Dr. James & Janie Washington Cultural Center: 2022 Community Advocacy Award

• September 16, 2022
• No Comment
• Arts & Heritage

Congratulations to the Dr. James W. Washington, Jr. & Mrs. Janie Rogella Washington Foundation!

The Dr. James W. Washington, Jr. & Mrs. Janie Rogella Washington Foundation was established in 1997 by the couple to “preserve the art, writing, and lifetime works of Dr. James W. Washington, Jr., their home and gardens, and share their vision through the preservation, interpretation, and showing of his works and studio, and the family gardens and home.  Also, to encourage others by providing a setting where they can grow beyond the book, spiritually and artistically, and to share their talents with a larger audience.”

Dr. Washington was born and raised in Gloster, Mississippi, and came to Seattle with his wife Janie to work in the shipyards as part of the WWII war effort. James was a renaissance man with a wide variety of talents and interests; besides his mechanical and industrial capabilities, he was a prolific painter and sculptor, becoming an eminent member of the Northwest School of Art, as well as a writer and community activist.

Dr. Washington’s world-class sculptures are not only in places such as the Schomberg Center for Research in Black Culture, the Smithsonian, Rotunda of Achievement, but also locally at the historic Mount Zion Baptist Church, Odessa Brown Children’s Clinic, Seattle Center, Washington State Capitol campus in Olympia, and in private collections worldwide. On May 20, 1973, James W. Washington Day was proclaimed by the Mayor of Seattle.

The Washingtons bought a house in Seattle’s Central District in 1949, where they resided for 51 years. A dream developed in them to bequeath their home to the community, leaving a place where people from all backgrounds could experience art, gather, and learn. To this end, the Washingtons established a non-profit foundation in 1997, personally selecting their board of directors, a few of whom are still serving the organization. When James and Janie both died in the year 2000, they left their home, a treasure trove of artwork, artifacts, and collections, as well as a substantial endowment as their legacy for the entire community.

Over the years, the Washington Foundation has maintained and upgraded the house, studio, and gardens and presented activities and programs for the community. Last year, the Foundation launched a Strategic Planning Committee to refresh its mission and vision and a fundraising campaign to continue the work and legacy of its founders.

As the winner of the 2022 Community Advocacy Award, the Dr. James & Janie Washington Cultural Center will receive a $3,000 prize in support of their efforts to improve and preserve the landmarked house, grounds, and studio of James & Janie Washington; renew the Foundation’s Artist in Residence program; make the studio space available for rental; install exhibits in the house on a rotating basis; and make available the library with over 3,000 books of potential interest to artists and scholars, as well as Dr. Washington’s personal documents, photographs, and African art collection.

Project Team:
The Dr. James W. Washington, Jr. & Mrs. Janie Rogella Washington Foundation Board

Images courtesy of The Dr. James W. Washington, Jr. & Mrs. Janie Rogella Washington Foundation.

Soul Pole: 2022 Preserving Neighborhood Character Award

• September 14, 2022
• No Comment
• Arts & Heritage

Congratulations to The Soul Pole!

The Soul Pole is a historic artwork that has stood tall outside the Douglass-Truth Branch of The Seattle Public Library (SPL) at 23rd Ave & E Yesler Way in Seattle’s Central District for almost 50 years. The 21-foot wooden sculpture was gifted to the library in 1972 by the Seattle Rotary Boys Club. Carved by six young community artists in the late 1960s, it honors 400 years of African American history and the struggle for justice in the United States.

At 50 years old, the Soul Pole’s wooden structure has weathered many seasons. With its condition deteriorating, the artwork became a safety concern in recent years, prompting a partnership between the Black Heritage Society of Washington State (BHS) and SPL to oversee the restoration of the beloved Soul Pole.

In 2021, SPL contracted with Artech Fine Art Services, an organization with extensive experience in restoration and preservation, to deinstall the Soul Pole and evaluate it. The pole was relocated to their shop, and Artech collaborated with well-known conservationist Corine Landrieu on a plan to repair, stabilize, and protect the sculpture. Realizing its historical significance, the focus of the project was to preserve the Soul Pole as close to its current form as possible for generations to come.

SPL and BHS worked closely to research the history of the Soul Pole and the artists (all Rotary Boys Club youths) who carved it. According to documents from the late 1960s and early 1970s, the Soul Pole was created in 1969 as part of a summer arts festival associated with the Model Cities Program to bring attention to African American history. SPL and BHS remain interested in garnering information and stories related to the Soul Pole to expand archives at both organizations. Family members and friends of the artists have come forward to share their memories, including the supportive leadership at the Rotary Boys Club.

