Atlanta’s National Black Arts Festival to have new leader, after 2 key resignations

Ellzy Wright, a Delaware native who’s lived in Atlanta since 1989, is no stranger to the arts. From 2002-2012, she served as the National Black Arts Festival’s program director. She was also the executive director of the Hammonds House before leaving in 2021 to lead programming for the Apollo Theater.

This summer, she’ll move from New York City back to Atlanta for the new role. Established in 1987 by the Fulton County Arts Council, the National Black Arts Festival began as a weeklong, biennial event to celebrate Black art across multiple disciplines. The festival featured artists including Spike Lee, Nikki Giovanni and Maya Angelou.

Credit: Raymond Hagans

Credit: Raymond Hagans

Its most recent festival was held in 2013. Since then, the nonprofit has focused more on smaller events held throughout the year. In her new role, Ellzy Wright said her main goal is to restore the festival, reminiscing on how it brought people from all over the world to gather “under the umbrella of Black culture.”

“When you really think about the work that the festival did, it wasn’t just a performance on stage,” Ellzy Wright said. “It was in-depth conversations with artists. It was talking about process, the artistic practice. That is what we want to continue. And we want to bring that back.”

Bonner said Ellzy Wright’s hiring ushers in an “exciting new chapter.”

“Leatrice is a visionary leader whose deep commitment to the arts and unmatched creative strategy will elevate NBAF’s legacy and shape its future,” Bonner said in a statement.

A few days before the announcement, The Atlanta Journal-Constitution talked to Ellzy Wright via Zoom.

This interview has been edited and condensed for clarity

Q: What made you want to take this position?

A: I love the work that I’ve been able to do over the past five years at the Apollo. However, I have a husband and a house and dogs and everything in Atlanta. I’ve been commuting for five years. Last year, (my husband) asked the question, “I know you love it, and you’re doing great work, but when are you coming home?” So I started to look for opportunities. It was really important to find the right opportunity for me to come back to Atlanta, and I feel like this is the right opportunity.

Q: What were some of the highlights during your time at the Apollo?

A: Being able to bring Atlanta artists to the Apollo. (In 2023) we commissioned (Atlanta-based trumpeter) Russell Gunn to commemorate the 60th anniversary of Amiri Baraka’s “Blues People,” which was work that I wanted to do for the 40th anniversary when I was still at the National Black Arts Festival, but it just didn’t happen then. So I was able to revive that idea and make an over $300,000 investment in an Atlanta artist.

Q: During your first time working for the festival, what were some of the challenges you faced?

A: One thing that happened financially is that there was a 2008 housing crisis. The 2008 housing crisis coincided with our 20th anniversary celebration. There was a lot of support that we gained, but as we got closer to the festival, that support started to disintegrate because everyone was holding their dollars because they’re like, “We don’t know what’s about to happen.”

Q: There’s a similar uncertainty happening right now. Georgia has consistently ranked low in the nation for arts funding. Diversity, equity and inclusion policies are also under attack. How will you tackle these issues in your new role?

A: I come in July with an individual giving campaign that is going to be a very focused campaign. We’re building a festival fund because the plan is that we bring back the festival, but to also take into account all the work that has been done over the past 12 years: the school programs that we do in terms of arts education, the real lean-in on how to help develop artists through artist funds, through residencies.

Q: Given recent NBAF resignations, how will you assure people that the nonprofit’s future is certain?

A: The future is certain.... I know how hard this work is. I think Stephanie, over the past five years has done a phenomenal job of keeping this organization moving. Oronike came in saying, “I want to get back to the festival, and let’s figure out a pathway to get there.” I don’t know all the details of what happened, but I do know that this is not something that is unique. This is not a moment that’s unique to the National Black Arts Festival. There’s always going to be things that change.

I think that the festival is on the road to something great to continue again, and I’ll continue the work that these women have done. They’ve done good work. I’ve met with the team over there a number of times, and we’ve talked about making sure that I have their buy-in. (I) ask, “What are your concerns? What are your questions?” There’s no desire for me to come in to clean house and get all new people. Not at all. (It’s about) how do we move the organization forward together?

In terms of my relationship with the board .... it’s been nothing but positive. I do think that it’s the understanding of what is my role as president and CEO, what is the board’s role? How are we in partnership together? Because when you’re not in partnership, that’s when things go awry. I’ve always been one to build coalition.

Q: Along with bringing the festival back, what are your other goals in this role?

A: The National Black Arts Festival needs to be like these HBCUs that are still standing. How do we continue to be relevant, and how do we continue to garner the support that we need to still be here? That’s the overall goal. (I’m) thinking about succession planning and teaching other people to do this. What I also notice is that in New York, I am one of many that do this thing, especially around Black art and culture. In Atlanta, I am one of few. (So I’m thinking about) how do we also expand that and create other opportunities and continue moving the legacy forward.

Q: Anything else you want me to know?

A: There has been a genuine desire for this new regime to work, from those who’ve moved on. Both Stephanie and Oronike have said that they’re here for whatever I need. For all of the chatter that might be out there in the world, that chatter is not happening internally, so we are moving forward.