I attended a children’s film festival where a short film featured a rabbit aspiring to sing at "Forest Con," a music festival. In his quest, he seeks guidance from the village's best music teacher, a cricket.
He is horrendously and consistently off-key and fails to play various instruments.
despite his skill level the rabbit gets really excited starts jumping up and down and destroys the entire room of the instructor. (Literally bouncing off the walls)
The teacher is like gurl, I don’t know if I can teach him how to sing and sends him away.
The teacher, uncertain how to get thru to the rabbit, seeks advice from his friends. One suggests leveraging the rabbit's strengths, knitting socks with jingle bells.
When they bring the socks to the depressed rabbit, his jumps, once destructive, now create beautiful music.
the film concludes with all the animals forming a band and performing at forest con
thought it was a beautiful depiction on how to leverage your strengths, uplift ur friends, that is okay to divert from one dream to the next, how there’s multiple paths to achieve your goals, how having the right tools helps tremendously, how social affirmations are essential for belonging
participatory art becomes a restoration of social bonds thru collective elaboration
what happens when we build something together?
motivations for artistic attempts to encourage participation:
Guy Debord said:
The spectacle – as a social relationship between people mediated by images – is pacifying and divisive, uniting us only through our separation from one another
- Klavierstück XI, by Karlheinz Stockhausen:
The composer presents the performer a single large sheet of music paper with a series of note groupings. The performer then has to choose among these groupings, first for the one to start the piece and, next, for the successive units in the order in which he elects to weld them together.
In this type of performance, the instrumentalist’s freedom is a function of the ‘narrative’ structure of the piece, which allows him to ‘mount’ the sequence of musical units in the order he chooses.
- In Luciano Berio’s Sequence for Solo Flute:
The composer presents the performer a text which predetermines the sequence and intensity of the sounds to be played. But the performer is free to choose how long to hold a note inside the fixed framework imposed on him, which in turn is established by the fixed pattern of the metronome’s beat.
Classical compositions (ex: Bach) - are assemblage of sound units which the composer arranges in a closed, well-defined manner before presenting it to the listener
couple at sitting next to me in the airport lounge were wearing matching t shirts that say the REAL boss and delusional
i asked them how long have y’all been together
the REAL boss said “35 years”
time to welcome this seasons crops
a new harvest is palette cleansing
time to welcome freshness to the spread
then apply heat
spicy cauliflower roasts until delicately nutty
handfuls of arugula adds a peppery tang to my tongue
I love chopping veggies with my mom
we fill the same ceramic
poppy blue, with green & magenta spiral edged salad bowl
I’ve ate out of since childhood
around a round table
food is fundamental to the way we gather
after the crumbs hit the plate
I am full of gratitude
“To walk” (nehnem(I) for the Mexica (Aztecs) shares a linguistic root with “to live”
Neltiliztli, from nelhuáyotl (meaning cement or foundation) is related to “foot” (néhuatl).
The concept of truth is based on standing, on having a foundation, on being well grounded.
The glyph of the footprint for Mesoamericans represented movement, identity, location, relationality, and history. Mexica maps and writings are dotted with footprints to indicate where people were coming from and where they were headed.
mobility, memory and place making:
displacement rather than emplacement,
routedness rather than rootedness,
are the norm for many migrants
(a mobile sense of place)
“people are trapped in history and history is trapped in them.”
- James Baldwin / the Politics of Disconnection
Michel Foucault posits memory as a site of resistance
Jonathan Arac, Postmodernism and Politics:
the process of remembering can
“transform history from a judgement on the past in the name of a present truth to a ‘counter-memory’ that combats our current modes of truth and justice, helping us to understand and change the present by placing it in a new relation to the past.”
bell hooks said
“It is the telling of our history that enables political self-recovery”
colonial histories of displacement -
the so-called “Long Walk,” a term used to describe the forced removal of thousands of Navajos from Dinétah and onto a reservation in southwestern New Mexico.
