Posts filed under ‘Gregory Sale’
Notes from Kosovo: Linking Phoenix and Prishtina
The relationship between Kosovo and the Herberger Institute for Design and the Arts owes much to the U.S. State Department’s Junior Faculty Development Program (JFDP), which brought multi-media artist and University of Prishtina faculty member Alban Nimani (pictured below) to Arizona State University, where his faculty host was Intermedia Professor Muriel Magenta. Nimani became involved with the ASU Art Museum’s International Artist Residency Program through a chance encounter with visiting artists Matteo Rubbi, Miguel Palma and me, Greg Esser, at one of Intermedia Professor Gregory Sale’s graduate classes. The rest, as they say, is history.
On March 26, I met United States Ambassador to the Republic of Kosovo Tracey Ann Jacobson, who was at the University of Prishtina, Faculty of the Arts (Fakulteti i Arteve), to dedicate a new multi-media lab, funded as a partnership between the U.S. Embassy and the University of Prishtina. Nimani wrote and received the grant for the multi-media lab from the U.S. Embassy following his semester-long residency at ASU. Among other initiatives, Nimani is in the process of adding intermedia, public art and a volunteer component to the curriculum at his university based on his experiences at the Herberger Institute for Design and the Arts.
“There is no more important investment a country can make than in the education of its young people, its future leaders,” Ambassador Jacobson said during her remarks.
Jacobson spent time speaking with each of the students in Nimani’s class about the work they were developing on the new state-of-the-art Apple iMac computers the grant provided. Projects ranged from calligraphy to animated film to interactive video games. The facilities in the lab now rival the tools available to students in the Herberger Institute for Design and the Arts.
These new tools represent a significant advancement in the resources available to these students to pursue careers in design and the arts.
Following the ribbon-cutting ceremony, working with the new iMac computers, Nimani’s fourth-year students continued work on another aspect of Nimani’s grant and another inspiration from Phoenix, Arizona. Nimani and his students are frantically preparing for E premtja e fundit, or Last Fridays, inspired by the First Fridays monthly art events in Phoenix.
With less than three days to go, students worked to refine projects, social media and a map that locates art projects throughout downtown Prishtina, including Mother Teresa Boulevard, the main public plaza and the pedestrian mall in Prishtina, the capital city. Last Fridays, or E premtja e fundit, is supported in part by the U.S. Embassy, the Municipality of Prishtina and the Herberger Institute for Design and the Arts and the ASU Art Museum. The free public event will feature dozens of temporary public art projects, installations, gallery openings, local musicians and local businesses all working together to bring art outside of the gallery and into the community.
We ended the afternoon with a traditional Albanian meal with Nimani’s father, Shriqy, who founded the Graphic Design Department at the University of Prishtina. Once an award-winning singer and former director of the National Gallery, Shriqy is an avid historian and author focused on Albanian culture and influence around the world, with dozens of published books and scholarly awards. I learned that Mother Teresa, who once took me by the hands and blessed me while I was working at the United Nations, is Albanian. The main road through the heart of Prishtina is named in her honor.
As both an artist and curator, I’m excited to be in Prishtina to help shape and advise on the first event of its kind here on behalf of the Herberger Institute for Design and the Arts and the ASU Art Museum.
Notes from Kosovo II – Plan B
Waking up on Wednesday morning, I discovered the city covered in snowfall. Most installations have been planned for outdoor locations. With less than 72 hours before the launch of the event, we immediately embarked on contingency planning.
Amid a flurry of radio and television appearances promoting the event, Alban and I visited Pallati i Rinisë dhe i Sporteve, or Palace of Youth and Sports, to determine if it might serve as an alternative location for installations.
Built from 1977 to 1981 under Communist leadership as a public project when Kosovo was part of Yugoslavia, the structure defines the landscape of the city center and contains a massive subterranean shopping complex with restaurants. A large section of the building burned and is currently vacant, providing an ideal canvas for temporary artist interventions. As snow fell on the city, many outdoor projects were relocated to this new venue.
