The New Generation Scholars Young Artist Archival Fellowship is a program of Muse 360, an intergenerational organization founded by Sharayna Ashanti Christmas in 2004 to radically develop Baltimore youth to use their voice and creative talents in pursuit of knowledge of self.
The fellowship provided a platform for emerging artists aged 18-22 and based in Baltimore City to delve into archival research, engage with historical materials, and develop their artistic practice within the context of Black diasporic experiences.
The 2024 Youth Archival Fellows were Lory Charles, Teylah Saunders, Khalil McFarlane, Daisha McIlwain, Breyanna Dabney, and Sha-Shonna Rogers. This year’s advisors were Bilphena Yahwon, Bry Reed, Ernest Shaw, Nia June, and SHAN Wallace.
Each fellow received guidance and support from an advisor. They received professional development opportunities, and access to studio space. Fellows had the privilege of accessing the rich resources and collections from the Afro Charities archives, Motor House, the Reginald F. Lewis Museum, The Lucille Clifton House, and Baltimore Museum of Art. The fellowship was paid, and each fellow received a stipend of $1000 upon completion.
The 2024 fellowship ran from January 24 to June 19, offering virtual workshops and mandatory in-person engagements. It culminated with Soon Come, a group exhibition that was on view from June 19 through August 7. The artwork on display explored the inquiries of revolutionary love, a concept that advocates for social justice and equality, spirituality, identity, and imagination, through the use of photography, video, sound, assemblage, and poetry.
The hub of the fellowship is the 360 House, an intergenerational sacred space centered on the Black radical tradition for artists, educators, entrepreneurs, activists, and cultural workers to experiment communally. The 360 House will provide two low-cost artist studios, opening in Spring 2025. There will also be open calls for programming and engagements.
For Christmas, this work is all about legacy, and each fellow cohort is intended to begin a network of Black diasporic interconnected and intergenerational collaboration in Baltimore.
Sharayna Christmas, Founding Director of Muse 360.
“By exposing them to the archives they are able to build layers in understanding themselves through the development of new work which in turn connects them deeply to the community. We hope to develop multiple cohorts who not only become great artists but also formidable radical cultural workers, advancing our people forward.”
“By exposing them to the archives they are able to build layers in understanding themselves through the development of new work which in turn connects them deeply to the community,” Christmas said. “We hope to develop multiple cohorts who not only become great artists but also formidable radical cultural workers, advancing our people forward.”
New Generation Scholars Young Artist Archival Fellows facilitated and transcribed the following conversations between advisors and fellows. Baltimore Beat is proud to run these as a series of articles in partnership with Muse 360 and New Generation Scholars. (Teri Henderson)
Muse 360 is opening applications on November 15 for the 2025 NGS YAA Cohort. The fellowship will take place from January 2025 through Aug 2025.
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Young Artist Archival Advisor | Bry Reed
A thinker and writer committed to the Black radical tradition and the histories of working class people across the African Diaspora.
Bry Reed is a scholar, writer, and educator from Baltimore. In 2020, Reed is a scholar of Africana Studies and in Gender and Sexuality Studies. Both disciplines allow her to focus her study to Black feminist scholarship. Her work explores the lives experiences of Black people by examining literature and culture.
Young Artist Archival Fellow | Teylah Saunders
Teylah completes a large portion of their work in digital spaces. They currently have a focus on original film photography and digital collage. They’re looking to expand their work by exploring different mediums like textiles. Teylah’s creative practices have been focused on honoring matriarchal figures in their family and community. Understanding the link between cultivating community and prioritizing advocacy and the influence it has on individual expression.
Why they wanted to take part in this fellowship:
Bry Reed: It was important to do this program because no matter what I do, whether it’s writing, culture work, or just being a good neighbor, a good family member, people are always like, you do so many things and you’re deeply connected to them. I was excited by the possibility of just talking to young artists because I’m also not in a lot of spaces with artists under the age of 25. I was intrigued by the chance to simply talk to y’all in earnest and hear what it’s like to think about art and artistry in the wake of the ongoing COVID-19 pandemic and its impact on the West and the world.