“survivors of Dispersal”
The moon touched my shoulder
and I longed for a vanished love
The moon turned the desert to water
For a moment I saw islands
as they began to sink
The ocean was a dried floor
Below me is a world without footprints
I am alone I’m still alone
and there’s no trace anywhere of the drowned
The sun is setting over what was once an ocean
From Agha Shahid Ali's A Nostalgist's Map of America
While walking through the Tucson Mountains, Shahid imagines the desert landscape before him as the “dried floor” of an “ocean” that swallows entire “islands.” Apart from conjuring the myth of Atlantis, and thus the sudden loss of an entire society and culture, the reference can also be read as a nod to the geological history of the Tucson area and the Sonoran Desert more generally.
using the heat of the fireplace 2 heal my period cramps
reducing inflammation cozy cave man style exactly like my ancestors intended
on belonging :
Carol Lee Flinders defines a culture of belonging as -
the “intimate connection with the land to which one belongs, empathic relationship to animals, self-restraint, custodial conservation, deliberateness, balance, expressiveness, generosity, egalitarianism, mutuality, affinity for alternative modes of knowing, playfulness, inclusiveness, nonviolent conflict resolution, and openness to spirit.”
bell hooks - “Not speaking in the tongue of my ancestors was a way to silence ridicule”
Working to heal, to be whole has been a process of awakening, of moving from trance into reality, of learning how to be fully present. Leaving home evoked extreme feelings of abandonment and loss. It was like dying. Resurrecting the memories of home, bringing the bits and pieces together was a movement back that enabled me to move forward. All my trance states were defenses against the terrors of childhood. When I left home, I took with me unresolved traumas. Carrying the voices of my ancestors within me everywhere I called home, I carried remembered pain and allowed it to continually sweep me away. This sensation of being swept away was like spinning.
more bell hooks:
Earth is a diverse ecosystem
if we think of the natural landscapes that surround us as simply blank slates, existing for humans to act upon them according to our will, then we cannot exist in life-sustaining harmony with the earth
(Estrangement from our natural environment)
we must consistently challenge dehumanizing public representations of poverty and the poor. Restoring to our nation the understanding that people can be materially poor yet have abundant lives rich in engagement with nature, with local culture, with spiritual values is essential
When we love the earth, we are able to love ourselves more fully.
Chief Seattle in 1854:
How can you buy or sell the sky, the warmth of the land? The idea is strange to us. If we do not own the freshness of the air and the sparkle of the water, how can you buy them? Every part of this earth is sacred to my people. Every shining pine needle, every sandy shore, every mist in the dark woods, every clearing and humming insect is holy in the memory and experience of my people ...We are part of the earth and it is part of us. The perfumed flowers are our sisters; the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man — all belong to the same family.
(what union and harmony with nature look like?)
complex and contradictory
inhabiting many places at once
political, ethical, creative
has the potential to challenge exclusionary notions of “belonging”
environmental memory = the awareness of the temporal dimensions of environments and people’s sense of place
Environmental philosopher Kate Soper -
“avant-garde nostalgia” = a movement of thought that remembers, and mourns, that which is irretrievable, but also attains to a more complex political wisdom and energy in the memorializing process itself
Reclaiming Nostalgia: Longing for Nature in American Literature (2012) - Jennifer K. Ladino:
“a mechanism for social change, a model for ethical relationships, and a motivating force for social and environmental justice”
Nostalgia (in relation to migration) can:
- highlight material and political dimensions of dislocation
- inspire empathy
- potentially, alert more people
The Future of Nostalgia - Svetlana Boym:
nostalgia = a longing for a home that no longer exists or has never existed
- expresses itself in “a sentiment of loss and displacement”
- represents “a romance with one’s own fantasy”
- can be retrospective but also prospective
- fantasies of the past determined by needs of the present
- the present has a direct impact on realities of the future