In an industry where power dynamics and gatekeeping have historically excluded Black creatives, the necessity of building a strong Black community in Hollywood has never been more urgent.
“Building Black community in Hollywood means being able to rely on us,” Ketayma Stewart, an unscripted associate producer with credits including “Love and Marriage Huntsville” and “The One That Got Away,” he said.
From actors to producers to executives, the question remains: how can Black professionals in the entertainment industry thrive collectively, not just individually? Scholars and industry insiders have explored this question in-depth, providing a roadmap for creating lasting change in an often-exclusionary space.
Wil Haygood’s “Colorization: One Hundred Years of Black Films in a White World” offered a historical perspective on the systemic barriers Black artists have faced since the dawn of cinema.
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Haygood highlighted early pioneers like Oscar Micheaux, who made films outside of the Hollywood system because the industry refused to let him in. Micheaux’s legacy served as a reminder that independence and ownership have long been critical to the survival of Black storytelling in Hollywood.
Actor James Moses Black, known for his roles in “This Is Us” and “Snowfall,” emphasized that trust is a critical element for building Black community in Hollywood. “There has to be a foundation of trust first,” Black said. “Until we start trusting each other across the board, Black community in Hollywood will remain fragmented into small, individual groups.”
Black also spoke about the divisions within the industry, noting, “The Black community in Hollywood is very demographic. It breaks up into group sectors—directors, producers, actors—and sometimes there’s cross-pollination, but it’s rare because there’s no trust.”
Maryann Erigha’s “The Hollywood Jim Crow” delves into how structural racism still permeates the industry.
Erigha argued that Black creators are often relegated to the margins, with their projects labeled as “niche” or “risky.” She emphasized the importance of diversifying leadership roles, as decision-making power often rests in the hands of predominantly white executives.
Without representation at the highest levels, Black narratives are at risk of being diluted or ignored altogether. One solution gaining traction is the prioritization of ownership. Tyler Perry’s groundbreaking studio in Atlanta is a powerful example of what happens when Black creatives control the means of production.
Perry’s studio not only allowed him to tell authentic stories without compromise but also created opportunities for hundreds of Black professionals, from actors to crew members.
This aligned with what bell hooks described in “Yearning: Race, Gender, and Cultural Politics”: the need for Black creators to claim space and ownership in industries that have historically marginalized them.
Stewart highlighted the need to address systemic issues like the scarcity mindset among Black creatives.
“People always reference crabs in a barrel, but no one ever questions the barrel,” Stewart said. “When crabs are on the beach, they cooperate. It’s only when they’re confined that they compete. Hollywood pits us against each other in the same way, and we need to break out of that mindset,” he added.
Black reflected on how this scarcity mindset impacted actors on set. “I’ve been on sets where there’s no communication with other Black actors,” he said. “Sometimes it feels like people are afraid to connect or support each other because they think helping someone else might hurt their own success.”
Despite this, Black remained hopeful, stating, “We need to start contesting the status quo, not just complaining about it. True change comes when we demand better.” Education is another critical pillar for building Black community in entertainment.
Sharrell Luckett’s “Black Acting Methods” highlighted how traditional acting and filmmaking programs often excluded Black cultural experiences, leaving Black creatives underprepared to navigate Hollywood’s challenges.
Programs and organizations like the Blackhouse Foundation and the Black Women Film Network are working to fill these gaps by providing resources, mentorship, and visibility for Black filmmakers and executives.
Both Black and Stewart emphasized the importance of self-reliance and adaptability. Stewart shared, “If you’re going to sit around and wait for the industry to give you an opportunity, you’re wasting your time. You have to create opportunities for yourself and others by developing your skills and working together.”
Black echoed this sentiment, adding, “We have to continue to learn and apply what we know. Ownership and collective action are how we move forward.” As the entertainment landscape evolves, the blueprint for a thriving Black Hollywood becomes clearer.
It begins with unity, ownership, and intentionality—building a community that not only creates opportunities but also ensures that Black voices are heard, respected, and celebrated. The work is far from over, but the foundation is strong.
