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Danielle Scott: Ancestral Call

Premiere: 6/17/2025 | 15:44 |

Follows the multi-racial, mixed-media artist Danielle Scott as she risks her own well-being by exposing herself to the intergenerational trauma of the Atlantic Slave Trade. She traces her ancestors’ lives for a greater purpose: creating art that exposes the wretched pain and intense beauty of the era while guiding her audience through an experiential journey.

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About the Series

Danielle Scott: Ancestral Call is part of In The Making, a documentary shorts series from American Masters and Firelight Media follows emerging cultural icons on their journeys to becoming masters of their artistic disciplines.


Sonia Kennebeck and Tetiana Anderson’s director statement

Danielle Scott: Ancestral Call explores ancestry, trauma, and the power of collective healing through the eyes of an artist who doesn’t fear the ghosts of our past. When Danielle Scott wanders barefoot through the cotton fields in the American South, she feels no pain, but instead the spirits of her ancestors. Her life and art are only possible because of them, Danielle says. She honors her  ancestors by telling their stories and sharing beautiful images of who they were. Danielle takes great personal and professional risks when she bravely immerses herself into the experiences of enslaved people at a time when history lessons are considered controversial. Her leap of faith changes the trajectory of her career and leads her to solo exhibitions at museums, major  galleries, and universities. Expect Danielle Scott to be a household name. Through her layered art and collaborative work, this film gives a glimpse of hope that preserving the memory of the past can heal our future.

Danielle Scott’s artist statement

From vivid paintings to piercing photography to striking sculptures, all of my artistic offerings aim to arrest the viewer and transport them away from the pretentious and into a realm rooted in  truth. With heavy influence from a few of the art world’s most activated and unapologetic, such as Gladys Barker Grauer, Ben Jones, Betty and Alison Saar and Renee Stout, my work is created to enrich and push the needle forward. I choose to explore and connect the intertwining relationships between social justice, equality, human and women’s rights, police brutality, femininity and culture. As a woman, a mother and a self-identified lesbian, Afro-Cuban, Polish Jew in America, my perspective has been shaped with merciless hands yet has not been tainted by apathy. This perspective gives way to the audaciousness of hope.

More about Danielle Scott

Danielle Scott is a mixed-media assemblage artist who grew up in Jersey City, New Jersey. Her work expresses politically and socially charged messaging. Scott was featured in the 2021 Essence Magazine as one of the top LGBTQ artists to look out for. Her art has been acquired by The Newark Museum of Art, author Roxanne Gay, and The Weissman Family Collection. Her work has been exhibited at The Monmouth Museum, Morris Museum, Museum of Contemporary African Diaspora, and The Every Women NYC Biennial. Scott’s work has  been internationally exhibited in Paris during Africa Week and was a part of the Havana Biennial in Cuba in 2024. Scott was an artist in residence at Chateau Orquevaux in France, American Schools of Angola in Luanda, MECA College of Art and Design in Portland Maine, and ESKFF at Mana Contemporary in Jersey City. She was commissioned by the city of  Newark to create several Public Art murals and the Limited Edition Newark Library card. She has received Visual Artist of the Year from ESKFF and the City of Jersey City. Scott was taught and mentored by the late Jack Whitten when she attended the School of Visual Arts.

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PRODUCTION CREDITS

Directed, Produced and Written by Sonia Kennebeck and Tetiana Anderson. Cinematography by Jih-E Pang. Edited by Maxine Goedicke. Sound recordist is Carl Pagano. Composed by Janétza Maria Miranda.

This program was produced by Starfield Media LLC, which is solely responsible for its content. A production of Firelight Media in association with The WNET Group.

For IN THE MAKING, Executive Producers include Michael Kantor, Stanley Nelson, Marcia Smith, Monika Navarro and Joe Skinner. Supervising Producer is Robinder Uppal. Production Coordinator is Myrakel Baker. Audience Engagement Consultant is Chang Fuerte.

