project, “,” want to visualize just that and are asking ���ϲ����� families to share their family photos and stories on camera to create a living photo archive. Community members—particularly those whose histories have been marginalized—are invited to talk about their family histories at a recorded interview station, digitize their family photos for later exhibition and have new portraits taken with their family photographs.

Thomas Allen Harris

The project is designed to build a more inclusive history of the city. It takes place Oct. 13-15 through a��series of activities and events with Yale University artist and filmmaker and his . The initiative is being coordinated by students and faculty in the University’s Turning the Lens Collective. The group is composed of , associate professor of English; , a Ph.D. candidate in English; , a Ph.D. candidate in history; Sarhia Rahim ’26, a policy studies major and Aniyah Jones ’25, an English and textual studies and psychology major.

Three Weekend Events

Events include a film screening and discussion of “: Black Photographers and the Emergence of a People,” with Harris (, from 6 to 8 p.m.). The with community members takes place , from 9 a.m. to 3 p.m. A to celebrate the archived images and oral storytelling is planned on , from 2:30 to 4:30 p.m., and includes music, poetry and special guests. All events take place at the Everson Museum at 401 Harrison St. in downtown ���ϲ�����.

Hallas says the project will build a testament to marginalized families from across the city, cultivate a more inclusive archival history of ���ϲ����� and recognize the people suppressed, forgotten or lost to a highway (the I-81 viaduct) that created a decadeslong economic and racial barrier in ���ϲ�����.

“���ϲ����� is experiencing significant transformation and renewed hope for economic progress spurred by Micron’s multi-billion-dollar investment in a semiconductor megafacility, the city’s decades of commitment to refugee resettlement and the redevelopment of housing, transportation and industry when a community grid replaces the I-81 viaduct,” Hallas says. “Yet, in moving forward equitably, it’s necessary to remember and document the past. ���ϲ����� remains one of the most impoverished and segregated cities in the nation, specifically for its Black and Latinx communities. In its redevelopment of housing, transportation and industry, the city must not repeat the systemic violence of the past.”

Community members shared treasured photos with Jessica Terry-Elliot, right center, along with their memories of family.

Jessica Terry-Elliott, a project co-organizer, researches the application of various methodologies that comprise what scholars call “Black archival practices.”��She says Family Pictures ���ϲ����� will use oral history methods��coupled with the captured moments of Black life in photographs that are��often held in domestic��repositories.

“Using these methods to develop this project��is an actual application of Black archival practices,” Terry-Elliot says. “It will reveal the complexities of how Black life in ���ϲ����� was and is documented and remembered,��while at the same time constructing pathways to engage with memory for��the future.”

Collective member Charles is writing a dissertation on the Black visual archive in film. “I’ve discovered that family photographs play a tremendous role in shaping our identity and history beyond the purview of our institutional archives,” Charles says. “The photographs we all keep in our homes—hanging on walls or tucked inside family albums—contribute to a larger story. Yet, those items are not always seen as important historical knowledge. This project affirms our photographs are themselves invaluable archives that should be studied and celebrated as such.”

Collective member and undergraduate student Aniyah Jones ’25 looks over a collection of family photos.

Undergraduate students Jones and Rahim have supported the initiative through their ���ϲ����� Office of Undergraduate Research and Creative Engagement (SOURCE) appointments as research assistants on the project. A team of undergraduate students from the department of film and media arts and the Orange Television Network will staff the photo-sharing event and students in Hallas’ upcoming “Everyday Media and Social Justice” and Jessica Terry-Elliott’s “Public History” courses in spring 2024 will further the project after its launch.

��The collective is also coordinating with the Network’s WriteOut ���ϲ�����, a youth afterschool program designed to get students Interested In writing and storytelling, and Black and Arab Relationalities, a Mellon Foundation-funded research project led by College of Arts and Sciences faculty members and .

Wide Community Connections

Organizers are working with the Community Folk Art Center, Onondaga Historical Association and the North Side Learning Center and are collaborating with several other ���ϲ����� community organizations for future programming.

Many sources of funding have made the project possible, including the University’s departments of African American Studies; anthropology; communication and rhetorical studies; English; film and media arts; history; Jewish studies; Latino/Latin American studies; LGBTQ studies; policy studies; religion; sociology; television, radio and film; visual communications; women’s and gender studies; and writing. External funding has been provided by Humanities NY and the Allyn Family Foundation.

Also sponsoring the project are the Democratizing Knowledge project; Engaged Humanities Network; SOURCE; Special Collections Research Center; ���ϲ����� Humanities Center; The Alexa; Lender Center for Social Justice; Light Work and Orange Television Network.

In November, the Special Collections Research Center at Bird Library will host “Family Pictures in the Archive” (, 5 to 7 p.m.). The exhibition displays Black photographs from the University’s collections along with community photos archived during the Family Pictures ���ϲ����� events.

Kate Holohan, curator of education and academic outreach at the ���ϲ����� Art Museum, provides a tour during an open house.

Established in 2005, the mission of CMAC is to support the legacy network of cornerstone art organizations at ���ϲ����� by celebrating and exploring the arts and humanities culture through robust programming, exhibitions, publications, education, scholarship and public engagement.

CMAC consists of eight University and affiliated organizations: ���ϲ����� Art Museum, the Louise and Bernard Palitz Gallery, the Community Folk Art Center, Light Work (which includes the Urban Video Project), Point of Contact, La Casita, the Special Collections Research Center, and the Photography and Literacy Project.

Get to know CMAC and its coalition members, and be sure to visit their respective websites for a full listing of upcoming programs and exhibitions.��You can also stay up-to-date on by visiting the ���ϲ����� events calendar.

���ϲ����� Art Museum

Located in the Shaffer Art Building, the acquires and preserves important works of art, serving as a museum-laboratory for exploration, experimentation and discussion. The teaching museum fosters diverse and inclusive perspectives by uniting students across campus with each other and the local and global community, engaging with artwork to bring us together and examining the forces that keep us apart.

Tanisha Jackson, Ph.D., executive director of the Community Folk Art Center, poses with art from Shaniqua Gay’s “Carry the Wait” exhibition.

Community Folk Art Center

The . (CFAC) was founded in 1972 by the late Herbert T. Williams, a professor of African American studies, in collaboration with University faculty, students, local artists and ���ϲ����� city residents. CFAC promotes and cultivates artists from the African diaspora, celebrating cultural and artistic pluralism by collecting, exhibiting, teaching and interpreting the visual and expressive arts. CFAC is a proud unit of the Department of African American Studies in the College of Arts and Sciences, serving as a beacon of artistry, creativity and cultural expression.

Light Work

Housed in the Robert B. Menschel Media Center, was founded as an artist-run, nonprofit organization in 1973. Its mission is to provide direct support through residencies, publications, exhibitions, a community-access digital lab facility and other related projects to emerging and underrepresented artists working in the media of photography and digital imaging.

Urban Video Project

(UVP) is a Light Work program in partnership with the Everson Museum of Art and Onondaga County. UVP is an outdoor architectural projection venue dedicated to the public presentation of film, video and moving image arts, enhancing Central New York’s reputation as one of the birthplaces of video art.

Point of Contact

, Inc. fosters a collaborative model to explore contemporary visual and verbal arts, working across disciplines and cultures. Founded in 1975, Point of Contact is an organization in residence at ���ϲ�����, with offices in the Nancy Cantor Warehouse in downtown ���ϲ����� and is an open forum for diverse identities to engage in open dialogue, working expansively across intellectual, social and geographic boundaries.

La Casita

is a program of ���ϲ����� established to advance an educational and cultural agenda of civic engagement through research, cultural heritage preservation, media and the arts—bridging the Hispanic communities of the University and Central New York. La Casita Cultural Center is located in the historic Lincoln Building in the city of ���ϲ�����’s Near Westside neighborhood.

Special Collections Research Center

Located on the sixth floor of Bird Library, the (SCRC) advances scholarship and learning by collecting, preserving and providing access to rare books, manuscripts and other primary source materials. SCRC’s collections document the history of the University and our global society through printed materials, photographs, artworks, audio and moving image recordings, University records and more.

Photography and Literacy Project

The (PAL) brings University students into ���ϲ����� City Schools to develop projects involving photography, video, audio recording and writing. The objective is to improve student’s writing and reading skills by linking these studies with photography, video and poetry. PAL Project also connects graduate and undergraduate student mentors and educators-in-training to community youth in an experiential learning environment.

CMAC is an initiative that falls under strategic initiatives in academic affairs at ���ϲ�����. To learn more, contact Miranda Traudt G’11, assistant provost for arts and community programming.

The semester kicks off with several key events next week. All are free and open to the public.

Thursday, Sept. 14

4:30 to 6:30 p.m.
���ϲ����� Art Museum, Shaffer Art Building

• Onondaga Nation artist ceramic works exhibition, “,” is part of the museum’s 2023-24 ���ϲ����� Symposium, “Landscape.” His work illustrates Haudenosaunee culture as a continuum that has resisted and persisted despite attacks on the confederacy’s lands, sovereignty and cultural identity.

