Jazmyn Scott Talks Redefining Power in Seattle Arts at Colman Commons
The recent Colman Commons Grand Opening featured a historic panel of Black women in Seattle arts, moderated by Colman Commons Executive Director Ashleigh McCurdy. Among the visionaries honored was Jazmyn Scott, the visionary behind cultural hub and fine art gallery ARTE NOIR, who shared her truths about resilience, community, and what it truly means to fund Black creativity.
Scott’s words shook the foundation of how we think about cultural preservation and funding in a rapidly changing city.
The Foundations of a Visionary
When asked by McCurdy to name the first room in the city where her work felt fully seen, Scott went straight to Seattle arts and cultural institution Langston Hughes.
"Langston Hughes has been a part of my life my entire life. I've been involved in that space in one way or another since the '80s,” she said. “It's not just about a place, it's about the people in the place. And that's the first place that I think my potential was really realized and validated because of the people in that place."
Scott recounted her roots with the space, from navigating its programs as an adolescent to landing her very first job there at just 12 years old, to returning in 2016 as the first employee to help launch the nonprofit organization, LANGSTON.
For Scott, this was the crucible that forged her leadership.
"They are the people that told me, 'We believe in you and we believe that you can do this,'" she said. "Langston Hughes is really that place that has grounded me for decades."
Erasing Rejection from the Vocabulary
The conversation turned to the systemic barriers facing Black creatives in Seattle, a city Scott noted has historically kept many venues closed to Black artists making hip-hop, R&B, and other genres. Early in her career as a producer and curator, Scott focused on building bridges with these venues to understand their inner mechanics and create spaces where they didn't previously exist.
But as time went on, the strategy shifted from asking for permission to asserting autonomy. When discussing how to handle institutional rejection and the pushback Black creatives face, Scott delivered the most powerful declaration of the afternoon.
"Rejection is not even something that I consider. That’s not even a word that exists really in our vocabulary. If we envision a space that is going to benefit all of us, then we're going to create that space. We're not going to wait for somebody to tell us that we can,” she said.
This "for us, by us" model is the driving force behind ARTE NOIR. Scott emphasized that her work isn't about personal glory, her mother (the founder), or her staff, but about anchoring a foundation where hundreds of local artists can thrive.
Financing the Future
McCurdy posed a challenging question to the panel: How do you make a case for funding the past in a city that’s obsessed with what’s next?
Scott’s philosophy on fundraising demonstrated her self-worth and strategic power. Her advice to the crowd was clear: do not beg, do not offer sob stories, and never say you can't do it without them. Instead, you "go get it boldly."
"It's okay to just ask for it. It's okay to say, 'I'm building this thing... I'm really passionate about it, and these are the benefits that will come out of you supporting this.’” she said. “Never say, 'If you don't support me, I can't do this.' Never say that. Let people know how they will benefit from supporting you."
Scott pointed out that Seattle is a massive arts city with vast wealth, but Black organizations have historically been denied access to those resources. Changing that dynamic requires unapologetic execution.
"If you give me a million dollars and I say I'm going to build out this amazing space, that's exactly what we're going to do," she said, emphasizing that integrity and backing up your words is everything.
A Shared Triumph
When asked to complete the sentence, "I show up because..." Scott’s answer was succinct, heavy, and undeniable: "I show up because it's my responsibility,” she said.
But before leaving the stage, Scott turned the spotlight back onto the moderator, sharing a touching tribute to Ashleigh McCurdy’s tireless effort in bringing Colman Commons to life. Recalling when the venue was nothing more than a concept whispered in her ear, Scott made sure McCurdy felt the community's collective embrace.
"While you are spending time acknowledging all of us, I want to make sure that you feel acknowledged as well," Scott said. "We're really proud of you."
Through leaders like Scott, the Seattle arts ecosystem is being actively dismantled and rebuilt to ensure Black creative excellence is never sidelined again.
Learn more about Scott’s mission and ARTE NOIR at artenoir.org
The Colman Commons Grand Opening was produced by The Elite Collective, a Seattle Impact Architecture™ firm that builds live experiences and the content that carries them forward.
EC ran the technical side of the evening end to end. Video capture preserved the full honoree panel with Jazmyn Scott, Takiyah Ward, Barbara Earl Thomas, Sierra Jones, and Stephanie Morales. Sound reinforcement kept every panelist clear for the room and clean on the recording, so one setup served both the live audience and everything that comes after it. A dedicated interview station captured reflections from artists, honorees, and guests while the night was still happening. A photo booth and a 360 booth turned the audience into participants and sent the celebration home on their phones.
One night in the Colman Building produced a live experience, a documented archive, and a library of shareable content.
Learn more about The Elite Collective at theelitecollective.com and on their Instagram, Facebook, and LinkedIn.
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