In the afternoon, I provided a lecture for fourth-year students on the impact of the arts in Phoenix, the ASU Art Museum International Artist Residency Program and the Desert Initiative, all of which focus on the power and impact of collaboration and the power of the arts to transform lives.
Posters promoting the event arrived at the Faculty of the Arts following the lecture, and students immediately began distributing them throughout the city. We ended the day at the National Gallery for the opening reception of a retrospective exhibition for deceased artist Engjëll Berisha, also known as Befre. Berisha was one of the early pioneers in building the arts community in Kosovo, a figure similar to artist Philip Curtis in Phoenix, who helped to establish the Phoenix Art Museum.
* * *
The Republic of Kosovo was established in 2008 following protracted ethnic conflict between Serbia and the largely Albanian population. Newly an independent nation with a deep history informed by numerous occupations, including the Roman Empire, 500 years of Ottoman rule (1455 – 1912) and Communist rule as part of Yugoslavia, Kosovo is today focused on a prosperous future and is a warmly hospitable environment for the first-time visitor or long-time friend.
* * *
The morning of Friday, March 29 arrived with cold, overcast skies and rain. At around 4 in the afternoon, the clouds broke and sunlight spilled down and began to warm the streets and buildings of Prishtina. As the workday closed, an optimism and energy was percolating throughout the city. With less than three hours to go, students, artists and musicians worked to put the finishing touches on their individual works and the overall event.
* * *
As with any group exhibition, the quality, intellectual rigor and execution of the individual artworks varied. Overall, the participants demonstrated exceptional teamwork, collaboration and experimentation. I was tremendously impressed by each of the students who moved outside of the classroom and well beyond their comfort range to create an event that was so much more than the sum of its parts. Works included projected animation, live painting, an interactive Twitter experience, an installation of umbrellas, dance, music, gastronomic work, an installation featuring the preparation and presentation of traditional Albanian foods, murals, a fashion piece made from black plastic bags, an interactive puzzle, a version of Tic Tac Toe with mirrors completing the pieces, transformation of a city bus stop into a representation of the future with sounds from NASA, a light and sound installation in a built environment on Mother Teresa Boulevard and more.
To get the full experience and variety of work, please visit the official webpage, Facebook, Twitter and Instagram sites for the event.
Across the street from the Palace of Youth, nine emerging Kosovo bands performed to a packed house at Punkt. I haven’t witnessed the same level of energy since the early days of the punk movement in the United States, in the late 1970s and early 1980s. There was a range of young musicians with a palpable vibrancy and the first mosh pit I’ve seen in many years.
Notes from Kosovo III – Looking Forward
The headline in Sunday morning’s newspaper in Prishtina translates to “Last Fridays designs the future.”
The story, profiling the event, describes the energy and work of the students as well as the potential for the event to grow. Again acknowledging the numerous partners that made the event possible, including the Herberger Institute for Design and the Arts, the story captured the impact that the students had, and will have, through their participation.
With the event behind us on Saturday, Nimani and his family graciously shared their insights on more of the region. We spent the weekend visiting the National Gallery of Albania in Tirana, the national enthnographic museum and the museum of Skanderbeg, one of Albania’s national heroes, in the mountain town of Krujë, and the seaside port city of Durres. We ended the weekend with a round of bowling at the Taiwan complex in Tirana in honor of the Phoenix art bowling group that frequently hosts ASU’s international visiting artists.
Overall, this was a beautiful journey, if too short, hosted perfectly by Alban Nimani and his family and colleagues. I look forward to returning again soon to Prishtina to see how the E premtja e fundit event evolves and watching the progress of the students who were part of this first event. Nimani, in turn, looks forward to continuing his relationship with Arizona State University and seeing the event expand to other cities in Kosovo, Albania and other parts of Europe.
When you plan your travel to Kosovo, be sure to include a Last Friday in Prishtina. It will be rewarding.
Faleminderit (thank you), Kosovo!
