Ghosts of Nashville Langston Hughes Performing Arts Institute June 1

Langston Hughes Performing Arts Plant (Seattle)

• By Zola Mumford
• Posted 8/06/2014
• HistoryLink.org Essay 10909

For more than than 40 years, a customs middle named for Harlem Renaissance luminary Langston Hughes (1902-1967) and housed under the dome of a former synagogue has played a major office in the artistic, cultural, and social life of Seattle's Central Area. Known since 2013 as the Langston Hughes Performing Arts Establish, the building located at 104 17th Avenue South at Yesler Mode began life equally Chevra Bikur Cholim, an orthodox Jewish synagogue. Since 1971, after the Metropolis of Seattle used federal Model Cities funds to acquire the building, it has been known variously as the Yesler-Atlantic Community Center, the Langston Hughes Cultural Center, the Langston Hughes Cultural Arts Center, the Langston Hughes Performing Arts Centre, and the Langston Hughes Performing Arts Institute. Management and administrative structures for center operations have changed many times, just Seattle residents' fondness for Langston Hughes and the artistic temper he inspired has endured for generations. Many African American Seattleites with personal, cultural, and professional ties to the Primal Area still refer affectionately to the building as "Langston."

Chevra Bikur Cholim

Chevra Bikur Cholim was established in 1891; the congregation built a synagogue at 13th Avenue and Washington Street in 1897. In 1908, the congregation began raising funds for a new building to accommodate its growing membership. Designed by Marcus B. Priteca (1889-1971) and completed in 1915, the new synagogue could seat upwards to 1,400 in a "white brick terracotta" structure "surmounted by a colored dome" ascent 70 feet in a higher place street level ("New Synagogue ...").

"The design of the synagogue, Byzantine, is emblematic of the Jewish faith. Information technology was selected past the architect ... later on he had fabricated an exhaustive study of the architecture of the Biblical era and [in] particular of the Jerusalem temple ... Mr. Priteca, who is known throughout the Westward for the architecture he has exhibited in several theaters built for Alexander Pantages, devoted his very best efforts to working out a design that would be impressive in a dignified way besides every bit symbolical, and the members of the congregation are enthusiastic over the results" ("New Synagogue ...").

The congregation sold its edifice to the City of Seattle in 1969 as the outcome of efforts by Walter R. Hundley (1929-2002), Program Director of Seattle's Model Cities Program, and other Fundamental Surface area citizens to acquire the edifice for use equally a community center. Some services and events connected to be held in the synagogue through 1971. That yr Chevra Bikur Cholim merged with Congregation Machzikay Hadath, becoming Congregation Bikur Cholim -- Machzikay Hadath; that congregation'southward new edifice on South Morgan Street was completed in 1972.

Model Cities: the Yesler-Atlantic Community Center

Seattle was the first urban center awarded federal funds to implement urban renewal under the Model Cities Program (established past the Demonstration Cities and Metropolitan Act of 1966). The Model Cities Program was intended to address poverty and social inequalities past improving physical and social conditions. Denizen involvement in planning and development was a major element of the program.

In 1967 Walter Hundley, then Managing director of the Primal Area Motivation Program, was selected by a citizen'due south commission to head Seattle's Model Cities Program, and the effort he and others led to buy the synagogue building was conducted under the auspices of that program. Once the purchase had been bundled, planning began for use of the building as a customs heart managed past the city parks and recreation department. A large, multipurpose facility in the Central Area had the potential to develop stronger customs ties while dollars circulated close to abode.

Co-ordinate to one analysis, "instead of groups having to go out of their surface area for a special convention or effect, they would now have a special facility in which to hold their own meetings or events, including a large banquet facility and a large hall for their presentations" (Gabrielson, 1972). Seattle'south Model Cities role estimated that local areas residents would make up 90 percentage of those who used the center.

A 1972 Cooperation Agreement called for a wide range of city-sponsored programs and activities -- including classes in English for immigrants, flower arranging, trip the light fantastic toe, crafts, Japanese cooking, African history, and Filipino fine art; social club events; a nutrient program; and youth social activities -- to move from the Collins Recreation Center at 16th and Washington streets to the new Yesler Neighborhood Center Project, as the quondam synagogue building was to be known.

All of the classes proposed for the new community middle were to be free to the public and funded by grants. The understanding likewise mentioned "provision of space for day care programming, use of the facility by the Cinematography Projection of the Model Cities Program, and provision of Driblet-In Middle activities for the elderly of the service area" (Gabrielson, 1972).