With community and neighborhood invested, and the community’s desire to follow the preservation process, a partnership was formed with Converge Media to document the restoration project, including its deinstall, conservation, and reinstallation. The conservation work was successfully completed in late 2021, and the sculpture was reinstalled at its historic home on the Douglass-Truth Branch lawn in April 2022. The sculpture is now prepared to withstand several more decades of exposure to Seattle weather. The sole visible alteration to the Soul Pole is a zinc cap placed atop the sculpture to protect it from rainwater. SPL is in the process of adding an additional plaque alongside the original plaque at the Soul Pole’s base to share more information about the conservation project and the history of the artwork.

In a neighborhood that has seen many changes influenced by gentrification, the Soul Pole is a tangible symbol that claims space and honors the African American history in the heart of Seattle’s Central District.

Cheers to the Soul Pole partnership team for saving this important piece of history and earning the 2022 Preserving Neighborhood Character Award!

Project Team:
Owner: Seattle Public Library
Community Advocacy/Project Lead: Black Heritage Society of Washington State
Conservation Partners: Artech Fine Art Services, Landrieu Construction, Converge Media

Feature image of Soul Pole Reinstallation Ceremony with Stephanie Johnson-Toliver, Elijah Mu’ied, and TraeAnna Holiday. Second image courtesy of Artech. Third image courtesy of Seattle Public Library.

VivaCity: Summer 2021 – A Seattle History & Preservation-Related Reading List

• August 13, 2021
• No Comment
• Arts & Heritage

Last month, in celebration of summer, we asked you to share what Seattle history or preservation-related books you recommend, or have on your summer reading list. Here is a list of all of the excellent titles that were suggested. Happy reading!

Building Tradition: Pan-Asian Seattle and Life in the Residential Hotels by Marie Rose Wong

The Cayton Legacy – An African American Family by Richard S. Hobbs

Crossing Puget Sound: From Black Ball Steamer to Washington State Ferries by Steven J. Pickens

Distant Corner: Seattle Architects and the Legacy of H. H. Richardson by Jeffrey Karl Ochsner and Dennis Alan Andersen

Emerald Street – A History of Hip Hop in Seattle by Daudi J. Abe

The Forging of A Black Community Seattle’s Central District, From 1870 Through the Civil Rights Era by Quintard Taylor

The Gang of Four: Four Leaders. Four Communities. One Friendship by Bob Santos

Gay Seattle by Gary Atkins

Ghosts of Seattle Past – An Anthology curated by author/editor Jaimee Garbacik

The Good Rain by Timothy Egan

Hill with a Future – by Jacqueline B. Williams

High Voltage Women Breaking Barriers at Seattle City Light by Ellie Belew

I’m Down by Mishna Wolff

Jackson Street After Hours -The Roots of Jazz in Seattle by Paul De Barros

Lost Seattle by Rob Ketcherside

Madison House by Peter Donahue

My People Are Rising: Memoir of a Black Panther Party Captain by Aaron Dixon

My Unforgotten Seattle by Ron Chew

Native Seattle: Histories from the Crossing-Over Place by Coll Thrush

Nisei Daughter by Monica Stone

Olmsted in Seattle: Creating a Park System for a Modern City by Jennifer Ott

Overground Railroad: The Green Book and The Roots of Black Travel in America by Candacy Taylor

The River That Made Seattle A Human and Natural History of the Duwamish by BJ Cummings

Seattleness: A Cultural Atlas by Tera Hatfield, Jenny Kempson, and Natalie Ross

Seattle Prohibition: Bootleggers, Rumrunners and Graft in the Queen City by Brad Holden

Seattle’s Women Teachers of the Interwar Years: Shapers of a Livable City by Doris Hinson Pieroth

Shared Walls: Seattle Apartment Buildings 1900-1939 by Diana James

Skid Road – An Informal Portrait of Seattle  by Murray Morgan

Sons of the Profits by William C. Speidel

Too High and Too Steep by David Williams

Tradition and Change on Seattle’s First Hill: Propriety, Profanity, Pills, and Preservation by Lawrence Kreisman

Women In Pacific Northwest History edited by Karen J. Blair

 

BOOK LISTS

https://santorinidave.com/seattle-books

https://seattle.bibliocommons.com/list/share/117997230_seattlenonficlibrarians/638579298_seattle_picks_washington_state_nonfiction

https://www.thestranger.com/books/feature/2016/01/27/23481851/books-about-seattle-that-everyone-should-read

