Welcome Yodith Dammlash, our new Program Manager!

The ladies of Mambu Badu have been working behind on the scenes on the second issue of the Mambu Badu magazine. As we were working on the design and adding in a few more surprises for the Spring debut, we realized that we needed a little help in handling our other responsibilities. We knew the perfect woman–Yodith Dammlash. Yodith was part of the inaugural Mambu Badu cohort and she is excited to join the team as our 2012 Program Manager!

Yodith Dammlash is a photographer living and working in the Washington area. She holds a Bachelor of Fine Arts Photography from Corcoran College of Art & Design. Yodith’s professional and artistic works have been featured online as well as print publications, including TheRoot.com, The YBF and PG Suite magazine. Her photography often explores personal concepts of identity, namely perceptions of “black womanhood” and her own Ethiopian-American ancestry.

The ladies of Mambu Badu have been working behind on the scenes on the second issue of the Mambu Badu magazine. As we were working on the design and adding in a few more surprises for the Spring debut, we realized that we needed a little help in handling our other responsibilities. We knew the perfect woman–Yodith Dammlash. Yodith was part of the inaugural Mambu Badu cohort and she is excited to join the team as our 2012 Program Manager.


Mambu Badu in Brooklyn!


7pm Saturday, March 17
Five Myles Gallery
558 St. Johns Place

We’re partnering with The Societies of Fine Art and Collections, Five Myles Gallery, the African American Art Collective, Breukelen Coffee House, and Spicy Wild Mango for a presentation of artwork from Mambu Badu, Marcellous Lovelace, and Robert Trujilo. Proceeds from art sales will benefit The Liberator Magazine.

This Saturday!


7pm Saturday, March 17

Five Myles Gallery, 558 St. Johns Place

The ladies of Mambu Badu are partnering with The Societies of Fine Art and Collections, Five Myles Gallery, the African American Art Collective, Breukelen Coffee House, and Spicy Wild Mango for a presentation of artwork from Mambu Badu, Marcellous Lovelace, and Robert Trujilo. Proceeds from art sales will benefit The Liberator Magazine.


Feature in Dodge & Burn

We’ve been big fans of Dodge & Burn for a while now so it was an honor and a pleasure to be featured on the blog! Many thanks to Qiana Mestrich for interviewing us and being so supportive of our mission!

Read the interview below:

In this interview, I speak to 3 photographers: The founders of the Mambu Badu Photography Collective – they are Allison McDaniel, Kameelah Rasheed and Danielle Scruggs. A unique photography collective, these 3 women have organized to support, acknowledge and promote the work of other Black female photographers who often go unnoticed within this industry.

Follow Mambu Badu on Twitter @mambubadu.

D&B: Please introduce yourselves and tell us a bit about your backgrounds. (where are you from, where do you live, are you all photographers?)

DS: I was born and raised in Chicago and currently live in Washington, DC. I’m a photographer and on occasion, a writer.

KR: I was born and raised in East Palo Alto, a small town of 30,000 in the Bay Area, CA. On July 4, 2010 I made the big move to Brooklyn, NY. I am a self-taught photographer – mostly documentary projects and portraiture in the US as well as abroad in South Africa. I am also a writer completing a series of interviews with NY-based artists like Dread Scott, Jamel Shabazz and Akintola Hanif. Last, but certainly not least, I am a high school world history teacher in Crown Heights, Brooklyn.

AM: I’m originally from Roselle, NJ but call the DC metro area home (for now). I stumbled upon 35mm photography in 2001 and have been utterly obsessed since. I’m also a writer, Associate Editor of Recipes for Good Living Magazine and a Graphic Designer when I find the time.

D&B: How did you all meet?

DS: We met through Twitter, of all things. And it turns out Allison and I had a bunch of friends in common as we both attended Howard University and are both based in the DC area.

KR: Twitter! In out own little Twitter worlds we were discussing the absence of something really needed – a collective of Black women photographers. Somehow we all ended up in one another’s timeline and started talking. It was all rather organic. We put plans in motions: mission statements, names, etc.

Danielle and Alice were in D.C. at the time while I was still in CA. When I moved to NY, we finally met up and pulled everything together. We were really excited to take an idea (a wish) and see it blossom. It continues to be a blessing to see all of this manifest. We officially launched on September 20th, 2010.

