The Saartjie Project is a Washington, DC-based artist collective producing and developing performance art through collaborative processes. Committed to working together consistently to develop a distinct body of work and practices that reflects who they are — black women poets, singers, performance artists, visual artists and dancers — they gather to create and share dynamic art that explores the intersections of their experiences. Founding producer Jessica Solomon elaborates…

How did The Saartjie Project (TSP) get its start?

TSP was conceptualized after I was re-introduced to Saartjie (pronounced sar-key) Baartman (1789-1815) at a celebration commemorating her return to South Africa in 2002. Feeling like some of her experiences as a black/woman had a new-found historical context, I began to cultivate a community space where art that explores race, gender, power and its many tangents could be incubated, nurtured and produced. During the summer of 2008, 12 artists joined The Saartjie Project as its founding “mothers” and so began an amazing journey of self-expression, consciousness raising and question asking through art.

How does your creative process differ from that of “traditional” theatre?

Our creative process demands rigor and imagination from the artist and audience member alike. This is not traditional theatre in the sense that we all contribute to 1) ensemble theatre building, 2) cultural arts direct action activities, and 3) sustaining our sisterhood and community. Our work is “breathing” — consistently growing and evolving as we do. We draw on our personal experiences, history, and our individual and collective voice.

We also draw on artist-centric feedback and critique during the play development process. This season we will incorporate Liz Lerhman’s Critical Response Process into our talkbacks and readings.

I noticed on your website that in addition to doing live theatre, members of your collaborative also do radio appearances and speak at conferences on a regular basis. How do these appearances extend the work of The Saartjie Project?

Because our art is tied to our experiences and those of women globally, part of our work includes direct action. We participate in events that are relevant to our work as community artists. It fuels us and we offer communities a new way of exploring and articulating issues.

Please tell us about “Four Women“, the project you currently have in development.

Over the next seven months we are exploring Nina Simone’s song “Four Women” to find the spaces of liberation that it offers. For us this is a multi-sensory experience — what do we smell, taste, feel, see? What is the back-story? How does each woman walk down the street, make love, take a bath, smoke cigars? What is her favorite cologne?

During this process, we are moving beyond the stage to directly engage our communities through Cultural Arts Direct Action (CADA). Ebony Golden, a TSP collaborator and cultural worker, defines CADA as, “…the actualization of transformation and justice through a combination of community-based action, cultural and creative arts.”

Are you still seeking artists for this project?

We are not seeking visiting artists at this time, BUT we would love to learn from and share best practices with other all women ensembles.

What has been your greatest success or achievement to date?

Wow. We can’t pinpoint one moment but it’s been amazing to be understood, and recognized for our work by fellow artists, cultural workers, funders, traditional theatergoers and our supporters.

How did you find out about Fractured Atlas and what motivated you to become a member?

One of our mentors, Danielle Drakes, founding producer/director of theHegira, is a member and that is how we learned about the organization. At that point in our development it made sense that we join. We’ve recruited others, too. Fractured Atlas has been an integral piece in our establishing our collective as an entity in the arts community.

Besides being fiscally sponsored through Fractured Atlas, how else do you use your Fractured Atlas membership?

We use FA’s tools, templates and resources as they relate to grant writing and proposal writing. The online courses and event calendar have been a great too!

Please finish the following sentence: “The artist’s role in society is…”

“The (revolutionary) artist’s role in society is to make art irresistible.” — Toni Cade Bambara

What’s next on your professional horizon?

The Saartjie Project would like to travel, both nationally and internationally, to have learning exchanges with other artist collectives/ensemble theatre companies. We are also exploring ways to document and archive our work.

How can we learn more about and experience the work of The Saartjie Project?

Visit our website to see videos and join our mailing list, follow us on Twitter, become a fan on Facebook, and watch our videos on YouTube.