 

 

Checking In with Friends of Little Saigon

• May 11, 2020
• No Comment
• Arts & Heritage

Last September, we presented Friends of Little Saigon (FLS) with the Community Advocacy Award at our annual Preservation Celebration Benefit, recognizing their work preserving and enhancing Little Saigon’s cultural, economic, and historic vitality. For the first time ever, this award included a $3,000 prize which FLS intended to use to help advance their mission by building out and opening the Little Saigon Cultural Gathering Space. Like so many others these days, FLS’s plans have shifted because of the COVID-19 pandemic. Nonetheless, their work to support, strengthen, and preserve culture and community is as robust as ever. We checked in with Valerie Tran, a member of Friends of Little Saigon’s leadership team, for her take on how the pandemic is impacting the Chinatown-International District (CID) community and what FLS is doing in response to those challenges.

One such response has been establishing the CID Restaurants and Other Small Businesses Relief Fund. In late March, a $100,000 seed gift from Vulcan enabled FLS, the Seattle Chinatown-International District Preservation and Development Authority (SCIDpda), and the Chinatown-International District Business Improvement Area (CIDBIA) to come together to provide much-needed financial relief to neighborhood restaurants and small businesses.

“By March, the neighborhood had already suffered effects of the pandemic for a long time,” explained Valerie. “As early as late January/early February, the spread of misinformation and racism had caused many people to feel afraid to visit Asian and Chinese restaurants and businesses.” To date, the emergency relief fund has raised over $300,000 in donations, and over 87 neighborhood restaurants have received critical funding through the program’s first wave of distributions. Currently, 130 non-restaurant businesses are being evaluated for the next wave of distributions, which is expected to take place in May.

There are many unique challenges in responding to the crisis and managing the relief fund. “Many of our community’s small businesses don’t have a history of engaging with us through mediums like email, websites, and social media,” Valerie said. Interactions in the community more often occur face-to-face, which proves difficult when people are in isolation and businesses are shuttered. “There is also a lot of skepticism because of scams that are targeting small business owners,” she added.

“Language has also been a challenge. In the beginning there was a flurry of information coming from the city, state, and federal governments. Information was coming quickly, but many in the neighborhood were getting the information 4-7 days later because of the time it takes to simplify, translate, and redistribute information. In some cases, we’ve brought information out to the community in hard copy. We’ve been doing a lot of advocacy to the state and city, urging them to provide translated information at the same time that it’s delivered in English,” Valerie noted. “It’s so important to provide consistent information about legitimate sources of assistance in a timely manner.”

About the role community has in responding to the crisis, Valerie said, “COVID-19 has had some positive effects in the way the community has come together to respond. Throughout history, Asian American and Pacific Islander groups have been pitted against each other. This leads to finger pointing and debate over which ethnic group is more oppressed. Now people are coming together, people are stepping up, and community groups are partnering like never before to provide financial relief, wellness checks, groceries, and meals to people in need. We’ve got to be in this together.”

In addition to her role as Operations Director at FLS, Valerie Tran previously served on the boards of FLS and the International Special Review District. She also currently serves on Historic Seattle’s Council and understands the value of preservation. “This COVID-19 response work is important for cultural preservation. If these businesses and cultural institutions can’t reopen, this will be a huge loss to the cultural fabric of the city and the communities that rely on them,” she said. “This is why this work is critical. We can sometimes take our cultural businesses and places for granted, but the crisis brings to light the importance of community preservation, and that our work must go beyond physical and architectural preservation.”

While the opening of the Little Saigon Cultural Gathering Space is delayed as a result of the recent construction moratorium, space has been leased and will include a small business resource center, office space, a Vietnamese café, a library, and an art exhibit space. Earlier this year, FLS launched a call to artists and selections were made for what will be the art space’s inaugural exhibit. “Owning It” will feature several visual and 3D artworks by Vietnamese American artists.

It has been just three years since Friends of Little Saigon brought on its first paid staff member, executive director Quynh Pham. Prior to her arrival, FLS had been an all-volunteer group since its founding in 2011. “The progress that has been made toward our mission is a testament to Quynh’s ability to implement the volunteer board’s vision,” said Valerie. Historic Seattle joins Valerie in commending her colleague and the ongoing achievements of FLS.

Women’s History Embodied in our Built Environment

• March 16, 2020
• No Comment
• Advocacy

It goes without saying that women’s history is embodied in numerous places within Seattle, across the state, and throughout the country. How aware are we of these places, and in what ways are they recognized or, better yet, protected?