Links:
As part of his residency with the Herberger Institute, Nimani composed short soundtracks for YouTube videos on two projects supported by the Herberger Institute, including Valley of the Sunflowers and Desert Initiative:
And see more pictures here:
–Greg Esser is director of the Desert Initiative, which is housed at the ASU Art Museum in the Herberger Institute for Design and the Arts.
Defending Diablo
NOTE: This is a composite photo-illustration of an anaconda by PR Assistant Karen Enters, not an actual representation of Diablo…
Last month, I defended Diablo in front of Arizona State University’s Institutional Animal Care and Use Committee.
Diablo is the 6-foot Anaconda snake that will inhabit one of Juan Downey’s sculptures for the fall exhibition The Invisible Architect.
I have done a lot of things as a contemporary art curator, especially as the role has become more collaborative in the creative process and with the community. I have worked with artists on site-specific installations inside and outside of the Museum, commissions, residencies and socially-engaged work. (John Spiak’s blogs on this site about Gregory Sale’s Social Studies project are a great example.) But this is the first time that I’ve had to defend a live animal “protocol” or investigate the eating (and defecating) habits of large snakes.
We will be borrowing Diablo from the Phoenix Herpetological Society, and they will be caring for him throughout the exhibition and have fully vetted his three-month habitat.
Curiosity and spectacle aside, the reason that I’m doing this is because it is a very powerful piece. Downey first installed the work in 1973, and it was originally produced for a show at The Americas Society in New York. The snake lives during the exhibition on a spectacular hand-drawn map of Chile and is a reference to the North American multinational copper company the Anaconda Mining Company. Anaconda was active in Chile before the nationalization of mining in Chile, which is one of the factors that led international business and its governmental surrogates to eliminate elected democratic president Salvador Allende and replace his government with the Pinochet military regime.
Over the next few months, we’ll be building the platform for the piece and finalizing the exhibition design towards its opening in late September. Many thanks to Lekha Hileman Waitoller, curatorial assistant, who has been managing this effort. She has an interesting new line on her resume.
–Heather Sealy Lineberry
Senior Curator and Associate Director
Curator John D. Spiak Leaving ASU Art Museum for Position in Santa Ana, Calif.
Arizona State University Art Museum announces that John D. Spiak, Curator, will be leaving the Museum in August for the opportunity to lead an institution’s vision as Director/Chief Curator of California State University, Fullerton’s, Grand Central Art Center in Santa Ana, Calif.
Spiak joined the ASU Art Museum as Curatorial Assistant in 1994, and served as Curator from 1997 until August 2011. In his almost 17 years with the Museum, he has been responsible for leading such initiatives as Moving Targets (video), Social Studies (social practice) and Night Moves (dance). In 1997 he founded the annual ASU Art Museum Short Film and Video Festival, which he continued to direct, presenting the 15th annual festival this past April. He’s been involved in strategic planning and fundraising efforts and has curated over 50 exhibitions, including solo projects with artists Pipilotti Rist, Josh Greene, Shirin Neshat, Jon Haddock, Angela Ellsworth, Nadia Hironaka and the recent project It’s not just black and white with artist Gregory Sale.
“It is bittersweet that I depart the ASU Art Museum and the Arizona arts community,” Spiak said. “This has been my home for 17 amazing years and the place where I was afforded the opportunity to develop my curatorial voice. This would not have been possible without the incredible support and guidance of Marilyn Zeitlin, Heather Lineberry and Gordon Knox. I have found inspiration throughout this community, from artists, gallerists, collectors, supporters and colleagues. I look forward to continuing these collaborations toward mutually beneficial projects, as well as retaining the many friendships that have developed for me and my family.”
“John is as amazing a colleague as he is a curator,” said ASU Art Museum Director Gordon Knox. “From our internet presence to the Social Studies series to the video festival, John has pioneered the Museum’s current position. We will miss him among us on a daily basis. Although we are sad about his departure, this is a great move for him, and we are much better off for his contributions over the years. And to our continuing institutional collaborators at the Grand Central Art Center, I say, ‘Good on you! You have a wonderful and exciting ride ahead!’”
