Black Bus Stop

Please log in to watch films (restrictions may apply)

  1. Extra

    Black Bus Stop

    Directed by



    9 min

    • English


    This film pays tribute to the Black Bus Stop, an informal yet iconic gathering spot for black students on the campus of the University of Virginia, Charlottesville in the eighties and nineties. Young people could be found there listening to music, talking politics, dancing, flirting. Today, under the glare of the moonlight, black fraternity and sorority members reclaim these hallowed grounds as they chant and sway to the rhythms and memories of the past.



    Kevin Adams
    Zakia Alomari
    Alexis Artis
    Briana Bradham
    Cordell Burgess
    Kris Coachman
    Raelo Edmund
    Komi Galli
    Nana Bilkisu Habib
    Natasha Hallaran
    Taji Harris
    Nicole Jefferson
    Maya Johnson
    Kendall Jordan
    Taylor Lamb
    Jordan Maia
    Morgan Miller
    Tiffany Moore
    Chelsea Ofori
    Xhosa Scott
    Erik Patton-Scott
    Markiana Smith
    Paige Taul
    Victoria Tucker
    Melvin Walker
    Micah Watson
    Allen Williams
    Hidayah Williams
    Jessica Williams
    Jasmine Zollar
    Kevin Jerome Everson
    Kevin Jerome Everson

    Director's Statement

    Sacred ground. A transcendent space of communion where young people could be found listening to music, talking politics, dancing, flirting, living in their fullness. This film pays tribute to the Black Bus Stop, an informal yet iconic gathering site for black students at the University of Virginia during the 1980s and 1990s. Under the glare of the moonlight, black fraternity and sorority members repossess hallowed grounds as they sway to the rhythms and memories of the past. (Claudrena N. Harold, October 2018)



    The people involved are flesh and blood, engaged in a joyous interaction with their concrete, sometimes hostile surroundings.

    Neil Young, Modern Times Review

    Kevin Jerome  Everson

    Kevin Jerome Everson


    With a sense of place and historical research, my films combine scripted and documentary elements with rich elements of formalism. The subject matter is the gestures or tasks caused by certain conditions in the lives of working class African Americans and other people of African descent. The conditions are usually physical, social-economic circumstances or weather. Instead of standard realism I favor a strategy that abstracts everyday actions and statements into theatrical gestures, in which archival footage is re- edited or re-staged, real people perform fictional scenarios based on their own lives and historical observations intermesh with contemporary narratives. The films suggest the relentlessness of everyday life—along with its beauty—but also present oblique metaphors for art-making.

    Kevin Jerome Everson was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron and is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the 2012 Alpert Award for Film/Video; his films has been the subject of mid-career retrospectives at Cinema du Reel (March 2019); Glasgow Short Film Festival (March 2018); Harvard Film Archive (Feb. 2018); Tate Modern, London, UK (Fall 2017); Modern and Contemporary Art Museum, Seoul, Korea (Feb. 2017); Viennale (2014); Visions du Reel, Nyon, Switzerland (2012), The Whitney Museum of American Art, NY (2011) and Centre Pompidou, Paris in 2009. His work has been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial and the 2018 Carnegie International. He cocurated the 2018 Flaherty Film Seminar with Greg DeCuir, Jr.

    His artwork — paintings, sculpture, photographs — and films, including nine features (SPICEBUSH, 2005; CINNAMON, 2006; THE GOLDEN AGE OF FISH, 2008; ERIE, 2010; QUALITY CONTROL, 2011; THE ISLAND OF ST. MATTHEWS, 2013; PARK LANES, 2015; 8903 EMPIRE, 2016 (co-directed by Kahlil I. Pedizisai) and TONSLER PARK, 2017) and over 150 short form works, including eight collaborations with his UVA colleague, Professor Claudrena N. Harold, have been exhibited internationally at film festivals including EMAF, IFFR, Sundance, Toronto, Venice, Berlin, BFI/London, NYFF, Ann Arbor, Oberhausen.

    From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, BROAD DAYLIGHT AND OTHER TIMES, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I REALLY HEAR THAT: QUALITY CONTROL AND OTHER WORKS was released by VDB in summer 2017. The DVD contains the feature film QUALITY CONTROL (2011), included in the 2012 Whitney Biennial.

    Everson has received fellowships from the Guggenheim, Gardner Prize (Harvard), NEA, NEH, Ohio Arts Council and the Virginia Museum, an American Academy Rome Prize, grants from Wexner Center for the Arts, Sundance Art of Non Fiction, Creative Capital and the Mid-Atlantic, residencies at Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony, and numerous university fellowships.

    Recently, TRAVELING SHOES (2019) premiered in Berlinale Forum, BLACK BUS STOP (2019, co-directed by Claudrena N. Harold) premiered in the Tigers Shorts Competition at IFFR and MUSIC FROM THE EDGE OF THE ALLEGHENY PLATEAU (2019) premiered at Cinéma du Réel. His latest film CONDOR (2019) was selected in the Orizzonti section at the 76th Venice International Film Festival.

    Photo: Sandy Williams III

    Selected Filmography

    Claudrena N.  Harold

    Claudrena N. Harold


    Professor of African American and African Studies and History at the University of Virginia, Charlottesville, Claudrena N. Harold specializes in African American history, black cultural politics, and labor history.
    Her 2013 collaboration with her UVA colleague Kevin Jerome Everson on two short films, SUGARCOATED ARSENIC (IFFR 2014) and U. OF VIRGINIA, CHARLOTTESVILLE, 1976 (part of the multimedia project Black Fire, as part of an Arts in Action grant) were her debut film credits as co-director, writer and producer. Subsequent films reflecting Harold’s ongoing research into the history of black student activism at UVA include WE DEMAND (2016), 70kg (2017), FASTEST MAN IN THE STATE (2017), HOW CAN I EVER BE LATE (2017) and BLACK BUS STOP (2019, IFFR Tiger Short Competition). These films have screened at numerous international film festivals and art institutions, including IFFR, BFI/London, Berlinale, Edinburgh, Viennale, Porto Post Doc, Curtas Vila do Conde, Media City, Chicago International FF, Crossroads (SF), Fronteira Festival, Brazil, the Whitney Biennial, Harvard Film Archive, the National Gallery of Art, Washington D.C. and the Museum of Modern and Contemporary Art, Seoul, South Korea.
    Claudrena N. Harold is the author of The Rise and Fall of the Garvey Movement in the Urban South, 1918-1942 (2007), which chronicles the history of Marcus Garvey’s Universal Negro Improvement Association from the perspective of black women and men living below the Mason-Dixon Line. In 2013, the University of Virginia Press published The Punitive Turn: New Approaches to Race and Incarceration, a volume Harold co-edited with Deborah E. McDowell and Juan Battle. Her most recent book, published by the University of Georgia Press, New Negro Politics in the Jim Crow South details how the development of New Negro politics and thought was shaped by people, ideas, organizations, and movements rooted in the South, bringing into full view the ways southern blacks not only validated the idea of the New Negro as a national phenomenon but also significantly informed and reshaped the contours of black nationality and class formation.
    She is the co-editor, with Louis Nelson of CHARLOTTESVILLE 2017: THE LEGACY OF RACE AND INEQUALITY (2018) and continues her exploration into the history and politics of African American music with an upcoming book on Gospel Music.