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	<title>social justice &#8211; Baltimore Magazine</title>
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	<title>social justice &#8211; Baltimore Magazine</title>
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		<title>GameChanger: Caryn York</title>
		<link>https://www.baltimoremagazine.com/section/gamechangers/caryn-york-breaks-down-workforce-barriers-job-opportunities-task-force/</link>
		
		<dc:creator><![CDATA[Lauren Cohen]]></dc:creator>
		<pubDate>Tue, 23 Feb 2021 18:25:59 +0000</pubDate>
				<category><![CDATA[GameChangers]]></category>
		<category><![CDATA[News & Community]]></category>
		<category><![CDATA[Caryn York]]></category>
		<category><![CDATA[Job Opportunities Task Force]]></category>
		<category><![CDATA[social justice]]></category>
		<category><![CDATA[Workforce]]></category>
		<guid isPermaLink="false">https://www.baltimoremagazine.com/?post_type=article&#038;p=104254</guid>

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			<p>When she graduated from Baltimore City College in 2002, Caryn York thought she knew where her life was going.</p>
<p>“I was going to be some sexy international jet-setter,” she says, living somewhere like Geneva, Switzerland, maybe working as a lawyer negotiating a nuclear missile treaty or two.</p>
<p>But after getting her international studies degree from Washington College on the Eastern Shore, the Park Heights native realized she didn’t have to go anywhere to do meaningful policy work. For the last decade, York has had roles in state and local politics, and today—as the youngest-ever CEO of the statewide, city-based nonprofit Job Opportunities Task Force (<a href="https://jotf.org/">JOTF</a>)—she’s making big changes by growing the 25-year-old organization’s footprint.</p>
<p><strong>What does JOTF do and what issues are you trying to address?<br />
</strong>Our mission is to help low-wage workers advance to high-wage jobs. Our work really focuses on eliminating the educational and employment barriers for workers to access the job skills, and increasing wages and job opportunities, to be successful and support themselves. We&#8217;re a bit unique in that, where you&#8217;ll find organizations that focus just on programs, research, or policy advocacy. We do all three and find that synergizing them is important to the success of our mission.</p>
<p><strong>What are some examples of your programs?<br />
</strong>For the past 14 years, we&#8217;ve run Project Jumpstart, the premier pre-apprenticeship construction training program in Baltimore City. We focus on the trades of carpentry, electrical, and plumbing. We partner with Associated Builders and Contractors (ABC) for instructional training, safety training, and job placement support. The demographics of our program are about 99 percent African-American males. More than half have some type of criminal justice involvement. More than half enter the program lacking either a driver&#8217;s license or significant work history and are saddled with a ton of challenges that directly impact their ability to secure employment.</p>
<p>We also pay for driver’s education, knowing that transportation is a huge barrier for folks. We take for granted that we were able to afford this when we were younger—$200 or however much it was back then. There are now individuals in their 40s and 50s who don&#8217;t have a license because of this.</p>
<p>We help navigate any and all legal challenges, too, appearing in court with individuals, to act as an advocate, to help with challenges with child support. Every Project Jumpstart graduate is also eligible for up to $2,500 upon placement in employment, which they can use to actually get a car. That’s the idea of aligning access to capital with access to transportation. Many of our folks don’t have networks of support. We are their network of support. We try to make them comfortable with bank accounts and show them how to budget, as well as build a credit profile.</p>
<p><strong>And you also have a bail fund, correct?<br />
</strong>Our second program is our community bail fund. Last year, in Baltimore City, we had been engaging in bailout efforts. The idea is that individuals are sitting in jail, for non-violent offenses, more often than not, simply because they’re poor, because they don’t have $100.</p>