Let’s first look at local sites. Four of our city’s six landmark designation criteria can be applied to women, either as a cultural group or individually. Therefore, a number of Seattle’s landmarks were designated as such specifically because of their association with either individual women or groups of women whose lives played large roles in shaping our city’s history. The Cooper School in West Seattle’s Delridge neighborhood, the Dr. Annie Russell House in the University District, and The Good Shepherd Center in Wallingford are three examples of places recognized as landmarks at least in part because of their association with women.

According to the landmark designation report for The Cooper School, now home to the Youngstown Cultural Arts Center, the building “was the location for the appointment of the first African-American teacher hired by the Seattle Public Schools, Thelma Dewitty (1912-1977). She began her teaching position in September 1947, after pressure on her behalf from the Seattle Urban League, NAACP, the Civic Unity Committee, and Christian Friends for Racial Equality… Although Seattle was known for racial tolerance, Dewitty’s appointment was newsworthy and generated some conflict. When she was hired at Cooper, other teachers were informed that a black teacher would be joining them and were given the option to transfer. One parent requested that her child be removed from Dewitty’s class, although that request was denied by the principal. After teaching at Cooper, Dewitty continued her career in several Seattle schools before her retirement in 1973 and was known for her civic involvement. She was the president of the Seattle chapter of the NAACP in the late 1950s and also served on the State Board Against Discrimination and the Board of Theater Supervisors for Seattle and King County.”

The Dr. Annie Russell House landmark designation report states, “Dr. Annie Russell (1868-1942), the original owner, is significant in Seattle’s history because she was one of the first female physicians in Washington State and the City of Seattle. She was a colorful character, with an adventurous personality and an interesting history. She was also a controversial figure in the Seattle medical community in the early 20th century.” The controversy refers to Dr. Russell having her medical license revoked for performing abortions out of her home. She was eventually pardoned, and her license was later reinstated which furthered the controversy that surrounded her.

Today, the Historic Seattle-owned Good Shepherd Center (GSC) is a thriving multi-purpose community center housing a senior center, six live/work units for artists, a rehearsal and performance space, various schools, local and international non-profit organizations, and several small businesses. But originally the property and grounds were occupied for over 60 years by the Sisters of the Good Shepherd, who provided shelter, education, and training to young women. According to a HistoryLink essay, “The mission of the Order of the Good Shepherd Sisters was to purify and strengthen the souls of girls living in poverty and in environments considered immoral. Founder Saint Mary Euphrasia, canonized in 1940, taught an attitude of ‘maternal devotedness’ and that ‘example is more powerful than words.’ The nuns were not to use corporal punishment. Good behavior was rewarded and restoring the girls’ self-esteem was paramount.”

For many, the GSC was a place of refuge. However, the GSC’s history is not without controversy. Girls were referred to the GSC by the courts or brought in by families from throughout Washington and the Northwest. Oral histories, like this interview with former resident Jackie (Moen) Kalani, describe a distinct harshness in how the girls were treated at the GSC. For example, Kalani describes a strictness practiced by the Sisters that “probably nowadays would be called abusive.”

On the national level, Where Women Make History stands out as a unique way of recognizing places significant to women’s history. This recent project of the National Trust for Historic Preservation aims to recognize 1,000 places across the country connected to women’s history, in order to “elevate their stories for everyone to learn and celebrate.” While this ongoing project is still accepting submissions and taking shape, it currently recognizes 12 places in Washington, three of which are in Seattle. Among the places recognized is the Historic Seattle-owned landmark Washington Hall, located in Seattle’s Central District. The “Hall for All” carries a rich and varied history that includes performances by legends Billie Holliday and Marian Anderson, but it is the fact that in 1918 Miss Lillian Smith’s Jazz Band played the first documented jazz performance in Washington State that landed it on this list.

Another local site listed is The Booth Building at 1534 Broadway, which was nominated last month as a City of Seattle Landmark and will be considered for designation at a public Landmarks Preservation Board hearing scheduled for April 1. According to the Where Women Make History project’s description, “The 1906 Booth Building in Seattle’s Capitol Hill neighborhood is most significant for its association with educator Nellie Cornish. In 1914, Nellie Cornish (1876-1956) established the Cornish School of Music in one room of the Booth Building, eventually occupying all of the second and third floors. The school grew rapidly and incorporated painting, dance and theater into its curriculum. Nellie Cornish recruited to her faculty such talented artists as Mark Tobey, Martha Graham, Merce Cunningham and John Cage. In 1921, Cornish commissioned a purpose-built building further north on Capitol Hill, while the Booth Building remained the location of various arts education uses until the 1980s. The Cornish College of the Arts remains a vital educational institution in the Pacific Northwest and still reflects Nellie Cornish’s unique educational pedagogy promoting ‘exposure to all of the arts.’”