Construction work to convert the synagogue building into a community middle began on April half-dozen, 1971, and was completed on March 31, 1972. Daycare and function space now occupied an extension congenital by Chevra Bikur Cholim every bit its Education Annex in 1961-1962. A business firm on the southwest corner of the lot, formerly occupied by synagogue caretakers, was demolished and a patio/play area for the childcare center built in its place. The final toll of the renovated facility was $761,968.23. On Lord's day, July 16, 1972, the newly renovated Yesler-Atlantic Customs Heart was dedicated in a public ceremony.

Community Engagement

The new community center'due south small staff devoted itself to creating a welcoming atmosphere, as reflected in a 1972 letter from Ruth Thou. Arai of the Saga School of Japanese Flower Arranging to Yesler-Atlantic Community Middle Director Tom Turner and Supervisor Willie Campbell.

"We drew a larger crowd than ever earlier and received and then many compliments on the location, the newly re-done quarters, especially the 'no steps' for the elderly and most of all nosotros appreciated the very sincere and helpful cooperation of the unabridged staff. Don't exist surprised if in the future you might exist approached by other Japanese Flower Schools to have their showroom there" (Arai).

Performing artists, churches, and community groups rented the middle'south theater for a wide-ranging multifariousness of events, some of which were feature of the period. "New Dimensions in Music," a Nov 1972 concert, combined live performers and multiple synthesizers with "audition participation, with the synthesizers, and the visual realization of sound through oscilloscope and radar tubes" ("Northward.D.M. Concert ...").

Supervisor Willie Campbell'southward handwritten list of some of those who used the edifice in 1973 provides a snapshot of Fundamental Area life at the time. It includes various school department groups, Model Cities staff, the Homo Rights and Community Evolution departments, and other metropolis agencies; many religious groups, including New Promise Baptist Church, Blood-red Hill Baptist Church, Jehovah's Witnesses, Articulate Tone Gospel Church, and Damascus Baptist Church; organizations including King County Foster Parents Clan, Washington State Women'southward Political Caucus, Century Social Club, Seattle Council PTA, Seattle United Black Arts Society, Harborview Community Health Center, Black Civilisation Workshop, Seattle Chapter of the Links, Inc., and Jack & Jill Organization of America; a Koyasan Folk Lore Open Firm; the Safeway Christmas Party; and many other shows, meetings, wedding showers, graduations, and more.

Early Challenges

Despite the center'southward promising start, an exchange of January and Feb 1973 letters indicates that some classes suffered from low participation rates. In a January 1973 memorandum Turner and Campbell expressed concerns about the Yesler-Atlantic Community Center's future. Center staff promoted classes and events past sending weekly news releases to radio stations KJR, KYAC, and KIXI. They besides sent press releases to the Seattle Post-Intelligencer, The Facts, and The Seattle Medium newspapers as well as the Franklin High School pupil newsletter.

In April 1973, Model Cities Program Director Walter Hundley warned parks superintendent Hans A. Thompson that Model Cities would not be able to proceed paying for a security baby-sit at the centre. In Oct 1974 the center did receive an boosted $28,500 in Model Cities funds to extend operation back up. It soon began to charge a $5 grade-enrollment fee.

A New Name for Changing Times

The global Black Consciousness movement of the 1960s and 1970s was just as alive in Seattle every bit in other U.South. cities with larger African American populations. Changing historical and social perspectives led to discussion of a new name for the center representative of the history and culture of the neighborhood's primarily African American population. Names considered past the Yesler-Atlantic Community Center Board included the DuBois Dome (proposed by Mildred Russell on January 9, 1973, after W. East. B. DuBois); the Paul Robeson Cultural Center (proposed past Russell on Feb 24, 1973); and the Langston Hughes Cultural Heart, recommended by Ms. J. T. Stewart, the Chair of the Yesler-Atlantic Advisory Lath. In keeping with the Model Cities mission, public input was requested: "Names should be placed in a box at the receptionist's desk at the heart" ("Name Sought ...").

Bruce Chapman, chairman of the city council's Parks and Public Ground Committee, supported naming the heart for Hughes:

"I understand that an excellent proper name has been suggested for the Yesler-Atlantic Customs Center. In my opinion, to call information technology the 'Langston Hughes Cultural Center' would most accordingly honor a great Black American poet and writer. The name is plumbing equipment and I do support it" (Chapman letter, Apr 3, 1973).

The name change was confirmed in a May 30, 1973, letter to the Yesler-Atlantic Advisory Board from Virginia van Ness, Chair of the Lath of Park Commissioners, and subsequently placed on record and officially adopted past the City of Seattle. The Seattle Times announced a June ix, 1974, ceremony, luncheon, and amusement for the dedication of the heart under its new proper name: the Langston Hughes Cultural Arts Heart, or LHCAC.