5 to 7 p.m.
Light Work, Watson Hall, 316 Waverly Ave.

• Photographs by taken in his childhood hometown of Phoenix, Arizona explore personal histories of family, community and environment.

5 to 7 p.m.
Light Work, Watson Hall, 316 Waverly Ave.

• Photographs from 2023 Grant in Photography award recipients Amy Kozlowski, Linda Moses and Tahila Mintz are featured.

Friday, Sept. 15

12:30 to 1:30 p.m.
���ϲ����� Art Museum, Shaffer Art Building

• Onondaga Nation artist Peter B. Jones will discuss how his art comments on the Haudenosaunee cultural continuance and the challenges the Haudenosaunee people have faced through time.

6 to 8 p.m.
La Casita Cultural Center, 109 Otiso St., ���ϲ�����

• Highlighting the works of Chicano artists Cayetano Valenzuela (���ϲ�����) and Zeke Peña (El Paso, Texas) “” focuses on Latino futurism and includes art by La Casita’s summer program youth. This community event kicks off La Casita’s fall season and observes Latine Heritage Month, which runs Sept. 15 to Oct. 15.

6:30 to 8:30 p.m.
Community Folk Art Center, 805 E. Genesee St., ���ϲ�����

• Local musicians perform music by African American jazz saxophonist and composer John Coltrane.

In addition, another exhibition opens the following week.

September 21

:
“In Pursuit of Justice: Pan Am Flight 103”
4:30 to 6 p.m.
Bird Library, 6^th floor gallery, 222 Waverly Ave.

• The exhibition documents the Dec. 21, 1988 bombing of Pan Am Flight 103 over Lockerbie, Scotland that claimed the lives of 270 individuals, including 35 students returning from studying abroad through ���ϲ�����. Featuring materials donated to Libraries’ Research Center by victims’ loved ones and investigative team members, the exhibition provides an overview of the disaster, investigation and first trial.

For details about current and upcoming exhibitions and other events hosted by the Coalition for Museums and Art Centers, refer to the throughout the year.

(Featured photo: “Bomba, 2022 by Eduardo L. Rivera)

“A Love Supreme: Black Cultural Expression and Political Activism of the 1960s and 1970s”

will be displaying ���ϲ����� Libraries’ Special Collections Research Center’s (SCRC) traveling exhibit of “A Love Supreme: Black Cultural Expression and Political Activism of the 1960s and 1970s” (A Love Supreme). The exhibition was . “A��Love Supreme” reimagines the Black Power and the Black Arts Movements by intentionally unmuting a multitude of Black writers, leaders and artists from SCRC’s manuscript and archival collections as well as the rare book and printed materials collection.

“We are excited to partner with CFAC, a fellow member, to travel this exhibition to their center. In so doing, we ensure the local community has an opportunity to experience and engage with these pivotal and inspiring stories of Black history and experience,” says Nicolette A. Dobrowolski, director of the special collections research center. A portion of the full exhibition will be on display at CFAC, located at 805 E. Genesee Street, from September 11 through mid-December. For more information on related programming or exhibition hours, please visit .

The late Cerri Banks ’00, G’04, G’06, who served as the University’s vice president and deputy to the senior vice president of student experience; Michael Crow G’85, president of Arizona State University; David R. MacDonald, artist and professor emeritus of ceramics; and Kathleen A. Walters ’73, retired executive vice president of Georgia-Pacific and the first woman to serve as chair of the University Board of Trustees, will be honored for their outstanding achievements in their professional careers and the difference they have made in the lives of others.

Cerri A. Banks ’00, G’04, G’06

Doctor of Humane Letters (posthumously)

Cerri A. Banks

An outstanding leader in student affairs and a scholar-practitioner of education, Banks dedicated her life’s work to the betterment of the student experience. Banks passed away on July 31, 2022; Banks’ parents, Deryk and Cynthia Banks, will be accepting her honorary degree at Commencement.

Banks had a lifetime legacy at ���ϲ�����: as an engaged alumna, a staunch supporter of her cherished and the University, and a beloved leader and mentor in the Student Experience division. She was a thought leader in the field of student affairs, recognized for her work at the intersection of scholarship and practice, teaching and research, academic affairs, and student affairs.

A three-time graduate of ���ϲ�����, Banks earned a bachelor’s degree in inclusive elementary and special education, a master’s degree in cultural foundations of education and a Ph.D. in cultural foundations of education, all from the School of Education, along with a certificate of advanced study in women’s and gender studies from the . Her doctoral research focused on student engagement and belonging, examining how Black women undergraduates found ways to succeed on predominantly white college campuses.

From there, her research, scholarship and leadership continued to develop and deepen into an exemplary professional life of service to student affairs and success. Before returning to ���ϲ����� in 2021 as vice president for student success and deputy to the senior vice president of student experience, Banks had been Skidmore College’s dean of students and vice president for student affairs for nearly five years, overseeing all student services, serving on the president’s cabinet and overseeing the bias response group and the COVID-19 campus planning and response. She served in similar positions at Mount Holyoke College in South Hadley, Massachusetts, and at William Smith College in Geneva, New York, where she was also director of the President’s Commission on Inclusive Excellence.

Once at ���ϲ�����, Banks quickly made an impact on the student experience and on Universitywide initiatives through leadership roles involving critical initiatives. In addition to her role with , Banks served as a member of the three-person interim leadership team charged with advancing the University’s diversity, equity, inclusion and accessibility priorities and strategic planning efforts. She co-chaired the search for a new chief diversity officer and played a crucial role in creating open lines of communication between students and administration, serving as a fierce advocate and a mentor for students. As an alumna, she established a national mentoring presence and skillfully chaired the School of Education Board of Visitors for eight years, playing a key role in the school’s redesign.

Banks was a highly respected and internationally recognized academic leader and a prolific scholar. Among her published works were “Black Women Undergraduates, Cultural Capital and College Success,” “Teaching, Learning and Intersecting Identities in Higher Education” and “No Justice! No Peace! College Student Activism, Race Relations and Media Cultures,” as well as numerous articles, book chapters and presentations on culturally relevancy, identity and learning, and other subjects.

Michael Crow G’85

Doctor of Science

Michael Crow

A knowledge enterprise architect and science and technology policy scholar, Crow has led Arizona State University (ASU) through a transformation of academic innovation and educational accessibility that has made him known nationwide as a leader in the evolution of higher education. Crow became the 16th president of Arizona State University in July 2002 and since then the university has seen rapid growth in traditional, online and international student enrollment, retention and research—all while evolving the academic enterprise to meet the changing needs of students, especially those from underrepresented groups.

During his now more than two decades at ASU, the University’s enrollment grew from 55,000 to 80,000 students, with a dedicated commitment to increased diversity. Its substantial Hispanic enrollment has earned it a Department of Education designation as a Hispanic-Serving Institution. Under President Crow, ASU, which is a Carnegie R1 University, has seen a nearly fivefold growth in research expenditures, and currently ranks 17th in federal expenditures. For its dramatic growth and modernization, ASU has been recognized as one of the top 100 most prestigious universities in the world by Times Higher Education, and a top 100 position in Shanghai Jiao Tong’s 2018 Academic Ranking of World Universities.

Under Crow’s leadership, ASU has established 25 new transdisciplinary schools, including the School of Earth and Space Exploration, the School for the Future of Innovation in Society and the School of Human Evolution and Social Change, and launched trailblazing multidisciplinary initiatives, including the Biodesign Institute, the Julie Ann Wrigley Global Futures Laboratory, and initiatives in the humanities and social sciences.

Crow, who earned a Ph.D. in public administration from the and a bachelor’s degree in political science and environmental studies at Iowa State University, began building his distinguished academic career in various roles at Iowa State and Columbia University. At Columbia, he served as director of the Earth Institute, a collaboration of dozens of research centers and programs at the university and one of the nation’s leading resources on climate change, university vice provost and associate vice provost for science and engineering. At Iowa State, he was director of the Institute for Physical Research and Technology and director of the Office of Science Policy and Research. Throughout his career, including now as ASU president, he continues to teach and conduct research, staying grounded in the mission of higher education.

Crow has been recognized by his peers as an elected fellow of the American Association for the Advancement of Science, the National Academy of Public Administration and the American Academy of Arts and Sciences. He has published numerous books and articles analyzing knowledge enterprises, science and technology policy, and the design of higher education institutions. His expertise has been tapped by the U.S. Departments of State, Commerce and Energy, as well as defense and intelligence agencies.

David R. MacDonald

Doctor of Fine Arts

David R. MacDonald

An internationally renowned artist and professor emeritus of ceramics in the (VPA), MacDonald uses clay as a medium for exploring the form and function of utilitarian vessels, his African heritage, themes of anger and injustice, and the indomitable nature of the human spirit.