While some of these places have been preserved, there is no denying that many places significant to women’s history in Seattle have been lost and many more remain unprotected. This vulnerability is a threat to all kinds of places across Seattle, particularly places tied to histories of certain groups – namely people of color, the working class, LGBTQ+ communities, and women. In fact, only 7.8% of City landmarks are designated primarily because of their association with underrepresented communities, according to the findings of a recent study by 4Culture. Fortunately, a shift in thinking seems to be underway, specifically in how “cultural significance” is weighed and valued in terms of landmarking. Local movements like 4Culture’s Beyond Integrity initiative are emerging to “elevate equity in preservation standards and practices.” Let’s hope these efforts will help to remedy disparity in landmarking and result in designations that better represent our collective history.

Vanishing Seattle’s New Documentary Film Series

• January 21, 2020
• No Comment
• Arts & Heritage

“The ‘vanishing’ part of ‘Vanishing Seattle’ is just one part of the story,” said Cynthia Brothers. “There are also many stories of resistance, resilience, and creation.”

Cynthia Brothers is the founder of Vanishing Seattle, a social media account that is “documenting disappearing/displaced businesses, homes, communities, and cultures of Seattle.”

Clad in one of her signature miniskirt and Vanishing Seattle t-shirt ensembles, Cynthia is stood in the living room of a packed house as she introduced the new Vanishing Seattle documentary film series. The series premiere was at and about Wa Na Wari, a project housed in a 5th-generation Black-owned craftsman in the historically Black Central District neighborhood. According to a sign in the entryway of this legacy home, Wa Na Wari (which means “our home” in the Kalabari language) “creates space for Black ownership, possibility, and belonging through art, historic preservation, and connection.”

Cynthia has teamed up with Martin Tran, a filmmaker and former co-director of the Seattle Asian American Film Festival, for this seven-part film series. The films will expand upon a lot of the same themes and questions that Vanishing Seattle raises with its Instagram chronicles. Cynthia explained, “Vanishing Seattle and this film series involve conversations dealing with change. But not a dichotomy of old: good, new: bad. Instead it asks, ‘What does change mean? What does progress really look like, and what are the ways that change can serve and benefit communities? What’s possible with creative, forward-thinking ideas? What do different solutions to displacement and gentrification look like?’ In the case of places that are vanishing we ask, ‘Why is this happening? What caused this to vanish, and what can be done to prevent this from happening?’”

“The advantage of this project is that film is a lot more dynamic as a medium,” said Cynthia. “Most of the Instagram posts have been of buildings and physical places, and it’s hard to get to the people behind those places with just pictures and captions. The films humanize these places and allow people to share stories in their own words.” While all the films in the series are co-produced by Cynthia and Martin, they engage different filmmakers to tell various stories about different communities. “One of the principles of this film series is that the filmmakers have a personal connection to the community and the place that they want to make a film about,” Cynthia pointed out.

“Some of the things we struggle with in using film pertain to timing,” described Cynthia. “Everything is happening so fast, in some cases, places are gone before we can find a filmmaker to tell its story. It is also hard to be selective. There are countless stories to tell, so many places to talk about. Often, there are multiple stories attached to a single place and the shorter the film is (the films are just 7-10 minutes long), the harder the choices are that you must make. We’re always asking ourselves, ‘Are we doing this justice?’”

“The goal of the series is to raise general awareness of these places and communities, through their stories,” explained Cynthia. “It’s about capturing and sharing places that are built into the structure that make Seattle unique. We all lose out when we lose these places. They should be important to us as a city. With many of these films, there is an active opportunity to support small businesses and places that provide space for art and culture to thrive.”

In the living room of Wa Na Wari, Inye Wakoma, one of the founders of the project and the grandson of the owner of the home where Wa Na Wari is based, warmly emceed the evening’s program. People sat cross-legged on the floor or in chairs, stood in the dining room and hallways, and trailed up the stairs. Food and drinks were generously offered, and the upstairs rooms were activated with exhibits by Black artists. A Shelf-Life Community Stories neighborhood cultural mapping project was on display, and a vintage rotary phone that you can pick up and hear oral histories through sat on a little table beside a wooden chair in the hallway.