<p>We use those examples to show that this system is not working. Instead of putting folks in jail, maybe if we align them with community-based organizations, support systems, and resources, they’ll actually stay out of the system. Instead of using a bail bondsman, we bail them out. When we ensure that they appear for court and are helping with their reentry, we actually get their bail money back that we paid. Whether it’s $100, or whether it’s $50,000, we get redeposit it into our fund so that it can be used for other people. It’s a revolving bail fund. I&#8217;m still shocked that we’re doing it in the middle of a pandemic, but it’s clearly needed. We bailed out about 10 individuals the week of Thanksgiving. But we also understand that our programs can’t fix everything.</p>
<p>&nbsp;</p>
<h4>&#8220;Individuals are sitting in jail, for non-violent offenses, more often than not, simply because they’re poor, because they don’t have $100.&#8221;</h4>
<p><strong><br />
What are you focused on now?<br />
</strong>A big portion of our agenda since 2018 has been focused on decriminalizing poverty. This is actually a result of one of our recent reports, which is our third strategy: research and public education. We are collecting our own data, disseminating our own data, disaggregating it, and then drafting reports and white papers to generate conversation that could help drive policy reform.</p>
<p>In 2015, after the Baltimore Uprising, we started to do our own investigation. All the fires are gone and the city still looks the same—we still have the same issues. What is up with this interaction between poor people and the cops? After a two-year investigation, we found that the majority of folks interacting with the criminal justice system are mostly because they cannot afford the financial demands of the law. And this tends to weigh more heavily and be more pronounced in communities of color.</p>
<p>For example, one of the big things we find in our pre-apprenticeship construction training program is you have to have a car. And by law, if you’re going to have a car, you have to have car insurance, but car insurance companies are able to use what’s called &#8220;non-driving&#8221; factors when they’re setting their premium rates. They’re using things like credit, education, income, and zip code, but that means that certain folks are going to be paying more for car insurance than others.</p>
<p>Recently, we ran a car insurance estimate for a graduate and found it was $675 a month for liability only, just because this individual lived in Park Heights and only had a high school diploma. They can’t afford that, but they got to get to work. And they&#8217;re like, okay, if I go to work and make money, then maybe I’ll be able to afford car insurance. But if I live in a community that’s overpoliced and my tags are being run all the time, then I’m going to get stopped for driving without car insurance. My car is impounded and now I’m incarcerated because I couldn’t afford something that was required by law.</p>
<p><strong>And that creates a cycle.<br />
</strong>There are common pathways by which folks enter into the system. Then when they’re in the system, there’s the disparate treatment of the poor. These are the fines and fees that folks have to pay. There was a <em>Baltimore</em> <em>Sun</em> and <em>Washington Post</em> article about the fact that, it’s a pandemic, and the jail and prison populations across the state are decreasing, except the Baltimore City pretrial population.</p>
<p>Why? One of the reasons is that, instead of giving people the option of cash bail, they’re saying we’ll put a box on your ankle so that you can be out and about, but you have to pay the GPS monitoring fee. The problem is, is that in certain counties, particularly Baltimore City, they’re charging anywhere from $11 to $17 a day. We have clients whose parents or grandparents are paying $250 a week for GPS monitoring. And if they can’t pay that, the individual goes to jail. A lot of our work is getting our policy makers and other folks to understand, none of this makes sense. We’re all familiar with these systems, but many of us are actually not familiar with how they work.</p>
<p><strong>Does it seem like many people aren’t even aware that these things are happening?<br />
</strong>What I have found fascinating is that, when we frame these particular issues this way, we find that it’s actually a bipartisan issue. We’ve been able to secure support from Republicans, Democrats, Black, white, young, old. Because when you tell folks, this is what&#8217;s happening, there’s no way in the world, regardless of your political affiliation, that you can agree that that makes sense.</p>
<p>&nbsp;</p>
<h4>&#8220;A lot of our work is getting our policy makers and other folks to understand, none of this makes sense. We’re all familiar with these systems, but many of us are actually not familiar with how they work.&#8221;</h4>
