Celebrating Black joy: Columbus artist teams with Abercrombie & Fitch for new collection

In the aftermath of George Floyd's death in May 2020, a moment that sparked widespread protest and a call for solidarity, visual artist Francesca Miller cast her artistic gifts to adorn Downtown Columbus with messages of hope. 

Instead of illustrating the pain felt within the Black community, Miller decorated building walls and wooden panels with images representative of Black beauty, strength and resilience. 

Less than a year later, the Bexley resident would lend her creativity to help spearhead Abercrombie & Fitch's latest capsule, "For Justice, For Joy Collection," a clothing collection that celebrates Black joy and showcases its visual forms with a selection of distinct pieces. 

Considering the brand's recognition, Miller, 24, said she was shocked when the American retail giant emailed her for the project.

"I was like this is a spam email," she said. "When they reached out I was like this has to be a joke. I was completely shocked, I really was."

Miller acknowledges that she's never actually shopped at the retail giant, but after several conversations with company executives, the brand gave her the creative reins while providing the platform to convey her artistic message.

"It was refreshing to be working with such a big name company and you could tell it was genuine," she said. "You can tell they wanted to help with the movement.

"They could've worked with other artists who work with other brands, but they chose local, which speaks volumes about how intentional they're being."

Corey Robinson, senior vice president and head of Design & Merchandising, said the brand decided to contact Miller after several employees came across her work while marching in Downtown Columbus last summer. He said the vibrant imagery and messages of joy depicted in her work on the walls of the Columbus Commons and Ohio Theatre were in line with the company's goal to support people of color. 

"There was magic in her expressive use of color and the way people smiled when seeing her work, even during such tough times," Robinson said. "We reached out to (Miller) in hopes that we could spread that same message through this capsule, which aligns with our company’s ongoing goal to support and uplift the BIPOC community, and we’re ecstatic with the results. She, and her artwork, radiate joy and we couldn’t be happier to have partnered with her."

The Miller-led capsule was launched on July 8 after about six months of preparation, and is currently available in Abercrombie & Fitch stores across the country and online for international purchase.

The collection includes three T-shirts; one filled with the words "Beauty, Brilliance and Resilience" on the front and Black women angelically dancing on the back. ; the second shirt has the name of the collection on the chest area and a small painting of two figures on the back; and the last shirt has a painting of Columbus artist CarolineINSPIRES Bennett placed at its center, who served as a major influence for the collection. 

"I'm very intentional and love when everything gets connected, so I was really intentional about who and what I chose to reference for the designed pieces and shirts," Miller said.

Like Miller, Bennett, 27, said she was shocked but thrilled to find out one of her images would be used for the collection. And even in the weeks since its release, the singer and poet said, "I'm still on cloud 10,000."

Following Floyd's death, Miller joined other artists to paint murals that veered away from images of anger and protest, but instead, highlighted the joy and fearlessness Black families and communities embody. 

"I just really wanted to highlight that our story goes beyond oppression and trauma and anger," Miller said. "That definitely is a part of our story and it is necessary to keep telling, but I just want to highlight that we're more than that. We do more than cry, march and protest. We laugh. We dream. We love."

As Miller spent months working on the collection, she wanted to promote the same messaging. Rather than place outward signs of jubilance, she pictured how elation comes in different forms — stillness, calm and silence. 

"We, as people of color, need to be reminded of our side of the story," she said. "Joy is available to us. We can laugh and love despite what we experience in this world. That's probably a top priority in my art in general."

Since the collection's release, Robinson said customers and those who follow the brand, have enjoyed the project. More important, the collection has fostered deeper discussions inside and outside the company about the importance of telling similarly holistic stories.

"The purpose and intention of the collection is to spark discussion and it’s heartwarming that people have truly taken that intention to heart," he said.

Bennett said it's also a great opportunity to enlighten and educate those outside the Black community, as they are often unfairly misrepresented in other mediums. The Tulsa-born artist said the next step is for Abercrombie & Fitch to utilize more people of color in its projects.

"My hope that it continues and people begin to see more Black and (Latino) faces in A&F because, why not?" she said. "And the fact (Miller) was able to use me, some Black chocolate girl with big nostrils and blue hair, that's not celebrated in the world. That's why I'm honored."

