Chapter 5: Seeing Power
“The flooded remnants of post-Katrina neighborhoods seemed to fit that description in all its most haunting implications. Where once houses stood, there were only stone front steps that led to homes that weren’t, their foundations disappearing amongst the tropical flora, the desiccated trash from a flood long passes still hauls into piles along the roads.” (pg. 107) Hurricane decimated the area for many years. I remember seeing all of this on television and seeing people struggle. It was a horrendous sight and I felt that the situation brought a lot more problems other than real estate.
“Chan decided that he want wanted to produce Waiting for Godot in New Orleans. And not just anywhere in the city-certainly not in one of its downtown theaters: he wanted to produce the play on the streets of the Lower Ninth Ward and Gentilly.” (pg. 108) His idea was for the play to be performed at the very site of the disaster” This struck me instantly. Out of all the places Chan went to the epicenters of the storm. It seemed like Chan wanted to provide a cultural impact on the most affected by the storm.
Chapter 6: Seeing Power
“Whenever I stepped inside, it was easy to imagine secret communities of infidels who gathered together in hushed corners around the world to plot insurrection.” (pg. 127)Anarchism is a real thing out there. I studied this for my National Security major and these types of individuals would inspire themselves with ideas that are outlawed by their governments. I believe these people want to live in a place where the government falls down and they are given the freedom to do what they please.
“The anarchists had a home, a community. The cornucopia of flyers and reading material implied that a robust community existed outside the shop’s walls. As I sat in the derelict outpost, I could imagine myself as a fresh recruit in the coordinated rebellion of writers, philosophers, punks, squatters and the disenchanted.” (pg 128)The Shop is like a family, There are strong ties among the people who are involved. This brings encouragement to do more and do do all sorts of things.
The Interventionists Nomads- Chapter, 1
“The Black Factory is a performance/installation project that takes the form of a touring large panel truck. According to Pope L, the Black Factory “Brings the contradictions of difference where it is needed most. A visit from the Black Factory provides more than thought-provoking entertainment and exploration, it presents opportunity.” (pg. 25) This project is about race and showing people a closer image on “blackness.”
“ For Rubén Ortiz-Torres, an artist based in Southern California, yard work is emblematic of the situation of Mexican immigrants in California. To be specific, it is a specific site of connection between cultures. A culturally recognized part of the informal economy in Southern California is the labor produced by Mexican immigrants who either blow leaves; mow lawns or clips hedges to make a living.” I see that Ortiz’s work is a reflection of his culture. It opens up people’s minds on how immigrants from the Southwest earns their living in life.
Artist- Logic
Logic raps about many themes that we had discussed in class. The one thing I noticed the most is racial inequality theme that is presented in his music. He is encouraging people to rise up above the hate and become heroes. There are people out there who are using racial inequality as a tool to profit and oppress people of color for the sake of their lifestyle. The positive mindset that Logic presents in his songs is so strong that people are actually trying to make a difference in their communities. Many artists are telling Logic to explore deeper into the issues and find a way to turn it into a positive manner for people.
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