In a town of transplants like Washington, DC, Eric Johnsen is a proud DMV native. A digital experience designer for the University of Maryland, his family moved to Maryland from Miami when he was young for his father’s role as a graphic designer with the CIA.

Eric earned his Bachelor’s degree in Graphic Design from Virginia Commonwealth University, where this baseball fan interned as a graphic designer for the Washington Nationals. After his initial involvement with AIGA through VCU’s school chapter, he joined the board six years ago on the Communications team. He has since served DMV designers in several board roles, including Secretary and his current position as our Email Chair.

After several years of sending our chapter’s weekly emails, Eric will conclude his board service in June ’24. We sat down with him to hear more about his early inspirations, MLB internship, and how AIGA showed him designers can thrive beyond New York and LA.

Tell me about yourself! More specifically, tell me about the first time you considered pursuing design as a career for yourself.

Sure! I was born in Miami, raised in Germantown, Maryland, and got my design degree at Virginia Commonwealth University. My dad was a graphic designer for the CIA, so that was what prompted the move up to Maryland. He had a pretty decorated career with the CIA, first as a graphic designer and then as a polygrapher, special investigator, and historian.

As a kid, I always loved drawing, illustrations, graphic novels – Spiderman comics were big inspiration for me. Then in high school, I took a digital arts class and had a really wonderful teacher, Leonard Cave, who was also an accomplished sculptor. He encouraged me to pursue graphic design or communication arts as a profession.

What’s very sad about this is that Leonard ended up passing away later the next year. He and one of the band teachers were engaged to be married, but he was killed by a drunk driver. So in a way, it feels like my [pursuit of] graphic design is not just following my dad’s footsteps: I’m also honoring the memory of a really wonderful teacher and instructor who saw that I had talent and said I should pursue it.

Wow, that’s an amazing story, from both a mentorship standpoint and being able to share your graphic design skills with your dad. 

Yeah, actually somewhere in storage, I have a coffee cup with a seal and insignia that [Dad made] for a special reconnaissance division within the CIA for actual spy planes. And there is an actual design that he made somewhere on display at the Spy Museum in DC. So, I’m very proud of my dad. He’s very accomplished in his own right.

We talked about your creative origin story. Now, let’s talk about your AIGA origin story! How did you first join AIGA and then pivot to joining the DC community?

I got involved during my junior and senior year with VCU’s college chapter of AIGA. A bunch of my classmates got to go on a road trip to New York City and visit Tumblr, The New York Times, all of these other notable design studios in DC and New York City. That encouraged me to get involved with the chapter, and once I joined, we made a separate field trip to visit design teams in DC.

That was my first introduction to the DC design community. Meeting people who were involved in the DC design scene and answered all my questions gave me a good feeling that I could lay the groundwork for a strong career in this city. 

Usually, when it comes to design, it’s like, “You’ve gotta go to New York, you’ve gotta go to LA.” I started to realize that you really can have a really great design career anywhere.

After graduating from VCU in the class of 2013 with my degree in Graphic Design, I got an internship with the Washington Nationals as a design intern in their marketing and broadcasting departments. And that year, 2013, was also my first DC Design Week.

Five years later, in 2018, I joined the info. session to apply to be part of [AIGA DC’s] board. That’s where I became a communications coordinator, and I officially joined the Board five years after I started wanting to do it.

Tell us about your trajectory on AIGA DC’s board. You’ve served on our Board’s Communications team leading our email marketing for years. How will your tenure on the chapter’s board end relative to where it began?

I think it’s ending with a lot of really wonderful memories. I started as a comms coordinator, so I was the official notetaker for board meetings and big retreats. Getting to be the person responsible for documenting every retreat and board meeting was insightful. [I got] to see the growth of the chapter, our initiatives, and all of these different people who have come and gone.

And then, over time, I began slowly taking the reins from just being available for any type of communications work — social, editing, or copywriting — to being responsible for building out our weekly emails and creating our newsletters. I have a lot of email marketing experience from my own job as a senior digital designer with the University of Maryland. So, it made taking on the email newsletter a lot [easier].

I love being that cog in the machine that helps make everything work. I love playing my small part to help make AIGA DC what it is, so I never really had the big aspirations to be President or Vice President. I wanted to make sure that I have balance in my own personal life, and [this] was a role that I could commit to while maintaining work/life balance.

I feel very accomplished with my time on the Board, and I hope that anybody else who wants to be involved with this wonderful community [will] make the commitment. It is fulfilling to make a commitment and reach the finish line feeling like, “ I did really good work that fulfills me and makes me happy.”

Tell us about your creative impact on the AIGA DC Board and beyond. Which project do you feel is your biggest creative endeavor?

Aside from my email responsibilities, getting to manage the social media presence for two DotGov Design conferences was really rewarding and a fun project to be part of. Stepping out of the email mindset to help out with the social aspects of promoting the event, then live tweeting the actual conference to act as its voice, is a cause I’m proud that I contributed to.

What is something you believe our DC design community would be surprised to learn about you?

As shy and reserved as I can be, I would say I am quite affectionate and I wear my heart on my sleeve. I really love and care about all of the people in my life, including the people in this community, because life is short.

This interview was edited for length and clarity.

Written by Logan Dulski, 2023 SHINE mentee & multi-disciplinary designer 

Ever since I was a little kid, I’ve always loved D.C. My mother would drive me into the city for work, her night classes, or to spend a day at the museums or Kennedy Center. Washington, D.C., always felt like this magical place full of art and history. I still remember my mother holding my hand, walking me through different neighborhoods, and pointing out all the changes the neighborhood went through since she was a young girl. This love for D.C. is why once I hit adulthood, I decided to make our nation’s capital my home and build a community for myself here.

In 2023, after receiving my bachelor’s degree in visual communication design, I  joined the AIGA DC 2023 SHINE mentorship program to find more direction in my creative career and connect with other young designers like myself. When tasked with creating a project to complete during the program with our mentors, the first thing I thought of was tarot. 

At the time, I had been a tarot student for 3 years, taking online classes, learning tarot’s history, how to read the cards, and tapping into other divinatory practices. Tarot, like many divinatory practices, has always been a tool of community care, particularly for marginalized communities. It’s rooted in Black artistry, with the most well-known deck, the Smith-Rider Waite deck, being illustrated by Black British artist Pamela Coleman Smith. It’s made of 78 beautifully designed cards, each with its own imagery, symbolism, and story representing life’s lessons and challenges. Unlike what TikTok tarot readers might try to tell you, tarot doesn’t predict the future. Tarot helps people understand themselves, look inward, and learn how to listen to their intuition. 

Which is why designing a tarot deck felt like the perfect project for SHINE. But simply making a deck wasn’t enough. I was still exploring Washington, D.C., as an adult, while the city slowly reopened and social activities reignited after the initial COVID-19 closures.

Logan doing crowdfunding tarot readings for DC Gay Girls+ New Queers Eve party

That’s when it hit me: I could theme a tarot deck around what makes D.C. an incredible city. But more than that, I could make it small enough to take with me while I explored. Something that highlighted D.C. not just through my eyes, but through the eyes of other artists and creatives who also wanted to share their love for the city. I wanted to create something in community with others that highlighted the contributions of marginalized communities  and showcased how their efforts shaped this city. To spotlight historical figures such as Benjamin Banneker, Mary McLeod Bethune, and Frederick Douglas. To share local haunts like As You Are Bar, Little District Books, and Malcolm X Park. And to shed a light on the impact the Romani people have had on tarot and the prejudice they still face as a marginalized community. 