Re-Thinking: “Thinking About Re-Thinking”
During the course of Gregory Sale’s exhibition It’s not just black and white, the space was home to many lively discussions.
On Feb. 1, Gregory hosted “Thinking About Re-Thinking,” a panel moderated by Darren Petrucci, Director of the School of Architecture + Landscape Architecture at Arizona State University. The blurb for the event, which was part of the Museum’s “Re-Thinking the Museum” series, went like this:
“Is the museum defunct? Can it shed the elitist and colonial past? Can it be remade? Gordon Knox, Director of the ASU Art Museum, will argue for a new, socially engaged museum; Adriene Jenik, Director of ASU’s School of Art, will discuss the appeals and perils of museum involvement from the artist’s point of view; and Richard Toon, ASU’s Director of Museum Studies, will argue that the inherent contradictions of the museum are why it continually changes, why it must be continually rethought and why there is no such thing as the museum.”
Which is pretty much what happened, except that Adriene had to cancel, so Gregory represented the artist’s perspective on the panel and read aloud something that Adriene had written for the occasion, as well as offering his own perspective. And the conversation went in some fascinating and unpredictable directions, as you can see for yourself from the abbreviated version posted here.
Final Week of Programs for It’s not just black and white
ASU ART MUSEUM invites you to join us for the final week
of programs for the three-month-long project
It’s not just black and white
Gregory Sale – Social Studies Project 6
http://itsnotjustblackandwhite.info/
(Sheriff Joe Arpaio event, Black Canyon/Adobe Mountain students, Angela Davis event)
This public project has engaged many constituencies of the criminal justice system – including last weeks programs with Sheriff Joe Arpaio, students of the Arizona Department of Juvenile Corrections Adobe Mountain and Black Canyon high schools, and the standing room only event with Angela Davis.
The multiple dimensions of the project, anticipated and unanticipated, now invite a period of evaluation, reflection and contemplation.
We invite you to join in a series of activities during this final week.
Tuesday, May 10, 4 pm – 5 pm
A walking meditation led by Conscious Connections. This organization provides yoga and meditation study in at-risk and diverse communities.
Tuesday, May 10, 6 pm – 8 pm
AZ Common Ground, along with its partners the South Mountain Re-entry Coalition and representatives from Phoenix Police Department, come together to consider how South Mountain is “Changing the Face of Re-entry.”
Thursday, May 12, 11 am – 5 pm
A small group of former inmates who helped paint the black and white stripes on the gallery walls in February, and who have now completed their sentences, will return to the museum to paint the black stripes white.
Additional programs will be announced.
Please consult the calendar at http://itsnotjustblackandwhite.info/
It’s not just black and white began with the current state of corrections in the
U.S. and Arizona, most specifically Maricopa County, and continues to develop
over the course of the artists three-month residency, concluding May 14, 2010.
It’s not just black and white is supported by grants from
The Andy Warhol Foundation for the Visual Arts and
Friends of the ASU Art Museum.
Additional Blog Posts
Angela Davis, Sheriff Joe Arpaio, Youth in Detention = Social Practice
Reconnecting – It’s not just black and white
Dream like you mean it: The Mother-Daughter Distance Dance
Another Active Week and the Schedule for April
Waiting for Release, Sentencing Reform & Welcoming Home
Invitation to Join Us for Volunteer Event – GINA’s Team
Inside & Outside – It’s not just black and white
More Similar Than Different + Tent City Jail Tour Opportunity
You can’t move forward until you know where you are
Olympic Gold Medalist, Gina’s Team and PVCC Students!
IT’S NOT JUST BLACK AND WHITE: Gregory Sale – Social Studies Project 6
Reconnecting – It’s not just black and white
April is drawing to a close, and it has been an extremely busy month for projects associated with Gregory Sale’s Social Studies project It’s not just black and white.
