Jova Lynne’s curatorial concept is framed by essential historiographic questions relating to Black cultural production and the social and civic history of Philadelphia. The stories of Black people – their lives, work and narratives – impact the cultural, social and physical geography of the city. Some of them have been told by schools, museums and libraries, where collections and archives by their nature are often inflected by institutional capacities, agendas and neglect. Navigating presence and erasure in the official record inevitably leads to the questions underlying this exhibition: Who gets to make archives? What is valued? How do the dynamics of power and memory interact? This project supports the notion that “archives” do not reside exclusively in institutions, and celebrates the rich ecology storytellers, organizers, aunties, griots, artists and other culture bearers that make memory “present” and point to a path forward that can ultimately lead to change and justice. Art, in this context, becomes a living, active expression of archival practice, and can play a significant role in both preserving and advancing the powerful narratives of Black Philadelphians.
During my residency as 2021-2022 visiting scholar at The Pew Center for Arts & Heritage while on the faculty at Tyler, I explored the generative potential of archives in relation to Black cultural production. When Jova asked me to join the project team after my retirement from Tyler, one of the most persuasive elements of her proposal was that the Black Like That project is designed to support a process that is both creative and restorative in its approach to research and resources. That included reaching beyond traditional art spaces and resources, and inviting participation from a broader audience to explore how art can function as a living practice within communities.
A key element of my role in the plan has been to convene a multidisciplinary group of advisors who could bring both professional and lived experience to forming constructive questions that provide guidance on conceptual and practical matters. Most importantly, the group would help us to sort and frame the many layers of civic and cultural information explored and revealed by the artists’ projects for presentation in a culminative convening.
As you will see from their bios, the areas of knowledge and activism represented in the group we have assembled includes: historic preservation; community cultural planning and advocacy; community archives; storytelling; XR tools for interpretation; Philadelphia Black music history; Philadelphia Black activism, art and community collaboration; the cultural impact of gentrification; illustration, graphic design and visual culture; and tools for community organizing.
In addition, the artists and the team have had the support of Temple’s great Charles L. Blockson Afro-American Collection and its deeply experienced staff.
It is important to mention here that there were no forgone conclusions about what the artists would discover. The creative work has evolved organically based on the individual artist’s interests, research journeys and the community relationships they have developed. The themes to be explored in the convening have emerged alongside this process and touch on virtually all advisors’ collective expertise. At this writing, the artists’ work is nearing completion and specific content of the convening sessions is coming into focus. As with the individual projects, the premise of the convening is that knowledge is not siloed in institutions. The goal is to create an event wherein conversations are started, and where tools and insight are both delivered and exchanged. In this respect, we hope that Black Like That: Our Lives As Living Praxis will contribute to broader conversations about the ways in which art attaches to social justice and can play an integral role in community engagement and urban development. This dialogue is especially important right now as public support for the arts is threatened and, once again, the juncture between politics and culture forms a political flashpoint. By creating environments where artists and communities collaborate, we can reimagine our cities as inclusive spaces that reflect the richness of their history. In every space reclaimed by new streams of knowledge and creativity, there lies an opportunity for dialogue, growth and change.
Linda Earle
Chair, Community Advisory Committee
Community Advisory Committee Profiles
Patricia Wilson Aden
President & CEO Philadelphia Cultural Alliance.
Before joining the Cultural Alliance team Patty held leadership positions at several cultural organizations, including the African American Museum in Philadelphia, where she served as President. Most recently Patty served as the President & CEO of The Blues Foundation based in Memphis, Tennessee. Throughout her career, she has been dedicated to the preservation and celebration of cultural resources, often those associated with African American history. Patty holds a BA in History from Spelman College and a MA in Historic Preservation Planning from Cornell University.
Eric Battle
Eric Battle is an illustrator, curator & art director, whose career has covered the spectrum of comic books and graphic novels, fashion illustration, children’s books, and advertising.
Eric has illustrated many stories of popular icons, from Spider-Man, and The X-Men, to Batman & Godzilla.
Presently, Eric acts as curator, art director & illustrator on the Philadelphia Jazz Project coffee table book “Philadelphia Jazz Stories Illustrated”, and the graphic novel “BLAM!: Black Lives Always Mattered!: Hidden African American Philadelphia of the 20th Century” for Temple University’s Charles L. Blockson Afro-American Collection & funded by The Pew Center for Arts & Heritage. In June 2022, Eric exhibited original artwork in “The Artist’s Experience: From Brotherman to Batman” at New York City’s Society of Illustrators.
As of October 2023, Eric was recruited by the U.S. Mint’s Artistic Infusion Program (AIP) to add his dynamic design & visual sensibilities to upcoming coin & medal designs.
Samantha Hill
Curator of Civic Engagement at the Kislak Center for Special Collections, Rare Books and Manuscripts
Samantha is a Philadelphia native with a diverse career facilitating community-based arts, education, and cultural heritage projects. She holds master’s degrees from the University of Michigan, School of Information, and the School of the Art Institute of Chicago. Before coming to Penn, Samantha collaborated with community organizations to produce archive-based exhibits and K-12 educational programs based on BIPOC regional history and empowerment. She is also the creator of the Kinship Project, a community photography-based archive from African American families, 1839-2012. As the Curator of Civic Engagement, Samantha works closely with non-profit organizations to preserve the stories of our city’s diverse cultures. She collaborates with community groups to develop digital archives projects that extend access of Philadelphia-based collections for public knowledge.
Christopher R. Rogers, Ph.D
Christopher R. Rogers, Ph.D is an educator and cultural worker from Chester, PA with more than a decade of experience in supporting justice-oriented arts, culture, and community in the Greater Philadelphia area. He currently co-coordinates the Friends of The Tanner House, incubating a revitalized Henry Ossawa Tanner House at the intersection of Black heritage preservation and community cultural organizing. As a Facilitator with the W.E.B. Du Bois Movement School for Abolition & Reconstruction, he supports aspiring movement leaders serving communities most impacted by poverty, policing, and mass incarceration. He has previously served in key roles with National Black Lives Matter At School, Paul Robeson House & Museum / West Philadelphia Cultural Alliance, Philadelphia Student Union, Teacher Action Group Philadelphia, and more at We Win From Within.
Synatra Smith, Ph.D
Dr. Synatra Smith is a cultural anthropologist exploring extended reality (XR) and other digital tools to enhance special collections and archival records featuring African American art, history, and culture with the specific intention of documenting workflows that can be shared with students, cultural heritage workers, and scholars interested in building digital projects without relying on a large budget or team. She sits at the intersection of researcher; gallery, library, archives, and museum (GLAM) professional; and digital humanities practitioner. Storytelling and narrative-building are central to that experience and her goal is to identify ways to engage target user communities throughout the life of these projects through more inclusive means that integrate feedback loops and myriad learning styles.
PEW: Black Like That: Our Lives As Living Praxis has been funded with a project grant from The Pew Center for Arts & Heritage. As both a grantmaker and hub for knowledge-sharing, the Center is dedicated to fostering a vibrant and diverse cultural ecology. We invest in ambitious and substantive work that showcases our region’s artistic vitality and enhances public life. We also engage in a robust exchange of ideas on evolving artistic and interpretive practices with an international network of creators and cultural leaders.