In time, Robinson said the "For Justice" collection will continue incorporating new voices and serve as a vessel for further perspectives to be shared with the world. 

Going forward, Miller said she's looking forward to collaborating with other international brands and to continue showcasing the various layers that makeup people of color.

"My goal with my art is to work with businesses, organizations and create art for them," Miller said. "I love painting people's grandmas, but if feels like I'm serving a greater purpose when I get into the commercial art world. It's exciting to me. I love collaboration and team building. For so long, people acted like art doesn't have a place in that space."

– The Columbus Dispatch

The moves: Flavor'd Flow Studio puts spotlight on break dancing and cultural history

Once a recreation center turned furniture store on Columbus' South Side, the formerly desolate building was robbed of its essence until James Alexander, owner of Flavor'd Flow Studio, stepped in to establish the city's first hip-hop dance studio. 

Alexander, who learned to break dance at age 18 under the name "Bboy Osuga," saw the worn gymnasium as a place of solace for youth in need of a creative outlet and those engraved in hip-hop dance culture. 

From there, Flavor'd Flow Studio was born and the business has grown just as Alexander, 41, envisioned when he first opened the studio's doors in 2016. After working at five other dance spaces, including BalletMet, the North Columbus resident was finally able to open his own at 379 E. Barthman Ave.

"It's been a good process of fun and a challenging experience, but worthwhile," Alexander said. "I've learned a lot. When I first started dancing, this was my plan A. And I knew if I focused on plan B, then I wouldn't have done this."

After Alexander purchased the studio, Leon Lozinskiy, who has learned from the instructor since he was 6, said it was a long-fought pursuit that came after years of dedication.

"That was really dope," said Lozinskiy, 19. "(Alexander) wanted to get to his own studio for a long time. He used to work at other dance studios, and it was mostly ballet they did, and he had his own room there, and eventually, he had enough money to buy his own. And this place is pretty cool."

With the studio's establishment, Lozinskiy said it's magnified an art form that's become more of a niche in the decades since the height of its popularity in the 1980s. And, on some level, the Clintonville resident said it's broadened Columbus' culture. 

"I feel like it's a pillar for the city," he said.

Teaching students values that stick with them outside the dance studio

Along with teaching both adults and children as young as 5 the different variations of break dancing and popping, Alexander said it's important to pass along his knowledge and love for hip-hop culture to each of his students. 

When new students first walk in, Alexander teaches them the history of the genre and the origins of breaking and popping, a street dance adapted from the earlier Boogaloo cultural movement in Oakland, California. And as they continue to grasp the art form's principles, each lesson, both about respect and discipline, carries on with his students outside the studio space. 

"There's a lot of main focus, but I just want them to become young professionals and help them become amazing human beings," Alexander said. 

For Thai Leftwich, 15, who's been breaking for nearly a year, learning about the art form's history is vital, especially with it being an essential part of her heritage.

"It's important to me as an African American because we got scrambled in a bunch of places, so we don't have some of our original heritage," the Linden resident said. "With break dancing helping us through those struggles, I feel like it's very important to be doing this stuff and take pride in something we built here when we couldn't have anything."

Having learned under Alexander for years, Kaz Woodworth-Kunimoto, 9, and Brynn Christy, 9, said Alexander's diligence as an instructor has led to their development as performers as well as their personal growth. And over time, they have grown to love breaking and the freedom that comes with every aspect of it. 

"I get to dance a lot," said Christy of Worthington. "And I feel happy that I did it." 

Woodworth-Kunimoto, of Clintonville, added, "I love break dancing because it's a big part of my life and I think it's just super-fun and I like doing it a lot. It just feels nice and I think I'm good at musicality and I'm super-competitive, too."

Parent Desmon Martin, 50, who was once a b-boy himself in the 1980s, said he's proud of the strides his daughter, Aaliyah Martin, has made the past four years under Alexander's tutelage. 

The Far East Side resident said his 9-year-old daughter has begun to spread her wings as a dancer and broaden her personality. 

"I feel like every kid who comes in there is shy about dancing in front of the group, but once that music comes on, my daughter is one of the first people to jump out there," he said. "It's done wonders for her. She believes in herself and she's confident in her skills to the point she wants to show them off to the world."