<p>&nbsp;</p>
<p><strong>How did JOTF even get involved in this type of work?<br />
</strong>Quite honestly, we fell into it, because there’s no way in the world you can do the work of economic justice and be focused on advancing opportunities for our disadvantaged communities in Baltimore City and not recognize the very incestuous intersection between race, criminality, and poverty here. If we are talking about making sure that individuals are employable, then we have to get into this type of work.</p>
<p><strong>How many of these initiatives started under your tenure as CEO?<br />
</strong>I&#8217;ve been with the organization since 2011. When I started as the CEO in 2017, there were a number of things I wanted to do. I wanted to figure out how we could extend Jumpstart, which was then mostly focused on adult workers, to younger workers and job seekers. But also, how can we diversify it in terms of gender? How can we ensure that the construction industry and the building trades are attractive to women and people of color?</p>
<p>After my first year, we released the criminalization of poverty report, and we&#8217;ve just released another called <em>The Double Pandemic: Socioeconomic and Racial Inequality in the Era of COVID</em>. It talks about how COVID-19 is having devastating effects on low wage workers of color, who were already devastated prior to the pandemic, and includes policy recommendations for how we can ensure that they’re not further devastated as we try to crawl our way out of this “new normal.” It’s important for us to do this research, because it’s one thing just to be an advocate. It’s a completely different reception when you are actually coming with facts. These are the numbers.</p>
<p><strong>Where did you grow up?<br />
</strong>I grew up in West Baltimore in Park Heights, at the corner of Cold Spring and Pimlico. My neighbor was actually the new mayor, Brandon Scott. We could throw rocks at each other’s houses—that’s how close we lived—and we didn’t even know each other back then. I’m a graduate of City College high school. I live in Southwest Baltimore in Hollins Market now.</p>
<p>When folks ask, “How did you get into this work?” I say, “Listen, I’m not supposed to be in this work.” My entire life, I expected that I was going to be focused on international law. I was going to be some sexy international jetsetter. I was supposed to be living in Geneva, working in the Palais des Nations at the Conference on Disarmament, trying to do something around missile material treaties or nuclear weapons. That is what I thought I would be doing. I left Washington College [on the Eastern Shore] and thought I was going to go to Johns Hopkins University’s Advanced School of International Studies. And then you come back to Baltimore with a different lens, different experiences. You’re older, you’ve seen things. And I was like, wait, what? I don’t need to go anywhere. I’m just going stay here.</p>
<p>&nbsp;</p>
<h4>&#8220;There’s no way in the world you can do the work of economic justice in Baltimore City and not recognize the very incestuous intersection between race, criminality, and poverty here.&#8221;</h4>
<p>&nbsp;</p>
<p><strong>What have you learned over the years doing the work that you do?<br />
</strong>I came to JOTF knowing nothing about workforce barriers. I didn’t know anything about re-entry or the challenges that someone interacting with the criminal justice experiences, or how easy it is for folks to interact with the criminal justice system.</p>
<p>It was literally like a light bulb went off. There was no one really in the workforce space that was talking about the workforce challenges of those who have interacted with the criminal justice system. Part of our new report focuses on the collateral consequences of those interactions. The criminal record is your barrier to everything: Employment, housing, education. Maryland is unique in that we have the <a href="http://casesearch.courts.state.md.us/casesearch/">Maryland Judiciary Case Search</a>. Usually in other states, you have to secure some type of special authorization to access the database of criminal history, and in Maryland, all you need is internet access to access anyone’s full file all the way back to the 1970s.</p>