Once I got the resounding go-ahead from my wonderful SHINE mentor and friend, Keith Pinkston II, I started researching and listing out my favorite places and D.C. historical facts. I gathered over 20 diverse artists from across the DMV who saw my vision and wanted to share their view of D.C. through their chosen medium and style. I provided each artist with a prompt for one to three cards, connecting the traditional card symbolism to Washington, D.C. Outside of highlighting the work of local design and artistic talent, the Community & Connection Pocket Tarot also features artwork contributed by Romani artists and co-author of the Secret of Romani Fortune Telling, Jezmina Von Thiele.

With the help of my mentor, I spent my SHINE project managing the volunteer artists, defining the deck’s overall brand and look, writing a tarot workbook, designing a tarot art book, and planning our first Kickstarter campaign, which launched in September  2024. For the first Kickstarter campaign, I shot for the moon, wanting to get not only the tarot deck printed, but a limited edition leather-bound art book to celebrate the contributing artists, stickers, posters, and a tarot journal, and use remaining funds to also host events and give back to the volunteer artists for all their hard work. Which is why, when my first campaign was only 1% funded, it was heartbreaking. Not meeting my first Kickstarter campaign’s funding goal felt like a huge failure and a weight on my chest because I wasn’t able to share the art contributed and my passion for tarot while uplifting my community as I had hoped.

Logan doing crowdfunding tarot readings for AlphabetSoup’s Scissor Inn party

Rather than giving up, I pivoted. I turned to crowdfunding by hosting pop-up tarot readings at local stores like Femme Fatale DC and working the LGBTQ+ event circuit, doing events like New Queers Eve, Scissor Inn, and Dykechella. I reached out to local small businesses to sponsor the deck, made a website, and started booking regular tarot clients to save towards my original funding goals. I spent 2025 working, saving, and investing in this project. 

Then, in a move that surprised me, I decided to leave the city I loved to get my master’s degree at Trinity College Dublin. Leaving D.C. was one of the toughest and most terrifying decisions I ever made in my adult life. I was leaving behind the design friends, mentors, and creative community that had supported me through my early 20s to try and build a life in a new country while I learned new design skills. I had to put the Community & Connection Pocket Tarot on hold to put all my efforts into my education (I wasn’t going into more student debt for nothing, ya know). 

In June 2026, my good friend and contributing artist to the Community & Connection Pocket Tarot, Ariana Rodriguez-Gitler, reached out and asked about trying to get more funding for the deck again. At first, I wasn’t sure I could do it. After all, I’m still in Dublin, working towards my master’s, and I had no clue how to balance crowdfunding and life in another country (timezone differences are a logistical nightmare). But in the spirit of the deck, my community stepped in and stepped up because they also wanted to see this magical deck come to life. Without the continued help of Ariana, Keith, and my design community back in D.C. I never would have thought launching our second Kickstarter campaign would be possible. That goes to show that no matter where you are, your D.C. design community has your back and will support you through all of life’s challenges. 

And now, I’m delighted to announce that the Community & Connection Pocket Tarot has officially re-launched on Kickstarter! With our new funding goal of $11,000, we’re making the travel-sized tarot deck with an accompanying guidebook, stickers, 2 poster options, and a digital tarot workbook. Our stretch-funding goals include hosting educational and cultural events around the city to give back to our creative community and the artists of the deck. None of this would be possible without their support and belief in my vision. So, if you want to support local artists, please support our Kickstarter campaign. We want to bring Washington, D.C. to your fingertips! 

A selection tarot cards from the Community & Connection Pocket Tarot deck

Logan Dulski is a multi-disciplinary designer specializing in graphic design and front-end development. With a B.A. in graphic design and audio technology and an MSc. in interactive digital media, Logan is a swiss-army knife designer with a passion for uplifting their community. When not listening to a podcast and working at their desk, you can find them reading in their local park, playing Dungeons & Dragons, or dancing in Laufey in their kitchen.

By DCF Committee

AIGA DC is proud to announce the recipients of the 2026-2027 Design Continuum Fund (DCF) Scholarship Program. 

Since 2007, the Design Continuum Fund has invested in emerging artists and designers across the Washington, D.C., Maryland, and Virginia region by providing scholarships that help students pursue their creative education and social impact. More than financial support, these scholarships represent our commitment to expanding opportunity, celebrating diversity, and fostering the next generation of creative leaders. 

This year’s recipients were selected through a highly competitive review process by an accomplished panel of jurors. Each recipient demonstrated exceptional creative talent, academic promise, and a commitment to using art and design to make a meaningful impact in their community.

Meet the 2026-2027 DCF scholarship recipients:

• Idris Jackson, Communication Design, University of the District of Columbia
• Chloe McNeill, Illustration, Howard University
• Purva Dalvi, Communication Design, MICA
• Stori Downes, Illustration, MICA
• William Clarke IV, Photography, MICA
• Joshua (Jordani) Cruz, Photography, George Mason University
• Christian Castor (Seraph Serotonin), Photography, Towson University
• Kyrah Smith, Communication Design, Morgan State University
• Jennifer Albarracin Moya, Communication Design, MICA
• Marian Claros Barrientos, Illustration, George Mason University

Congratulations to this year’s recipients. We are honored to support their educational journey and look forward to seeing how your creativity, passion, and unique perspectives continue to shape the future of design.

Next year, the Design Continuum Fund will celebrate 20 years of community-powered impact. This legacy is made possible by the generosity of our donors, members, and volunteers. As we look toward the future, we invite you to help us continue this legacy and give more emerging creatives the opportunity to make their mark on art and design. You can #MakeYourMark by donating, volunteering with AIGA DC, or learning more about the Design Continuum Fund.

Meet the 2026-2027 Design Continuum Fund Jurors

By the DCF Committee

Since 2007, the Design Continuum Fund (DCF) Scholarship Program, supported by AIGA DC, has brought together an extraordinary community of creative professionals to help shape the next generation of socially conscious artists and designers. Each year, our jurors generously volunteer their time, expertise, and thoughtful perspectives to ensure that every application receives the care and consideration it deserves.

As we celebrate another inspiring scholarship cycle, we are proud to recognize and thank our 2026-2027 Design Continuum Fund jurors.

• Laura Guzman Aguilar, 2012 Design Continuum Fund Recipient
• Jake Lefebrue, Co-Founder and CEO of Design Army
• Kara Mask, Global Creative Director at NJI and Education Chair for AIGA DC
• Beth Singer, AIGA DC Fellow, Past President & Design Continuum Fund Founder

DCF Committee

• Natalie Aziz, Design Continuum Fund Chair for AIGA DC
• Milagros Arrisueño, Continuum Fund Committee Member
• Kristin Mudd, Design Continuum Fund Committee Member

Our jurors represent a wide range of creative disciplines and experiences, but they share a common belief in the power of art and design to create meaningful change. Through a thoughtful and highly competitive review process, they evaluated students not only on the strength of their creative work, but also on their commitment to using design as a force for positive impact in their communities and beyond. 

The Design Continuum Fund Scholarship Program would not be possible without the dedicated community of jurors who have served over the last two decades. We extend our heartfelt thanks to every past and present juror whose thoughtfulness, encouragement, deliberation, and expertise have strengthened the scholarship, elevated emerging talent, and created opportunities for students across the District of Columbia, Maryland, and Virginia.