AM: What they said, haha… Social networking and a good dose of kismet.

D&B: What inspired you to create the Mambu Badu collective?

DS: Well, just speaking for myself, I noticed a dearth of Black women in magazines, books, blogs and gallery and museum shows I was seeing that focused on photography. I think it’s something all three of us noticed and rather than simply point out the problem, we decided to fill that space and part of the solution.

KR: I had just finished my first two years of teaching and was trying to find my place in the photography community without a lot of guidance. There were limited shows, books, and online resources about Black female photographers. I remember spending hours online doing Google searches and sending emails. I figured that I could not be the only Black female photographer who sought support and desired a relationship with other emerging photographers.

Mambu Badu came from a need to find other Black female photographers, to nurture this growing community, and to expose them to a wider audience. “Mambu Badu” is an adaptation of the Swahili phrase “Mambo Bado” which is loosely translated as “the best has yet to come.” We feel like this collective is about possibility and pushing boundaries.

AM: I had spent a few years creating on my own until I transferred to SCAD-Atlanta in 2005 and found myself in a group of primarily Black women artists. It immediately became apparent how important creating community was, not just as an artist but particularly as a black woman photographer.

You just don’t see yourself in the art world in the same way others do. Providing feedback and support for one another is instrumental to artistic growth; art isn’t created in a bubble. Linking with Kameelah and Danielle and hearing these same concerns echoed back to each other ended up manifesting a solution of sorts.

Mambu Badu magazine, Inaugural Edition 2011

D&B: What kind of activities do you do as a collective? How many members do you have?

So far, we have created an interactive PDF Mambu Badu magazine and are planning another one. We also are in the middle of planning an exhibit and re-vamping our website so that it is more of a destination and resource for black women photographers. We really believe in our mission of finding, exposing and nurturing women photographers of African descent and we want to make sure we are providing resources and highlighting the work of those who submit work and get involved.

We also are reaching out to other artists and figuring out ways of collaborating with folks who may use a different medium but have a similar spirit to Mambu Badu. Definitely be on the lookout for publications, more exhibits, and artist interviews as well.

D&B: Are there any current female photographers of African descent whose work you admire?

DS: Lorna Simpson, Carla Williams, Carrie Mae Weems, Myra Greene—those are the grande dames to me. I also really enjoy the work of Carla Aaron Lopez, LaToya Ruby Frazier (grateful for Kameelah for writing about her for the Liberator, I didn’t know much about her until then), King Texas, and Nikita Gale, who was in our inaugural issue.

KR: There are so many: Renee Cox, Deborah Willis, Lorna Simpson, Carla Williams, Delphine Diallo (who also does collage), Lauri Lyons, Deana Lawson, Zanele Muholi, Samantha Box, Delphine Fawundu-Buford, Laylah Amatullah Barrayn, LaToya Ruby Fraizer, Nzingah Muhammad, and Ayanna Velissa Jackson all do great work. And of course, I really admire the work of the other ladies of Mambu Badu – Danielle Scruggs and Allison McDaniel.

AM: Carrie Mae Weems and Deborah Willis are forever at the top of my list; I draw guidance in various ways from both. Jai Lovehall is up-and-coming and producing some really evocative portraiture work, Michelle Braxton, and Carla Aaron Lopez (keep your eye on her). Danielle and Kameelah are a constant; it’s wonderful to work with ladies whose work is a source of inspiration.

Photography by Sheree R. Swann featured in Mambu Badu magazine

D&B: Tell us about your online magazine. How do you choose the photographers you publish?

DS: We just put out a call for entry and after all the submissions were in, we just looked through and picked out which pieces best illustrated our theme of Memory and just what we thought was really strong work. It was hard because some submissions we had that we didn’t pick were still great, but there was something else that just worked better. I have more empathy for curators now!

KR: We want everyone to submit for our September call. The process was helpful for me as a photographer because for once I was on the other side of the table. I saw the importance of having both a great body of work as well as possessing the skills to edit out pieces that do not work well within a series. I also came to understand the difference between being a photographer and being a curator of sorts.

D&B: What’s next for Mambu Badu?

DS: As I mentioned before, we want to get into publishing, curate exhibits, collaborate with other artists, and really make our website a platform and go-to resource for Black women photographers. We’re really excited to see where this all leads.