<p>Over 70 million Americans, according to the National Employment Law Project, have some type of arrest or conviction record that&#8217;s going to appear in a routine background check. And you have 90 percent of employers who admit to using background checks in hiring, and many employers are not looking to see what the charges are, how long ago it happened, if the person was even found guilty. I felt that it was incumbent upon us to make sure we understood that our policies around public safety were actually in direct conflict with the policies that we were trying to push to increase economic opportunity for these same populations. That’s really been our focus and it’s a lot of work.</p>
<p><strong>Where does JOTF get its funding?<br />
</strong>Historically our funding has been heavily philanthropic, but we’ve started to focus more on private and corporate donations. It was really because we just weren&#8217;t in the same spaces with a lot of these corporations and individuals. They probably see JOTF and say, “Oh my goodness, they&#8217;re like the ACLU, the NAACP.” Then we get in the room and start to frame things and they&#8217;re like, “Where have you all been?” We&#8217;re here.</p>

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<p><a href="https://www.baltimoremagazine.com/section/gamechangers/caryn-york-breaks-down-workforce-barriers-job-opportunities-task-force/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>Tough as Nails</title>
		<link>https://www.baltimoremagazine.com/section/historypolitics/power-nails-decals-uses-nail-art-to-spread-social-messages/</link>
		
		<dc:creator><![CDATA[Jess Mayhugh]]></dc:creator>
		<pubDate>Thu, 12 Jul 2018 08:30:00 +0000</pubDate>
				<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[Style & Shopping]]></category>
		<category><![CDATA[beauty]]></category>
		<category><![CDATA[Charlotte James]]></category>
		<category><![CDATA[feminism]]></category>
		<category><![CDATA[nail art]]></category>
		<category><![CDATA[Power Nails Decals]]></category>
		<category><![CDATA[social justice]]></category>
		<category><![CDATA[Valentina Fiamma Ziino Colanino]]></category>
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			<p><strong>Charlotte James was a self-described “obsessive” nail biter</strong> until she was 24 years old. “I talk a lot with my hands and would see people looking at my horrendous nails,” says James, now 26. She says the decision to indulge in gel manicures led her not only to prettier, longer nails, but to the world of nail art and, eventually, her very own business. </p>
<p>Right around the time of James’ nail awakening—which also happened to correspond with the last presidential election—a light bulb went off for her and her friend Valentina Fiamma Ziino Colanino. The duo, who met through an exchange program in Argentina during high school, were feeling very politically engaged and wanted to find a way to express themselves. Suddenly, it occurred to them: nail art! </p>
<p>“We see people’s hands all of the time,” says James, “and while you can’t necessarily be in a boardroom in a T-shirt with sparkles that says something political, you can be at an office job with nails that say ‘queen’ and have wax prints on them to express your cultural pride and power as a woman.” </p>
<p>At first, James and Colanino discussed creating nail art featuring sayings such as “nasty woman” and “bad hombre,” and other Trumpian sound bites, but then they had a sudden change of heart. “We decided what we actually wanted to do was to celebrate and uplift women and not place focus on other people’s words,” James says. “So we designed patterns based on different textiles and amazing women through history who have inspired us. I am black, and Valentina is from Argentina, so we had a desire to create products especially for black and brown women dedicated to uplifting that cultural diversity. We wanted to make something for us.” </p>
<p>From there, <a href="http://www.powernaildecals.com/">Power Nail Decals</a> was born. The e-commerce site launched in November and features 20-25 different colorful nail wraps or decals that sit on top of your nails and act similarly to a temporary tattoo (they are sealed with a layer of top coat). </p>
<p>Since Power Decals launched, the brand continues to grow through local makers’ markets, online sales, and social media. James does all of the production here in Baltimore, while Colanino creates the designs in Argentina. Yes, the two partners live far away from each other, but they get together every two years and manage to make it work. </p>
<p>“We hope to continue to expand our market,” says James. “We’d like to work with more nail technicians, salons, and retail shops but also have a lofty ultimate goal of one day having our own salon that could bring something more curated and focused on nail art to Baltimore. The nail game is getting crazy.”</p>