Students who apply for the AIGA Worldstudio DxD Scholarship and attend a college or university in the DC, Maryland, and Virginia region while studying qualifying art and design disciplines are also considered for the regional DCF Scholarship. We will be announcing our 2026-2027 recipients soon!

We are equally grateful to our donors, AIGA DC members, volunteers, and supporters whose generosity makes this work possible. If you’d like to help #MakeYourMark on the future of art and design and create more opportunities for emerging creatives, consider making a donation, volunteering with AIGA DC, or learning more about the Design Continuum Fund.

Based on an exceptionally strong pool of nominations, the 2026 AIGA DC Nominating Committee has selected the following appointees to fill open seats on the Board of Directors for a two-year term ending June 15, 2028.

We’re excited to introduce the newest members of the AIGA DC Board of Directors:

Akilah Lopez Brewer

Programming Coordinator
she / her

Akilah Brewer is a Senior Project Manager at Collective Architecture with over 15 years of experience leading interior architecture and design projects from concept through construction. She specializes in coordinating multidisciplinary teams, navigating complexity, and aligning design vision with execution. With a passion for creative strategy and cultural engagement, Akilah brings a unique perspective at the intersection of design, operations, and storytelling. Her work extends beyond the built environment into fashion and creative programming, supporting initiatives that elevate design’s role in shaping culture and community.

Amira Rasayon

Programming Coordinator
she / her

Amira Rasayon is an Exhibition Designer and multidisciplinary artist dedicated to building educational experiences that connect people from different communities. She seeks to preserve history and highlight new perspectives by using advances in technology to make information more accessible. With a B.F.A in Environmental Design from MICA one of Amira’s guiding principles is that design is a service. During her 10+ years in the museum industry Amira has focused on taking ideas and transforming them
into tangible experiences that are visually engaging. Amira believes successful design is built on empathy and aims to find solutions to overcome boundaries. She believes that smart design uses sustainable methods, inspires curiosity, and works to unite various communities.

Ania Siniuk

Design Fellow
she / her

Ania Siniuk is an illustrator and designer based in Maryland who loves capturing people and moments that radiate strength, confidence, and authenticity. Her work is defined by vibrant color palettes, bold patterns, and graphic, expressive figures that celebrate individuality and empowerment.Through her work, she aims to inspire others to see the power within themselves and the world around them.

Courtney Chase

Communications Deputy Director
she / her

Courtney is a multidisciplinary creative and strategist blending design, storytelling, and content production to create thoughtful, visually engaging experiences. With a background in branding, information, and digital design, she helps brands and change makers connect with purpose through authentic, impact-driven work. She is the founder of CC Creative, working with freelance clients to bring ideas to life. As an educator, Courtney has taught and mentored emerging designers at MICA, George Washington University,
Stevenson University, and University of Texas Austin.

Damany Mathis

Creative Community Ambassador
he / him

Damany Mathis is a Washington, D.C.-based creative strategist and cultural preservationist with over 20 years of experience across music, education, and brand storytelling. His work focuses on connecting culture, community, and design—creating pathways for creatives to see themselves within the broader creative landscape. He has led community initiatives, developed culturally relevant programming, and collaborated on projects that bridge art, storytelling, and real-world impact. Currently pursuing a degree in graphic design, Damany is committed to learning, growing, and supporting the next generation of creatives.

Diane D’Costa

Creative Community Ambassador
she / her

Diane leverages the power of human-centered design to think creatively and collectively vision and action toward a more just world. Diane co-leads the Opportunity Portfolio at IDEO.org focusing on co-design with youth and the adults who support them, exploring themes of community, connection, economic mobility, and thriving. Diane also directs a youth leadership program in Maryland and has an independent art practice teaching and creating at District Clay Center. Previously, Diane served as a classroom teacher before working in local government. She graduated from the University of Virginia with degrees in Leadership & Public Policy and Youth & Social Innovation.

Isaac Abdiel Lopez Ramirez

Social Media Content Creator
he / him

Isaac Abdiel is an international student from Monterrey, Mexico, currently studying Advertising Design at Bowie State University. With a background in Marketing and E-Commerce, his work focuses on branding, digital media, and visual storytelling across student publications, nonprofits, and community initiatives. Isaac has contributed to organizations including The Spectrum at Bowie State University and The Owl Newspaper at Prince George’s Community College. He is also the founder of Latino Made Studio, a nonprofit creative initiative focused on branding and supporting small businesses through accessible and community-centered design.

Jurnee Peltier

Social Media Content Creator
she / her

Jurnee B. Peltier is a multimedia specialist and photographer focused on creating visually compelling, socially driven content that connects brands to the community. She holds an M.S. in Multimedia, Photography, and Design from Syracuse University’s S.I. Newhouse School of Public Communications, where she built a foundation in visual storytelling and creative production. With experience leading productions across the hospitality, education, nonprofit, and beauty industries. Jurnee brings a sharp eye for visual identity and social media strategy. She specializes in channel management and social-first content that balances brand objectives with representative storytelling, creating digital strategies that bridge brands and the communities they serve.

Lucky Haile

Communications Coordinator
she / her

Lucky Haile is a Washington DC-based communications specialist and design enthusiast. With over a decade of experience in public affairs, media relations, and storytelling, she has built her reputation as a champion of the arts, amplifying filmmakers and visual artists with unwavering commitment. Lucky believes design is more than just aesthetics; it is a language, an invitation, and a tool for change, reimagining, and connection.

Latasha Jones

Awards Chair
she / her

Latasha Jones is a creative strategist and experience designer focused on shaping intentional, human-centered design experiences that connect storytelling, systems thinking, and community impact. Her work explores how design can be experienced, not just seen, but elevating engagement, meaning, and visibility within creative spaces. She is passionate about building thoughtful, future-focused design experiences that bridge creativity, leadership, and community.

Madeleine Brown

Programming Coordinator
she / her

Madeleine Brown is a designer from Maryland and a proud alum of the Corcoran School of the Arts & Design at the George Washington University. Madeleine is passionate about design that helps people feel confident, connected, and in control. She is a Signage & Wayfinding Designer at Gensler, where she brings that passion to life. Since 2022, she has been proud to serve with AIGA, grateful for a community that has shaped her growth as a designer. Outside of work, she enjoys volunteering at church and hosting gatherings for family and friends.

Muna Abdulkader

Design Fellow
she / her

Muna Abdulkader is a Product Designer with a background in film and media. She creates intentional, user-focused experiences rooted in strategy and human connection. Before transitioning into design, she spent five years in film festival production, where she developed a love of collaboration and creative communities. She’s passionate about fostering spaces that encourage curiosity, meaningful connection, and strategic storytelling. When she’s not designing, you can find her conjugating Italian verbs and unsuccessfully teaching her cats tricks (she’s optimistic, though).

Pamela Briones

Communications Coordinator
she / her

Pamela Briones is a visual designer working across editorial design, branding, and data visualization, with a focus on translating complex ideas through clear and intentional design. Originally from Ecuador and based in the DMV area, she brings an international and analytical perspective to her work, driven by sustainability, policy, and strategic communication. As the founder of PBO Creative, LLC, she has led creative and communications projects across international organizations and brands. Outside of work, she enjoys tennis, travel, art, and architecture.