Langston Hughes: His Presence and Influence in Seattle

Poet, playwright, author, traveler, and Harlem Renaissance luminary Langston Hughes, the heart'southward future namesake, offset spoke in Seattle on Thursday, May 26, 1932. Three years afterwards he was awarded a Guggenheim fellowship. Hughes delivered a public lecture titled "Color Around the World" on January 24, 1946, one of a series presented by the Associated Women Students of the University of Washington.

A headline published the following day read "Negroes Happiest in Seattle, Says Writer of Poetry, Song," but Hughes'southward actual commentary as described in the article was not quite and so idealistic:

"Hughes ... reported today the impression prevails in the rest of the nation that Seattle is 'a liberal city where social problems exercise not exist on the aforementioned scale as elsewhere.' Hughes ... said that Seattle had more than to offering a non-white in educational and cultural lines than many other western and eastern cities. 'However, the great influx of Negroes to the West was purely economic,' he added. 'At present that they are here, they are finding it a much happier identify in which to live than say, the South, or Portland, Or. ... Negroes all over America are under the impression that Seattle understands them, although there is non too much opportunity for them here'" ("Negroes Happiest ...").

Hughes quoted his lyrics for "I Dream a World," an arietta from Troubled Island, a new opera he was working on at the fourth dimension:

I dream a world where men
No other man will scorn.
Where love will bless the earth
And peace its paths adorn.
...
A world I dream where black or white
Whatsoever race you be,
Volition share the bounties of the earth
And every man is free.

Hughes's Harlem-set up musical comedy But Heavenly was staged by The Contemporary Players at Seattle Academy's Piggott Auditorium in 1959 and again in 1960 at the Boards Playhouse.

In 1967 Paul Bellesen, an African American from Marysville, established North by Northwest Adventurers, a Central Area-based youth seafaring programme, and began raising funds to purchase a boat to be christened the Langston Hughes. Years earlier, Hughes had sent Bellesen an autographed re-create of his book The All-time of Simple. The organization was able to buy an 85-foot tugboat built in Canada in 1906; two other boats were later donated. Students took to the waters of Puget Audio and learned aeronautics, charting, communication, marlin-spike seamanship, deck duties, scuba diving, prophylactic, sea studies, and more than. Works past Hughes shared space with nautical books on the shipboard library shelves.

In the early on 2000s, Jacqueline Moscou, Artistic Director of the Langston Hughes Performing Arts Eye, directed annual productions of Hughes' play Black Nativity, staged at Intiman, the Moore, and other Seattle theaters.

Classes, Food, and Clothing

In 1974 the newly dedicated Langston Hughes Cultural Arts Center offered classes for a wide audience: "Pantomime for the Deaf," "Advanced Karate," "Koyasan Folklore," "International Crafts" for ages 6-12 and adults (macramé, batik, tie dye, clay stitchery and cake printing), Ikebana flower arranging, puppetry, acting, public speaking, music, art, literature, stage lighting, and more. Many children from the nearby St. Mary'south Uncomplicated School attended classes twice a week later on school.

Francene Major, hired as program director in 1974, discussed her program plans with a Seattle Postal service-Intelligencer reporter: "Nosotros plan to add creative writing, drama, modeling classes, and a course to teach the kids to take care of their Afro pilus cuts ... I promise to add together other programs every bit soon as I find out what the community would like. That's ever hard to judge only we have to observe out their needs if nosotros are going to serve them" (Grimley)

Class schedules from 1975 listing adult practice, Japanese blossom arranging, creative trip the light fantastic toe, arts and crafts, interim, basic photography for children from vii through their teens, painting, creative writing, sewing, an "Oratory Mini Course," and hair training. Other programs included a weekly Japanese sociology grade, "Campi Pre-Satellite School," "Artistic Movement for Pre-Schoolers," guitar lessons, and a cultural commutation program operated with Purdy Land Reformatory, the Washington State Reformatory at Monroe, McNeil Island, and the King Canton Juvenile Court. A "To Langston with Honey" field trip taught children about Langston Hughes's life, travels, and work, and minority inventors. Films shown at the heart ranged from The Learning Tree, directed past LIFE magazine photographer Gordon Parks, to Return of the Dragon, starring erstwhile Seattle resident Bruce Lee.

The Langston Hughes Cultural Arts Center offered more than arts and culture. The Post-Intelligencer reported in 1974:

"A big draw to the center is a nutrient programme through the Department of Agriculture. Free meals are served to any young person up to 21 years. During the school yr breakfast is served on Saturdays and dinner is at five p.m. Mondays through Fridays. Snacks as well are provided to children after classes. Last month 298 breakfasts, two,285 dinners and one,784 snacks were served" (Grimley).