A professor in the School of Art and Design (currently the School of Art) from 1971-2008, MacDonald has taught art and ceramics to legions of ���ϲ����� students, mentored both students and fellow faculty members, and co-founded the , a cultural and artistic hub committed to artists of the African diaspora, housed in the University’s African American studies department.

MacDonald received an undergraduate degree in art education from the Hampton Institute (now Hampton University, in Hampton, Virginia) in 1968 and a master of fine arts degree from the University of Michigan in 1971. He fell in love with pottery as an artform at Hampton under the mentorship of noted African American ceramic artist Joseph W. Gilliard and was heavily influenced by ceramicists Bob Stull and John Stephenson while studying at the University of Michigan.

In his early years as an artist, MacDonald’s work was influenced by the social and political issues of the time, including the Civil Rights Movement, producing ceramic work that reflected his anger and frustration as a young Black man. As he expanded his study of East and South African culture, MacDonald became more interested in and influenced by the strength of his cultural heritage.

His abstract paintings and sculptures fuse the art of the ready-made with assemblage, minimalism and postminimalism using unremarkable materials such as raw and painted wood, bricks, paper, cement and plaster. Surface decoration, mark making and the use of carved patterns are all hallmarks of his ceramics work.

MacDonald has held the distinction of professor emeritus since retiring from the VPA faculty in 2008. His work is housed in the permanent collections of the Studio Museum in Harlem (New York), Montclair Art Museum (New Jersey) and Everson Museum of Art (���ϲ�����). He has been honored with the National Council on Education for the Ceramics Arts’ Excellence in Teaching Award and the National Crafts Council’s Master Craftsman Award, and presented a solo exhibition at the Everson titled “The Power of Pattern: New Work by David MacDonald,” all in 2011. He also received the Trailblazer Award, which celebrates those who personify exemplary leadership, selfless acts and dedication to ���ϲ�����, from the University in 2017.

MacDonald’s pottery was featured in the nationally televised PBS series “A Craftsman’s Legacy” in 2016. He continues to create art in his home studio and occasionally returns to VPA as a guest lecturer.

Kathleen A. Walters ’73

Doctor of Humane Letters

Kathleen A. Walters

An accomplished alumna, retired global business leader, committed philanthropist and the first woman to serve as chair of the (2019-23), Walters has been one of the University’s greatest ambassadors for the past 50-plus years.

She launched her pioneering career in the consumer products and paper industries after receiving a bachelor’s degree in mathematics from ���ϲ�����’s College of Arts and Sciences in 1973 and an MBA in finance and strategic planning from the Wharton School of the University of Pennsylvania in 1978.

Rising to prominence in a male-dominated industry during the final decades of the 20th century, Walters held international and North America leadership positions with Scott Paper Co., Kimberly-Clark Corp., SAPPI Fine Paper North America and Georgia-Pacific. She retired from Georgia-Pacific in 2019 as executive vice president and group president of its consumer products group, the largest retail and commercial tissue and tabletop businesses in North America, spanning more than 20 manufacturing locations and 15,000 employees.

Known for her strategic business competency, Walters has a proven record of leading companies to improved earnings from growth through innovation, revenue improvement and cost-efficiency strategies. As chair of the ���ϲ����� Board of Trustees, Walters has leveraged her unmatched business acumen and tenacity on behalf of the University, navigating the unprecedented COVID-19 pandemic, championing historic investments on campus—including the National Veterans Resource Center at the Daniel and Gayle D’Aniello Building, the renovated Schine Student Center, ongoing enhancements to the JMA Wireless Dome and ���ϲ����� Libraries’ Special Collection Research Center—and organizing and serving on the Board Special Committee on Campus Climate, Diversity and Inclusion. During her tenure, the Board has diversified significantly to include more women and people of color than at any other point in the University’s history.

Walters, along with her husband, Stan ’72, has provided lead gifts for the establishment of the Maxwell X Lab Support Fund which, among other initiatives, supports the Walters Community Partnerships providing funding for graduate and undergraduate student research. In addition, they have established the Kathy and Stan Walters Endowed Fund for Science Research and, most recently, the Kathy and Stan Walters Endowed Professorship for Quantum Science, both in the College of Arts and Sciences. They support a wide range of University priorities, including the Barnes Center at The Arch, where they have funded the Kathy ’73 and Stan Walters ’72 Pet Therapy Room. They have supported other initiatives in the College of Arts and Sciences, the Maxwell School of Citizenship and Public Affairs, ���ϲ����� Athletics and Libraries, and alumni relations.

Walters concludes her tenure as chair this month. In addition to providing ongoing oversight and leadership as chair, Walters serves on the Board Executive Committee, Board Organization and Nominating Committee and serves, ex officio, on all standing committees. She also serves on the National Campaign Council Executive Committee; the Advisory Committee on University Climate, Diversity, Equity, Inclusion and Accessibility (an outgrowth of the Special Committee on Campus Climate, Diversity and Inclusion); and the Free Speech Trustee Advisory Group. She was also Vice Chair of the Board from 2018-19 and chair of the Ad Hoc Workgroup on Volunteer Boards. In 2017, Walters received the Dritz Rookie Trustee of the Year Award. Her ���ϲ����� service includes memberships on the Atlanta Regional Council and the University Libraries Advisory Board.

Add the for easy access to Commencement weekend details and to receive immediate notifications for any changes or updates to events taking place during Commencement weekend.

The Community Folk Art Center continued its 50th anniversary celebration��recently by honoring its community and supporters and highlighting the creative arts with a mpowering performance by Ailey II.

At the Oct. 27 event, CFAC recognized the following community partners, supporters and area leaders for their support and dedication to the center and youth:

• Carol Charles ’84: Artist, educator administrator; the former executive director of the Dance Theater of ���ϲ�����; and a ���ϲ����� alumna
• Vanessa Johnson: Griot, one-woman performer, musician and visual arts educator
• The ���ϲ����� (NY) Chapter of the Links Incorporated: One of the nation’s oldest and largest volunteer service organizations of African American women and persons of African ancestry
• London Ladd ’06, G’22: Influential artist, author, the creator of a 2021 alumni mural titled “Coming Back Together” and a ���ϲ����� alumnus
• Charles Haislah: Educator, internationally renowned ballet dancer and director, and creator of the DanceLab at CFAC
• Founders: Herbert T. Williams, Shirley Harrison, Jack White, George Campbell Jr., Mary Schmidt Campbell, David MacDonald and Basheer Alim

Awardees received a specially commissioned commemorative bowl or plate created by award-winning designer David McDonald and featuring CFAC’s logo.

The celebration and performance, featuring emerging dance talent and artistic director Francesca Harper and the company’s renowned piece “Revelations” took place at the historic Landmark Theatre in downtown ���ϲ�����. Ailey II is nationally celebrated for bringing together early-career talent with emerging choreographers. Their signature work is “Revelations” which uses spirituals, gospel songs, and holy blues to explore the deepest emotions of the soul.

“Ailey II’s performance was certainly a proud part of our 50th anniversary, but it was also a way to continue CFAC’s mission to connect diverse communities—no matter age, gender, race or exposure to dance and the arts—to our collective, universal language of creativity and the exploration of the African diaspora,” says Tanisha M. Jackson, Ph.D., executive director of CFAC, creator of Black Arts Speak, professor of African American studies and one of the evening’s emcees. “Our anniversary celebration will continue through in-person and online events, so we hope many more can join our community during this special year for us.”

The theater was nearly at capacity with supporters from the University, City of ���ϲ����� and the arts community. Additionally, much to the appreciation of organizers and those in attendance, about 350 students from the ���ϲ����� City School District took in the event and performance. Their presence was not just an educational and entertainment experience—many of the students are interested in the visual and performing arts—but a fulfillment of CFAC’s community-focused mission and the creative exploration of the African diaspora.

Public programming offered year-round by CFAC includes exhibitions, film screenings, gallery talks, workshops and courses in studio and performing arts, and more. CFAC also offers a robust that provides a gateway to the arts to middle school and high school students in the community.

CFAC was founded in 1972 by the late Herbert T. Williams, professor of African American studies at ���ϲ�����, in collaboration with other faculty, students, local artists and residents of the City of ���ϲ�����. CFAC is an incubator for diverse community programming and the creative exploration of the African diaspora. It is dedicated to celebrating cultural and artistic pluralism by collecting, exhibiting, teaching and interpreting the visual and expressive arts. To learn more, .

CFAC drummers, including Joshua Williams (left), at the College of Arts and Sciences’ department fair in 2021.

Habibatou Traore ’24 was in her first weeks at ���ϲ����� when she heard African drumming during an activities fair for new students last fall. She followed their sound to Joshua Williams, who teaches West African dance and drumming at the University’s ��(CFAC). At Williams’ suggestion, the sociology major visited CFAC, and now works there as a work-study student. “The constant celebration of Black excellence, whether it be highlighting visual or performing arts, is inspiring,” she says.