About American Masters
Now in its 39th season on PBS, American Masters illuminates the lives and creative journeys of those who have left an indelible impression on our cultural landscape—through compelling, unvarnished stories. Setting the standard for documentary film profiles, the series has earned widespread critical acclaim: 28 Emmy Awards—including 10 for Outstanding Non-Fiction Series and five for Outstanding Non-Fiction Special—two News & Documentary Emmys, 14 Peabodys, three Grammys, two Producers Guild Awards, an Oscar, and many other honors. To further explore the lives and works of more than 250 masters past and present, the American Masters website offers full episodes, film outtakes, filmmaker interviews, the podcast American Masters: Creative Spark, educational resources, digital original series and more. The series is a production of The WNET Group.

American Masters is available for streaming concurrent with broadcast on all station-branded PBS platforms, including PBS.org and the PBS app, available on iOS, Android, Roku streaming devices, Apple TV, Android TV, Amazon Fire TV, Samsung Smart TV, Chromecast and VIZIO. PBS station members can view many series, documentaries and specials via PBS Passport. For more information about PBS Passport, visit the PBS Passport FAQ website.

About The WNET Group

The WNET Group creates inspiring media content and meaningful experiences for diverse audiences nationwide. It is the community-supported home of New York’s THIRTEEN – America’s flagship PBS station – WLIW, THIRTEEN PBS KIDS, WLIW World and Create; NJ PBS, New Jersey’s statewide public television network; Long Island’s only NPR station WLIW-FM; ALL ARTS, the arts and culture media provider; newsroom NJ Spotlight News; and FAST channel PBS Nature. Through these channels and streaming platforms, The WNET Group brings arts, culture, education, news, documentary, entertainment, and DIY programming to more than five million viewers each month. The WNET Group’s award-winning productions include signature PBS series Nature, Great Performances, American Masters, and Amanpour and Company and trusted local news programs like NJ Spotlight News with Briana Vannozzi. Inspiring curiosity and nurturing dreams, The WNET Group’s award-winning Kids’ Media and Education team produces the PBS KIDS series Cyberchase, interactive Mission US history games, and resources for families, teachers and caregivers. A leading nonprofit public media producer for more than 60 years, The WNET Group presents and distributes content that fosters lifelong learning, including initiatives addressing poverty, jobs, economic opportunity, social justice, understanding, and the environment. Through Passport, station members can stream new and archival programming anytime, anywhere. The WNET Group represents the best in public media. Join us. 

UNDERWRITING

Original production funding for In the Making is provided by the Corporation for Public Broadcasting, Rosalind P. Walter Foundation, Anderson Family Charitable Fund, The Marc Haas Foundation, The Charina Endowment Fund, Ambrose Monell Foundation, Kate W. Cassidy Foundation, Sue and Edgar Wachenheim III, and Philip & Janice Levin Foundation.

Support for American Masters is provided by the Corporation for Public Broadcasting, AARP, Rosalind P. Walter Foundation, Burton P. and Judith B. Resnick Foundation, Blanche and Hayward Cirker Charitable Lead Annuity Trust, Koo and Patricia Yuen, Lillian Goldman Programming Endowment, Seton J. Melvin, Thea Petschek Iervolino Foundation, Candace King Weir, Anita and Jay Kaufman, The Philip and Janice Levin Foundation, Kate W. Cassidy Foundation, The Blanche and Irving Laurie Foundation, The Ambrose Monell Foundation, Ellen and James S. Marcus, The Charina Endowment Fund, The André and Elizabeth Kertész Foundation, The Marc Haas Foundation and public television viewers.

TRANSCRIPT

(flame roaring) ♪ Didn't even know it ♪ ♪ Didn't even know it ♪ - [Danielle] When I go into my studio most times, I don't go in with an idea of what I want to do.

So I take up a space for myself to sit still, to ground myself.

(warm guitar music) I sit in that spot, actually, until something hits me.

Some people don't believe in spirits.

I believe in them.

I am this type of person where I feel them, I sense them.

I don't hear them, but I know they're there, and they're present in my studio with me.

♪ It was all gonna come ♪ - My name is Danielle Scott.

I am a storyteller, I am a mother, I am a teacher, a mentor, and I am a mixed media assemblage artist, trying to be a voice of those who have passed away and their stories and voices have not been heard.

(gentle vocalization music) (object tapping rhythmically) - [James] If you don't know where you came from, then you don't know where you are, and you can't find out where you're going.