KR: In early July, we met in D.C. to backward plan for Mambu Badu. We will continue to publish the Mambu Badu magazine as well as publish a book featuring emerging Black female photographers. We will also regularly curate exhibits and hope to collaborate with like-minded organizations. The mission of our collective is to not only find and expose photographers, but to also nurture them. To that end, we will develop the Mambu Badu site as a resource complete with interviews, listings of exhibition opportunities and helpful articles.

AM:  Continued growth, expanding our reach, and fulfilling our mission statement in every conceivable way possible.

Artist Update: Sheree Swann

Next up: Sheree Swann. Here are new projects she’s working on, in her own words:
Currently, I’m co-producing a documentary called: Why We Say, F.T.P (working title)

I’m gearing up to take part in the Black August Art Show at City of Ink in Atlanta, GA. It’s a tribute to the works of Gil Scot-Heron and Geronimo Ji Jaga Pratt. Black August Weekend, 8.26.11

 Embarking on an interstate collaborative with Cody “Leviticus” Norris, a spoken word/digital artist, from New Haven, CT, that will yield a photo digital manipulation series.

Artist Update: Yodith Dammlash

Next up in our inaugural cohort update series is Yodith Dammlash. Here is what she’s been up to in her own words:

I am continuing work on The Gama Series [which was featured in our first magazine] as well as creating a website. I am also the Photographer and Production Assistant for the documentary “The Red Line D.C. Project” (http://redlinedc.wordpress.com/).

Here is some more information on the Red Line Project from the website:

In Washington, D.C., the most accessible art form isn’t in the museums, it’s on the metro. And nowhere within the city’s transit system can you see more art on the walls than on the red line train between Union Station and Silver Spring. For years, the ride along this section of the red line has showcased various works done illegally by graffiti writers. Big, colorful, boisterous tags advertising the names of unknown assailants. And now, with the development of the Metropolitan-Branch Trail, an outdoor path that runs along the red line, commissioned murals have begun to emerge within this storied graffiti space.

How do everyday commuters interact with these sanctioned works of art versus those done illegally? And, what significance does graffiti have in the context of the D.C. metro? The Red Line D.C. Project is about what happens when public space, public art and public transportation intersect.

Artist Update: Jen Everett

Next up in our inaugural cohort update series is Jen Everett. Here is what she’s been up to in her own words:

City Wide Open Studios: I recently participated in this program along with a host of other Saint Louis creatives. The Open Studios weekend included having one of my paintings displayed at the Contemporary Art Museum. Below is a description of the program taken from the CAM website:

This summer CAM takes you into artist studios across St. Louis with our 6th Annual City-Wide Open Studios. City-Wide Open Studios offers a unique opportunity for the St. Louis public to explore the creative and personal spaces of local artists while providing the ability to enjoy one of the most exciting parts of contemporary art – the chance to talk with the artists themselves. The CWOS program consists of a series of events and tours. Through the CWOS program local artists are connected to the museum, while the museum connects participating artists to the larger community.
Spanning some of St. Louis’ most diverse and energetic neighborhoods like St. Louis City, University City, and Maplewood, over 160 local artists invite the public to a behind-the-scenes look at some of the coolest and most creative spaces that St. Louis has to offer. Visitors are invited to tour the various spaces all weekend and find out what kind of creative invention happens behind closed doors. There is no fee and no reservations required to visit these artist studios. CAM will provide a printed map of every participating artist studio so visitors are able to navigate the urban landscape and visit any, and all, of the artist studios of their choosing.

Eleven Magazine: I review shows and shoot concert photography for Eleven. The content is either posted online or run in their print magazine. Recently I had the opportunity to photograph a Stalley show. Within the next few months I plan on shooting Dead Prez, Bilal, Questlove, and Dom Kennedy. Here’s a link to Eleven’s Site: http://elevenmusicmag.com/

Personal Work: I’m working on some projects that are currently in the very early stages of development. One of those is on androgyny/gender ambiguity. Updates on personal projects and random photography/musings can be found on my blog: http://jeneverett.wordpress.com/

Artist Update: Nikita Gale

As we prepare for a few exciting projects coming up this fall, we will be posting updates about the inaugural cohort of Mambu Badu. Up this week: Nikita Gale!

