Transformation in the Creative Process
IN(TER)VIEW, Benny Starr - 6 min read
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We caught up with Benny Starr to talk about artists’ roles in environmental justice and community development and the criticality of multidisciplinary approaches to advancing equity.
Before we jump in, is there anything you want to share about “Breathe”?
One of my art forms is hip-hop lyricism, and that’s deeply rooted in Black vocal traditions. To connect this sense of place, I traveled to a specific location in South Carolina to write and then record this piece with collaborators. The piece explores environmental justice and community development as essential topics for everyone to consider. How do we, as artists, demystify these concepts through a creative lens? As a hip-hop artist, I’ve honed skills like observation, empathy, understanding, and the ability to analyze and alchemize experiences. Communicating an idea is one thing, but making people feel it is another.
Could you talk about the significance of process?
We often aim straight for the final result, but the creative process is where transformation and learning happen. One of my collaborators frequently quotes Quincy Jones, who said, “When you go to create something, leave enough space for God to enter the room.” An unpredictable, beautiful unfolding happens when you embrace the process. That’s why I favor the term “creative process” over “creativity,” because the latter implies that creativity appears fully formed. It rarely does, nor does justice, development, or movement work. The journey is just as critical as the destination.
You’ve talked before about “creating to fail” as an intention, which I find particularly interesting applied to community development.
At the U.S. Water Alliance, I learned that people in the water sector often have to mitigate risk, whereas artists courageously create with the possibility of failure in mind. Failure generates valuable insights. I don’t think we can tackle justice issues without making room for failure. While mitigating risk is vital – especially when people’s health and well-being are at stake – I believe in creating spaces where failure is acceptable. The lessons learned from failure can be analyzed and applied, which is even more beneficial to collective well-being. This is where collaboration between artists and other sectors becomes fruitful.
How do you think about success, and how do you define that?
Success, for me, incorporates power dynamics. How do you equitably compensate people for their time and labor? How do you thoughtfully engage communities to learn what they truly want? How do you support their self-determination towards long-term ownership and equity? Success in community development is hollow if it denies people the process of contemplating, connecting, and imagining their past, present, and future. You might achieve your work goals, but without a process that considers power, the work can’t be a true success.
Your song “The Water Keeps Rising” touches on topics like gentrification, racial inequality, environmental justice, and economic development. That feels like it really speaks to our research finding that anti-racist community development is holistic.
I don’t live a siloed life – my economic, physical, and spiritual well-being all intersect. For instance, how do I encounter nature? What is nature’s state when I encounter it? Is my community walkable? Do I have access to healthy food? Am I within reach of those who love me? Where do I go to fortify my spiritual self? We’re taught to compartmentalize these aspects, but they are critical parts of our daily lives. “The Water Keeps Rising” emerged from encounters I had living in Charleston, SC – seeing rapid, soulless development despite climate change impacts, varying degrees of deeply entrenched systemic racism, and rising unhoused populations. One day, I was walking downtown, and I gave a woman experiencing homelessness $20 for some food, and I contemplated that for a while. Who benefits, and who feels the pain of rapid development? The creative and artistic process requires us to question what we encounter. I hope that the experience leads to a deeper understanding of what communities’ need to thrive. Especially in today’s climate, it is necessary to demystify the process and commit to it as a culturally rich, community-driven act.
The other thing your music did was make this link between place-based and national issues very organically. It’s a modern Charleston story with themes that resonate across time and place.
Focusing on the local often resonates nationally and internationally because of how interconnected people and systems are. Rising sea levels, economic disparities, and housing crises aren’t unique to Charleston, SC. That’s why I encourage others to accept the definition of the creative process as a conscious encounter with the world around us, which ushers us into process of creation. In my community, the word “conscious” embodies an understanding of how systems work with, for, or against us alongside compassion, empathy, and spirituality. These qualities are foundational to environmental justice and community development.
Why is it important to specifically talk about environmental justice and community development in terms of Black people in the United States?
We’re still grappling with a system built on genocide, enslavement, and exploitation. By 1910, Black people had acquired 16-18 million acres of land; today, that’s down to about 3 million acres due to systemic racism and exploitation. Land, and relationship to it, is liberation. Without collective ownership or spaces to reflect, connect, imagine, and build upon, how do we create the communities we want? Safe, healthy, caring, just communities. As Toni Morrison said, “The very serious function of racism is distraction.” It keeps us from doing our work, imagining, and stepping into our power.
What are some hopes that you have for the future in moving towards a more environmentally just world?
I continue to have hope in the subversion of unjust systems. I hope we birth a renaissance where culture and creative process become tools we utilize across vocations – teachers, artists, doctors, scientists, spiritual workers, etc. – to take back power and collectively imagine a shared world 100 years into the future.
Are there any promising equitable or anti-racist strategies that you’re seeing?
I’m inspired by the work of Communities First Fund. Also, programs like the Ashé Cultural Arts Center’s “I Deserve It,” which partners with hospitals to create community ambassadors who visit elders hesitant about medical care. CultureRx, another program, prescribes not only medicine but also cultural activities – like visiting a museum with family – to address the lack of community and meaningful relationships, which have serious health implications. Some of the solutions are right in front of us.
Is there anything else that you’d like to speak to that hasn’t come up?
I’m a hopeful person, and I think it’s incredibly important for us. Hopeful doesn’t mean being weak or naïve. It’s a discipline. It’s something you practice. I think that as hopeful people, the work of demystifying community development is going to be critical. Simply put, doing this work together, redirecting resources, and moving in courageous, strategic ways. Incorporating that approach can help birth a renaissance of thinking, of feeling, of being together. That’s our work on every level. Our work is our people, and with our people, always.
Benny Starr positions his art to drive attention to justice and kinship. He served as the U.S. Water Alliance’s inaugural One Water Artist-in-Residence and as their Senior Fellow of Arts & Culture. He currently serves as a Creative Strategist for Communities First Fund and launched Watercolor Creative, an umbrella for artistic projects, creative strategy, and social practice with equity-centered partners.