♪ They didn't even know when I'll be ♪ - [Danielle] When I think of telling stories I think of the many stories that are hidden, because the truth is something that makes people uncomfortable.

(ethereal vocalization music) (paper rustling) When I first started off as an artist, I played it very safe with oil paintings.

But when I went back home to Cuba, I realized that a lot of Afro-Cuban artists, they create with no boundaries.

I walked around and I was like, oh my god.

The things that the artists are collecting and putting together are things that I'm actually, I have it in my sketchbook, I have it in my studio.

And that's what made me start thinking.

Why am I hiding what I actually want to say?

And it's something in me that's telling me to say it.

The way in which I pick archival images is I can look through 1,000 images, but some of them pick me.

So when they call me is when I say, "Okay, let's honor you and who you are, and actually gather as much information I can about you to share with the world."

So now I'm combining the archival work with my oil paintings and it's starting to make sense.

It took time for those to grow together.

I am an artist, but I'm also loving that I'm becoming an historian.

"Because of Them," the series that I'm gonna be putting together, I had to think to myself, this actual series is bigger than me.

The painting will have a cotton field at the bottom.

So you see me starting to put in the cotton field.

But behind it you see all of the names of everyone who picked cotton, how old they were, how much they picked that day, if they actually ran away, if they were sick.

Three years ago, I went to a plantation in Mississippi, and I decided I wanted to pick cotton.

And I wanted to pick cotton 'cause I want to root myself in what is still there and feel it.

And that day I made a promise and I said, "I'm gonna continue to return."

♪ Make the wounded whole ♪ ♪ Sometimes I grow discouraged ♪ - [Danielle] I knew I was never alone on the cotton-picking field.

They were watching, they were speaking to me, they were talking to me, and I could feel it as I walked the fields, as I picked up cotton.

They're still there.

♪ I got a cross ♪ ♪ You've got a cross ♪ ♪ All of God's children got a cross ♪ ♪ When I get to Heaven gonna lay down ♪ - [Danielle] I don't think we can escape inter-generational trauma and what families have experienced, and what has been passed on.

♪ Everybody talkin' 'bout Heaven they goin' there ♪ - I think my way of not thinking of it as trauma is kind of to bring light to it, to embrace it, and also to celebrate it in a different way.

- Hi, my name is Eden Jusma, I'm Danielle Scott's daughter.

- [Danielle] And it's top and bottom?

- [Eden] This one's for the bottom because - [Danielle] That's the bottom, okay.

I think this looks good, I love the pattern of it, and it looks like the clothes that they used to wear actually, but we're just changing what the bags look like so they can represent people more so than an actual cotton-picking bag.

- We are collaborating by making cotton-picking bags.

They are children's size specifically, just because they wouldn't have been automatically seen as being on the field, but they were on the field from ages six.

They were on the field the rest of their lives from then.

- [Danielle] When I think of my process of being I think of they didn't do it alone.

They did it as a community.

They built a community, they worked together.

So this series, I'm collaborating for the first time with my daughter.

(sewing machine whirring) The bags themselves were nine feet.

You had to pick up to 120 pounds of cotton, sunup, sundown.

Children started picking cotton at the early age of six years old.

This actually looks like a person.

The sad part of it is, if they couldn't pick their weight...

These are the actual scales.

...they, of course, were going to get whipped.

(understated guitar music) - I'm Jacob Jusma, son of Danielle Scott.

In the art piece, "They Don't Know Who We Be," it was a piece after a lot of people of color were getting shot at a certain time, still are actively today.

My mother took a picture of myself and I held a, kind of like a cue card in front of me that said, "Son, student, brother."

Where people can see that I'm more than just like the average statistic.

- Why are you afraid of them?

Why are you turning corners?

Why are you crossing streets?

Why are you going the other way?

When does that change for us?

Why can't we just be seen as who we are and not just be seen for this?

(packaging rustling) My grandmother loved, loved roses, so she's being adorned with the roses.

I'm identical to her in so many ways, in the way that I look, my mannerisms.

And... about 11 years ago, I was diagnosed with a disease called keratoconus, so I am legally blind.

I have corneal transplants in my eyes because of the disease.

So without contacts, I can't see anything.

I can see color a little bit, but I can't see anything very close or far to me.