Enduring struggles that have come with the effects of COVID-19

Alexander said the success of the studio is rooted in his passion for hip-hop and teaching, with both elements keeping him level-headed when faced with challenges. 

At the start of the COVID-19 pandemic, which forced Alexander to close the studio and take on virtual classes last year, he continued to press forward and remained in contact with his students.

Since its reopening in May 2020, Alexander has remained cautious, even turning away potential students to ensure he keeps his classes tight-knit, about seven to 11 kids. And although he's lost nearly 20% of the students he had pre-pandemic, ensuring their health and safety is a top priority.

"Nothing is more important than the safety of the kids and the students; my business isn't more important than that," he said. 

Despite the drop in enrollment, Flavor'd Flow Studio has been operating as it was pre-pandemic. 

And in light of the sacrifices and accommodations that were made, Alexander and his students have been graciously rewarded with opportunities to perform this summer, with many of them being first-time events. 

Upcoming performances include Urban Scrawl on Aug. 28-29 in Franklinton, 400 W. Rich St., and performance on Sept. 4 during Art on Broadway at Art 43023 in Granville. 

As Alexander looks ahead, he's not certain what's to come, but like he's done the past year, he said he's keeping his students' safety and development in mind.

– The Columbus Dispatch

Unity and community at the center of Saturday's Poindexter Village Drum Circle

At the center of Poindexter Village, the historical housing quarter was filled with the reverberating sounds of African drums and the harmonic voices of community members who came together for Saturday's drum circle. 

In partnership with the James Preston Poindexter Foundation and Ohio History Connection, elder drummers, past residents and community leaders shared stories, songs and dances around the Poindexter Legacy Tree to celebrate the rich history of the site.

Since its opening in 1940, Poindexter Village, named after the Rev. James Poindexter, a minister and civil rights activist, has long been recognized as the heart of the Black community and a source for shared unity. 

And programs like the Poindexter Village Drum Circle, Project Manager Shelbi Harris-Roseboro said, ensure that kinship remains an integral part of the community, even with the past year affected by COVID-19. 

"Everybody's feeling like they miss their community, and this is the first time we can come together again," she said. "And with us being masked up and distanced, we can come out and enjoy this community. This is ultimately what it's about."

And with Poindexter Village's official mark as a State of Ohio Historic Site, the drum circle was an ideal event for a celebration. Saturday's itinerary also featured a drum call-and-response, artists, food vendors, puppet storytellers and drum-making craft tables.

Attendee Lethichia Banks, 38, said more events like these need to take place, as it encourages the support and linkage between members of the Black community.

"We need to have this on a regular basis, whether it's indoors or outdoors," the Reynoldsburg resident said. "This helps create the opportunity to get to know each other, to interact and network and to continue to encourage each other on their entrepreneurial endeavors."

Tom Dillard, president of the James Preston Poindexter Foundation, said the Poindexter Village Drum Circle also serves as an opportunity to educate younger generations about the historical context surrounding the area, which is recognized as one of the country's first housing projects.

With understanding this history, Dillard said it will maintain and continue building a system of values among younger residents.

"The purpose is to bring the community together to recognize and honor our ancestors upon whose shoulders we stand," he said. "It's like talking to your great-grandmother and grandfather again."

As a historian, Charles Wash, director of the National Afro American Museum and Cultural Center, said his goal is to ensure every resident understands the significance of sites like Poindexter Village and works to preserve its history.

Wash said this comes with melding younger and older generations together so this historical context is transferred between the two groups to ensure the history of Poindexter Village remains intact. 

"That's my motivation," Wash said. "One thing I noticed over the years is oftentimes we either talk over people or at them instead of to them. It's like we've ignored them in a sense. The gatekeepers of the culture are older and have their own language, and I think programs like this can speak to everybody."

North Columbus resident Natalie James, 44, said people need to be more intentional about attending programs centered on African American tradition. 

"I think we as a people, we have to want to come out and support and want to learn about our history," she said. "It's going to impact generations. Knowledge is power and if you don't know about your history you're likely to repeat it."

While there have been two drum circle events in the past, Harris-Roseboro said this event will become an annual one. And going forward, she and others will continue developing activities along the same vein, with both unity and community as the focus.

– The Columbus Dispatch