<p>Visit Power Nail Decal&#8217;s <a href="http://www.powernaildecals.com/">website</a> and follow them on Instagram <a href="https://www.instagram.com/powerdecals/?hl=en">here</a>.</p>

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<p><a href="https://www.baltimoremagazine.com/section/historypolitics/power-nails-decals-uses-nail-art-to-spread-social-messages/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>Direct Message</title>
		<link>https://www.baltimoremagazine.com/section/historypolitics/local-company-mess-in-a-bottle-uses-shirts-empowering-messages/</link>
		
		<dc:creator><![CDATA[Jess Mayhugh]]></dc:creator>
		<pubDate>Wed, 30 May 2018 08:30:00 +0000</pubDate>
				<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[Style & Shopping]]></category>
		<category><![CDATA[Clipper Mill]]></category>
		<category><![CDATA[Kalilah Wright]]></category>
		<category><![CDATA[Mess in a Bottle]]></category>
		<category><![CDATA[Shark Tank]]></category>
		<category><![CDATA[social justice]]></category>
		<guid isPermaLink="false">http://server2.local/BIT-SPRING/baltimoremagazine.com/html/?post_type=article&#038;p=1592</guid>

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			<p>Kalilah Wright’s cell phone rings in her Clipper Mill studio, and on the other end is a customer who didn’t receive a T-shirt order she had placed with Wright’s company, <a href="http://www.messinabottle.com/" target="_blank" rel="noreferrer noopener">Mess in a Bottle</a>. As Wright listens to the customer&#8217;s story about how her package got stolen, she apologizes and immediately makes plans to send her another shirt free of charge. The customer spends the next five minutes thanking Wright for not only for being so attentive, but for creating such an empowering product. </p>
<p>Wright, who was born in Jamaica, moved to Maryland to attend graduate school at Morgan State before taking a job with Under Armour as an architect for their retail stores. But after Freddie Gray’s death in 2015, she decided she wanted to do something that had more of a social impact. “That happened in my neighborhood,” says Wright. “The city was in an uproar, and this was also happening all over the country and the world. It just made me want to figure out a way to create messages for people to wear and connect to.” </p>
<p>Wright started Mess in a Bottle in 2016 and, a month later, she quit her job at Under Armour to venture out on her own. She now has her own studio space where a staff of eight people do all the order fulfillment, packaging, and screen printing. T-shirts are emblazoned with empowering messages such as &#8220;Be great today&#8221; and &#8220;100% Black- Owned.&#8221; All of Mess in a Bottle’s T-shirt designs are packaged and delivered in a reusable bottle—hence the name. </p>
<p>A year to the day from when Wright quit her job, she was on Harry Connick Jr.’s talk show, where she had the opportunity to pitch her business to <em>Shark Tank</em> star Mark Cuban, who gave her advice on growing her brand. After that, the brand exploded via social media, with local bloggers and celebrity clientele—including Emmy-winner Lena Waithe, Uber chief brand manager Bozoma Saint John, and writer Awesomely Luvvie—all sporting Wright’s designs. </p>
<p>The e-commerce company, which also sells jackets, bags, and mugs, is constantly adding new messages to its products, whether that be something Wright comes across in her travels or something based on current events. “Not too long ago in Starbucks, there was a situation where two African-American males were asked to be escorted off the premises because they didn’t buy anything, and so I created a coffee mug that says, ‘I like my coffee black, and without prejudice,’” says Wright. “Anything that really affects me, I make a shirt for.”</p>

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<p><a href="https://www.baltimoremagazine.com/section/historypolitics/local-company-mess-in-a-bottle-uses-shirts-empowering-messages/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>Highlights from Women of the World Festival in Baltimore</title>
		<link>https://www.baltimoremagazine.com/section/historypolitics/highlights-from-women-of-the-world-festival-in-baltimore/</link>
		
		<dc:creator><![CDATA[Jess Mayhugh]]></dc:creator>
		<pubDate>Tue, 01 May 2018 09:54:00 +0000</pubDate>
				<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[#MeToo]]></category>
		<category><![CDATA[activism]]></category>
		<category><![CDATA[Notre Dame of Maryland University]]></category>
		<category><![CDATA[social justice]]></category>