CFAC, a unit of the Department of African American Studies (AAS) within the College of Arts and Sciences, is an arts and cultural organization dedicated to the promotion and development of artists of the African diaspora and other underrepresented groups.

Throughout 2022, CFAC has celebrated its 50-year anniversary, culminating with a luncheon and art auction held Oct. 22 and a����at the Landmark Theater on Oct. 26.

Tanisha M. Jackson, CFAC executive director and professor of African American studies.

“For 50 years, CFAC has helped share, preserve and continue the histories and stories of the African diaspora through the arts,” says��, Ph.D., executive director and professor of African American studies. “We are proud of the community we serve, the setting we provide for dialogue and interaction and the incredible programs and artists we support.”

In 1972, ���ϲ����� was actively diversifying its faculty and programs when Herbert T. Williams, a sculptor and art historian, was hired with a dual appointment between the School of Fine Art in the College of Visual and Performing Arts and the fledgling Afro-American studies program.

Williams was asked by Harry Morgan, program director, to create an institution or facility that would engage local Black community members in cultural events and visual arts. That fall, Williams launched a course called Art of the Black World. Students enrolled in that inaugural semester became involved with creating the entity, along with interested local community members.

The result was the Community Folk Art Gallery, which opened its doors in January 1973 in a former bakery on South Salina Street (shown below, courtesy CFAC) on ���ϲ�����’s predominantly Black South Side. The first exhibit featured the work of Harlem photographer James Van Der Zee and poet Quincy Troupe.

The development of the gallery was a grassroots effort. One of the first people Williams involved was ceramicist David MacDonald, who had joined the faculty of the College of Visual and Performing Arts in 1971. “As the only African American faculty member in the art school, he naturally gravitated to me,” recalls MacDonald, who spent 35 years as a CFAC board member, on and off, over the years. “Our mission was to provide the community some access to the resources of the campus and for the campus to gain some knowledge of the kinds of cultural things that were happening in the Black community.”

Jack White, one of the artists who helped start the CFAC gallery. (Image courtesy CFAC)

Others integral to the start of the gallery included nationally acclaimed local artist Jack White, who then taught as an adjunct at ���ϲ�����; undergraduate ceramics major Basheer Q. Alim ’74; and graduate students George Campbell PhD ’77, H’03, a physicist who went on to serve as president of The Cooper Union for the Advancement of Science and Art from 2000 to 2011; and Mary Schmidt Campbell G’73, G’80, PhD’82, president of Spelman College from 2015 until June 2022.

Williams’ students received partial credit for working on gallery programs, acting as guest curators, helping arrange and hang shows, running a Friday night film series, and conducting arts workshops for local residents, who ranged from pre-schoolers to the elderly. One of its oldest community programs is an annual spring art competition for local high school students held in conjunction with The Links, a philanthropic organization for Black professional women.

“This is a shared effort,” said Williams in 1977. “Without SU’s participation, the gallery could not exist. But the community helps establish the programs and policies and benefits directly.”

The gallery moved three times as it outgrew space, expanding its programming each time.

Carol Charles, who became managing director of CFAC in 1999. (Image courtesy CFAC)

Williams died in 1999. Carol Charles ’84, who had served as associate director under Williams, became managing director. Kheli Willets ’92, G’94, Ph.D.’02, joined CFAC as academic director in 2002 and was named executive director after Charles’ departure in 2008. Both women had been involved with CFAC as SU undergraduates. Charles took Art in the Black World as an undergraduate and later used CFAC facilities as a dancer and with the Paul Robeson Performing Arts Company. Willets was a metalsmithing major who became a work-study student at the gallery, an experience that exposed her to the possibility to teach college and work in a museum that focused on Black art. Working at CFAC inspired her master’s degree in museum studies, a doctorate in art education and a career grounded in African diasporan art and culture.

By then known as the Community Folk Art Center, it moved to its current location across from ���ϲ����� Stage in 2006, becoming part of the University’s Connective Corridor initiative and into the University’s Coalition of Museums and Art Centers (CMAC).

Renovated specifically to serve as an arts space, the new facility features two galleries, one named after Williams, a dance studio, theater (originally home to the Paul Robeson Performing Arts Company), the David MacDonald ceramics studio, and classrooms that can accommodate up to 50 students for its after-school and summer arts academies.

Jackson succeeded Willets in 2019, continuing to expand the arts education center with robust public programming including exhibitions, film screenings, gallery talks, workshops and courses in studio and performing arts, and after-school and summer art programs offered at no charge to local students.

CFAC’s current home at 805 E. Genesee Street, ���ϲ�����.

She views CFAC’s role as greater than promoting the arts. “CFAC, in a very organic and genuine way, demonstrates the diversity, equity and inclusion initiatives of ���ϲ�����,” she says. “We do it in practice and we do it in who we are and how we engage with those themes through exhibitions and programs.”

, associate dean of diversity, equity and inclusion for the College of Arts and Sciences and associate professor of African American Studies, says CFAC provides students a unique vehicle to incorporate artistic expression into their scholarship. “One graduate student whose research focused on farmers in Tanzania ended up writing a one-woman show and performing it in the theater as part of her thesis,” says Ducre, who served as a CFAC board member during her tenure as chair of the Department of African American Studies.

It’s a perfect fit for Kailey Smith, who serves as a graduate assistant at CFAC as a master’s student in AAS’s Pan African Studies master’s program. While her thesis focuses on museums and the return of stolen African artifacts, her work at CFAC provides a practical perspective to that research. “CFAC has enhanced my studies by allowing me to see what goes on behind the scenes in a museum or gallery setting,” she says. “Those who curate these spaces have to make decisions on what gets displayed and when.”

MacDonald, who retired as professor of ceramics in 2008, attributes CFAC’s longevity in part to health of the Department of AAS. “When we started, the Afro- American Studies program was new and somewhat experimental,” he says. “At many colleges and universities, the courses in those early programs were ultimately absorbed into other academic disciplines, but at ���ϲ�����, the program became a full department. I think that’s played an important role in supporting CFAC, which has provided the instrument to have conversations and to hear voices that you would not normally hear at the average academic institution.”

To learn more about CFAC’s rich history, visit the historical exhibit on display until Dec. 10 that includes archival news articles and photos that highlight the organization’s early years and a retrospective of work from CFAC co-founders.

Dancers in the Ailey II Dance Company (Photo by Nir Arieli)

The , a unit of the Department of African American Studies in the College of Arts and Sciences, celebrates its 50th anniversary with a performance by the Ailey II – Alvin Ailey American Dance Theater, featuring emerging dance talent and artistic director Francesca Harper.

The Ailey II performance will take place Wednesday, Oct. 26 at the historic Landmark Theatre in ���ϲ�����. Doors open at 6 p.m. and tickets can be purchased or at the Landmark Theatre box office. with premium seating are available through CFAC. Seating is limited.

VIP ticket holders are invited to a luncheon and art auction fundraiser on Oct. 22 at noon at the CFAC Gallery located at 805 E. Genesee St., ���ϲ�����. An exhibition of creative works from the cofounders of CFAC and historical photos of the organization will also be on display for viewing.

CFAC was founded in 1972 by the late Herbert T. Williams, professor of African American studies at ���ϲ�����, in collaboration with other faculty and students, as well as local artists and City of ���ϲ����� residents.

Under the leadership of the Department of African American Studies, CFAC has become a thriving hub in ���ϲ����� and the greater community for developing and promoting creative exploration of the African diaspora. Its mission is to exalt cultural and artistic pluralism by collecting, exhibiting, teaching and interpreting the visual and expressive arts. In addition to Williams, CFAC founders include Shirley Harrison, Jack White, George Campbell Jr., Mary Schmidt Campbell, David MacDonald and Basheer Alim.

“For 50 years, CFAC has helped share, preserve and continue the histories and stories of the African diaspora through the arts,” says Tanisha M. Jackson, Ph.D., executive director of CFAC, creator of Black Arts Speak and professor of African American studies. “We are proud of the community we serve, the setting for dialogue and interaction we provide, and the incredible programs and artists we support.”

CFAC planted its roots in a small storefront, then relocated to a converted auditorium on the East side of ���ϲ�����, before finally settling into its current space in the heart of the Connective Corridor, where the building now functions as a multidisciplinary community art center and venue for community members to gather in the spirit of creative expression.

Public programming offered by CFAC includes exhibitions, film screenings, gallery talks, workshops and courses in studio and performing arts, and more. CFAC also offers a robust that provides a gateway to the arts to middle school and high school students in the community.

In addition to the Ailey II performance, CFAC will celebrate its 50th anniversary with a variety of additional events. To learn more about events, . For more information about the gallery or tickets to the Ailey II performance, contact cfac@syr.edu. To support CFAC artistic and educational programming, .

��

I am so honored that one of my first official campuswide messages is to commemorate the Juneteenth National Independence Day, which will be acknowledged on Monday, June 20, 2022. I am especially proud that ���ϲ����� began celebrating this important day in our history prior to it being a federally recognized holiday.