Performances by storyteller-rappers and poets (namely Yirim Seck and Ebo Barton) preceded the screening of the film, which was directed by devon de Leña and CHIMAERA. The film rolled and Wakoma was then on screen talking about the gentrification and displacement currently happening in the Central District: “The biggest thing that folks are trying to pinpoint is ‘How do we actually survive this? And then, how do we come out on the other side of this, in some way that actually feels whole?’ We need imaginative responses, ways of imagining ourselves in the future that have everything to do with us getting there on our own, in ways that make sense to us.” 

Watch the film Central District: Wa Na Wari here, and be sure to follow @vanishingseattle on Instagram to stay informed about future screenings and other opportunities to get active! You can also read more about Wa Na Wari and the Vanishing Seattle film series in these Crosscut articles.

Bringing the Community Together One Event at a Time

• August 02, 2019
• No Comment
• Arts & Heritage

In case you haven’t noticed, the Georgetown neighborhood has it going on! Brimming with artistic creativity, rich in history, and packed with cool industrial architecture, Seattle’s oldest neighborhood managed to level up again last fall with the opening of The Palace Theatre & Art Bar, AKA “Georgetown’s first gay bar.” For this month’s VivaCity feature, Historic Seattle chatted with the venue’s proprietor, Sylvia O’Stayformore, to learn how this flourishing community gathering place came to be and how it fulfills its mission to bring the community together one event at a time.

Sylvia’s business partner in the Palace, Carlos Paradinja Jr., originally opened a coffee shop (The Conservatory) in the space about 5 years ago. Sylvia explained, “The Conservatory was not only a café, but also an artists’ salon type of space that offered art classes and workshops. While it was successful in many ways, it was ultimately not earning enough to sustain itself. So last September, Carlos came to me and said, ‘I either need to close up shop, or do something different.’ Meanwhile, I had recently lost my corporate daytime gig and ‘Bacon Strip,’ Seattle’s longest standing drag show which I produce, was looking for a new place to flourish. I said to Carlos, ‘Since coffee wasn’t working, why don’t we try alcohol, and keep it a performance space and let me be the booker of the talent and just program the hell out it and see what that does.” And thus, the Palace Theatre & Art Bar was born.

About the name, Sylvia said, “The name actually comes from the name of the building. It originally opened in 1903 as The Palace Hotel and Bar, owned by Fred Marino. It was a workman’s hotel, and there was the Palace Bar, which is where the Seattle Tavern pool hall now is, there was a hardware store in our space, and a cardroom where Star Brass is. But nothing was called The Palace anymore. It’s an amazing name so I said, why don’t we call it ‘The Palace,’ and then “Theatre’ since that’s what we want to do, and ‘Art Bar’ so people know that it’s strong in art and creativity. And by the way, it’s also a gay bar.”

The Palace Theatre & Art Bar is a bar with a mission, “to bring the community together one event at a time.” Sylvia said, “We’re really trying to grow with community events and be a gathering place where you find something you won’t at other bars. The things we try to program are like the monthly Seattle Playwrights Salon. There’s a club made up of playwright aficionados that goes out and looks for new plays that have been written by local playwrights and we give them the space to have those plays read out by local actors on stage. We have free local jazz nights including jazz trio Hilltop Jazz Project and others, there’s a piano sing along night where you bring in your own sheet music, and ‘An Unexpected Improv Night’. We didn’t want it to be an all drag kind of place but rather a place where people say, ‘let’s see what kind of creative thing is happening at The Palace and go hang there.’”

About Georgetown, Sylvia said “I’ve been in love with Georgetown since I moved to Seattle in the early aughts. I love that it hasn’t been gentrified as much as other places. It’s like those industrial parts of Seattle that are going away so fast, but it’s been stubborn, it’s stayed alive. Even after prohibition ripped its main money source away from it, it was still able to survive.” When Sylvia isn’t in Georgetown at The Palace, she can usually be found calling out bingo. “I call for 12 different senior centers from Camano Island all the way down to Des Moines.”

Head on down to Georgetown to see for yourself what it’s all about. Check out the Palace Theater & Art Bar event calendar for upcoming events like the free Trailer Park Drag Strip, an annual show that takes place on August 10 as part of August’s Art Attack, Georgetown’s monthly art event.