		<category><![CDATA[Women of the World Festival]]></category>
		<category><![CDATA[women's rights]]></category>
		<guid isPermaLink="false">https://www.baltimoremagazine.com/?p=27326</guid>

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			<p>Last Saturday, <a href="http://www.ndm.edu/" target="_blank" rel="noreferrer noopener">Notre Dame of Maryland University</a> hosted the second iteration of the <a href="http://wow-baltimore.org/" target="_blank" rel="noreferrer noopener">Women of the World (WOW) Festival</a>, a one-day event that featured a full schedule of panels, performances, workshops, and activities addressing the challenges and accomplishments of women and girls today. As a panelist, I had the opportunity to attend the event, hear from incredible activists, and reflect on the conversations and sessions throughout the day.</p>
<p>Since its launch in 2010 by Southbank Centre artist director Jude Kelly, the WOW Festival has become a visionary movement fighting for gender equality across the globe. It has reached nearly two million people in countries such as the United Kingdom, Australia, India, and Pakistan, to name a few. And while it’s only been two years since the festival was first held in Baltimore, it’s been a huge success, bringing in famed speakers and attracting large crowds.</p>
<p>Maricka Oglesby, WOW Baltimore curator and producer, explains that Kelly thought the university was the perfect place to host the event, especially as the last standing all-women’s college in Maryland. “We have similar missions of transforming the world, and this is how it comes about—through sharing ideas, concepts, and experiences,” Oglesby says.   </p>
<p>The festival kicked things off on Saturday morning with just that. In the opening keynote speech, Tarana Burke, the founder of the <a href="http://www.nytimes.com/series/metoo-moment" target="_blank" rel="noreferrer noopener">#MeToo movement</a>, touched on topics like the misconceptions surrounding the campaign and the importance of listening to sexual assault survivors’ stories. But what was most inspiring—and necessary—is how the movement has created a space for women of color to come forward and share their own stories of abuse. “People from different identities have to take ownership of this movement and stand up,” Burke explains. “That’s how we grow.”</p>
<p>In fact, this theme of inclusivity and intersectionality was evident throughout the entire festival. The program was refreshingly diverse, offering sessions led by or involving minority women.   </p>
<p>One such was called “Self-Care for Women of Color,” a workshop that focused on the barriers preventing women of color from utilizing self-care practices. In a small mock café space, a large group of minority women of all ages shared their thoughts on what self-care looks like—from getting mani-pedis to taking mental breaks—and what prohibits them from successfully integrating these practices in their daily lives—from generational stress to the exhaustion of navigating through a predominantly white workplace. Across the room, a young woman raised her hand and boldly chimed in the conversation, summing up the experience that many women of color go through. “We assume we’re good, but that doesn’t always mean we are,” she says. “There’s a lot of expectation for us to work 10 times harder to prove ourselves to the rest of society.”</p>
<p>In another session, the conversation about intersectionality materialized into a board game. Natalie Gillard, assistant vice president of Multicultural Experience at Stevenson University, facilitated a 90-minute crash course about structural inequality through <a href="http://www.factualitythegame.com/" target="_blank" rel="noreferrer noopener">Factuality</a>, a board game she created. Participants played a Monopoly-style game where each person selected a character with intersecting identities such as race, gender, sexual orientation, and class. The players moved across the board with a series of fact-based advantages and limitations based on these intersections.   </p>
<p>“The groups were clearly affected by the statistics and directives,” Gillard reflects. “I saw people who were playing on the more privileged side—like those who played rich, white, male, heterosexual characters—act more jovial, while those on the opposite side felt increasingly frustrated.”   </p>
<p>Structural inequalities were not only discussed on a domestic level, but also an international one. In the panel “Activism Beyond Borders,” I joined three women activists who used their privilege and knowledge to assist women oppressed in their societies through the lack of education and proper healthcare.   </p>