Trinity Lipscomb

Programming Coordinator
she / her

With 5 years of experience in graphic design and illustration, Trinity Lipscomb creates bold, cohesive brand experiences that blend strategy with creativity. A BA graduate in Graphic Design, she has designed across email, social, web, display, and print for brands including Comedy Central and Paramount Network. Passionate about branding, illustration, and visual storytelling, Trinity approaches every project with a strong eye for detail, color, and community engagement. She believes great branding is built on trust, cohesion, and design that makes people feel connected to a brand.

Yemi Adewunmi

Civic Design Chair
she / her

Yemi Adewunmi is a product designer and entrepreneur with over 20 years of experience at the intersection of design, technology, strategic operations, and public policy. A former public policy analyst, Yemi cofounded Plural Policy, a legislative intelligence software company, which was acquired by SAI360 in 2025. Yemi is also the founder of Vantwerp Design & Innovation, providing advisory services in marketing, branding, and art curation. She’s worked with startups, nonprofits, government agencies, universities, small businesses, and corporations to develop strong operational systems, brand identities, and user-focused product strategies. She believes design is the mechanism by which complex problems become effective solutions.

Learn more about all of our Board of Directors.

We are pleased to announce a Public Slate Vote with AIGA DC’s membership to approve the new Executive Directors of the Board. Based on a strong pool of current board members and new applicants, the 2026-2027 AIGA DC Nominating Committee has selected these appointees to fill open seats on the Executive Board for a two-year term through June 15, 2028. We are excited to introduce our newest AIGA DC Board members:

Juan Pablo Madrid

President
he / him

Juan Pablo Madrid is a Visual Information Specialist with the Congressional Research Service (CRS) at the Library of Congress. He previously served as Senior Director of Design Innovation at Online Optimism, a creative digital agency, where he managed the Design+Development team. He has also held roles at the University of New Orleans’ Marketing and PR office and PepsiCo in Latin America. Juan Pablo is originally from Guatemala, and prior to relocating to DC, he spent nearly a decade in New Orleans. When not designing, he enjoys brewery hopping, exploring the Smithsonian museums, and visiting Apple stores.

Timothy Hoagland

Vice President, Secretary
he / him

Tim Hoagland has served for over a decade at the Center for Democracy & Technology (CDT), most recently as the tech policy nonprofit’s Deputy Director of Communications. Tim has long overseen the organization’s messaging and strategy, while individually building its award-winning visual voice as an art director and designer. He directs the strategy & implementation of all of CDT’s publicly-facing platforms, with a hand in everything from social media marketing to web development, illustration and graphic design, photography, and videography.

Courtney Chase

Communications Deputy Director
she / her

Courtney is a multidisciplinary creative and strategist blending design, storytelling, and content production to create thoughtful, visually engaging experiences. With a background in branding, information, and digital design, she helps brands and change makers connect with purpose through authentic, impact-driven work.

She is the founder of CC Creative, working with freelance clients to bring ideas to life. As an educator, Courtney has taught and mentored emerging designers at MICA, George Washington University, Stevenson University, and University of Texas at Austin.

Megan Kimmitt

Chapter Administrator
she / her

Megan Kimmitt is the Creative Director, Brand Management at a philanthropy and advocacy organization. She has over a decade of experience leading teams and mentoring designers to execute effective creative materials for the health care, energy, federal agency, and craft brewing industries. Megan lives in the DC metro area with her husband and two children.

Vote to Accept, Reject, or Abstain 

Please vote!

Deadline to vote is 11:59PM EST on May 20, 2026.

Continuing Board Members:

• Eden Patrick // DC Design Week Co-Chair
• Robbie Stanfield // DC Design Week Co-Chair
• Greg Aylsworth // Managing Editor
• Jasmine Henderson // Mentorship Chair
• Kara Mask // Education Chair
• Nabi Bilal // Communications Director
• Anike Skeete // Programming Director
• Aprile Smith // Programming Director
• Kayhla Waters // Operations Director & Treasurer
• Eden Elam // Sponsorship Coordinator
• Meghan Romance // Communications Coordinator
• Rasul Sha’ir // Design for Good Chair
• Kella Keck // Programming Coordinator
• Natalie Aziz // Design Continuum Fund Chair
• Zhang Long // Programming Coordinator
• Nick Snyder // Sponsorship Coordinator
• Nursena Caksen // Social Media Coordinator
• Jessica Hoang // Advisory Board (former President)
• Natalia Celine Arias // Advisory Board (former Creative Community Ambassador)

Members Leaving the Board:

• Bryana Ellis // Programming Coordinator
• Dara Adams // Chapter Administrator
• Alexa Powell // Programming Coordinator
• Lauren Maffeo // Salon Chair
• Lisa Leung // Membership & Volunteer Chair
• Logan Dulski // Programming Coordinator
• Sarah Cleary // Communications Director
• Nicole Albertie // Programming Coordinator
• Sarah Coloma // Operations Director & Treasurer
• Stephanie Rudig // Communications Coordinator

The Selection Process

For more information about the selection process for our new board members, please read How We Select Our Board Members written by our nominating committee.

If you have any questions or comments, please contact talktous@devtest.aiga.com.

Rebranding isn’t just about updating visuals, it’s about redefining how a story is told and who it reaches. For the Design Continuum Fund (DCF), that meant building a brand that could inspire the next generation of designers while staying grounded in purpose.

I spoke with Katie Bernard-Corbett, Senior Art Director at Teal Media, and Madie Graham, Designer at Teal Media, about their approach and process to redesigning the DCF brand, and what it means to design for impact.

Question: To start, can you introduce yourselves and your role in the project?

Katie:
I’m Katie Bernard-Corbett, Senior Art Director at Teal Media. I’m based in Durham now, but DC is still very close to me. This was a small but mighty team, primarily Madie and me, with support from a project manager and our Chief Creative Officer, Aruna Mall, who gave us high-level consultation throughout the project.

Madie:
I’m Madie Graham, a designer at Teal Media based in Nashville. I had the chance to work closely with Katie on this project, which was really exciting.

Q: What kind of work does Teal Media typically do, and how did this project come about?

Katie:
This is right in our wheelhouse. Teal almost exclusively works for nonprofits and other mission driven organizations. We’ve been doing that for the 17 years that Teal has been around. We work with clients who are aligned philosophically and values wise, which is wonderful. 

We do a wide range of creative work, so a lot of web and a lot of branding work. We also do digital marketing and campaigns, but we’ll kind of pop in and do anything that folks need us to. 

This project grew out of an existing relationship. We’ve worked with your team on DC Design Week before, and when the opportunity came up to rebrand DCF, it felt like a natural extension of that partnership.

Q: What were your first impressions of the existing DCF brand?

Katie:
The existing brand was actually solid. The tagline “Be a part of something big” was strong, and the visual identity had this grainy texture that made it interesting.

But it started to feel a bit dated and less flexible—especially when scaling or applying it across different formats. So, the goal wasn’t to start over, but to evolve it.

Q: What was the core idea driving the redesign?

Madie:
Our North Star was clear: inspire students to engage with the fund and strengthen the next generation of creative leaders.

We landed on the idea of a ripple effect—how one opportunity can expand outward and impact others. That connected directly to the idea of a “continuum.”

Visually, that became concentric circles, repetition and movement , and systems that feel like they radiate outward.

Q: The ripple visuals are striking; I see them as fingerprints. Did they take on additional meaning for you?