PalaceArtBar.com

Time & Place: Julian Barr on the Making of Queer Seattle

• May 29, 2019
• No Comment
• Arts & Heritage

As we roll into June and people across the globe engage in Pride celebrations, we wanted to focus in on Seattle and highlight the projects and research of Julian Barr. Julian is a University of Washington PhD candidate who is leading two sold out walking tours for Historic Seattle. His tours are based on a mapping and walking tour project he developed called Pioneer Square and the Making of Queer Seattle. With this piece, Historic Seattle aims to share a little insight into the person behind these important efforts to capture and share this part of Seattle’s history.

Originally from St. Louis, Missouri, Julian received an undergraduate degree in history and masters in geography there before moving to Seattle in 2014 to pursue a PhD in historical geography. He is passionate about historical geography because he believes both where and when something happens are equally important.

Tell us about your connection to Seattle and how you came to pursue the projects and research you’re involved in?

Not long after arriving in Seattle, Julian read Gary Atkins’ book Gay Seattle which helped spawn his interest in Seattle’s LGBTQ history. He soon learned of The Northwest Lesbian and Gay History Museum Project (NWLGHMP) and Angie McCarrel, a local architect and lesbian interested in preserving history and buildings, who developed a Pioneer Square walking tour with NWLGHMP in the 1990s. Julian said, “Although the oral histories collected for The Northwest Lesbian and Gay History Museum Project are now in UW Special Collections, the project hadn’t really been active since the early 2000s.”

Julian explained, “Right around the same time a sociology conference was coming to town and my dissertation adviser Michael Brown asked me to look at McCarrel’s tour and update it to offer to conference attendees.” 

Through that process, he became particularly interested in how Pioneer Square’s LGBTQ history is portrayed to the public. While exploring Pioneer Square, he questioned, “What’s being told? What’s not? What understanding is the public getting from this place by walking around?”

“Gay history wasn’t represented in Pioneer Square, it wasn’t represented in the Underground Tour, not included in Klondike Gold Rush Museum, etc. I was not seeing Seattle’s gay history represented and I wanted it shown more, and for there to be opportunities for people to engage with it.”

Thus, the idea for Pioneer Square and the Making of Queer Seattle was born. With critical support from the UW Simpson Center for the Humanities, Julian developed an interactive map and comprehensively updated the walking tour. Julian will conduct his tour twice this year for Historic Seattle and has been invited to offer it through numerous other outlets, such as MOHAI. “I saw this as a great and accessible way to engage the public in Pioneer Square’s LGBTQ history.”

“We are coming upon the 50-year anniversary of the start of the Stonewall Riots that inspired Pride as a celebration of queer life and sexuality, and a political and social demonstration. In general, so much of gay history focuses on what happened in a place after the 1970s. People forget that there were many vibrant and organized gay communities that existed before then. The Pioneer Square project offers the public a glimpse of what it was like living in Seattle as a LGBTQ person in those earlier times.”

What’s next for Julian?

“Well, I’m working on completing my PhD! My dissertation is on Queer Pioneer Square and understanding the historical geographies of lesbian and queer women in Seattle.”

What is your favorite place in Seattle?

“I have a strong affinity for Pioneer Square. Specifically, the corner of 2^nd and Washington which is where my tours start and also where The Double Header used to be. I was lucky enough to visit the Double Header before it closed, and it was there that I really felt the connection to the queer history of Pioneer Square.”

Although Julian’s upcoming tour with Historic Seattle is sold out, if you are interested in learning about protecting the places that anchor Seattle’s LGBTQ communities join us for There Goes the Gayborhood!, our free panel discussion happening June 8th. Learn more and register here.

Happy Pride from your friends at Historic Seattle!

Robin & Alvis Harris: Washington Hall Caretakers

• April 02, 2019
• No Comment
• Arts & Heritage

Aside from being the home of community-based anchor partners 206Zulu, Hidmo, and Voices Rising, for the past three years Washington Hall has been home to its caretakers Robin and Alvis Harris. Family circumstances require Robin and Alvis to move this spring. Historic Seattle caught up with them prior to their move to learn more about their experience living within Washington Hall’s legendary walls.

Tell us about your connection to Seattle and how you came to be caretaker(s) of Washington Hall?

Born in Tacoma, Robin said this area has always been home). He joined 206 Zulu in 2006 before it had its home at Washington Hall. Much of the work Robin did through 206 Zulu (providing safety and security at events) was carried out in the CD, so he quickly became connected to the neighborhood and community through that relationship.