Food and wearable were distributed to needy adults at the December 1973 holiday party. This practise of generosity continued for years. LHCAC addressed the trouble of child hunger by condign a location for the city-sponsored Summer Sack Tiffin Program. In 1985 the summer program schedule also promoted "Everybody's Altogether Party," a mode to give all kids aged v to fourteen a celebration with birthday cake and games. Guests were asked to bring donations of canned nutrient to a Dec vacation trip the light fantastic. During the 1980s, Central Surface area United Senior Citizens used the eye'south large multipurpose room for its lunch program.

By 1976 Walter Hundley had been appointed Budget Director at the Seattle Parks Department. He remained supportive of LHCAC, equally shown past his advocacy for the center's Food Supplement Programme. When federal Department of Agronomics funding failed to keep up with increased food prices, Hundley requested for an emergency funds cribbing and the parks department transferred $1,500 between upkeep areas, keeping the Food Supplement Program operating.

Community Engagement

LHCAC remained busy through the end of the 1970s. A 1978 program schedule mentions the Langston Hughes Repertory Theatre Visitor: "this community oriented centre has formed the get-go in-firm community theatre in the Primal Expanse" ("Langston Hughes ... Winter 1978"). The visitor staged Jean Genet'due south The Blacks in 1979.

During 1978 and 1979 the eye offered courses in karate, astronomy, tumbling, meditation, yoga, photography, painting, drawing, and playwriting in addition to "Senior Denizen Activities" and an occasional on-site, driblet-in Geriatric Clinic. "Survival for Parents" provided "an opportunity to talk about concerns and issues facing parents today. Single parents and extended families are welcome" ("Langston Hughes ... Winter 1978"). Instructors taught classes ranging from woodworking to playing span and chess to drill team steps, patterns, and technique to Chinese castor painting and calligraphy. Children aged 8 to 16 could become help from tutors or acquire to cook nutritious meals with the King Canton and Washington Country Academy Extension service.

The disco craze was mirrored in a six-week Disco Dance Lessons form by Larry Cabrales: "Keep up with the mod dance steps. Learn such steps equally the Bump and the Hustle from a professional instructor" ("Langston Hughes ... Winter 1979"). A roller skating grade was held at nearby Washington Middle School. A twice-weekly driblet-in activity group for young mothers provided activities (macramé, sewing, drama, writing, fine art) and a take a chance to make friends. Robert Long taught American Sign Language. Seattle and King County libraries provided films for an ongoing complimentary children'south film series. Daily youth drop-in activities for children sixteen and under included a social hour with ping-pong, pool, and other games. LHCAC classes now price $5-$10; a HUD Cake Grant provided compensation for instructors.

During the early years of the 1980s LHCAC offered fewer classes than it had in the prior decade. However, certain artists and plan instructors became associated with the center as a result of frequent classes and performances there, condign in effect artists-in-residence and enabling intensive concentrations in their respective disciplines. The Paul Robeson Customs Theater Group (PRCTG) became LHCAC'south theater-in-residence around 1980. The PRCTG presented several plays written or adapted by actor, director, producer, and longtime Central Area resident Umeme Upesi.

In 1982 Seattle's chapter of the National Council of Negro Women rented LHCAC to nowadays the traveling film series Reel to Real: Black Women Make Films. The upshot foreshadowed the Langston Hughes African American Film Festival, established by Artistic Director Jacqueline Moscou in 2003.

Arts and Civilization of the African Diaspora and Beyond

LHCAC programming upheld the centre's commitment to providing access to arts and culture from across the African diaspora and supporting the effort with rehearsal and performance space. From the time of its opening the center was a frequent location for performances past African drumming and trip the light fantastic ensembles, some of them led by professional musicians and dancers, other based at local high schools and middle schools. In March 1974, Capoeira Republic of angola Western Washington Country presented "The Capoeira Exhibition" at LHCAC, an issue described as "a program on African culture featuring a ballet of gladiators involved in a mock battle" ("African Ballet ..."). By 1982 LHCAC offered Capoeira classes. In 1984 Jack Spencer taught steel drums. In 1985, Won-Ldy Paye taught Liberian folk dance, Liberian ballet trip the light fantastic toe (dance-drama), and Liberian drama and poesy.

During the 1980s, Kofi Anang led a drumming and dance ensemble that often rehearsed at LHCAC and taught Ghanaian trip the light fantastic. In the winter of 1980 Zimbabwean dancer and musician Lora Chiorah-Dye began teaching Shona dance, music, singing, and language classes. From 1979 Sheree Sparks taught mbira (similar to the kalimba, or 'thumb piano'), Southern African drumming, and African children's games and songs. In 1982 Sparks joined the Shona language classes as co-teacher; Sparks would later teach marimba classes and lead Sukutai Marimba Ensemble rehearsals in the first-floor classrooms through the mid-2000s. Christina Pullen also taught African drumming and trip the light fantastic toe in addition to teaching acting, writing and producing her play Under the Auspices, and directing the Senior Citizens Acting Ensemble.