The month began with the third public tour of Tent City Jail, another informative, eye-opening and direct experience opportunity for all involved.
On April 9, the Museum was fortunate to host a portion of the School of Social Transformation, Justice & Social Inquiry’s 1st Annual ASU Human Rights Film Festival. The afternoon, organized by the School of Social Transformation in collaboration with the Tempe Chapter of Amnesty International and ASU Art Museum, was based on the theme of Prisoner’s Rights and Militarization of Justice, screening the films Cointelpro 101 and The Response. The screening was followed by a lively discussion on the topics, led by Alan Eladio Gómez, Ph.D. Borderlands Scholar and Assistant Professor in the School of Justice and Social Inquiry at ASU.
The organization Reentry and Preparedness, Inc. (REAP) hosted a meeting on April 12 for its board of directors and advisory board. Reentry and Preparedness, Inc. (REAP) is dedicated to providing green job training, transition training, and mentorship for the families of the reintegrators from prisons and jails. The event was organized by Carol Manetta, Executive Director of REAP, as part of It’s not just black and white Open Bookings.
The Civil Dialogue Project on April 13 focused on creating a safe space for divergent viewpoints. Using the technique of civil dialogue, ASU faculty from the Hugh Downs School of Human Communication facilitated a dialogue focused on two hot topics: incarceration and prisons. This project was an opportunity for students and the public to dialogue safely about issues that could be polarizing, in an effort to promote understanding. The event was facilitated by Clark Olson, Instructional Professional, and Jennifer Linde, Lecturer, at the Hugh Downs School of Communications.
Through arrangements made by the artist, working in direct relationship with the administrations of Adobe Mountain and Black Canyon high schools of the Arizona Department of Juvenile Corrections, fifteen male and female students joined us at the Museum on April 18th for their first of three full-day visits. The students, along with their teachers, administration and ASU students, received a tour of the Museum and were provided a brief introduction to It’s not just black and white by the artist. We all walked to the School of Art, where we joined Stephen Gittins’ photo class and were given a tour of the studios and darkrooms. We took a walk through campus to the Memorial Union, where we enjoyed a lunch and conversation together. Upon arriving back at the museum, the art supplies were ready for the students to add their artistic expressions to the public wall within the gallery space. ASU Graduate Teaching Assistant Ashley Hare, of the ASU School of Theatre and Film, then led the students through a series of performance and improvisational workshops. Finally, the students walked over to the back of the Nelson Fine Arts Center theatre spaces and worked with graduate students through a puppetry workshop, creating their own puppets out of the masses of supplies made available to them.
A program the evening of April 19th combined two diverse groups in conversation. The first group was criminal justice students of Professor Cathryn Mayer from Brookline College who arranged guest speaker Deputy Director Charles Flanagan from the Arizona Department of Corrections. The second group were students from ASU professor Dr. Alesha Durfee’s Women and Social Change class who organized a panel including Maricopa County Chief Probation Officer Barbara Broderick of the Adult Probation Department, Sue Ellen Allen of Gina’s Team, Peggy Plews of Arizona Prison Watch and Donna Hamm of Middle Ground Prison Reform. The entire group of sixty-five individual in attendance received a wide range of views and perspectives before engaging in respectful question and answer dialogue for an extremely successful event.
This past Saturday, April 23, as an Open Booking, The United Teams for Restorative Justice took over the space, providing a panel presentation of five organizations and their constituencies who engage with the criminal justice system, helping individuals heal and move forward in life. The five organizations in attendance and being recognized for their tireless efforts included Moma’s House, for its dedication to helping abused women escape the abuse and start a new life; Arizona Peace Alliance, for having a Department of Peace added as a cabinet level position in the government and for legislation aimed at teaching peaceful solutions; Gina’s Team, for its work to ensure inmates basic life needs are met; Reentry and Preparedness, Inc., for its dedication to support and renew those who have been incarcerated and deliver them gently back into society; and finally Phoenix Nonviolence Truth Force, for its trainings in peaceful solutions to everyday problems. According to United Teams for Restorative Justice, it is is an organization dedicated to helping any party having contact with any criminal justice agency. They help not only the defendants and the victims but their families as well. The event was organized by the United Teams David DeLozier.
