Harlem-based filmmaker Stacey L. Holman, 53, is celebrated for her award-winning contributions to projects like Reconstruction: America After the Civil War and Freedom Riders. In her upcoming project, Gospel—an episodic exploration of gospel music—Stacey’s impact in shaping narratives of historical significance remains unparalleled. Here’s a closer look at the artistry that defines Stacey L. Holman’s career in filmmaking.

Your work has spanned various award-winning documentaries. How did your background and experiences influence your storytelling approach?

I was very interested in doing non-scripted work and then I stumbled on doing my own documentary—again that curiosity. From there I was able to work with some incredible directors and executive producers. They might have had the idea and then I was brought on to help develop that idea.

What has your process been like for choosing topics for your work?

I’m a lover of history. I think because there’s so much history that has not been told, the opportunity to tell it is always exciting. The opportunity to highlight our stories and even individuals. There are many nuances and so many heroines and heroes of it, and I think with each project, it’s just that curiosity of what am I going to learn and what am I able to share with audiences.

As a filmmaker, you’ve collaborated with Henry Louis Gates, Jr. on multiple projects, including the upcoming docuseries Gospel. Tell us about your perspectives and the challenges of historical documentaries, now with a focus on Black spirituality?

I grew up in the church. So that’s a very unique insight and detail that I understand. I feel like that’s one thing that I bring to projects. There are stories and individuals that people think they know, but there are deeper insights into those stories.

And can’t always tell it all. We lost stories and there are some we haven’t gotten to. Time is not overlooked and unappreciated.

Gospel explores the rich history of Black spirituality through sermons and songs. What were the challenges and joys of capturing the essence of gospel music and its impact on African American culture?

One really exciting thing that we did, very differently from other series was that we had live performances. So, whether it was acquired, gathered together by our musical directors Tyrell or Cory Henry and Celine, that was just magical. To be in that space, and to hear real voices was just so beautiful.

What do you feel is most compelling about the power of gospel music? Why is this important and relevant today?

Gospel speaks to your circumstances. Gospel speaks to your highs and your lows. Gospel doesn’t stray away from a hard time. It just speaks to the situation that you’re in, and the words as well as the melody and the rhythm, strike that emotional chord. It’s something that you can carry through all seasons of what you’re going through.

One thing about gospel is  – gospel was created through blues and jazz, but then it evolved. Gospel is one of those genres that can insert itself into different musical styles, but yet still hold its authenticity.

How do you approach the responsibility of accurately portraying the historical narratives of Black communities, and what role do documentaries play in shaping collective historical consciousness?

We don’t take it lightly, we are very thorough. We fact-check and triple-check. When you’re doing a project like this or any project that has historical references, you want to make sure you get it right because sometimes this is your only chance to tell that story or this may be the only time the story will be told.

There are always questionable dates of when this happened or that happened. But when those things happen, we just try to speak generally but we go through every single word, whether it’s archival, or even through our interviews, to make sure that it’s accurate; especially to time, place, and people.

What changes have you observed in the documentary industry over the years?  How does you work contribute to a more inclusive representation of nuanced narratives, particularly those centered around the Black experience?

I think series are the new norm. You don’t have just that 15 minutes to tell a story. You have more time you have two hours, four hours, or more. I also think people are interested in understanding history. In light of where we are politically, and spiritually, we have these theories to learn from and understand, especially in light of a lot of things being restricted and not available to people. I think documentaries are even more important in encapsulating these moments. This period, these people.

In Gospel you’ve interviewed notable figures like Dionne Warwick, U.S. Senator Raphael Warnock, and Rev. Otis Moss III. How do you build trust and a connection with your subjects, especially about the personal and spiritual aspects of their lives?

We pre-interview EVERYONE. We’re clear about our intent and are upfront about our purpose and goal. Past projects are helpful because subjects can see how others were represented. Over time we develop trust. We want people to feel like they are valued.

How do you “Age with attitude? And how does that shape your directing style?

I age with attitude because of the wisdom I’ve learned along the way!  I know better. I do better. And I just keep pressing.

 Gospel premieres on February 12 and 13, 2024 on PBS, PBS.org.

Photo: Stacey L. Holman

NaBeela Washington, an emerging Black writer, holds a Master’s in Creative Writing and English from Southern New Hampshire University and Bachelor’s in Visual Advertising from The University of Alabama at Birmingham. She has been published in Eater, The Cincinnati Review, and others. Learn more at nabeelawashington.com.