This film gives viewers an inside look at the life and work of the man, the myth, the legend himself, Jaleel Campbell. Featuring home videos, interviews with family and footage of past work, this documentary sets out to show Jaleel’s evolution through the years. Directed by Kai Philavanh. Running time: 13:13.
At what point do we say “exposure” isn’t Enough? Moore, discussing the continued misuse of blackness for profit says: The problem with cultural appropriation, then, nearly always has to do with who makes money off a sterilized aspect of culture that originated in black and brown communities. Why do brown folks so rarely make money from their own cultural innovations? (Moore, 2018, p.183) I have experienced this first hand within my Feel that Funk project, a space focused on centering blackness. I was recently asked the question “How many white people are needed to invade a black space to no longer classify it as black?” and have been pondering on that idea ever since. We’ve seen the global exploitation of blackness in all forms where places like the ballroom scene, festivals such as AfroPunk and even initiatives similar to my own are whitewashed in order to elevate and reach the masses. Though I do not have the answer to the above question, I intentionally put out disclaimers stating the atmosphere in which I am creating and am extremely selective with who I give access to the secret group where we discuss all thing related to the feel that funk project. It is important to me that this project stays just as rich and authentic as it has been despite its new popularity. So many aspects of black culture have been used and left in the trenches for a moment. It is more than a moment. This is a sacred space that Is brought to life by disenfranchised populations of people. This isn’t something that can be learned in an instructional video. The art of black joy is a distinct feeling that is real and lived every day on the streets and throughout the lives of people of color worldwide.
In addition to creating visual art, Campbell also delves into fashion by designing prints for t-shirts, barrettes, and this jacket that shows West African textile influences. Additionally, the Jalethal jacket portrays the facial features of a series of 3-dimensional dolls called Jalethals that he designs and hand sews with mixed media materials.
Digital Photo (2018)
Feel That Funk: The Exhibition debuted at the Community Folk Art Center July 12, 2018, and ran until August 18th. The series, consisting of 17 paintings, a mural, and two installations for visitors to engage, with took place in Downtown Syracuse at the Community Folk Art Center. Accompanying the exhibition was an artist talk, open mic night, video shoot and film screening + Q & A. I also spoke to six different organizations ranging from summer youth groups to college students about the show and my motivations. The series aims to capture black joy in all of its entirety while also affirming to the masses that black voices will be heard and respected by all means.
Digital Photo (2018)
Feel That Funk was heavily influenced by the Black Arts Movement of the 60s-70s, which, during this time period embraced and celebrated black folk like never before while serving as the catalyst that allowed African Americans the chance to express their voices in the mass media as well as in their communities. In today’s culture, I notice a resurgence of the principles this movement stood for and want to add these paintings to the continued conversation.
Digital Photo (2018)
In this photo, Campbell creates a collage of blaxploitation movie posters as a wallpaper backdrop. The wallpaper along with the model’s fashion, West African sculptures and wicker furniture creates a nostalgic 1970’s vibe and aesthetic.
Digital Photo (2018)
Feel that Funk: The Short film would not have been possible without this piece titled “Sugar Shack” by Ernie Barnes. Since I was a kid, I have admired the energy of his work. Mr. Barnes perfectly captured the grace, poise, and overall style of the black experience which continues to live on today. This film is dedicated to him and the beautiful legacy he left behind.
Digital Photo (2018)
Parties where fried chicken, black-eyed peas, and rice, potato salad, and sweet potato pie among many other savory foods were on the menu and being served up to guests. These celebrations where family and friends come together enjoying each other's company in a pre-COVID-19 world. The music itself sets the tone for a good time to be had by all. Flared jeans, crocheted tops, dashiki print outfits, Afros as large as they wanted to be filled the room like never before-my dream had completely materialized right in front of me.
Mixed Media (2019)
In an effort to confront childhood trauma and being shamed for playing and designing clothes for his sisters' dolls, Campbell created a series of dolls he calls Jalethals. The dolls are hand-sewn with mixed-media materials and Campbell's pattern of design shows his appreciation for West African textile patterns.
Mixed Media (2019)
Mixed Media (2019)
Digital Illustration (2019)
Jalethal close crops shown in this virtual exhibition are from a larger mural depicting my Jalethal dolls that were first shown in its entirety at my final thesis exhibition. The bold lines, pops of color and the overall scale of the mural proved to add a sense of fresh life and fun to the space.
Digital Illustration (2019)
Though virtual, I wanted to give viewers a glimpse into my obsession with dolls. I spent many hours playing with my sister's dolls as a child. Bratz, Barbie, Cabbage Patch Kids, Myscene Dolls, anything I could get my hands on, I would grab and drift off into my mind. Bratz held a special place in my heart. They captured the look and feel of black life and culture. The 10-inch doll-boasting the latest fashions that featured furs, sequins, and accessories that gave each doll their own distinct look left an impression so strong on the 7-year-old self that I wanted and needed more.
Digital Illustration (2019)
These dolls felt accessible to me. I saw people that I knew when I looked at Bratz dolls. Upon releasing my own dolls, I remember feeling nervous about speaking publicly about my obsession with them as a child. I had grown so used to operating in secrecy. Instead of continuing to cope in the way, I had been able to previously, I set out to face my fears head-on. The response from the public was overwhelming and opened my eyes to the amount of love and support that was around me.
Digital Illustration (2019)
Digital Illustration (2015)
Beginning in 2015 I set off to revamp my illustration style. After months without having any inspiration to create-it hit me. These new illustrations came to me on a snowy night in January. One after another I began to find my footing creating whimsical illustrations-bare faced black women each with such a distinct personality and edgy look. A ballerina, a fashion model, a glam diva to name a few, I took this time to put my fashion illustrator aspirations from my childhood into effect as I began which would eventually turn into the beginning of me finding my own distinct illustration style. Clean lines, gradients, and abstract shapes fill the images for everyone to view.
Digital Illustration (2015)
Digital Illustration (2015)
Digital Illustration (2015)
Digital Illustration (2015)
Digital Illustration (2020)
Both My piece styles tangled and My Hittas Represent budding friendships between black creatives. A close up look at intimacy between black folks and community building within the diaspora-these illustrations, with their intricate line work and vibrant use of color, merge traditional techniques with a modern twist, taking viewers on a journey through the image, an endless maze of sorts.
Digital Illustration (2020)
This illustration depicts me and one of my closest friends whose help and support defined my artistic style, while I matriculated through graduate school.
Digital Illustration (2020)
Based on my paternal family lineage, my proposed homecoming series sets out to highlight the beauty and rich history associated with African American life post-antebellum south. Scenic landscape views, An assortment of men and women in various settings, and an emphasis on retelling a part of history that often left black people in the trenches, this series will center black joy and self-love. Promoting positive depictions of African American life is vital-especially at this moment we are facing currently. I hope the images allow viewers to reflect on their own familial lineages and ask the questions necessary to gain a better understanding of who they are and where they come from.
For more information about Jaleel Campbell visit the following sites:
Website: jaleelcampbell.com
Instagram: @jaleelj.blige