Ii programme-schedule embrace designs from 1981 and 1982 attest to a particular Afro-Asian diasporic intersectional sensibility nowadays in Fundamental and South Seattle. A 1981 design incorporates images of the African continent, a king of beasts, a dragon, and elements of the Hinomaru version of the national flag of Japan showing a rise sunday with rays. A 1982 blueprint repeats the motifs of continent, lion, and dragon with the rising lord's day as background. Karate classes for youth and adults drew loyal students to LHCAC for years; for a few seasons LHCAC offered "Karate for Women But." In April 1982 the Seattle Cardinal Customs College Asian Pacific Student Organization and the Asian Pacific American Arts Consortium presented the multimedia play Breaking Out, in the LHCAC theater. Playwright Timoteo Cordova staged the globe premiere of his play Heart of the Son, most politico and Philippine President General Emilio Aguinaldo, at LHCAC in 1994.

A Total House

In 1987, Seattle Parks and Recreation planner Lou Ann Kirby compiled an issue newspaper that included results of a detailed study of LHCAC as 1 of iii specific sites under consideration equally an African American Cultural Heritage Heart in the Fundamental Area. She wrote:"Equally the merely cultural arts heart remaining nether the Department'due south jurisdiction, Langston Hughes offers a unique program. Its target service area is citywide, and because of its outstanding indigenous cultural tradition, it has regional appeal" (Kirby, 8).

However, the study noted that the LHCAC building needed extensive renovation and pointed out that dissimilar other Seattle community centers, "Langston Hughes lacks a gymnasium and therefore is extremely limited in its ability to offer athletic programs. ... Langston Hughes is limited to iii or four activities at a fourth dimension" (Kirby, 13).

Despite these concerns the study recognized that "the size and acoustical qualities of the theater constitute an important community asset. During the school year, the theater is generally scheduled to capacity ... Theater revenues average about $3,000 a year, which places Langston Hughes virtually the top for revenue production among the Department's 25 customs centers" (Kirby, thirteen).

In fact, demand for the theater was so great that Parks Superintendent Walter Hundley noted in a July 1987 memo that the resident Paul Robeson Theater Company had been using moveable gear up pieces, rather than larger and more than detailed sets that would have to be left in place, for its theatrical productions so that the theater could also exist used for weekday classes and rentals. An zipper to Hundley's memo lists an even greater array of events at the theater than in 1973, including meetings of the Mayor's KidsPlace Chore Force, King County Arts Commission, Seattle Police force Department Crime Prevention, and Central Surface area Sleeping room of Commerce; do good shows for University of Arkansas at Pine Bluff Alumni Benefit Prove, Gay Theatre of Seattle, and Astonishing Manning Brothers Church building; city Human being Rights Department public hearings; performances including 10 Blackness History Calendar month performances, Chicano Theater production of "Chicana," Black Community Festival Lip Sync Testify, Musavir Center Eastern Dancers, Girls' Society Variety Show, Native American Activeness Committee Cultural Evening, and Suzuki Violin Schoolhouse Recital; Paul Robeson Theater classes and rehearsals; Get-go Church building of Christ Scientist lectures; Gemini International gospel films; a School Board Candidates Forum; a National Conference of Black Lawyers Community Forum, and more.

The Langston Hughes Center and Seattle Hip-Hop

By the summertime of 1984 LHCAC was offering x-to-18-twelvemonth-olds classes in "Break Dancing -- New! Exciting! Breathtaking! The current craze that is sweeping the nation" (LHCAC Summer Program Schedule, 1984)

In addition to break-dancing classes, LHCAC was a popular performance space for rappers and dancers. Anthony Ray (b. 1963) -- improve known equally Seattle rap star Sir Mix-a-Lot -- lived at neighboring Bryant Manor, 1801 East Yesler Way, for some years during his childhood.

B-Self (Bill Rider), half of hip-hop duo Ghetto Chilldren, told Seattle Times reporter Vanessa Ho in 1994: "People think that a hip-hop show is going to be tearing ... but y'all can go to the Langston Hughes (Cultural Arts Middle) and see some quality hip hop and there won't be whatever violence" ("Ghetto Chilldren ..."). Some productions during the 1990s and 2000s combined theater and hip-hop in musical plays such every bit Pressure: A Hip Hop Theater Experience (1995).

