Felicia Holman – Interview Part 2

April 12, 2024

Part 2: 

Felicia takes a moment with me to really reflect on the importance of integrity and accountability in professional relationships and collaboration in hopes to form new connections that are not exploitative of her resources and energy.

She mentions Angel Bat Dawid, a musician known for her formidable talent on the clarinet, as an example of standing firm in values of integrity. Formerly a worker for a record store in Hyde Park, Dawid’s star has risen in recent years, leading to her being asked by a renowned jazz publication to submit an essay on any topic for their blog. She chose to address the ongoing colonization of Black music within the Western canon, but faced pushback from the editor questioning her perspective. In response, Bat Dawid addressed the editor’s blatant racism, and the hypocrisy of asking her to contribute based on her unique voice and then questioning it when it challenged the status quo.

F:  “The editor came back to her with some ‘Oh, we want to discuss: what exactly are you trying to say here? Because you saying that jazz is something we’ve found that you don’t want to be associated with and obviously it’s clear, you have bad feelings,’…blah, blah, blah, blah. Then her response was, ‘yo, um, it’s obvious that you are racist and this is disappointing, because how could you ask me to write about anything, but then give me blowback about what I’m submitting? But you came to me because of who I am.”

As we jump into the next topic of encouragement and self care I notice that Felicia lights up with anticipation before sharing one of her cherished hobbies picked back up during the beginning of the pandemic. Podcasts, long walks, reading and dancing, served as moving meditations for her  during the disorienting time of lockdown, but it was her hula hoop that became the all encompassing essential connection back to self. Felicia found solace in virtual check-ins with fellow artists in her hula hooping community, emphasizing the value of these connections during the challenging times.

She shares with me several of the impactful books read during the cohort, including Care Work: Dreaming Disability Justice by Leah Lakshmi Piepzna-Samarasinha, which explores community care and self-care through the lens of disability justice activism. She also mentions Freedom Dreams: The Black Radical Imagination by Robin D.G. Kelley, which delves into radical future visions as well as  Black Futures edited by Kimberly Drew and Jenna Wortham. 

As we conclude she takes a moment to voice the importance of recognizing and addressing  interconnected issues as both citizens and artists, particularly in light of ongoing global injustices such as the genocide in Palestine. She stresses the need for critical reflection and action to challenge systemic inequalities and advocate for social justice. To Felicia the notion that formal credentials are necessary for success in the art world, directly shows how institutions and connections often hold more sway and influence than talent alone. She emphasizes that creativity doesn’t require a degree and points out the dominance of the art market, which prioritizes profit over artistic integrity. She goes further into the inequities perpetuated by philanthropy and the need for direct action and support rather than incremental changes. Ultimately Felicia’s frustration with the current system has moved her to carve out her own path. 

F: All  bets are off. I’ve always been about artists’ autonomy, agency, mobility first, particularly , underground, DIY/grassroots community-based [folks]. Like, we can apply for grants and still have to jump through all these hoops, basically for crumbs. So I’m just like, let me just be with the people and be with those who are with me.” 

She ends with a quote that consumes the last few minutes of our meeting with laughter and a call and response affirmation.

F: I protect my peace, like, I protect my edges with a silk wrap.

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Video: “Welcome To Bucktown: A Year with Felicia Holman (2020-2021)”

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