This morning, April 26, the Maricopa County Adult Probation Executive Management Team (EMT) held their monthly meeting in the gallery. The EMT consists of a Chief Probation Officer, three Deputy Chief PO’s and eleven Division Directors. The Maricopa Adult Probation has about 1,100 employees and is responsible for supervising a monthly average of 58,264 probationers. The EMT meets monthly to focus on the strategic plan, managing for results and departmental goals in order to ensure that the departmental mission is realized. The meeting was organized by Therese Wagner as part of the Open Bookings.
And tonight we host the event “Incarceration and the Mentally Ill: Punitive or Restorative Justice?,” a formal dialogue with approximately twenty participants discussing the care and treatment of those with mental illness as their lives intersect with the criminal justice system. The goal is to bring together individuals with diverse perspectives and experiences, from the advocates for increasing rehabilitation of mentally ill offenders to those who feel the criminal justice system in place in Arizona is working well. The event is organized and managed by Mary Lou Brnick of the non-profit organization David’s Hope, with support from the Office of Individual and Family Affairs at the Arizona Department of Behavior Health Services and the Arizona Mental Health and Criminal Justice Coalition. The public is invited to observe the dialogue and participate during Q & A.
But it has been the past few days that have provided some amazing reconnections…
Last Friday a Cub Scout group visited the space. The scout leader, an Eagle Scout in ranking, was in the space sharing insights with his scouts. He encouraged them to express themselves artistically on the public wall as he spoke to them about the topics of the overall project. As he completed his conversation with the boys and allowed them time to draw, I approached and thanked him for his thoughtfulness toward the project and for sharing that thoughtfulness with his troop. It turns out their scout leader has a connection with the Museum; he toured the location many times and had been involved with educational outreach programs as a student at McClintock High School in Tempe. He expressed how those experiences truly influenced his life and how he is so pleased to be able to share those similar experiences with his young troop.
On Monday our students from Adobe Mountain and Black Canyon reconnected with us for their second visit. It was so wonderful to see their smiling faces once again and hear of their eagerness to get started for another day of activities. Gregory began the day with a little presentation on the history of stripes, all through small black and white drawings. He started with an image from “a mural in Italy painted around 1340 of three young women in stripes condemned to prostitution saved by Saint Nicolas,” shifted to image of Holocaust uniforms, then images of stripes as portrayed in the media and pop culture, shared the Razzle Dazzle camouflage used on ships during World War I, then the use of stripe in architecture, in patterning and finally examples of stripes used by contemporary artists. He talked about these historic stripes’ association with the current use of stripes in our community and within the exhibition, having the students consider their use and meaning more deeply.
Gregory then challenged the students to reconsider the stripes on the wall of his space. If they had the opportunity, how would they make adjustments to his vision? Each student was then invited to select an ASU student collaborator and express their vision through a painting workshop orchestrated on the floor of the gallery space. The results were fantastic, and each team had the opportunity to share their insight, creating a great dialogue with each other and the space of the Museum.
A walk across campus for lunch together at ASU’s Secret Garden provided the opportunity for a communal meal and insight from Heather Landes, Associate Dean of the Herberger Institute for Design and The Arts. Heather provided the students deeper knowledge of the opportunities available to them in the Arts and Design through ASU. She talked about the application process and invited them all to join us as students at ASU upon the completion of their high school education.
After lunch our dynamo colleague, Elizabeth Johnson, Coordinator, Public Practice in the School of Dance, got the students moving. She worked with them collectively to get their bodies moving, first in basic movements then gradually building up to more choreographed series. The students broke off into groups and choreographed their own dances in relationship to the conversations of the day, then performed them for the other groups. We sat together and talked about the dances we had just observed and shared our overall impressions on the experiences. You could tell by the smiles and energy, it was extremely successful.