Katie:
We hadn’t even thought about the fingerprint, actually, so it’s nice to hear, like, other interpretations of it. But yeah, the whole idea of the continuum is like feeding back into what’s fed you. We originally thought of them as ripples, but that idea of “making your mark” became a really natural extension.

It also tied into the messaging: Make your mark on DC. Make your mark on design. Make your mark on the world.

Q: Can you walk us through your process from concept to final delivery?

Katie:
We started with discovery—learning about your goals, challenges, and audience. Then we ran collaborative sessions exploring both messaging and visuals.

If we broke it down to four parts, it would look like this:

1. Messaging: defining vision, audiences, and key pillars 
2. Visual concepts: exploring logo directions and brand systems 
3. Refinement: iterating based on feedback 
4. Collateral buildout: creating templates and tools for real-world use 

We always try to make sure the brand works beyond just presentation. It has to function day-to-day.

Q: You built a flexible brand system for DCF. Why was usability such an important focus?

Katie:
Because most organizations don’t have the resources to go back to an agency for every new asset.

We built flexible systems in Canva that the DCF team could actually use and adapt over time.

Q: The DCF mark is so bold. What was your approach to the typography?

Madie:
Absolutely! Typography became the foundation of the brand. I think the typography palette itself was kind of where we started. Katie found that beautiful Climate Crisis typeface, which is rooted in advocacy. So, the font itself has that social impact voice. 

We designed a custom “DCF” mark that feels bold, stamp-like, and expressive. Katie hit the mark on squishing those letters together and customizing them in a way that was super unique.

It carries this subtle idea of leaving an imprint, of making your mark.

Q: Let’s talk about the color—why that green?

Madie:
We wanted something energetic and youthful. That lime green felt fresh and a little unexpected. We were aware of trends, but we didn’t want to be overly trendy, just current enough to feel alive.

Katie:
We jokingly call it “Madie Graham Green.” It’s bold, but because the brand evolves year to year, there’s room to experiment.

Q: What challenges did you encounter during the project?

Madie:
The concept itself was pretty abstract, things like equity, community, and creative ecosystems aren’t easy to visualize.

There were definitely moments where nothing felt right. But that’s part of the process, you keep iterating, collaborating, and pushing through until something clicks.

Q: What part of the final result are you most proud of?

Katie:
I’m proud of how that mark turned out. You know, we were struggling, a little bit like Madie said, with the intangibility of what we were trying to capture, and I think ending up with a really simple word mark that just was “DCF”, but was able to convey like, impact, youthfulness, vibrancy. I thought that was a win. The simplicity of the final mark, it’s just “DCF,” but it still feels vibrant and impactful without relying on obvious symbols.

Madie:
I’m with Katie on that, I love what happened with the “F” like, just the shape of the “F”. It’s so nerdy, but it just looks so nice from a typographic perspective. But I also, on a very personal, selfish level, love that we got to sneak in, such as zesty green into a project. I’ve been wanting to use the bright green for years, and like, this worked really well.

Q: How do you hope this rebrand impacts DCF moving forward?

Katie:
Well, hopefully it’s a little more eye-catching than where it’s been before, and grabs the attention of more young designers in the area, makes them curious about it, to look into it. So we’re hoping it helps boost applications and make it easier for the DCF team to do what they need to do with those flexible templates. It’s not the most glamorous part, but it’s a win to make your slides easier to create. That’s always a win.

Q: What advice would you give organizations thinking about a rebrand?

Katie:
I think Natalie and the team were really good about teaching us about what they knew about the audience and always bringing it back to them. In this case, it’s nice because all the photography is basically going to be coming from the community portraits of the students as well as, like their work. It’s about as many opportunities as you can to point it back to them.

I would also say if you can do messaging work before any visual branding work, even if it’s just internal. Get really clear on things, like who are we? What are we doing? Why are we doing it? And why are we different from anyone else who’s doing it? If you can answer those questions, it’s so much easier to get closer to the visual brand faster. 

A lot of organizations have lots of different folks who offer opinions on the brand, and there can be a lot of misalignments in that approach. So, get really clear about how you actually want to come across to your target audience.

Q: Looking ahead, how do you hope this brand evolves over time?

Madie:
Honestly, I’m of the opinion that like design doesn’t have to be sacred, like, good design gets replaced, and we evolve. I don’t think design should be treated as permanent. It should evolve.

So I’m personally not attached to most of my design projects. Like, you kind of know when you let something out into the world, that other people are going to touch it and make it their own. And I think that’s one of the coolest parts about being a designer. 

If anything, I guess I’d hope there’d be some more fun, funky typography in the future, and that we don’t go away from building eclectic, maximalist brands. 

I think design as a trend has been going towards this idea of, like, universal, but in reality, it’s rooted and flattening. Like, if you’re making something for everyone, you’re not making it really for anyone. Like, it’s losing that human touch. So I guess I’d say, if there was something to keep, make it that idea of tangible texture, or just really cool typography and not sticking to the rules. Because the best thing about design is watching how people break the rules through time to create something amazing.

If someone redesigns this in 10-15 years and it’s better for that moment, that’s a success.

Katie:

Yeah, I totally agree. I think the designer can’t view their work as a precious baby that will never get changed. You can have it in your heart and love it while it’s here, but it’s always going to change. 

The only thing that you would want to preserve in a brand refresh is anything that’s beloved or widely recognized by the audience. In this case, things like the stamp, mark, or the ripples or something else that becomes synonymous with DCF over time.

Q: Final thoughts – What’s one word to describe the DCF rebrand?

Madie:
Zesty! That’s a word we all caught onto. It was such a funny, joyful moment during our meeting with the DCF team when we used the word “zesty!” We just kept it, so I feel like zesty is our word.

Katie:
Yes, zesty! …The other word that comes to mind is “energized.” It just feels like it’s super charged, which I love.

Closing Thoughts

Teal Media treated the DCF rebrand as more than a visual update, they made a system designed to grow, adapt, and amplify new voices.

It’s bold without being rigid and structured without being limiting.

And most importantly, it creates space for the next generation to step in and make their mark.

Resources

Case study: View Teal’s DCF case study here.

Learn more about Teal Media: www.tealmedia.com

Learn more about the Design Continuum Fund (DCF) 

By Design Continuum Fund (DCF) Committee

The next generation of designers is already shaping the future of the creative field across the DC, Maryland, and Virginia region. The Design Continuum Fund (DCF), powered by AIGA DC, exists to support those emerging voices.

Applications for the 2026-2027 Design Continuum Fund Scholarship are now open.

Each year, the scholarship helps ease the financial burden for talented and motivated students pursuing degrees in design and creative disciplines while connecting them to the broader AIGA DC community.

Design has the power to share culture, communities, and systems. The Design Continuum Fund supports emerging designers across the DMV. Make Your Mark on the future of design by applying or donating to the scholarship.

Eligibility

• Applicants must be citizens of the United States or possess a green card (formally known as a Permanent Resident Card or Form I-551).
• Applicants must be pursuing an undergraduate or graduate degree in a design or art discipline and intend to pursue that discipline as a career.
• Applicants must be enrolled (or planning to enroll) at accredited colleges and universities in Washington, DC, Maryland, or Virginia for the fall 2026 / spring 2027 academic year and must maintain full-time status for the entire year.
• Incoming students who have yet to enroll must submit proof of acceptance from schools of choice.
• Though not required, minority status is a significant factor considered in jury decisions.
• Students must have at least a 2.0 GPA.
• Scholarships are only awarded to students who can demonstrate financial need. Applicants must, therefore, provide complete financial aid information on the scholarship form and have the form signed by a financial aid officer.