The origins and recognition of Juneteenth are significant to our campus and our nation. It was not until June 19, 1865, two years after the emancipation of enslaved people was issued on Jan. 1, 1863, that a Union U.S. Army general proclaimed the freedom of enslaved African Americans in Galveston, Texas. The Juneteenth holiday is not only a cause for commemoration but also a time to reckon with our country’s history and its impact on the African American community and Black people. In keeping with our tradition, the Office of Diversity and Inclusion, in partnership with ���ϲ����� Libraries, offers that provides education regarding the significance of Juneteenth. Please take time to engage with this information and feel free to share any reflections or questions with me.��I also encourage you to attend the various events in the community, including the , which features women’s basketball coach Felisha Legette-Jack as one of two grand marshals during Saturday’s parade, and at the Everson Museum, which will include Sharif Bey, an associate professor of studio arts in the College of Visual and Performing Arts, leading a gallery tour of his exhibition.

On our campus, we benefit from having so many individuals with backgrounds that are rich in diversity and the intersectionalities within, which helps to ensure our collective efforts are inclusive and that everyone is represented in the outcomes of our work. A highlight of my first weeks here has been my introduction to 119 Euclid, a space on campus that celebrates Black students and culture, and affirms, celebrates and amplifies the voices and experiences of the African diaspora. The presence of such spaces as 119 Euclid is essential to building community, and critical to student retention and our University’s overall success. Some other such spaces include the , , , the and the .

Another highlight has been my initial engagement with campus members. I am invigorated by the urgency and desire that has been expressed to advance diversity, equity, inclusion and accessibility (DEIA) work that is substantive and transformative. To that end, I would like to share a few of my immediate priorities:

• Community-building across campus. Our recent campus climate survey indicated a need to build community—particularly among those from minoritized communities. We will host gatherings throughout the year to help foster a culture of belonging and inclusion.
• Ongoing communication. The Office of Diversity and Inclusion will send quarterly newsletters and host in-person engagement opportunities to share updates on DEIA initiatives and increase information exchange.
• Address the goals outlined in the five-year strategic DEIA plan. I will work with DEIA leaders and colleagues to identify short- and long-term projects; streamline DEIA efforts across schools, colleges and administrative units; and implement initiatives beginning this year.

Juneteenth is one of several opportunities for us to recommit to our shared endeavor of becoming a community that is truly welcoming to all. I understand and take very seriously my responsibility to facilitate these efforts with empathy, courage and intention. I look forward to working with you and our community partners to act on these key priorities.

Sincerely,

Mary Grace A. Almandrez, Ed.D.
Vice President for Diversity and Inclusion

But in the third week of January, thanks to the visionary work of Shanequa Gay, an artist from Atlanta, Georgia, the seeds for an art exhibition honoring both Black women and the Black experience in America were planted at the Community Folk Art Center.

This new and visually stunning art exhibition, “carry the wait,” is Gay’s latest installation merging her affinity for her Black roots with her love of storytelling and mythology.

Gay’s exhibition depicts using art to facilitate improved wellness and self-image for members of the Black community, touching on the important issues of home, discovering community and celebrating Black culture.

Tanisha Jackson, Ph.D., executive director of the Community Folk Art Center, posing with art from Shaniqua Gay’s “Carry the Wait” exhibition.

“To carry the wait is about all that you carry with you that encompasses Blackness. You carry the expectations from your community, your individual expectations, your hopes and dreams. You carry the wait of the expectations and burdens people put on you and project on you because of your race and your gender. But you carry the wait in a way where you are affirmed in who you are within your community. This is a celebration of being Black, but it also addresses the burdens that come with being Black. It’s about how as a people we persevere,” says Tanisha Jackson, Ph.D., executive director of the Community Folk Art Center.

Throughout the generations, Jackson says Black people in America have been able to define who they are for themselves as a position of self-determination. Especially in the South, with its troubling history of slavery and racial injustice, and in ���ϲ�����, which has its own checkered history of dealing with racial inequalities, Jackson says the exhibition should resonate with the Black community and with Black students, faculty and staff on campus.

“Shanequa’s messages resonate well with what residents in ���ϲ����� are dealing with when it comes to the Black Lives Matter movement, the calls for social justice, the I-81 issue and urban renewal. We’re hoping that with this exhibition, people can really come together to talk about the issues they’re facing in their communities, and that we can continue that conversation through this shared experience,” Jackson says.

Shaniqua Gay’s exhibition, “Carry the Wait,” on display at the Community Folk Art Center.

That shared experience started back in January, when, over the course of four days and four nights, Gay completed the exhibition—featuring a mural she painted live along with other paintings—before an audience of curious on-lookers.

“It was amazing watching Shanequa work. It’s very rare that the public gets to be inside the studio as the artist works. But when Shanequa was painting in our gallery, I think it was very cathartic. We invited the community to watch, and there was a curiosity about her exhibition. There was an anticipation of what her final product would look like, which really demonstrates what the Community Folk Art Center is all about: community engagement,” says Jackson.

Like much of her previous work, Jackson says “carry the wait” emphasizes themes of joy, play and cultural representation of women, from both a historical and a contemporary perspective. Gay also taps into the spiritual and mythological realms, painting girls wearing deer heads, with hooves for feet

The impact of blending the human form with animals, according to Jackson, is to elicit feelings of connectedness, demonstrating the power, bravery, speed and elegance of these half-person, half-animal subjects.

“By viewing the hybrid beings in Shanequa’s art, these figures, called the devout, they represent how we exist both in a temporal and a spiritual world. There is this shared reverence for spirituality within the African diaspora, where people coexist and create worlds where they are empowered to set a vision for themselves. Through these devout creatures, Shanequa is recognizing the divinity of Black people while making Black people feel empowered,” Jackson says.

Gay’s exhibition is part of CFAC’s ongoing series on wellness, with various Black women artists telling stories of how they use art to facilitate wellness for themselves and their respective communities.

“carry the wait” is on display at the Community Folk Art Center through April 29. Admission is free. For more information, or call 315.442.2230.

Photos courtesy of Cherilyn Beckles

“As Told By Black Women” explores the relationship Black women have with their hair and the Eurocentric lens of beauty that has shaped their perception of themselves. In most African American communities, having “good hair” means having loose curls that sway in the wind, not “nappy,” coarse or wooly hair.

Twenty-five women of different ages were photographed and asked, “What does having good hair mean to you?” The deep-rooted culture around hair within the African American community and what it means to people individually is presented throughout the images of this exhibition. The responses and stories from these women teach one to appreciate the uniqueness of others.

Beckles is a visual artist/storyteller originally from Brooklyn. She has used her passion for creativity to push limits within meaningful stories, specifically those that affect the Black community. Beckles is pursuing a master’s degree in visual communication at the S.I Newhouse School of Public Communications. She hopes to continue producing work and capturing moments worth sharing.

There is no cost to attend the exhibition. In-person appointments are available through email at cfac@syr.edu, or by calling 315.443.2230. For more information, visit the .

“CFAC is a bridge between the ���ϲ����� community and the local community, through the vehicle of art,” says CFAC Executive Director Tanisha Jackson. “We bring in the talent of our students, faculty and staff and the community brings in their knowledge and art and we can have a dialogue.”

CFAC features New Jersey-based artist Lavett Ballard’s work, “Stories My Grandmother Told Me,” running through March 20.

A unit of the Department of African American Studies in the College of Arts and Sciences, CFAC is an arts and cultural organization dedicated to the promotion and development of artists of the African diaspora.

“CFAC in a very organic and genuine way demonstrates the diversity, equity and inclusion initiatives of ���ϲ�����,” says Jackson, a professor of practice in the Department of African American Studies, who teaches a course each semester. “We do it in practice and we do it in who we are and how we engage with those themes through exhibitions, workshops and classes.”

CFAC, which employs University students in various roles, launched an over the summer in response to the pandemic. Visitors can also schedule appointments to visit CFAC. It also offers live stream art classes, wellness and fitness classes, performance classes, and concerts and performances.

In celebration of Black History Month in its latest exhibition, CFAC features New Jersey-based artist Lavett Ballard’s work, “Stories My Grandmother Told Me,” running through March 20. Ballard will give an artist talk on March 5 at 6 p.m., via Zoom. Online visitors can also check out Jackson’s video series, “Black Arts Speak,” with , which Jackson produced and alumna Brittany Wait G’17 served as director of photography.

In this Q&A, Jackson discusses the latest exhibition and all the different ways the community can engage with CFAC.

Q: What are some ongoing ways people can enjoy all that CFAC has to offer?

Tanisha Jackson

A: Upon returning for spring 2021, we now offer live stream arts classes, along with our online exhibitions. Our , which is one of our signature programs, allows for anyone to enroll and take art classes with an instructor who is live streaming from CFAC. We have programs connected to wellness and livestream Zumba, African dance and African drumming classes. We also have live concerts and performances. On Feb. 26, we will have a . We stream all of these things, and more information on how to access these events can be found on the .