The students then loaded into their van and were shuttled off to the other side of campus to engage with School of Art Professor Angela Ellsworth’s intermedia performance art class. The student were greeted by the ASU students and given an overview of their studies. They talked about a current project they were developing and asked the high school students if they would assist. The project is titled “Cyborgs vs. Humans,” a parking lot tag style game that examines current culture and technologies. The rules for the activity were explained, and then everyone went to the parking lot for round one. The Cyborgs won round one in less than five minutes, then we all went back inside and debriefed. The information was gathered regarding successes and failure, differing options and possibilities. The game rules were adjusted and it was back to the parking lot for round two. Round two proved to be much more successful, a game lasting just over 10 minutes and exhausting everyone. At one point during the game, one of the high school students instructors turned to me and said, “It’s so good to see this kids get the opportunity to be kids,” and I would have to agree. It was good knowing that these students received a great day of activities and were probably going to get a great night’s sleep.
The students weren’t the only reconnection that happened on Monday. Mid-morning Erik, one of the original ALPHA program inmates who collaborated with Gregory to paint the stripes within the gallery, showed up at the Museum with his girlfriend, Lisa. Erik had been released, and it was so great to see him at the Museum in his own clothing. He toured Lisa through the space and shared the project and his experience with her, expressing the project’s intent as if he was leading a docent tour. He pointed out his contributions to the public wall as he reconnected with me, Gregory and Elizabeth Johnson, with whom he had performed a dance during his original visit. Before we knew it, Erik was down on one knee with a ring in his hand, proposing to Lisa, who immediately said YES!
Reconnecting is important, can be magical and is necessary at times in helping move forward in positive directions. I hope there are many more of these moments ahead!
-John Spiak, Curator
Additional Blog Posts
Angela Davis, Sheriff Joe Arpaio, Youth in Detention = Social Practice
Reconnecting – It’s not just black and white
Dream like you mean it: The Mother-Daughter Distance Dance
Another Active Week and the Schedule for April
Waiting for Release, Sentencing Reform & Welcoming Home
Invitation to Join Us for Volunteer Event – GINA’s Team
Inside & Outside – It’s not just black and white
More Similar Than Different + Tent City Jail Tour Opportunity
You can’t move forward until you know where you are
Olympic Gold Medalist, Gina’s Team and PVCC Students!
IT’S NOT JUST BLACK AND WHITE: Gregory Sale – Social Studies Project 6
Re-Thinking the Museum: Curator Ian Berry on “A Manifesto of Yes: Optimistic Practices in Art and Teaching”
Here’s another in our series of “Re-Thinking” videos, this one an abridged version of Tang curator Ian Berry’s talk here at the Museum.
Dream like you mean it: The Mother-Daughter Distance Dance — It’s not just black and white
As the mother of a 13-year-old girl, I am now learning, from the other side of the relationship, just how much adolescent girls both need and struggle against their mothers. The important part is keeping the vital lines of communication open, even if it’s just sitting in the car listening to the radio together as I drive her to school in the morning. I take being in the same space with my daughter for granted, the same way I took my mother’s presence for granted. But these are not givens.
Last Saturday, I witnessed the mother-daughter bond strung out over a distance that was both physical and emotional. The daughters – Chloe, a.k.a Coco (10), Alliyah (10) and Angel (20)– were here in the Museum; their mothers – Felicia, Neesha and Teresa respectively – were at the Maricopa County Sheriff’s Office’s Estrella Jail, where they are inmates.
As part of Gregory Sale’s project “It’s not just black and white,” both mothers and daughters had been working with Teniqua Broughton, director of programs at Free Arts, and ASU’s Coordinator for Public Practice Elizabeth Johnson, as well as with Gregory, to develop dances that they would perform with and for each other via Skype, in what we were all calling “The Mother-Daughter Distance Dance.”