All entries must be received by 11:59 p.m. PST, April 22, 2026. 

🚨 Deadline extended! 🚨

Great news! You now have more time to apply for the AIGA DC Design Continuum Fund scholarship. Awards range from $500 to $3,500+ for college and graduate students in DC, Maryland, and Virginia who are passionate about art, design, and creating social change.

New deadline: May 6, 2026 11:59 p.m. ET — don’t miss your chance!

How to Apply

We share an application with the AIGA Worldstudio Scholarships. By filling out the application, you may be considered for both the AIGA Worldstudio and the AIGA DC Design Continuum Fund scholarships. 

To apply, visit the application portal.

Donate to support the next generation of designers.

Our chapter’s leadership is committed to making our recruitment process as transparent and inclusive as possible. This includes sharing our board recruitment process with you, our AIGA DC community. If you have feedback, questions, or suggestions about recruitment, please email us anytime at talktous@devtest.aiga.com. We’re happy to hear feedback on how we can do better.

Forming a Recruitment Committee

Our first step in the search for new board members was to form a recruitment committee. This group is composed of the Executive leadership team. Their task is to execute the board recruitment process, then propose a slate of new candidates to fill the open board roles for the upcoming year.

Building off past years’ approaches, this year’s process consists of four parts:

1. Outreach & Application Collection
2. Independent Review & Evaluation
3. In-person interviews
4. Deliberation & Offers

The committee develops the process, and then participates in training to ensure that all applications are reviewed fairly.

Outreach & Application Collection 

We aim to ensure that local prospective board members know which positions are open, how to apply, and what to expect throughout the process. We publish a list of the open roles on our website and across our social media platforms.

In an effort to recruit diverse board members, we accept nominations from the community and encourage folks to self-nominate.

Prior to the application deadline, we host a public information session where a small group of current board members candidly answer questions about the board structure, how we work, available roles, and the selection process.

The Application

In addition to some questions about the applicant’s experience and interest in joining the board, we ask for:

• Their resume
• A description of a time when they ran something (as a team lead, a project lead, managing people, planning an event – anything.) 
• A short writing sample: A draft of an email asking someone they admire to speak at an AIGA DC event. 
• A video recording or written responses to our STAR Method interview questions.

About the STAR Method Interview Format

The STAR Method is a behavioral-based interview structure where candidates answer questions by discussing the Situation or Task they had to resolve, the Actions they took, and the Results that were achieved. Recruitment Committee members asked each candidate the same questions, which gave interviewers a structured data-gathering process.

This form of behavioral-based interviewing is based on discovering how the candidate acted in specific position-related situations. Candidates are asked questions related to the skills and responsibilities outlined in role descriptions. Instead of asking how the candidate would behave in an imaginary situation, they’re asked how they behaved in a past experience.

Additionally, and most importantly, by asking a set of standardized interview questions, we reduce the likelihood of personal bias amongst the interview panel. Instead, we assess candidates on a much more even playing field, grounded in diversity, equity, and inclusion.

The committee wrote four STAR Method questions for the interviews that align with our scoring rubric’s themes of Accountability, Collaboration, Spirit, and Innovation. The candidates may opt to respond to the questions in writing or by submitting a video recording of their verbal responses. Each candidate is asked the same four questions and are not judged by their delivery method of choice.

Independent Review & Evaluation 

After the application period closes, each member of the committee reviews and scores a set of applications.

Reviewers are asked to rate the applications across five categories:

• Skills: How well does this person match the job description and have the skills to execute the role(s) they are interested in? If the person is applying for multiple roles, average the score.
• Perspective: How much additional perspective will this person bring to the board either from their background, interests, or area of knowledge?
• Spirit: How much support has this person provided to the design community, other communities, or others in the past?
• Accountability: Based on your review of this person’s resume, how accountable do you believe they are?
• Innovation: How likely is this person to bring new ideas to the board?

To ensure consistency, the evaluators use the following criteria to grade applicants in each category: 

• 1 = Novice: New to the subject or not bringing any novel ideas or background
• 2 = Intermediate: Has some knowledge or skill but little applied experience
• 3 = Proficient: Has practical application of skills or knowledge on the subject
• 4 = Distinguished: A high performance level of experience and brings some new perspective
• 5 = Mastery: Has expertise and repeated experience in their subject matter, including novel ideas and background

Evaluators submit their scores privately to prevent them from influencing each other. Each application is reviewed by at least three members of the committee. We avoid having anyone review an application of a candidate they know personally or professionally to avoid conflicts of interest. All applicants are evaluated on the basis of what they provided within their application alone.

After extensive conversation during the first deliberation, the committee selected candidates to move on to the in-person interview.

In-person Interviews

Selected candidates are asked to meet with one of the committee members in-person on the day and time of their choosing. These meet-ups provide an opportunity for unstructured discussion to answer any lingering questions regarding the role or board service, and get a sense of the board culture and expectations. 

Locations, dates, and times for in-person interviews vary according to the committee’s availability. A booking page is shared with candidates to preview days, times, and locations to select the appointment that works best for their needs.

Deliberation & Offers

After in-person sessions, the committee gathers for final deliberations. They review applications, discuss interviews, and share recommendations for offers.

As the final group of candidates is narrowed down, the committee also reviews the candidates and the returning board as a group. This ensures the board will include a diverse mix of identities, geographies, experience, and industries within the broad umbrella of “design” in the DC Metro area.

The committee proposes a slate of candidates to AIGA DC’s current Board of Directors. During the May 2026 board meeting, the board will vote on approval of the new board members.

Next Steps 

This multi-phase recruitment process takes months of planning and execution, and the final piece includes our community. All active AIGA DC members will get an email with instructions on how to vote on our proposed slate of new board members. Members will be able to approve, reject, or abstain from voting on the full slate through a digital ballot.

Moving Forward 

Overall, this process helps our committee enact a more equitable selection structure for future board members to best serve and represent our community. We encourage feedback to continue to improve our processes for equity, diversity, and inclusion across the DC Metropolitan region. If you have any questions or ideas, please reach out to us at talktous@devtest.aiga.com.

We’re looking for creative leaders to join the AIGA DC Board of Directors and help shape the future of the DMV’s design community! Whether you’re ready to commit to a two-year term on the board or serve on a 3-month term as a Design Fellow, there’s an opportunity for you to get involved.

Deadline to apply or nominate is March 29.

Why Join the Board?

As a board member, you’ll join a dynamic team of volunteers working to build and support the DMV creative community. You’ll have the chance to:

• Develop leadership skills and make valuable connections.
• Attend AIGA DC events for free.
• Shape the direction of AIGA DC’s programming, mentorship, awards, and events.
• Be part of a diverse, inclusive, and passionate team.

Who We’re Looking For

We’re looking for driven individuals with a vision for what AIGA DC can achieve, who bring enthusiasm and determination to the table. 

Whether you’re a writer, engineer, development specialist, project manager, or business owner, your unique skills are valuable. Diversity is at our core, and we strive for a board that reflects the rich tapestry of the DC design community. 

Be part of a team that welcomes questions, values commitments, and embraces a broad spectrum of backgrounds and experiences. Your journey with us is about making a real impact!