Q: Tell me about the latest exhibition. What themes does the artist Lavett Ballard explore?

A: Lavett submitted her work for exhibition a couple of years before I arrived. It was in queue, and I was combing through the submissions and came across this beautiful work of mixed media collages on wooden fences. Lavett’s exhibition, “Stories My Grandmother Told Me,” is very timely. It speaks to the journey of the African diaspora, because there are many historical references and iconography.

Good examples would be her work highlighting the bus riders in Montgomery, Alabama, with Rosa Parks and images about the Tulsa, Oklahoma, massacre, which happened 100 years ago. She doesn’t just center on historical images, but she talks about the beauty and connectivity of community. There are images of unsung heroes so that you may see an image of Rosa Parks, but then she has within her collage the copy of court cases and other documents that includes the names of other women who were instrumental in galvanizing the Montgomery Bus Boycott.

I find her work to be beautiful because there are flowers and beautiful colors as well as being informative, and it really is an exhibition that fosters a lot of dialogue around Black artists, Black art and the African American experience, in particular.

Q: What do you find particularly fascinating about her work?

A: I love her personal stories interlaced within her work. Some of the images reflect people like her father, her sons, her mother and her grandmother. The title of the exhibition itself talks about the legacy and inheritance of those stories and how they build on our understanding of ourselves as well as our community.

Artwork from a current exhibition at the Community Folk Art Center, “Stories My Grandmother Told Me” by Lavett Ballard

Her pieces are on large-scale wooden fences, that have been repurposed to be her canvas, and she uses them as a metaphor of how it keeps people in as well as keeps people out. It’s a powerful metaphor that is connected to playwright August Wilson’s work “Fences.” Her work brings up social injustice, community, women’s empowerment, respectability, politics and justice to name a few. Looking at Lavett’s work may compel you to ask yourself what are the fences in my own life?

When Lavett was not able to access her studio because of COVID, in early spring, she had to work on a smaller scale, using circular wood slices. We also see images of victims of violence due to police brutality and images from the Black Lives Matter movement.

Q: What do you see as the mission of the Community Folk Art Center?

A: CFAC’s mission is to exalt cultural and artistic pluralism by collecting, teaching and interpreting visual and performing arts. We provide public programs that include exhibitions, film screenings, workshops, studio courses, gallery talks and performances.

CFAC, which came out of the Black Power movement, was organized in 1972 at the grassroots level by Professor Herbert T. Williams, in the Department of African American Studies, and other faculty and students and community members. The conversation at the time was that they didn’t want to just read about Black art and artists but they also wanted to engage with them. They also wanted to create a space for these artists since mainstream art museums and galleries were not providing space and opportunities to artists of color, and in particular Black artists.

Instructor and artist Joshua Williams prepares for a livestream dance class at the Community Folk Art Center.

When we think about CFAC now, it continues to embrace underrepresented emerging artists, and mainstream artists as well. We hold true to our mission in providing a platform for artists and the community to engage with each other.

Q: What do you want visitors to take away from their experience when they engage with your exhibitions and events?

A: I want people to take away a sense of community. We partner with people in ���ϲ�����, faculty, students and staff, and I want them to know that CFAC is a space that is welcoming, and where anyone can learn, particularly through the cultural narratives that come out of the arts that are there.

We infuse cultural and especially Black cultural capital within the communities we serve. This is what lends to people’s understanding of African diaspora experience. That is very important if you have a lack of exposure to people within our community, so that CFAC provides space to foster sometimes critical dialogue that you might not necessarily have.

Prior to COVID, we were in the city school district and working with seniors at the Nottingham. It is through these outreach initiatives that we demonstrate how CFAC has always been an organization that will come to you. We speak to the needs of everyone of diverse backgrounds, demographics and age. Even if you don’t identify as an artist, you can be entertained and most importantly you can learn and experience new things through art.

The Community Folk Art Center is located at 805 E. Genesee St.

CFAC executive director Tanisha Jackson (left) with artist and author Lavett Ballard. Ballard is featured in the first episode of CFAC’s new film series, Black Arts Speak.

“We are proud to be one of the inaugural recipients of the Black Equity and Excellence grant and commend CNYCF for their financial commitment to a corrective investment in marginalized communities that have disproportionately experienced systemic divestment,” said Tanisha Jackson, Community Folk Art Center’s executive director. “Like many arts institutions across the nation, we are navigating the challenges of serving our mission during a global pandemic. We are extremely grateful for this grant as we work to realize new creative ways to promote and develop artists of the African Diaspora during this challenging time.”

Community Folk Art Center

Hailing an invest minimum of $1 million over the next few years, the , was established in response to the tragedies and ensuing national conversation on race that has brought to light a common truth—that anti-Black racism is still woven into the fabric of our country. The allocation of the dollars will focus on building community dialogue, increasing the capacity of Black-led organizations that are supporting historically underserved communities, and supporting projects that counteract systemic racism. It also encourages dialogue that will strengthen race-related matters and support social and educational growth in the community.

“The structural racism we see today did not happen on its own—and as a civic leader in the Central New York region, we must use our platform and resources to take action,” said Dashell Elliott, program officer at the Foundation. “We believe that this positive step forward will help to harness today’s energy—and outrage—by focusing on solutions.”

The CFAC venue at 805 E. Genesee St. in ���ϲ����� has been closed to the public since March 16 due to the COVID-19 pandemic. Since the closure, CFAC Executive Director Tanisha Jackson has been strategizing how the multi-arts venue could exhibit works, share supplemental programming and stay connected to its patrons. As in-person art openings, receptions and gallery talks became no longer possible, the need for new creative reimaging of exhibitions and engagement became a priority. Like many arts institutions across the nation, faced with closure and social distancing guidelines, CFAC found remedy by leveraging the internet’s vast potential and capability to build community in a virtual space.

“On this platform, we not only showcase the artwork of artists through exhibitions, but there are other resources available,” Jackson says. “We are thrilled to be launching, in addition to the website, a new podcast series called ‘Black Art Speaks.’ will provide art activities and instruction for young learners. Visitors can stop by the shop to purchase objects, art and apparel that bring awareness to the importance of art in our community and raise funds for classes and programming.”

Jackson says the works represented have significant research value and, thanks to the redesign of the online platform, these resources will be more widely available to educators, artists, critics, curators and the arts community.

With the aspirational goals now realized, Jackson is excited to share the new platform. “I hope this resource expands the reach of the organization,” Jackson says. “We look forward to you visiting us digitally as well as in our physical space in the future.”

Three exhibitions are currently available for viewing. “Cherilyn Beckles: ���ϲ����� Black Lives Matter Protest” is part of a photo series highlighting Black Lives Matter ���ϲ����� photographers. Beckles is a recent graduate of the Newhouse School’s graduate program in visual communications. Her participation in the group Last Chance for Change, as a protester against police brutality in the Black community of ���ϲ�����, inspired her to document the movement.

The second exhibition, “Jaleel Campbell: 2020” features the multimedia artwork of ���ϲ�����-based artist and recent SUNY Purchase M.F.A. graduate Jaleel Campbell, whose work was recently showcased on the façade of the Everson Museum to support the “In Solidarity” installation project. His work demonstrates how the arts build community and Black Joy.

The third exhibition is CFAC’s 48th annual “Competitive Teen Art Show” in partnership with the Links Inc. ���ϲ����� Chapter. It’s a juried show highlighting the artwork of high school students from the ���ϲ����� City School District and surrounding communities.

About the Community Folk Art Center

Community Folk Art Center Inc., located at 805 E. Genesee Street, ���ϲ�����, is a vibrant cultural and artistic hub committed to the promotion and development of artists of the African Diaspora. A unit of the Department of African American Studies in the College of Arts and Sciences, CFAC is a 501c(3) nonprofit organization serving as a beacon of artistry, creativity and cultural expression within. The organization was established in 1972 by the late Herbert T. Williams, a professor in the Department of African American Studies, in collaboration with other ���ϲ����� faculty and students, as well as local artists and ���ϲ����� residents. CFAC’s mission is to exalt cultural and artistic pluralism by collecting, exhibiting, teaching and interpreting the visual and expressive arts. Public programming includes exhibitions, film screenings, gallery talks, workshops and courses in the studio arts, including dance and ceramics. For more information, email cfac@syr.edu or call 315.442.2230.

From 6-7 p.m., Anderson will participate in a panel discussion with moderator Tanisha Jackson, CFAC’s executive director, and James Gordon Williams, an assistant professor of African American studies and an authority on Prince’s music. Afterward, Anderson will lead a master class for musicians of all instruments and abilities until 8:30 p.m.

Both events are free and open to the public, and are presented in honor of Black History Month. For more information, contact CFAC at 315.442.2230, and include any accessibility accommodation requests.

In addition to primary funding from the ���ϲ����� Humanities Center and CNY Jazz, Anderson’s visit is co-sponsored by the Department of Art and Music Histories in A&S, CFAC, the Goldring Arts Journalism Program and A&S.