Eventually Robin moved to Hawaii, where he also has deep roots, and for 5 years he traveled back to Seattle to provide security for Zulu’s annual anniversary event. He moved back to Seattle in 2015 “right around the time Zulu got WA Hall as its home,” and it wasn’t long after that the caretaker position opened up. He knew that with his security and maintenance background, he could help ensure it was a safe place by becoming the Hall’s caretaker. “I was also looking to provide a cool experience for my wife who then had never lived on the mainland.”

Tell us about your earliest memory there.

When Robin was 19 years old, a friend started getting him into jazz music. That friend drove him by Washington Hall telling him “this was THE PLACE everyone played at.” Robin said, “It has an incredible history musically alone!”

What is the connection between the Hall and your personal creative endeavors?

Robin is himself a musician and producer. Everything he has created musically has happened at the Hall. He says, “I knew the music I created here needed to come from a good place in my heart because of what this place means musically.” His work with and musical contributions to 206 Zulu’s Beats to The Rhyme program allow him to give back to the community.

Has your time living there changed your family?

Robin had always chosen to live in remote settings and enjoys solitude. Adjusting to living at the Hall challenged him, opened him up, and made him more patient. His wife Alvis is from a close-knit island community in the Pacific and was a little leery when she first moved into the Hall before it reopened. She was much more comfortable once the Hall became full of people and activity. “Her whole experience living on the mainland has been centered around Washington Hall. This is her home.”

How would you describe the Hall’s role in the community and Seattle as a whole? Do you personally feel connected to the Hall’s history?

“You cannot not notice homes are being torn down in the Central District, which is essentially changing the face and spirit of the neighborhood. Neighbors want to share the Central District pride with new people. People see this building still standing and it’s a beacon. It makes people happy to have this beautiful hall that is still such a hub of the community.”

When Robin got the call that he and Alvis were to be Washington Hall caretakers, he immediately felt a huge sense of pride, “to be stewards of something so beautiful, historic, and precious to so many all over the city.”

Robin has repeatedly heard from people in the community saying that they don’t know where they’d be if they hadn’t been able to find refuge at the Hall. “People look out for each other here. Having a role in caring for and providing a safe place where people truly care for each other is part of the Aloha spirt that is deeply instilled in my wife and I.”

“My wife and I, as well as anyone that has a birthday party or a wedding at the Hall, are part of its history. When you are a visitor to the Hall, you are a guest, but you are also now part of the family and we want you to come back. The community at the Hall is about showing people love, and saying we care about you, we want you to be here because the Hall is not the same if it’s empty. For the past three years we have not only worked to troubleshoot small problems, we troubleshoot larger life here.”

What is your favorite place in Seattle and why?

“I mean…(long pause)… does it have to be someplace other than the Hall? I’ve created more strong memories in the Hall than in any other place in the City.”

Wanted: Historic Sites or Landmarks in King County

• July 07, 2014
• No Comment
• Arts & Heritage

By Guest Blogger Christina DePaolo

Starting with a playwright who thought a local IKEA showroom would be a great place to stage a play, 4Culture has been supporting works of art produced in unexpected places through the Site Specific grant program since 2005. In 2013 the program changed focus, funding projects that interpret and explore the significance of a historic King County site or landmark.

Imagine walking into Neeley Mansion, a 1894 Victorian classic revival farmhouse located in Auburn, and experiencing If These Walls Could Talk, a performance and series of short films that tell the stories of five families that lived in the mansion. What would you learn about the Mansion? How would experiencing the stories of those who lived there make you feel? What would you understand about our region? This is Historic Site Specific.

The current iteration represents a unique effort by Arts, Heritage, and Preservation funding staff, shaping a program that supports artists working collaboratively with historic sites around King County, to engage historic sites and illuminate their story. For the 2014 program, we are currently looking for historic sites to participate in the program by joining the roster. Sites on the roster are featured on our website and can be contacted by artists who are interested in working with them on a project. If the artist’s proposal is funded, sites collaborate further with them through the execution of their project.

The deadline to apply for inclusion in the Roster of historic Sites is September 12, 2014. Artists/Sites will be submitting their final proposals by October 8, 2014. We at 4Culture want to build a robust and diverse roster, and encourage all King County historic sites and landmarks to apply.

Benefits of inclusion include increasing community engagement and visibility as well as access to new audiences. This is an opportunity to be a part of a unique and innovate partnership with 4Culture and King County artists. For criteria and to apply, visit sitespecificarts.org. Please contact Charlie Rathbun at 206.296.8675 with questions.

About the author: Guest blogger Christina DePaolo works in the communications department supporting initiatives and programs at 4Culture, King County’s arts and culture funding agency.