Open Board Roles

We’re recruiting for a lot of roles across every team on the board and are seeking passionate and committed volunteers. 

• Executive Team: Communications Director
• Programming Team: Awards Chair, Civic Design Chair, Programming Coordinator
• Communications Team: Social Media Content Creator, Communications Coordinator
• Operations Team: Creative Community Ambassador

🚨 New Role Alert 🚨

We’re opening a new short-term Design Fellow board role for designers looking to expand their portfolios and make a real impact. In this 3-month position, you’ll work with our Communications team to craft promotional materials for AIGA DC programs and initiatives.

As a Design Fellow, you’ll receive free entry to AIGA DC events during your term, a stipend to support your AIGA membership, and the opportunity to create portfolio-ready work that delivers positive impact to the DMV’s design community.

What’s the commitment?

Joining the AIGA DC Board is a two-year commitment. You can also serve for longer (and many do). At the end of each year, board members may decide if they want to keep their current role or move to another open position.

Specific responsibilities vary depending on the team and the role. All board members are expected to:

• Be (or become) AIGA members in good standing at any level. 
• Attend all required planning retreats and monthly board meetings.
• Attend major events (bonus: board members get into all our events for free!)
• Be responsive on Slack and email (Slack is our main communications platform).

The weekly time commitment varies from role to role and throughout the year.

Following our recruitment period, new board members are onboarded in May and officially begin their terms on June 1. The annual board retreat and planning session is in August. 

Monthly board meetings, events, and regular communications occur year-round, with breaks from board meetings in December, July, and August.

What is the Selection Process?

The Application

In addition to some questions about your experience and interest in joining the board, we’ll ask for:

• Your resume
• A description of a time when you ran something (as a team lead, a project lead, managing people, planning an event – anything.) 
• A short writing sample: A draft of an email asking someone you admire to speak at an AIGA DC event. You can make up whatever logistics you like – time, date, location, other speakers, etc. We’re looking to get a sense of how you think about AIGA DC and how you write in a professional context. A good writing sample would communicate clear directions, offer a compelling pitch, and be reflective of who our community is — a great one would also tell us a little bit about who you are and what parts of design you’re most excited about.
• A video recording or written responses to our STAR Method interview questions.

The Google form won’t let you save an application, so we recommend you draft your answers elsewhere and paste them in. Preview of application questions.

Nomination Committee Review & Interviews

Applications are reviewed by a nominating committee of board members and members of our community. The committee will arrange in-person meetings with select applicants. 

Taking into account individual skills and experiences, and with the expectation to create a board that is diverse and reflects the community it serves, the nominating committee will recommend a slate of new board members for approval by the current AIGA DC Board of Directors.

Invitations Extended to Join the Board

For the 2026 recruitment period, offers to join the board will be sent the week of April 26. The new board slate will be sent to the full community of AIGA DC members for approval for our executive positions.

Questions?

We will host a virtual information session on March 19 at 6:30 p.m. to cover more about what it means to be on the board, what the different roles and responsibilities are, and any other questions you may have about being on the board. 

Attending the session live is highly recommended as we’ll have board members available to answer questions. The recording will be made available on our website if you can’t make it in real time.

If you have any other questions, please email us at apply@devtest.aiga.com.

Washington, DC, has a branding problem.

To outsiders, the city is defined by monuments, politics, and federal power. It’s a place of marble buildings and institutional authority. But ask natives and longtime residents what DC feels like, and the answer rarely begins with government. It begins with the city’s cultural institutions, it begins with rhythm, with community. It begins with Go-Go.

For decades, Go-Go music has functioned as more than a genre. It has operated as a living cultural system that has shaped language, fashion, gathering spaces, traditions, business ecosystems, and collective identity. Long before the language of “place branding,” “community engagement,” or “authentic storytelling” entered design discourse, Go-Go was already doing that work organically. It branded DC not through logos or campaigns, but through a decentralized system of participation.

In branding terms, Go-Go behaves less like a product and more like a decentralized network: owned by no single institution yet recognized instantly by those who belong to it. A T-shirt, a roll call, a flyer, a dance circle, or a neighborhood shout out becomes a signal, a shared visual and cultural code that communicates identity without explanation.

To better understand how this happened, I spoke with Dr. Natalie Hopkinson, associate professor at American University, Founding Chief Curator of the Go-Go Museum, co-creator of #DontMuteDC, and author of “Go-Go Live: The Musical Life and Death of a Chocolate City”. Using the chapters of her book as a guide, our conversation explored how Go-Go didn’t just soundtrack DC, but how it helped define how the city sees itself and how its people recognize one another.

What emerges is a story designers may find surprisingly familiar: a brand built not by strategy decks, but by community ownership, rituals, and lived experience.

Chapter 1: “A Black Body Politic” | Go-Go as a Cultural Brand

Question : How did Go-Go help define what it meant to belong to DC? Can it be viewed as a cultural brand that people lived inside of?

Answer: I think describing Go-Go as a brand people lived inside of is exactly right. Like any valuable brand, not everyone had access to it, and that exclusivity gave it power. After Go-Go was criminalized in the 1980s and pushed underground, participation became a way of signaling belonging, an unspoken recognition between people who understood the culture.

You could see that branding through local fashion. Wearing something like a Madness shirt wasn’t just about style; it communicated history and insider knowledge. Complimenting someone’s shirt became a coded exchange saying, “I see you, and I know what that represents.” Those items carried cultural capital and even economic value because they reflected identity and status within the community.

When I spoke with young people in Prince George’s County, many rejected national hip-hop brands because they represented somewhere else. They preferred local DC brands because wearing them expressed pride and self-knowledge. That sense of ownership created a cultural hierarchy enforced by the community itself — being local mattered.

Chapter 2: “Club U” | Spaces as Brand

Q: How did Go-Go spaces define the experience of DC culture and influence how the city presented itself?

A: Club U is a powerful example because it shows how Go-Go transformed space itself. The venue operated inside the Reeves Center, a municipal government building spearheaded by the late former DC Mayor, Marion Barry Jr. During the day it held offices, and at night it became a Go-Go club. That transformation demonstrated that Go-Go wasn’t separate from civic life, it existed within the city’s official infrastructure.

The club even broadcast live on the radio, which made the experience public rather than hidden. It showed that Go-Go belonged to the broader city and could occupy important, visible spaces rather than being confined to nightlife margins.

More broadly, Go-Go spaces were fluid. A firehouse, community center, prom, block party, or house party could all become Go-Go spaces. Wherever people gathered and created that shared energy, the culture existed, shaping how residents experienced DC itself.

Chapter 3: “What’s Happening” | Rituals and Everyday Life

Q: How did those shared styles and rituals become part of DC’s visual, cultural, or even political identity?

A: Over time I’ve come to understand Go-Go as a communal calendar. When I studied Globe posters, I realized there was always a Go-Go tied to seasonal milestones, like back-to-school events, holidays, sports victories, or school breaks. Anything that marked time in the community became an occasion for a Go-Go.

These gatherings went beyond entertainment. People celebrated birthdays, honored loved ones through RIP shout-outs, and marked life milestones collectively. Go-Go became a place where emotions and experiences were publicly shared and recognized.

Because of that constant presence, Go-Go shaped everyday behavior, like how people dressed, socialized, and moved through the city. It embedded itself into daily life and helped define what belonging in DC looked and felt like.

Q: Do you feel like there’s crossover with New Orleans culture, the way music is tied to everyday life there?