<p>Several sessions also offered safe spaces to talk about topics like sex and transgender identities. In the Sex Café, attendees debunked myths about sex, love, and relationships with Vanessa Geffrard, founder of <a href="http://www.vagesteem.com/" target="_blank" rel="noreferrer noopener">VagEsteem</a>. Meanwhile, in “Transgender Activism: On Our Own Terms,” Monica Stevens, founding member of the <a href="http://bmoretransalliance.com/" target="_blank" rel="noreferrer noopener">Baltimore Transgender Alliance</a>, explored how transgender and non-binary people interact with societal definitions of womanhood.   </p>
<p>“The festival was engaging,” describes Chinwendu Nwokeabia, a junior Notre Dame student. “I had the chance to talk about aspects of womanhood that I don’t get talk about often. I appreciate the inclusivity and diversity, and some of these individuals have left a lasting impression on me.”   </p>
<p>At the end of the day, attendees shuffled back to the main auditorium to hear <a href="http://www.roxanegay.com/" target="_blank" rel="noreferrer noopener">Roxane Gay</a>, acclaimed writer and cultural critic, discuss timely topics with Dr. Tressie McMillan Cottom. The relaxed conversation covered matters including the pressures on black and brown creators, Bill Cosby’s conviction, and even Kanye West’s tweets. The two brought everything full circle, reiterating the power of women’s voices, the existence of oppression, and the importance of supporting and mentoring other marginalized people.   </p>
<p>As a young woman of color, I left the event empowered and inspired to continue the conversation about gender equality. I realized that representation does matter. Seeing and hearing from courageous minority activists made me believe that I, too, can make a difference in this fight for solidarity.</p>

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<p><a href="https://www.baltimoremagazine.com/section/historypolitics/highlights-from-women-of-the-world-festival-in-baltimore/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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		<title>This Is What Activism Looks Like</title>
		<link>https://www.baltimoremagazine.com/section/artsentertainment/fall-arts-this-is-what-activism-looks-like/</link>
		
		<dc:creator><![CDATA[Aaron Hope]]></dc:creator>
		<pubDate>Mon, 23 Oct 2017 08:00:00 +0000</pubDate>
				<category><![CDATA[Arts & Culture]]></category>
		<category><![CDATA[History & Politics]]></category>
		<category><![CDATA[News & Community]]></category>
		<category><![CDATA[Creative Alliance]]></category>
		<category><![CDATA[Fall Arts Guide]]></category>
		<category><![CDATA[FORCE: Upsetting Rape Culture]]></category>
		<category><![CDATA[Freddie Gray]]></category>
		<category><![CDATA[Judah Adashi]]></category>
		<category><![CDATA[MICA]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Paul Rucker]]></category>
		<category><![CDATA[Peabody Institute]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[poetry]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[Saida Agostini]]></category>
		<category><![CDATA[social justice]]></category>
		<category><![CDATA[Tanya Garcia]]></category>
		<guid isPermaLink="false">http://server2.local/BIT-SPRING/baltimoremagazine.com/html/?post_type=article&#038;p=2523</guid>

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  <span class="clan editors uppers"><p style="font-size:1.25rem;"><strong>By Gabriella Souza</strong> <br/>Photography by David Colwell</p></span>
  
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  <h6 class="thin tealtext uppers text-center">Arts & Culture</h6>
  <h1 class="title">This Is What Activism Looks Like</h1>
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  We take a look at some of the key figures who are shaping both arts and activism in the city.
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  <p class="byline">By Gabriella Souza. Photography by David Colwell.</p>
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  <p  class="intro">
  he marches and protests that brought in the new year were the first indicators that 2017 would be full of political discourse and civil unrest. And, as the arts have always mirrored the world’s events, artistic expression is at a vigorous high. That’s especially true for artists in Baltimore, who have borne witness to the death of Freddie Gray and the city’s accelerating murder rate. To usher in the arts season, we take a look at some of the key figures who are shaping both arts and activism in the city.
