Justice Jamal Jones describes themselves as an alchemist, combining their skills in acting, filmmaking and writing into imaginative and passionate storytelling. They graduated from New York University studying Art Therapy with a focus on “marginalized” groups. Justice’s debut film “How to Raise a Black Boy” is a fairytale about Black boyhood, based on Peter Pan. The film has been recognized by the Cleveland International Film Festival, Focus Film Festival, Outfest Film Festival, and won the “Filmmaker to Watch” award at The Atlanta Film Festival. Additionally, Justice was awarded as one of the 2021 Sundance Ignite x Adobe Fellows. They are the founder of Rainbow Farm Productions, a production company for artists to create a wide spectrum of work. Justice is in the process of creating their debut feature film, “Crossroads Blues”.

Justice is shown posing in black and white. — Top by Hardcore Fashion at The Confessional Showroom
Necklace by Model’s own
Ring by Maiko Suzuki Jewelry at The Confessional Showroom

You initially studied Art Therapy at New York University, what inspired you to shift into storytelling and filmmaking?
It is a long story, but I went to New York University Tisch School of the Arts and studied acting. Ever since my childhood I had always dreamed of acting. When I arrived at NYU, however, something began to shift. At the time, I identified as a Black gay man. Now, I identify as a queer Black person. Within that identity I felt boxed in by acting, as I was often cast as the sassy Black sidekick. I felt as if I had no autonomy. This loss of passion sent me into a depression, but through therapy and reflection, I found that I had the power to create the stories I wanted to see. That’s when my passion for filmmaking and writing took flight.

How would you describe your work and what you do?
I often describe myself as an alchemist. Not in the sense of turning stone into gold (which would be sometimes helpful), but as one who transforms mundane occurrences into serendipitous collisions of visuals, sounds, and emotion. That’s what filmmaking is all about. Like alchemy it is both a science and a fantastical spiritual experience. When both components are combined and mixed, the beauty of film emerges, something more precious than gold.

Justice poses with their hands on their face while wearing a red and white crochet tank top with a flower detail in the middle. — Top + Pants by The Phluid Project

What inspired you to create “How to Raise a Black Boy?”
“How To Raise A Black Boy” is based on the fantastical and literary journey of “Peter Pan,” by J.M Barrie It is a continuation of what happened to the children Peter and Wendy. Originally the film was my analysis of my childhood, which happened to be queer and Black. But it grew, beyond my childhood to become a collage of my academic career, of current American politics, and of the shared experience of childhood secrets that haunt our adulthoods.

What was your process for creating the film and how did it develop or change throughout production?
It's ironic how similar theory is to fairytales. They are both ways of conceptualizing the world, and like fairy tales, theory is impossible to live up to. Although theory is validated by academia, theory is just a form of academic adult fairytales. When writing “How To Raise A Black Boy” I used and aligned to theories on Blackness, queerness, and manhood to inform the work including: Jose Esteban Munoz’s “Disidentifications: Queers of Color and the Performance of Politics,” Sigmund Freud’s “Totem and Taboo: Resemblances Between The Psychic Lives of Savages and Neurotics,” and Thomas A. Dowson’s “Why Queer Archeology,” among many other works. Munoz’s “Disidentifications” was manifested much later in my creative process.

Justice is shown in one photo with their legs crossed over the other and in the second photo with mesh fabric covering their face. — **Left:**
Blazer by AKOBI at The Confessional Showroom
Gloves by MARKGONG
Ring by Maiko Suzuki Jewelry at The Confessional Showroom
Necklace by Model’s Own
**Right:**
Dress by Tanner Fletcher
Ring by Maiko Suzuki Jewelry at The Confessional Showroom
Mask by Stylist Own

How do you think the film distinguishes itself from more traditional and “mainstream” Fairytales?
“How To Raise A Black Boy” negotiated a mainstream fairytale such as “Peter Pan” and has reimagined and centered it within a Black queer narrative. In my creation of “How To Raise A Black Boy,” I eventually found that the simplest way for me to share theory was through the magic of a fairytale. For years fairytales have been feeding culture from the cradle damaging stories that uphold inaccurate cultural thought. Fairy Tales such as “Cinderella,” “Snow White,” and “Peter Pan” have perpetuated theories centered in whiteness and heterosexuality and pushed ideas such as “Boys will be Boys,” and “women are forgettable.”

On a meta level, the exclusion of POC and queer individuals in fairy tales also implies that only those who conform to normative ways of living are permitted to engage in imagination and critical thinking such as related to theory. Within “How To Raise A Black Boy,'' a large political and social commentary has been transformed into an accessible, poetic, fantastical storyline, where there are no prerequisites for imagination and exploration. I want to create visuals that inspire those to be the hero, and sometimes the villain, if needed, and live within their multidimensionality.

Justice is photographed seated on a chair wearing a black mesh top with matching black boots. — Top by Hardcore Fashion at The Confessional Showroom
Pants by Catou at The Confessional Showroom
Necklace by Model’s own
Ring by Maiko Suzuki Jewelry at The Confessional Showroom
Boots at ALLSAINTS

What inspires you as a creative?
I am inspired by my ancestors. I am inspired by my Mother. I am inspired by those who are brave and speak their truth.

Why did you create Rainbow Farm Productions, and what do you hope to do or cultivate with the company?
Rainbow Farm Productions was created as home for my art and the art of others focused on creating diverse, intelligent, and progressive art. Founded in Omaha, Nebraska, then transplanted to New York City, our company’s name speaks to its mission of cultivating a rainbow spectrum of work with a focus on communal art agriculture that nourishes the mind and soul. Rainbow Farm is a meeting ground for those with distinct perspectives and/or multidisciplinary interests.

Suit by Tanner Fletcher
Ring by Maiko Suzuki Jewelry at The Confessional Showroom

Tell us more about “Crossroads Blues” and what inspired it.
Crossroads Blues is a queer expansion of the legend of Robert Johnson and the Devil, with the charm and fantastical nature of American Myths such as Johnny Appleseed, John Henry, and Huckleberry Finn.

The film follows Belize (20) a young androgenous child of Vodou and their sexual awakening in the midst of the post-civil-war reconstruction era. They enter an erotic relationship with Willie (33) a blues Musician, and the two elope in a journey between Heaven and Hell, as Belize learns to play the Blues.

Justice poses with their leg up and a pistachio green cardigan slung around their shoulders. — Dress + Sweater by Tanner Fletcher
Ring by Maiko Suzuki Jewelry at The Confessional Showroom
Boots by Zara

What excites you about your future?
I am really excited to continue to learn and grow. I am going into both of these fellowships with an open mind and heart, and I hope to become a more dynamic and vulnerable artist.

What are your other goals for the next few years? I want to finish “Crossroads Blues” and begin writing a book. I’m not sure if it will be a novel or nonfiction piece but writing a book has always been something that interested me. But above all, my goal is to stay consistent with self-love and my love of others.