A: Absolutely! My late husband was from New Orleans, and when I described Go-Go to him, he immediately compared it to brass band culture. In New Orleans, music marks life events in a similar way; proms, celebrations, and community gatherings are structured around live performance.

Scholar Joseph Roach writes about second-line traditions as bringing ancestors into the present moment rather than simply remembering them. I see Go-Go functioning similarly. It’s about ritual, memory, and presence—creating shared moments where community history feels alive.

Both DC and New Orleans developed strong Black middle classes under different historical conditions, and those environments fostered ritual cultures rooted in African diasporic traditions. In both places, music became a living expression of identity.

Chapter 4: “Call and Response” | Participation & Power

Q: Did that interactivity help brand DC as a place of equity, voice, and community participation?

A: We have to be careful with the idea of “brand,” because Go-Go meant very different things depending on who you were. For locals, it represented identity and community. For outsiders and transplants, it was often associated with crime narratives from the “murder capital” era, which distorted its meaning publicly.

But within the culture itself, call and response is central. The band talks to the audience, and the audience talks back. The experience isn’t about a solo performer, it’s collective. Everyone in the room participates, syncing energy and emotion through rhythm.

That communal participation is one reason Go-Go has lasted so long. The audience co-creates the music, which makes the experience deeply personal and tied to identity. People aren’t just watching — they are part of the performance.

Chapter 5: “The Archive” | Tapes, Design, and Memory

Q: How important were recording and design in solidifying Go-Go as DC’s cultural brand over time?

A: Go-Go recordings were mostly utilitarian rather than visually elaborate. Tapes and CDs usually just listed the band, venue, and date. That simplicity actually makes them incredibly powerful archival documents because they precisely capture moments in time.

When I analyzed a 1986 Rare Essence recording, those details allowed me to connect shout-outs to larger historical events. A single tape becomes a historical document that reflects what was happening socially and culturally at that exact moment.

At the same time, these recordings are deeply personal archives. If your crew received a shout-out, that tape holds your memories and identity. The community created its own archival system through tape traders and collectors long before institutions recognized its value — Go-Go preserved itself.

Chapter 6: “The Boondocks” | When Go-Go Moves Outward

Q: What happens to a city’s identity when its culture is pushed outward?

A: When culture is pushed outward, cultural bonds weaken. Movements grow from proximity — kids attending the same schools, musicians living near each other, communities interacting daily. When people disperse, those organic connections change.

DC is the spiritual heart of Go-Go because it is also central to Black struggles for democracy and inclusion. The city became Chocolate City through migration, education, and political organizing. Moving Go-Go outside the city separates it from that symbolic center.

That tension became visible during #DontMuteDC, when many displaced residents returned to defend a culture they still felt ownership over. Even when people move away physically, their cultural connection remains.

Chapter 7: “Redemption Song” | Defending Go-Go’s Value

Q: How did that struggle shape the story DC tells about itself and its culture?

A: Before #DontMuteDC, many people avoided talking about Go-Go publicly because they felt embarrassed by it. Some saw it as unsophisticated or as a failed version of hip-hop — something tied to youth rather than adulthood or professionalism.

The movement helped shift that narrative. Go-Go began to be understood not as something to outgrow but as a cultural superpower — something worth teaching, celebrating, and protecting.

I remember giving a talk years ago where a young Black student reacted to the word “Go-Go” with visible discomfort because of the stigma attached to it. That showed how deep the shame had become. But at its core, Go-Go is the people and the drum. Negative associations may surround it, but they are not its essence.

Chapter 8: “Mr. Obama’s Washington, DC”

Q: How did DC’s Obama-era identity interact with or conflict with the Go-Go brand of “Chocolate City”?

A: The two largely existed on separate tracks. The Obamas supported many cultural initiatives and elevated Black art nationally, but Go-Go rarely intersected with that cultural narrative. To my knowledge, they never attended a Go-Go, and public acknowledgment came much later.

Institutions associated with Black upward mobility, like Howard University, often distanced themselves from Go-Go because it was linked to safety concerns and stigma. That association bundled violence and Go-Go together in ways that misunderstood the culture.

#DontMuteDC changed that dynamic because it demonstrated visible collective power. Earlier advocacy efforts hadn’t gained lasting traction, but this moment combined policy awareness, grassroots organizing, and powerful public imagery. Politicians may not have suddenly loved Go-Go, but they developed respect for its ability to mobilize people.

Chapter 9: “Roll Call, 1986”

Q: Was the roll call essentially the city branding itself out loud?

A: I wouldn’t say the city as an institution was branding itself. What you hear in roll calls is a community mapping itself in real time. The 1986 Rare Essence recording I studied is considered canonical because it captures a specific moment and social network.

When I transcribed it, I traced every name and reference — neighborhood crews, schools, local figures — and realized it was a pool of interconnected stories. It documents fashion, relationships, and local identity all at once.

Photographer Thomas Sayers Ellis, who recently passed, told me that Go-Go is a grammar, you know? And he has a poem that said, “Africa disagrees with subject verb agreement”, you know? And it’s sort of this idea that stories are not necessarily linear in the African diasporic tradition. They’re not linear, it’s more like a pool, instead of a beginning, middle, end, like a straight line. and I think that’s accurate. The storytelling isn’t linear; it’s communal and layered. The roll call is DC speaking itself into existence from the inside.

Who Owns (and Protects) the Brand?

Q: If we think about DC culture as a brand, who owns it, and is Go-Go still branding DC?

A: I’m personally anticapitalist, so the word “brand” makes me a little uncomfortable, but it works in this context. At the Go-Go Museum, we described Go-Go as a network of fiercely independent Black-owned businesses, bands, clothing lines, venues, promoters, restaurants, and media ecosystems.

Go-Go operates as an umbrella identity. Businesses align with it to signal authenticity, collective values, and deep roots in DC culture. In that sense, Go-Go absolutely still brands the city.

But ownership is collective. The real question isn’t who owns the brand, it’s who protects it. For decades, the community has resisted outside extraction while keeping the culture alive. As demographics shift and new audiences embrace Go-Go, whether that protection continues remains an open question.

Final Thoughts

If branding is ultimately about shared meaning, then Go-Go may be DC’s most successful, and most misunderstood, brand system.

Unlike traditional branding, Go-Go has no centralized authority, no official style guide, and no singular owner. Its power comes from collective stewardship. Bands, dancers, clothing lines, promoters, neighborhood crews, and audiences all participate in maintaining and evolving the culture. The brand survives because people actively live inside it.

Dr. Hopkinson’s insights reveal something designers may often forget: identity cannot be imposed from the top down. The most durable cultural brands emerge from community participation, repetition, and shared rituals. Go-Go persists because audiences are not consumers, they are co-creators. Every roll call, every shout-out, every raised hand reinforces belonging.

Today, as DC continues to change through development, migration, and shifting demographics, the question is no longer whether Go-Go brands the city because it clearly does. The real question is who protects and stewards that brand as new audiences encounter it and new institutions attempt to define it.

Dr. Natalie Hopkinson, PhD is an associate professor of media, democracy and society at American University. She is also the Founding Chief Curator of the Go-Go Museum, the former co-lead scholar and curatorial consultant for the National Civil Rights Museum in Memphis, an author, an activist, and co-creator of #DontMuteDC.

Connect with Dr. Hopkinson: Instagram | Substack | LinkedIn

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