Teylah Saunders: I wanted to do something worthwhile. And creating is that thing that feels worthwhile to me. I knew that this program, regardless of the outcome, could be like a catalyst to explore more about myself and do something about it. I also knew it would give me the structure that I was looking for in my post-grad life.
On project redirection and critique:
BR: I remember when you wanted to create a manifesto at first. But then what you’re saying, wasn’t a manifesto. I was like, how do I give this feedback that like, yes, passion, yes, vigor around Black queer identity and Black queer belonging and where it’s placed in art. We don’t have to call it a manifesto because it’s not.
TS: My initial idea was one that was too big for where I was at the time. Engaging in critique with my advisor and peers showed me that. This taught me that feeling rejection is okay. The people around me who care will let me know when ideas need to be reworked or put to the side. Receiving this critique helped me move you forward with options on how to do so. It may have been embarrassing at first, but it led to me creating something even better. Something that was aligned with where I am.
What’s next after the fellowship:
TS: I’m excited about personal projects I have coming up and diving deeper into fiber work or other mediums. Right now, I want to be present and reflect on how it feels to be celebrated and acknowledged for my work.
BR: What was your project?
TS: ”what about the heart” a woven blanket that serves as the home for my family collage. I pay homage to the family members who came before me and revisit the younger version of myself. A letter/essay to shug (my family nickname) is sewn into the blanket and confronts the challenges we face while grappling with the realities of adulthood, reflecting on early childhood and the constant desire for familial and community support.
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Young Artist Archival Advisor | Ernest Shaw
Being a native of West Baltimore has taught artist Ernest Shaw the meaning of perseverance, community and integrity. As a product of Baltimore City Public Schools, Baltimore School for the Arts, Morgan State University and Howard University, Shaw recognizes the importance of using his skills and talents for the betterment of others, not simply for his own self-aggrandizement. For Shaw, teaching is also an artistic medium, as he has been an educator for over two decades.
Being an image maker affords Shaw the opportunity to produce work that highlights the humanity of the viewer by illustrating the humanity of the subject. His multimedia creative process focuses on the interaction between the work and its audience. His primary goal is for
the receiver to experience the mystery of creation while interacting with the portrait. His work’s evolution to becoming art has everything to do with the dance between the painting and the receiver.
Young Artist Archival Fellow | Khalil McFarlane
Khalil McFarlane is a 19 year old visual artist. Born and raised in Baltimore, Maryland, he has always been surrounded by creative activity and culture. He specializes in mixed media art, sampling different pieces of materials and literature. In the YAA he focused on creating art that expressed the pain his ancestors went through, reminding the future generations to come of the sacrifices that allowed for us to be able to be “free” today.
What’s one thing you’ve both learned from participating in this program?
Ernest Shaw: I would say it reinforced and reminded me to have patience with young people. That normally when you pour into young folk, it may or may not click when you want it to click, but once it does click they come through and that’s one thing I have to give you. You started off a lil slow, a lil shaky, you know, but I knew the potential was there and we stuck with it. You came through in the end with flying colors. Young people process information in their own time and they move at a different pace.
Khalil McFarlane: I’ve learned many lessons from this program, not just from my comrades and fellows, but even you. You told me at our very first meeting to stay humble, stay grounded. Megan Lewis also touched on this same message to an extent, while she was telling us to chase our dreams to the best of our abilities. Her reminding us that as Black creatives we can reach the stars and continue to be great at what we do is a message I will forever hold dear. Also, being critiqued by my companions helped me understand the true meaning of the amount of work you put in will equal what you’ll get back. The course of this fellowship constantly reminded me that I won’t get what I desire without doing what I must.
How did your work with your Advisor/Fellow affect your practice?
ES: It reminded me of my purpose. Simply because I may not teach everyday, it doesn’t mean I still don’t have a responsibility to these young folk. It’s always something to be done relative to the young people. So you know I’m grateful for the program, I’m grateful for what Sharayna’s done, I’m grateful for my colleagues, the fellows, I’m grateful for you.
KM: Your work has affected my artistry to a level I couldn’t comprehend. Not just you, but my fellows, Ms. Christmas, even the art itself has poured into me somehow. Khalil from a year ago would be thrilled at the progress I’ve made, the stunning art I’ve seen. This is all due to this cohort, so I’m very much blessed and appreciative.
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