This idea – of mothers and daughters dancing together but apart – seems to strike a chord with everyone who hears about it. Somehow even the idea of the dance suggests the core issue that Gregory is exploring in his project: The real and too-little discussed impact of our incarceration system on all of us, as individuals and as a community.
It took a while to get the connection between the Museum and the jail working – technical difficulties were to be expected, since the point of jail is to isolate the inmates. When the connection finally succeeded and we could see the three women, standing in their baggy striped uniforms in a bare concrete jail yard, it was a relief: Although most of us watching didn’t know the women, they weren’t just anonymous inmates. They were the mothers of the three girls we’d been watching, in the gallery with us, as they waited patiently for their mothers to appear onscreen.
And the connection, when it was finally established, wasn’t perfect. It was like watching people on the moon – that same sense of delay and distance, of words and actions not synched with each other, of the unbridgeable gap between our world and theirs. Elizabeth became the interpreter on our end, and Gregory, who was at Estrella, seemed to take on the role of interpreter at the jail. Most of the small group of people in the gallery couldn’t hear exactly what the mothers were saying as they read their daughters the letters they’d written them, on subjects like change and beauty, but the daughters, huddled around the laptop that also showed their mothers’ images, drank their mothers’ words in and understood.
It was intensely clear how linked these women and their children were, regardless of whether they were able to communicate directly with each other, as if Skype was just the tool that laid bare that connection for the rest of us to grasp. We were the ones seeing the connection and the distance between the mothers and the daughters – the mothers and daughters were already well aware – and it was heartbreaking, all the more so when the screen suddenly went black and the words “Connection lost” appeared. It felt like losing something precious and knowing you might not find it again.
Once Gregory and Elizabeth managed to reestablish the connection, the mothers performed the dances they’d developed for their daughters, first individually, then together. The dances grew out of gestures the mothers had worked out in a workshop with Elizabeth that prompted them to think about the values they wanted to pass on to their daughters. Their movements were eloquent, powerful, real. They said so much with such economy, expressing in gestures the things they couldn’t say in words.
Then the daughters received gifts and notes from the mothers, and the mothers, on their end, received gifts and notes from their daughters. These notes weren’t shared in detail, which seemed appropriate. But it was clear that Angel, the oldest of the three girls, had a more difficult relationship with her mother than did the two younger girls. I learned later that unlike the younger girls, Angel had not grown up with her mother and had mixed feelings about participating initially. But in the letter she wrote to her mother, she said that she believed, for the first time in her life, that she and her mother were ready to live at peace with each other and to put the past behind them.
Finally, the mothers and daughters performed together, the same dance, the same moves, in their separate locations. They performed to an upbeat, up-tempo song with the refrain “You and me, baby, we’re stuck like glue.” Elizabeth explained later that the seed from which the dance grew was one main choreographed phrase, based on gestures that described the group’s collective definition of beauty.
When the performance had ended and the event was drawing to a close, MCSO Deputy Chief MaryEllen Sheppard, who has been instrumental in making Gregory’s project happen, addressed the three women in jail directly via the laptop. She thanked them for sharing their daughters with her and with the program, and told them what wonderful children they had. And she concluded by telling them precisely what all of us had just witnessed: “Where you are is not who you are. And we know that.”
—Deborah Sussman
Additional Blog Posts
Angela Davis, Sheriff Joe Arpaio, Youth in Detention = Social Practice
Reconnecting – It’s not just black and white
Dream like you mean it: The Mother-Daughter Distance Dance
Another Active Week and the Schedule for April
Waiting for Release, Sentencing Reform & Welcoming Home
Invitation to Join Us for Volunteer Event – GINA’s Team
Inside & Outside – It’s not just black and white
More Similar Than Different + Tent City Jail Tour Opportunity
You can’t move forward until you know where you are
Olympic Gold Medalist, Gina’s Team and PVCC Students!
IT’S NOT JUST BLACK AND WHITE: Gregory Sale – Social Studies Project 6