While we at Blavity are continually pushing on our goal to be “the voice of the Black Millennial generation,” we also have immense respect and gratitude for the existing organizations working tirelessly to preserve and promote art, culture, and other artifacts representative of the Black experience. One of these organizations is MoCADA, the Museum of Contemporary African Diaspora Arts. We were privileged to have the opportunity to interview the current Executive Director of MoCADA, James Bartlett.
How do you partner to support local artists and creators in Brooklyn?
At MoCADA, our goal is to use our resources as a platform to empower Black communities through the arts. We do this by using art to break down both mental and physical barriers. To achieve this we not only partner with numerous organizations to create exhibitions, talks, and workshops in our gallery space, but we also partner with schools, NYC parks, public housing residents, and small business owners, to take art into the community. We produce everything from concerts and film screenings, to dance performances and photography work shops.
What do you see as the biggest misconception about museums and art galleries?
In general, I think of the terms “museum” and “art gallery” inherently very Western terms. By that I mean that concept that art and culture is housed in a particular room or building, is a concept that is not at all African. So, I think less about misconceptions, and more about reclaiming language as our own, and creating our own definitions of what these entities should mean and represent. With that in mind, our goal at MoCADA is to break down the tradition notion of what a museum is, and reclassify it less as a physical structure, and more as a metaphorical platform for the preservation, presentation, and distribution of art culture.
How do you think the state of African Diasporic Art is changing?
I think art is inherently change. I think African Diasporic art, like most art, is getting more connected. Artists from around the world are a participating in the same conversation, in a way that has never been possible before. I always say that Hip-hop was the first globally connected culture, because it was the first organically created culture to spread to every corner of the earth. Now, the Hip-hop Generation, and even younger, are able to build on those connections because of technologies like Facebook, Twitter, Instagram, etc.
Can you walk us through a typical day as Executive Director?
I know it sounds cliché, but every day is different. I am focused on securing the future of the organization, so the majority of my time goes into things like working on our capital campaign to build a new building, board recruitment, fundraising, and other operations related projects like that. We are in the process of planning to move into a brand new 10,000 square foot space in Fort Greene within the next three years, so that takes up a lot of my time. I feel very passionately, that MoCADA’s existence is important, so I am trying to do everything within my power to make sure that it becomes an institution that lasts well beyond me.
What is the thing you are proudest of achieving as Executive Director of MoCADA?
I have to hit you with another cliché unfortunately, but I honestly don’t feel like I have achieved anything just yet. I was handed an amazing foundation by the previous Executive Director and Founder, Laurie Cumbo. When I took the reigns, I made a conscious decision not to change very much from a programmatic perspective. I wanted to focus on building the behind the scenes infrastructure. I have made some strides in that area. For example, I have expanded our board directors from 4 people to 18. But I will feel like I have achieved something when MoCADA has a new building, and enough resources to make we don’t rely on grants to determine what programs we will do.
You have a background working with creative talent and mixed media. How has that influenced how you approach new initiatives and building partnerships for MoCADA?
Working in a variety of disciplines, primarily music and film, has given me a broad range of connections and experiences that I feel I can draw upon to create new opportunities. I think it has given me the sense that nothing easy, but anything is possible.
You deal with a lot of artists and creative minds in your work. Do you have any tips for how they can communicate and pitch their visions and get their work noticed?
Grind, grind, grind. And don’t stop. Haha. That’s really the key. If a door is locked, make your own door. I’m full of these great cliché’s today.
What role do you think MoCADA and its contemporaries have in public activism and discourse around issues like Ferguson?
I think it is anyone’s responsibility to use whatever platform they have to advocate for justice. Even if your only platform is your dinner table. But for institutions like MoCADA, I think we have an obligation to seize the moment, and really put our principles into action.
What can we expect from the MoCADA in 2015? Any special surprises?
We have lots of programming planned for 2015. Our first exhibition opening of the year will be on February 7th, for an exhibition called Vision Quest. It is a two person show, featuring the works of artists, Artists Amaryllis DeJesus Moleski and Sheena Rose. Their work explores and document women’s stories in ways that diverge from dominant narratives of female experience. In February, we will also host a film screening series at Ingersol Houses in Fort Greene. In May we will have our first Gala. And in August we will host our 5th Annual Soul of Brooklyn Festival.
Keep up to date with all things MoCADA on Twitter, Facebook, and Instagram. If you’re in the NYC area (or visiting), make sure it’s on your list of places to visit. You won’t be disappointed.