Artist Spencer Stultz ’17 utilizes portraiture to interrogate the complexities of life.

Spencer Stultz ’17, a master’s candidate in Pan African studies, will celebrate the opening of her first one-woman exhibition at the Community Folk Art Center (CFAC) on Friday, Feb. 22, from 5 to 7 p.m.

Titled “A Time for Joy and a Time for Sorrow,” the show uses portraiture to explore notions of identity, spirituality and experience. The exhibition runs until Saturday, March 23, in honor of both Black History Month and Women’s History Month.

The (AAS) in the College of Arts and Sciences (A&S) is co-sponsoring Friday’s reception and the exhibition, which are free and open to the public.

CFAC is at 805 E. Genesee St., ���ϲ�����. For more information, call 315.442.2230 or visit .

“Spencer is a gifted painter, utilizing portraiture to interrogate the complexities of life,” says CFAC Executive Director Tanisha M. Jackson. “Art is a lens through which she conceptualizes topics that are integral to the human experience.”

In AAS, Stultz resides at the nexus of contemporary art and community development. She is an academic consultant for fullCIRCLE, an all-University program in the Office of Multicultural Affairs (OMA) that helps undergraduates adjust to college life.

Stultz is a master’s candidate in Pan African studies in A&S.

After transferring to ���ϲ����� from Howard University, Stultz received a bachelor’s degree in political science from A&S and the Maxwell School, with a minor in AAS and painting in the College of Visual and Performing Arts.

As an undergraduate, she won the Winston Fisher Seminar’s business plan competition, served as a peer mentor in OMA and tutored student-athletes in the Stevenson Educational Center.

“I am interested in how contemporary black visual art affects community and social activism,” says the Columbus, Ohio, native. “Just as my own identity and experiences drive the work I create, I hope to expand the conversations we have around issues of bias, race and identity.”

Founded in 1972 as a launching pad for African diaspora artists, CFAC has grown to support Latino, Native American and women artists. The center is a longtime partner of AAS, offering public exhibitions, artist talks, classes and workshops, particularly in art, dance and movement.

Prince (left) with Marcus Anderson, who was the late artist’s sideman from 2012-16 and played on his final studio album, “HIT N RUN Phase Two.”

The ���ϲ����� Humanities Center has announced acclaimed saxophonist Marcus Anderson will visit campus on Monday, Feb. 25, in honor of Black History Month.

A veteran of Prince’s backing band, the New Power Generation, Anderson currently tours with CeeLo Green and runs his own coffee label line.

The artist-entrepreneur will participate in a����with James Gordon Williams, assistant professor of African American studies in the College of Arts and Sciences (A&S) and an authority on Prince’s music; Tanisha Jackson, executive director of the Community Folk Art Center (CFAC); and Eric Grode, assistant professor in the S.I. Newhouse School of Public Communications and director of the Goldring Arts Journalism Program.

Afterward, Anderson will lead a master class from 7 to 8:30 p.m. at CFAC, 805 E. Genesee St., ���ϲ�����. Registration is required. Call 315.442.2230 by Monday, Feb. 18, and include any accessibility accommodation requests.

“During his visit, Marcus will reflect on the current state of the music business, including how contemporary music can promote social and cultural understanding,” says Vivian May, director of the Humanities Center and professor of women’s and gender studies in the College of Arts and Sciences (A&S). “We’re also excited about his master class, which is open to singers and instrumentalists of all ages and backgrounds. Come play or just watch.”

Both events are free and open to the public. For more information, call the Humanities Center at 315.443.7192 or visit .

On Sunday, Feb. 24, CNY Jazz will present Anderson as part of its popular Cabaret Series at 5 p.m. at the Marriott ���ϲ����� Downtown, 100 E. Onondaga St., ���ϲ�����. For tickets and more information, call 315.479.5299 or visit .

In addition to primary funding from the Humanities Center and CNY Jazz, Anderson’s visit is co-sponsored by the Department of Art and Music Histories in A&S, CFAC, the Goldring Arts Journalism Program and A&S.

Tanisha M. Jackson

The College of Arts and Sciences (A&S) has announced the appointment of Tanisha M. Jackson as executive director of the (CFAC) and professor of practice in the (AAS).

Jackson comes to A&S from The Ohio State University (OSU), where she was assistant director of The Frank W. Hale Jr. Black Cultural Center.

Concurrently, Jackson was an adjunct assistant professor of Africana studies at the University of Cincinnati (UC), specializing in eLearning strategies, and a visiting assistant professor of Africana studies at The University of Toledo (UT).

“The College proudly supports CFAC, which provides access and opportunity for a range of visual and performing artists,” says A&S Dean Karin Ruhlandt. “I look forward to collaborating with Tanisha, who is a big-picture thinker with a clear vision of the arts and humanities for the campus community. CFAC plays a major role in showcasing diverse cultural perspectives, offering critical engagement for students and the community.”

Jackson will oversee all CFAC operations: curating exhibitions, developing cultural programs and research initiatives, maintaining collections, coordinating public outreach and managing fundraising.

She also will teach one AAS course per semester on African diaspora art and culture.

“I am committed to building on the foundation laid by my predecessors, notably Interim Executive Director Kal Alston, and showcasing the transformative power of art from the African diaspora. CFAC provides a nexus between the campus community and the people of African descent in the surrounding region,” says Jackson, who has more than 15 years’ experience in consulting, research and instruction in nonprofit and for-profit settings.

At OSU’s Hale Center, Jackson supervised a staff that included nearly a hundred student workers. She also co-designed curricula for an accredited course on black cultural centers; developed and maintained records; and helped organize lectures, screenings, exhibitions and performances.

It was at OSU that Jackson earned multiple degrees, including a Ph.D. in art education and an M.A. in African American and African studies. She also earned an executive MBA degree from UT.

“My background as an educator, curriculum designer and content writer has led to organizational growth and to increased productivity and performance,” says Jackson, citing additional experience with OSU’s University Exploration program and Center for the Study and Teaching of Writing. She also worked for Crane R&D—a Columbus-based, minority-owned consulting firm—developing STEAM (science, technology, engineering, arts and mathematics) curriculum and activities for scholastic and collegiate clients.

Founded in 1972 as a launching pad for African diaspora artists, CFAC has grown to support Latino, Native American and women artists. The center offers public exhibitions, artist talks, classes and workshops (particularly in art, dance and movement), and is a longtime academic partner of AAS.

Aretha Franklin, 1968 (Wikimedia Commons)

The tribute is free and open to the public. CFAC is located at 805 East Genesee St. in ���ϲ�����.

For more information, call Tamar Smithers ‘07, CFAC’s education director, at 315.442.2230 or visit .

Smithers considers Franklin an icon whose artistry defied categorization. “Her voice was a treasure. It broke down barriers and unified people from all backgrounds. Aretha Franklin provided the soundtrack for both the Civil Rights and Women’s movements,” she says.

The evening begins with a moderated panel discussion, followed by an audience Q&A, about Franklin’s impact on music, activism, spirituality and community service.

The panelists are as follows:

• Jackie Grace ’93, author, storyteller, educational consultant and motivational speaker;
• Joan Hillsman, director of the ���ϲ����� chapter of the Gospel Music Workshop of America, as well as a prominent teacher-scholar and performer;
• Janis Mayes, associate professor of African American Studies (AAS) in the College of Arts and Sciences (A&S), who also is an author, literary critic and translator, and Africana literature specialist;
• Juhanna Rogers, motivational speaker, commentator, artist and education activist;
• The Rev. Phil M. Turner, pastor of Bethany Baptist Church in ���ϲ�����;
• James Gordon Williams, assistant professor of AAS, who is a pianist, composer and critical musicologist; and
• Roosevelt “Rick” Wright Jr., professor emeritus of television, radio and film in the Newhouse School.

The program continues with an hour-long set by Brownskin, local R&B favorites in the vein of Mint Condition, the Roots and Tony! Toni! Toné!

“Brownskin draws on decades of jazz, hip-hop, funk and dance to create a high-octane show. They know how to gain the ‘R-E-S-P-E-C-T’ of the audience,” says Smithers, in a nod to Franklin’s signature song.

One of the greatest singers of all time, Franklin died in August at the age of 76. Her career spanned more than six decades, selling more than 75 million records worldwide and racking up 18 Grammy Awards. She was the first woman inducted into the Rock and Roll Hall of Fame.

The tribute is co-sponsored by CFAC (which is a partner of AAS) and OMA, with support from AAS, the Department of Women and Gender Studies in A&S and the University’s Student African-American Society.

LaToya M. Hobbs

In the (CFAC) exhibition “Salt of the Earth,” hopes to spur a dialogue about the perception of Black womanhood. “In thinking about women as ‘preservers’ in service to others, I want to highlight the importance of self-preservation and examine how Black women engage in acts of self-care or the lack thereof,” she says in her artist’s statement.