Back to its Roots was a three-day hip-hop arts festival commencement organized in 2003 by Jacqueline Moscou. Talib Kweli opened the 2006 festival, introducing local performers including Madeleine Clifford and Hollis Wong-Wear, performing as the rap duo Canary Sings. Hip-hop performers at this festival and other LHCAC events included Source of Labor; Esai, a Samoan-American spoken-word artist; a product of playwright Melissa Noelle Greenish'due south Hip Hop: Back to its Roots; hip-hop duo the Silent Lamb Projection; Seattle's Finest, a group combining gymnastics, intermission dancing, hip-hop dancing, and tap; and DJ Spinderella of Salt-n-Pepa, among many other Pacific Northwest hip-hop performers.

Social Issues Addressed

LHCAC was frequently the site of creative exploration or word of local and international subjects of political, social, and community business organisation. Two South African anti-apartheid leaders, Rabbi Ben Isaacson of Johannesburg and Rev. Zachariah Mokgoebo, a black minister from Soweto, spoke at LHCAC in March 1987.

Public-safety bug caused distress among local residents and building staff. A December two, 1986, parks department memo confirms plans to terminate "'hanging out' and associated activities" on the southwest corner of the lot by removing shrubbery, adding "More than light is needed to discourage the utilise of this spot as a hide-away" (Hopkins).

Crime produced artistic responses. 1989 saw the Madrona Youth Theatre's presentation of Peer Pressure, an anti-drug, anti-gang play by local playwright James Lollie with original music equanimous by Reco Bembry. Steve Sneed directed the cast of teenagers and young adults; he later led LHCAC every bit Recreation Coordinator and then director of the centre until 2000. Lollie also wrote the screenplay for the 1995 motion-picture show anti-youth-violence projection What Could Accept Been. LHCAC was a sponsor of the film and provided rehearsal space. Film and Television receiver director John Gordon-Hill directed the moving picture, donating his time and expertise. Many of the teen actors came from Cardinal Area communities near LHCAC. Felicia Loud, subsequently a renowned vocalist (Blackness Stax) and actor, was amid the cast members.

A Place for New and Experienced Artists

Teenagers and young adults learned solid performance skills through their participation in LHCAC programs. The Seattle Times reported in 1989 on one such program:

"The Madrona Youth Theater's summer program has a long string of successes, including "Trivial Miss Dreamer,'' based on the life of dejection singer Bessie Smith; 'Boys Will B-Boys,' past A. M. Collins, who wrote 'Aroused Housewives'; "Dull Dance on the Killing Footing,'' with guest artist John Gilbert; and last year'due south West Declension premiere of 'Sing on, Ms. Griot.' ... Early productions were staged in the Madrona Community Center ... The Langston Hughes Cultural Center now seems to be its permanent habitation" (Duncan).

A quarter-century later on, the All-Teen Summer Musical remained ane of LHCAC's most popular programs. Participating youth guided past theater professionals learned aspects of musical theater and technical product. The showtime Summertime Musical product was Summer Rhapsody Reunion, staged in 1996; subsequent productions included Peter Pan, The Wiz, and Grease. During the balance of the year, young people in Central and S Seattle participated in such events as the Best of the Best talent shows of the 1990s and early 2000s.

Performing arts luminaries from a broad range of disciplines treaded the boards of Langston Hughes: musician and activist Gil Scott-Heron; Arthur Duncan, a tap dancer featured on the Lawrence Welk television show for 17 years; histrion and film producer Danny Glover (as a invitee of the Langston Hughes African American Moving-picture show Festival); Ghanaian drum and dance ensemble Ocheami, led by Kofi Anang and Cecilia Anang; the Kronos Cord Quartet; Marvin Tunney of the Alvin Ailey Dance Visitor; Edna Daigre's Ewajo Trip the light fantastic Workshop; the Joe Brazil Orchestra; the San Francisco Mime Troupe; Harlem tap dancer Jeni LeGon; African-dance instructor and performer Makeda; the Choreopoets, an ensemble performing the song, dance, and poetry repertoire of African American artists; Sounds of the Northwest, an a capella choir performing traditional African American music; the Inception Dance Visitor; and hundreds of other touring and local performers.

Acclaimed artist Jacob Lawrence (1917-2000), a recipient of the NAACP's Spingarn Medal in add-on to countless arts awards, exhibited paintings at LHCAC in 1978 during a Black History Month consequence. The 2004 Black to the Hereafter blackness scientific discipline fiction festival produced by the Cardinal District Forum for Arts and Ideas used LHCAC as its screening location. Black to the Future festival guests included science fiction and speculative fiction authors Charles Johnson, Nalo Hopkinson, Octavia Butler, Steven Barnes, Tananarive Due, Walter Mosley, and Nisi Shawl. Science fiction films were shown gratis to Cardinal Area fans 26 years earlier during the summer "Star-Worlds Motion-picture show Festival" series.