(singer singing in foreign language) - I just can't see, I can't see the colors.

That might be it, what I need.

Yeah.

In me getting diagnosed with keratoconus, the eye doctor asked me to start doing my ancestry and he said, "A lot of my Asian patients and I think you should look up your history."

We started to pick up on a lot of things, and if you look at my grandmother and a lot of my cousins, we notice these things.

And because of slavery, you actually don't know where you're from, who could be your ancestor, your grandmother, your grandfather.

So this piece is my Polish-Jewish grandmother and she married my Afro-Cuban grandpa.

(nostalgic music) My grandmother was kicked out of her family for loving a man who was not Jewish and who was a man of color.

So they took over the house that my great grandpa owned in Jersey City, and that's where they raised their children.

It's one of my favorite images actually, of my mom.

That's me, and at the time I was going to Public School number 28 in Jersey City.

I wasn't born with a silver spoon, but I was born with, like my mom says, a lot of wisdom.

I would find anything and everything to draw with, so I would draw all over the walls.

And then finally my mom went and bought butcher paper from the bodega and I started to draw on the butcher paper.

And I was one of those kids that was distracted, and I would start like bothering people.

And the art teacher, she tested me, and I did this drawing, and I was accepted into the artistically talented class.

(gentle music) This is the first ever article written on me.

So I was in The Star-Ledger in high school, and during this time, actually, when this was written, my painting that I did caused a lot of controversy.

They didn't really want it there, but we got it to the Capitol.

(birds chirping) I learned what family is by growing up in the projects.

I learned that you don't have to be blood-related to be cared for.

I learned stories there.

I learned from the elders.

I learned the stories from the elders.

And I think that's why I'm a storyteller now because it is something that I enjoyed.

I love that, I love hearing it and experiencing that.

♪ We live our lives on stages ♪ ♪ Wondering what is going on ♪ - So I try to surround myself in my studio with things that inspire me.

(chains clanking) These are things from my trip to Angola.

(water rushing) Angola was one of the most spiritual I was there for three months, researching trans-Atlantic slave trade.

♪ I keep on going forward ♪ ♪ Wondering what life's really all about ♪ - The universe conspired in bringing Danielle and I together to collaborate with this song called "Ships on the Horizon."

♪ Like the sun in Africa ♪ I was in Angola and I wrote this song in honor of the women who were there before their freedom was taken away.

Danielle came up to me after I performed it and she said, "I have an exhibit coming up called 'Ancestral Call,' and I would love to have this song be featured."

And I said, "Absolutely."

("Ships on the Horizon" by Janétza Maria Miranda) - I actually cried in the arms of one of the people at the village, the fisherman.

♪ Did you know that they were baptized ♪ - They welcomed me into their home, and I got to touch this washboard.

I was so used to seeing washboards on plantations, then I actually got to see this washboard in the village.

And the mom was speaking to me in Portuguese.

And as she was speaking to me in Portuguese, the dad touched my head and he went like this, and he said something in Portuguese, and I listened.

And I actually started picking up what he was saying in Portuguese.

♪ All of their loved ones screaming ♪ ♪ Praying for repentance of sin ♪ - Janétza said, "You do know what he's saying?"

And he was saying, "Your spirit has been here before."

♪ Little did they know that they are ♪ ♪ Far more sacred than all of them ♪ - Why does our history matter today?

Because this country was built on our history, so you cannot erase it.

You cannot erase the impact that our history has on America today.

And I know a lot of people say, "Get over it.

Why are you speaking about it?

Why are you still talking about it?"

Because it's still a part of us, we haven't moved forward.

And I'm not just talking about people of color, I'm talking about everyone that I stand for as the person that I am and where I come from.

♪ Trying to find us ♪ ♪ Trying to find us ♪ - I want my work to live on, way past my time on the universe.

I want my work to be viewed 30 years from now, 40 years from now, 100 years from now.

And I want people to say, "Wow, she was telling us something and making us aware of something, and she wasn't afraid to do it."

(Janétza vocalizing) (slow, contemplative music) - [James] If you don't know where you came from, then you don't know where you are, and you can't find out where you're going.

(slow, contemplative music continues) (no audio) (clapper claps) (clapper claps)