In her own words…

1.  Returned from my residency at CPW on July 13th.
2.  Currently working on completing my first monograph — it’s a limited edition handmade book.
3.  Featured on Feature Shoot and Contra.
4.  Recently became a board member for Atlanta non-profit organization, Burnaway.
5.  Will be showing work with Dashboard Co-op this fall.

East of the River exhibit opens Aug. 5

Danielle here. Just want to let you know I will be showing prints at the East of the River exhibition at Honfleur Gallery in Washington, DC. The show opens on Friday, August 5, which is just one month away! I’m terribly excited to be a part of this exhibit and if you live in the area, I hope you’ll come by for the opening reception. And if you can’t make the opening, the show will be up through September 16.

Full list of artists:

Marlon Norman

Jonathan Edwards

Danielle Scruggs (That’s me!)

Jon Malis

Deborah Terry

Lark Catoe-Emerson

The show was juried by an esteemed panel (to say the least!): documentary photographer Susanna Raab, visual artist Renee Stout and Stephen Bennett Phillips, director of the fine arts program at the Federal Reserve Board.

What if there were no more art galleries?

Hi readers! This is Danielle here, 1/3 of Mambu Badu! I recently had the opportunity to interview artist/arts advocate Kesha Bruce again (I interviewed her for the Liberator Magazine some time ago), this time regarding her new venture, the 6×6 Arts Festival. We also talked about how artists can create a more opportunities for themselves, rather than waiting to be discovered by a gallery or editorial client. I gained some insights on where I need to improve and push myself in my own work. Read more below:

How, in your view, can artists create a better work/life balance?

Kesha Bruce: I get this question all the time from my consulting clients, so I can tell you right now that my answer is going to be unpopular.  Here it is:  Realize that you cannot have it all, and understand that time cannot be managed. The only thing you can manage is how you choose to spend your time.  (Emphasis mine.)

Make a list of the things in your life that are truly the most important to you and bring you the most joy. Then beg, borrow, steal, and fight like hell to squeeze a little bit of those things into every day.  Even if you only get to spend 10 minutes a day making art, 10 minutes is better than no minutes!

What is one concrete action an artist can take right now to establish a more fulfilling/successful career?

KB: I wish I had an easier answer, but every successful art career is built on a combination of actions—and combined consistently.  There isn’t one magic thing you can do that will transform your career.  If there were—we’d all be doing it!  Unfortunately, it just doesn’t work that way.   All of your marketing efforts must work together and they need to be consistent. Meaning they need to be planned and scheduled. And you need to commit to repeating them over a certain period of time.

There are no magic bullets or easy formulas.  A successful art career is built on a system of actions that you work and implement day by day —every day—in order to be constantly generating new work and interest in your work that will lead to sales.

Could you just talk a little about what inspired 6×6 and what you hope to accomplish with it?

KB: The idea for 6×6 came one night during a discussion I had with my friend and fellow artist Charlie Grosso.  We  were having one of those long involved discussions about art, and how it’s bought and sold and what we would do differently.  By the end of the evening we have decided that instead of just talking about the way thing should be, that we should actually go do something about it.

The whole point producing 6×6 is to lead by example. The entire event is  a blue-print for how artists can work together to help each other promote their art.  At the end of 6×6, we’ll take the video footage, workshop notes, and podcast recordings and package it all up into an affordable, easily downloadable, step-by-step “How-To” guide so that independent artists can learn exactly how they can plan and re-create their own version of 6×6 in their own art communities.

What are some key differences between the traditional gallery system and the 6×6/Baang + Burne approach?

KB: Well for starters, we have no set location, so we organize events wherever and whenever we want in any format we choose.  Secondly, our contract with each Baang and Burne artist is non-exclusive and each artist gets to tell us what percentage they want to pay us for each sale—which is pretty unheard of within the traditional gallery system.

But honestly the biggest difference is our simple no-nonsense attitude towards art sales.  We don’t go out and try to find art collectors.  We create them by building relationships between art lovers and artists.  It really is that simple.

To learn more about 6×6, read Kesha’s weekly articles on art, art marketing, and creativity and to download a free copy of her guide “The 5 Step Art Career Make-Over” visit her blog at http://www.keshabrucestudio.com/.