A Time of Transition

After the implementation of a parks department reorganization programme in 2001, the center was renamed the Langston Hughes Performing Arts Center (LHPAC). Executive Director Royal Alley-Barnes led LHPAC a through an intensive two-year renovation of the edifice between 2010 and 2012. During the renovation period the annual moving picture festival was held at Central Cinema and other programs took place off-site at various Seattle venues. The center experienced another noun alter in 2013, when its management was transferred to the City of Seattle Function of Arts and Civilization. Along with the modify of management came a new name: the Langston Hughes Performing Arts Institute (LHPAI).

Following the 2010-2012 renovation, community arts continued to thrive below the former synagogue's soaring dome. The annual Langston Hughes African American Pic Festival has shown an international lineup of films every spring for more a decade. As of 2014, LHPAI hosted ongoing projects such as open-mic nights past Freshest Roots, an organization providing performance and visual arts, and performances by the Afro-Peruvian cultural projection De Cajon. The Seattle Firefighters Bagpipe Brigade practiced in the building. Although LHPAI had no resident theater company in 2014, Artistic Director Moscou presented innovative theatrical productions such as the first production of Arthur Miller'due south Death of a Salesman with an all-black cast (2005), and the 2013 globe premiere of Hello Darlins: Moms' Got Something to Tell You, Seattle playwright Dan Owens's play virtually comedienne Jackie "Moms" Mabley (1895-1975).

The renovated center launched an artist-in-residence program in 2012 and once again offered arts classes, an annual fundraising gala, the Teen Summer Musical, and music and theater. A new plan called for LHPAI to undergo a transition to a non-profit organisation by 2016. Seattle's Part of Arts and Culture hired a transition consultant to piece of work with a customs-based transition team during the transition process, and committed to provide fiscal, operational, and maintenance support through 2018.