The exhibition, which feature 15 pieces in a variety of mediums, runs through Nov. 3. An opening reception and artist talk—a conversation between Hobbs and , assistant professor of African American Studies (AAS) in the College of Arts and Sciences—will be 4:30 to 7:30 p.m. Friday, Sept. 21, at CFAC, 805 E. Genesee St.

“The pieces in the exhibition hum with energy and evoke dynamism and rhythm,” says CFAC’s outgoing interim director Kal Alston. “The work gives viewers an opportunity to meditate on the role, centrality, vitality and spirit of Black women at a personal, community and global level.”

Alston is also associate dean of academic affairs and a professor of Cultural Foundations of Education at ���ϲ�����’s School of Education and an affiliated faculty member in Women’s and Gender Studies in A&S. She has served as CFAC interim director since October 2016. The center, founded in 1972, is a unit of AAS.

“Queen Wawa” Oil, Acrylic and Collage on Canvas 30” X 24

“Salt of the Earth” is part of the Department of African American Studies Colloquium Series and was brought to CFAC by Gibson, an expert in 20th- and 21st-century African American literature and culture.

Hobbs, a native of North Little Rock, Arkansas, earned a bachelor’s degree in studio art with an emphasis in painting from the University of Arkansas at Little Rock and an M.F.A. in printmaking from Purdue University. She is a professor at the Maryland Institute College of Art. Her work has appeared at numerous exhibitions, including at the Tulipamwe International Artists’ Exhibition at the National Art Gallery of Namibia, Windhoek, Namibia (Africa); Prizm Art Fair; Art Basel Miami and the National Wet Paint Exhibition in Chicago. Her work has been featured in Transition: An International Review, a publication of the W.E.B. DuBois Institute for African and African American Research at Harvard University.

Another Hobbs solo exhibition, “Sitting Pretty,” is at Goucher College’s Rosenberg Gallery through Oct. 25. That show features 15 large-scale woodcut and mixed media monotype portraits that “confront European expectations of beauty and hairstyle with boldness, rebellion, self-confidence, and a spiritual consciousness.”

Her CFAC exhibition aims toward “redefining what motherhood looks like in the 21st century for Black women,” Gibson says. The exhibition illustrates “the continued resiliency and beauty of Black women in all of their many manifestations.”

Nehassaiu deGannes

During her stay, she will present her original one-woman show titled “,” and will lead workshops on acting, writing, poetry and playwriting.

All events are free and open to the public; however, donations are welcome. For more information, call CFAC at 315.442.2230, or visit . CFAC is located at 805 E. Genesee St., across from ���ϲ����� Stage.

DeGannes will perform “Door of No Return” on Sunday, Dec. 10, at 7 p.m. and on Monday, Dec. 11, at noon in CFAC’s Black Box Theater.

Critics describe the show as an homage to the struggles of African Americans in the New World. Partly autobiographical, the story draws on historical research and present-day interviews to desegregate American histories.

“My desire to engage a collection of ethnically diverse characters grows directly out of my cultural concerns,” says deGannes, who crisscrosses time and space to bring a host of actual New Englanders—past and present—to life.

“We are honored to present Nehassaiu deGannes [pronounced��Né-hé-sigh-u di-Ganz], whose work transcends racial and socioeconomic divides,” says Kal Alston, interim executive director of CFAC. “‘Door of No Return’ is timely and relevant, providing a platform for dialogue about issues of identity, belonging, rupture and memory.”

According to Alston, the phrase “Door of No Return” is literal and figurative.

“We know it as a symbol of the slave trade—a museum and memorial on Gorée Island, off the coast of West Africa,” she says. “It also describes the portals by which most ancestors of people of African descent entered the Americas in chains, marking an epic severing of a race of people. DeGannes seeks to repair this rift with her play.”

“Door of No Return” is a 90-minute work with live musical accompaniment. An actor/director talkback follows the Dec. 10 performance.

On Friday, Dec. 8, DeGannes will lead a workshop on creativity and performance for ���ϲ����� students titled “The Personal Can be Universal: From Memory to Solo Performance.” Participants should bring one small object, a photo and a downloadable song, each of which reminds them of a particular moment in their lives. They also should dress comfortably and carry a writing utensil, paper and earbuds. The workshop runs from 2-4 p.m.

The following day from 10 a.m. to noon, DeGannes will present a workshop for area high school students on writing, poetry and playwriting, co-sponsored by Writing Our Lives, a program of the (SOE). The workshop is called “What’s Your Story? What’s Your Song?: Crafting Poetic Monologues for the Stage.” Participants should dress comfortably, and bring a writing utensil and paper.

DeGannes onstage (Photo by Rich Hein for Chicago Shakespeare Theater)

DeGannes is a fixture on the regional, national and international circuits, having won the first annual Berkshire Theater Award (“Outstanding Supporting Performance by a Female Actor-Large Theater”) in 2016. She recently drew praise for her portrayals of Esther in Shakespeare & Company’s production of “Intimate Apparel” and of Catherine Parr (the sixth and final wife of King Henry VIII) in the WAM Theater’s production of “The Last Wife.”

DeGannes also has written a handful of plays, including “The Frangipani Door,” which won the Perishable Theater’s International Women Playwrights Award, and “Pressure Quest: Who Am I?,” commissioned by the All Children’s Theatre.

A part-time lecturer at Princeton University, she earned an M.F.A. in literary arts from Brown University.

CFAC is a partner unit of the Department of African American Studies (AAS) in the College of Arts and Sciences (A&S). AAS is co-sponsoring the residency with the Department of Cultural Foundations of Education in SOE; the Department of Writing Studies, Rhetoric and Composition in A&S; and the Department of History in the Maxwell School.

It is believed by some that the Negro Spirituals were much more than songs as we know them today. We will talk about the spirituals and how they were used from a musical perspective. The spirituals both instrumentally and vocally have been performed by some of the greatest musicians in the world.

We will also discuss how spirituals are used today. Many protest movements use spirituals in their marches to rally their people. There will also be a question and answer segment after the presentation.

Community Folk Art Center is located at 805 E. Genesee St., ���ϲ����� NY 13210.

Contact: Tamar Smithers
Community Folk Art Center
315.442.2230
tjsmithe@syr.edu

Website:����

William Lewis Bulkley, who, in 1893, became the first person of African descent to earn a Ph.D. from ���ϲ�����

Ronnick, a professor of classical and modern languages, literatures and cultures, at Wayne State University is also the creator of “14 Black Classicists,” an exhibition that has traveled to 48 schools, museums and libraries across the country and is currently on view at the����(CFAC) through November. The installation includes homage to Latinist and civil rights activist William Lewis Bulkley, who, in 1893, became the first person of African descent to earn a Ph.D. from ���ϲ�����. The exhibition was funded by a grant from Harvard University’s James Loeb Classical Library Foundation.

Thorough her groundbreaking research, Ronnick illuminates the under-examined history of Black engagement in classical studies.�� Her most notable publications include “The Autobiography of William Sanders Scarborough:��An American Journey from Slavery to Scholarship”��(Detroit: Wayne State University Press, 2005) and “The Works of William Sanders Scarborough: Black Classicist and Race Leader” (New York: Oxford University Press, 2006).

The Ronnick event is co-sponsored by ���ϲ����� Humanities Center, the department of Languages, Literatures and Linguistics’ Classics Program and the departments of English, history and religion.

On Nov. 2, ���ϲ�����’s role in the history of Black classicism will be featured in another talk, “The Education of William Bulkley: From Freedman’s School to the Hall of Languages.” This presentation by Bulkley’s biographer, independent researcher Peggy Norris, begins at 5:30 p.m. at the Community Folk Art Center.�� It is also free and open to the public.

For more information on either event call 315.443.4302 or email��aas@syr.edu.

Lin Rountree, aka The Soul-Trumpeter, is an accomplished recording artist, producer and live performer. With five solo projects, 12 Top 20 Billboard singles and numerous collaborations with top R&B/Contemporary Jazz artists, Rountree is poised to become one of the most renowned artists of his generation.

CFAC Jazz and Wine 2017, with Lin Rountree and featuring Anomalous People, is April 28 at 6:30 p.m. at the Community Folk Art Center, 805 E. Genesee St., in ���ϲ�����. Tickets can be purchased via PayPal, check, cash or credit card at CFAC. $30/ticket or two for $50.

Contact: Josette Burgos
Community Folk Art Center
315.442.2230
jaburgos@syr.edu

URL:

Contact: Jaime Ransome

Community Folk Art Center

315.442.2230

jeransome@syr.edu

��

URL:

The festival is an opportunity for Spanish, English and French speaking West Indians to meet and find common ground in a community that has residential divisions with Blacks living on the South Side and Latinos on the West Side.

This project is both an effort to showcase the beauty of Caribbean culture and foster community togetherness. Organizers would like to create an inviting space for Caribbean immigrants and non-Caribbeans to appreciate a culture that is not often highlighted within the Central New York community.

A complete schedule can be viewed on the CFAC website: .