Daniel J. Watts and Josef Adamu On The Beauty of Black Joy In Arts & Life
Daniel J. Watts (left) and Josef Adamu. All photos courtesy of Thompson Central Park New York
Living in a turbulent societal climate can make tapping into inner peace and joy challenging. When you’re in the arts, unlocking this personal sense of happiness is even more complex, as much of an artist’s time is spent on performance and providing joy for others. However, for Tony and Emmy-nominated multidisciplinary artist Daniel J. Watts and Josef Adamu, the creative director for Sunday School, an agency focusing on educating through photography and film, inner contentment stems from mindfully practicing self-care and creative expression.
Though engaged in different mediums, Watts and Adamu aim to express their passion for the arts while spreading joy and maintaining it within their lives. On Nov. 30 at New York City's Thompson Central Park, Watts and Adamu will curate an enthralling performance celebrating Black joy as the final part of the "Culture Lives Here" series. During the evening, guests will enjoy an immersive four-piece performance followed by a panel discussion with the duo centered on their creative processes.
EDITION caught up with the two artistic minds ahead of their collaborative performance to discuss the importance of mental wellness and knowing your personal why in life.
Daniel J. Watts (left) and Josef Adamu. All photos courtesy of Thompson Central Park New York
As a multidisciplinary artist, how have you been able to tap into your inner joy without being overwhelmed by different projects?
Daniel J. Watts: It’s by remembering why I love to do certain things. As a multidisciplinary artist, a lot of my art started as an outlet. I was writing to write just because it was something for me to do. Then, writing became a job. Then, I was performing because I enjoy performing. Then, it became my job. Dancing was fun, then it became my job. So, I think it's balancing what I am doing for myself and what I am doing to get hired and pay my rent. So, it’s about remembering why I love to do what I love to do.
Josef, your thoughts?
Josef Adamu: I feel like the arts are a form of mental wellness. Growing up in Toronto, an extremely diverse city, I've always used art – whether through photography, through writing a bit of film work, or even as a bit of acting on my own. I've always felt like it has rescued me from a space of depression and rescued me from a space of stillness and just not knowing the direction I’m headed in. Speaking to what Daniel said earlier, it’s interesting how it's become so much more than a hobby because that’s what it started out being. But it's beautiful to see that something that I did for fun anyway and to sustain me mentally has become something I've benefited from financially.
The arts have really helped me improve my mental wellness and how I interact with people. I feel like I'm so good at using photography, film, and these different platforms to portray how I'm feeling. So, in a nutshell, I think it's something that has rescued me from really dark times, and it’s been such a big part of my life that I don't even know how to live without it.
Daniel, did any of that resonate with you as well? Do you feel the same way?
DJW: Absolutely – with the mental health. As Black people, the world is a lot more surreal. It’s this thing you have to pay attention to enough to acknowledge – awareness – and you can't stare too directly at it, or it'll steal your ability to do anything. So, it's like threading the needle of balancing joy with reality.
These conversations are so meaningful. I see you both already have great synergy. Did you already know each other before this collaboration? How did you meet?
JA: I was approached by Patrick Douville of the Thompson/Hyatt team about a year ago for an opportunity to creatively direct but also be part of the Culture Shifters campaign across the U.S. between Austin, New York, L.A., and Atlanta. He immediately told me about Daniel Watts, and I was like, ‘Man, I’ve seen his stuff, and it's so admirable to me in these spaces.’ So, I was like, let me do my research and look into who this person is, so when we meet, it’ll feel like we're already brothers. I think it made it a bit easier that we were invited into his home to shoot a segment of his social media piece – which set the tone. Then, we built upon a bigger relationship. I think these last few weeks, we're starting to speak more as we create and carve our presentation. Working together a few months ago has made it so seamless.
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Love it. Did you have anything you wanted to add, Daniel?
DJW: We move very similarly in that I was like, ‘Hmm. Let me do my research.’ I saw The Hair Appointment and Jump Ball, and the aesthetic of both of those series made me like, ‘Yeah! I have no other questions. Put me in the room.’
You briefly touched on what you admire about Josef. So, Josef, what do you admire about Daniel most?
JA: Daniel Watts is extremely humble. I’ll start by speaking from just doing research and looking at his portfolio of work – from the amount of Broadway shows he's been a part of and the number of films he’s played small and big roles. So, when you meet someone like him, and they’re laidback and composed, you just don't know what to expect. So, I think I like that most. I think it brought me to a space of humility as well.
I've watched several videos of you on YouTube, and Daniel, your versatility is admirable. You have this very one-way-or-another-way mentality where you're going to find ways to express yourself in various forms. You’re not stuck to one form; I love that you can find ways to do that. I think your ability to evoke emotion and ground an audience is something that I admire. I’m a big fan of your work. Your resume says it all. I’m just excited to be in your midst.
Thanks for sharing those beautiful thoughts. And what do you admire about Josef?
DJW: It starts with the way Joseph moves and the way he carries himself. I don't even really know how to describe it. He’s calm, cool, very self-assured, but not cocky. It’s not that he’s drawing attention to himself; it's the presence – the way he commands attention and respect for himself and his art. Sometimes, that's just hard to find. It’s a nice balance because I'm a bit more animated. When we met in a room together for the first time, I peeped that immediately. Then, once we worked together, I saw how he navigated the room and knew what he wanted – which is also rare amongst artists. Josef knows what he wants and knows what he's looking for.
I think a Canadian Nigerian in America, with his diasporic knowledge, also carries into his art. I don’t trust everybody artistically, but in watching him work, I trust him.
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My last question relates to joy and the art of collaboration. At the root of everything, you must know your own why. So, individually, what is your why for being involved in the arts?
DJW: That’s a big one – the why is always important. I think the why is I have to – it's almost survival. I mean that not in scraping to make it through way…but to live beyond the everyday mundane life. It’s like if I make something today, then I win today. I don't think it's any losing. I don’t lose. I win, or I learn. If I make something, I'm definitely going to learn something about myself. So, I get to win and learn by simply creating. I get to push myself a little more. If I write something, I learn a bit more about myself. If I paint something, I learn more about color and win. I like to win.
JA: Creativity has become such a big part of my diet. So, branching off what Daniel just said, it's survival in the most composed way possible. It has become such a routine for me. Seeing the joy and the pleasure it brings my community fills me – that’s what's serving me lunch and dinner every day.
At a panel about two years ago, someone said, “I don't want young Black kids to have to look too far for references. I don’t want young Black kids to look too far for things that remind them of themselves or their family.” Growing up, unfortunately, I didn't have the most mentors. I didn't have the OGs, and my dad wasn't a big part of my creative journey or curiosity from a young age. So, I wanted to make sure that when I got to an age where I felt like I could provide a mentee or an intern or a younger brother or sister that knowledge, I would make sure that I gave them as much as possible. You do not have to look far. It’s right in front of you. Sometimes I'm curious, like, ‘Man, what would that have looked like for me if I was ten years old, and I had someone that really basked me with all this love and attention for the arts?’ So, my why is just the determination to make sure this pattern or cycle stops with my generation and that whoever I put forth next – or the environment I've created through the work – is honored and feels seen because representation matters.