---

Sources: "Notice of Completion of Public Works Contract," Audit Section, Washington State Section of Revenue, June 5, 1972, Willie Campbell to Stephen F. Mentum, Baronial 16, 1973, and "HUD Form 6202, Yesler Atlantic, Wash. R-5, Certificate of Non-Greenbacks Grant in Aid, September 12, 1973, Folder 8, Box 17, Series 1620-02, Section of Community Development ... Central Files, Seattle Municipal Athenaeum (SMA), Seattle, Washington; Arnie E. Gabrielson to Hans A. Thompson, March 27, 1972, K. Ruth Arai to T. Turner and W. Campbell, [date incomplete], 1972, Tom Turner and Willie Campbell to the Central Expanse Model Neighborhood, January 28, 1973, and Bruce Chapman to the Metropolis Council of the City of Seattle, April 3, 1973, Folder 19, Box 44, Series 5802-01, Parks Superintendent'south Subject Files, SMA; David 50. Towne to Walter R. Hundley, April 7, 1976, Binder 8, Box 51, Serial 5802-01, Parks Superintendent's Subject Files, SMA; John Hopkins to Grant Morris, December 2, 1986,Walter R. Hundley to Charles Royer, July 17, 1987, and Lou Anne Kirby, "Langston Hughes Cultural Arts Center Issue Paper (Revised Draft)," September 26, 1988, Folder 7, Box 114, Serial 5802-01, Parks Superintendent's Subject field Files, SMA; "Your Seattle Parks and Recreation Langston Hughes Cultural Arts Center Fall 1974," "Langston Hughes Cultural Arts Middle 75," "Langston Hughes Cultural Arts Eye Leap 1975," "Langston Hughes Cultural Center-Summer 1978," "Langston Hughes Cultural Arts Center Winter 1978," "Langston Hughes Cultural Arts Center Winter 1979," "Langston Hughes Cultural Arts Center Summer Program Schedule 1984," "Langston Hughes Cultural Arts Centre Summer 1985," and "Langston Hughes Cultural Arts Eye Autumn 1986," Folder 6, Box 1, Series 5807-04, Recreation Program Schedules and Brochures, SMA; "Seeking Transition Consultant for the Langston Hughes Institute," press release, February fourteen, 2014, City of Seattle Office of Arts and Culture website accessed July 29, 2014 (http://world wide web.seattle.gov/arts/news/press_releases.asp?prid=14229&deptid=1); Janet Grimley, "Where's a Kid to Go When There's Nuthin' to Do?" Seattle Mail service-Intelligencer, Oct xiii, 1974, p. D-half-dozen; "New Synagogue to Have Stately Byzantine Design," The Seattle Times, January eighteen, 1914, p. 17; "Negro Poet to Speak," Ibid., May 22, 1932, p. 4; "Music," Ibid., September 2, 1945, p. 19; "Negroes Happiest in Seattle, Says Writer of Verse, Vocal," Ibid., Jan 25, 1946, p. 9; "Hughes Play to Be Offered," Ibid., September 14, 1959, p. 39; "Bikur Cholim Will Dedicate Educational activity Found," Ibid., Feb 17, 1962, p. 3; "Seafaring Group Plans Adventures," Ibid., November 26, 1967, p. 47; Marty Loken, "Dreamer to Make it True for Others," Ibid., January 21, 1968, p. 1; Elizabeth Stafford, "The North by Northwest Adventurers," Ibid., March xvi, 1969, magazine p. 10; Glen Carter, "Boys Learning to Man a Send," Ibid., February 22, 1970, mag p. 10; "Yesler Center to Be Dedicated," Ibid., July xiii, 1972, p. A-sixteen; "Northward.D.M. Concert Tonight at eight," Ibid., November 10, 1972, p. F-4; "Name Sought for Customs Center," Ibid., Jan 28, 1973, p. B-seven; "Food, Clothing to Be Distributed," Ibid., December16, 1973, p. A-10; "African Ballet Programs Scheduled," Ibid., March 17, 1974, p. G-4; "Center to Exist Dedicated," Ibid., May 27, 1974; p. A-half dozen; "Kronos Quartet in Free Concert," Ibid., January 21, 1975, p. A-17; "Ailey Dancer Returns the Favor," Ibid., September 19, 1975, Tempo, p. 6; "Phase and Screen," Ibid., November 16, 1975, p. B-11; "Movies: Film Programs," Ibid., Dec 5, 1975, Tempo, p. 10; "Sr. Doings," Ibid., April ten, 1976; p. B-iv; "Lawrence Fine art Will Be Shown," Ibid., February twenty, 1978, p. A-10; "Reel to Real: Black Women Make Films," advertizement, Ibid., March five, 1982, p. C-ten; "If Bebop'due south Your Thing, Grab the May Twenty-four hours Scene," Ibid., April 21,1982, p. C-9; "Seattle-area Theater Groups," Ibid., February 24, 1985, p. L-4; "Anti-apartheid Leaders from Southward Africa to Speak," Ibid., March 5, 1987, p. F-three; Don Duncan, "'Peer Pressure level' Musical with Bulletin -- Play Teaches Life Has Options," Ibid., July 20, 1989, p. C-ii; Leone Pope, "Out of Africa," Ibid., November 16, 1989 p. E-1; Vanessa Ho, "Ghetto Chilldren: Relax, Kick Back, Gyrate If Yous Want To," Ibid., January 7, 1994, p. D-xi; Misha Berson, "Theater: Drama and Diverseness," Ibid., September 8, 1994, p. D-8; "Arthur Duncan," Ibid., Nov three, 1994, p. B-2; Alex Tizon, "In the Shoes of the General: Tim Cordova Emerging As a Filipino Community Leader Here," Ibid., November 23, 1994, p. A-one; Therese Littleton, Tyrone Beason, "Hip Hop Show Mirrors City Life: Musical Tells About Pressures Kids Face up," Ibid., December 22, 1995, p. B-1; "Langston Hughes Director Moves to Seattle Center," Ibid., July viii, 2000, p. A-9; Young Chang, "Festival Elevates Hip-hop into Realms of Poesy and Politics," Ibid., Apr 25, 2003, p. H-36; Tom Scanlon, "Source of Labor'south Frontman Gives Upward Mike for Management," Ibid., March 19, 2004, p. H-five; "'Black to the Future' -- Fest is Mothership for African Americans in Scientific discipline Fiction," Ibid., June 6, 2004, p. K-1; Joe Mullin, "Hip-hop Aficionados Bust a Move -- Seattle Showcase iii-mean solar day Event Includes Theater, Fashion, Dance," Ibid., November xx, 2006, p. B-2.

---

Licensing: This essay is licensed under a Artistic Eatables license that encourages reproduction with attribution. Credit should be given to both HistoryLink.org and to the author, and sources must be included with any reproduction. Click the icon for more info. Please notation that this Creative Commons license applies to text only, and not to images. For more than data regarding individual photos or images, please contact the source noted in the image credit.

---

Major Support for HistoryLink.org Provided Past: The State of Washington | Patsy Bullitt Collins | Paul G. Allen Family Foundation | Museum Of History & Industry | 4Culture (King County Lodging Tax Revenue) | City of Seattle | Metropolis of Bellevue | City of Tacoma | King County | The Peach Foundation | Microsoft Corporation, Other Public and Private Sponsors and Visitors Like You

romerodieve1963.blogspot.com

Source: https://historylink.org/File/10909

Share this post