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  Shan Wallace chose a block on the edge of two worlds to display her work. To the north of the 400 block of Park Avenue you have what some would deem progress—luxury apartments on the rise and the bustling Mount Vernon Marketplace food hall. To the south, boarded up buildings and smashed windows stand out like busted teeth. “I’m tired of looking at this shit,” the photographer and activist says, eyeing spray paint-tagged boards screwed over a bay window, underneath a sunblasted sign that still reads “Jimmy’s Chinese Food.”  “Why does this have to look like this? So I decided I’d put some art up.”
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  <h5 class="captionVideo thin">Wallace installing her work throughout the city.</h5>
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  Wallace, an East Baltimore native, has made a name for herself internationally by taking photographs that challenge the narrative of what it means to be black. There are depictions of a young father feeding a bottle to his tiny baby and protestors in powerful, open-mouthed stances at a march. It’s large prints of these photos, and others, that Wallace coats with wallpaper glue and affixes to vacant buildings on this spring day, the thud of a staple gun sealing her act of resistance. “I’m not even really supposed to be doing this, but who cares?” she says. “I just want people to embrace the community. And if you feel like you don’t love yourself, or like you hate your skin color, I want you to see my work and know people are standing with you.”
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  Wallace didn’t think twice about her action. It was innate—in her blood, so to speak. And that makes sense, because as an artist in Baltimore, she is following a lineage of artists who have similarly taken stands against social injustice, poverty, and civil inequalities in a city where these struggles are a part of daily life.
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  “We’re a highly challenged city,” says Baltimore artist and native Joyce Scott, one of last year’s recipients of a $625,000 MacArthur Foundation Genius Grant. “Our situation is just thrown in our face, and it feels like the whole world sees us as downtrodden and violent. And a very human response to this is an artistic one.”
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  Decades before the deaths of Michael Brown, Philando Castile, and Baltimore’s own Freddie Gray, Scott was referencing lynchings and rapes in her bold, luminous beadwork. You can trace the arc of Baltimore’s socially aware art from artists like Scott to the paintings of Amy Sherald, for example, who depicts her African-American subjects with power and depth, and Stephen Towns, whose work re-constructs the narrative surrounding historical figures such as slave rebellion leader Nat Turner.    
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  “When you look at other cities, you can say ‘Oh, that’s the one artist or the one organization that has activism in their work,’” says George Ciscle, founder of the curatorial practice master’s program at the Maryland Institute College of Art (MICA), as well as The Contemporary, Baltimore’s roving modern art museum. “But in Baltimore, so many of us are fighting this way—and it’s not just individual artists, it’s organizations as well. We really stand out in that regard.”
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  Nationally, and perhaps internationally, the 2016 presidential election brought artistic resistance to a new level. Artists Ai Weiwei and Kara Walker have consistently commented on political and social issues. Pulitzer Prize-winning author Toni Morrison wrote in response to George W. Bush’s 2004 election, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.”
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  If you scroll through the venerable online arts journal Hyperallergic, at least one story a day mentions art as a form of protest or exhibits with social justice-related themes. There are more public examples as well, like the “Fearless Girl” statue that now stares down New York’s Wall Street bull. (Interestingly, Baltimore’s New Arts Foundry had a hand in constructing her.) And when the Trump administration announced the possibility of drastic funding cuts for the National Endowment for the Arts, directors of major museums—the Metropolitan Museum of Art in New York, for example—spoke out in editorials.
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  <h5 class="captionVideo thin">The mural <i>I Think That She Knows</i> by Megan Lewis from The Artists For Truth inaugural benefit.</h5>
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  “Months into Donald Trump’s presidency, artists started organizing themselves and using their work as a filter or lens to address issues like immigration, equity, and privilege,” Ciscle says. “It’s not something that’s on the sidelines—it’s coming to the forefront in the national art scene.” He cites the Blue Black exhibit at the Pulitzer Arts Foundation in St. Louis, which ruminates on race in a city still grappling with the death of an unarmed black man, Michael Brown. “That might not have come together before 2016,” he says.
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  Though the national political scene has affected Baltimore, the death of Freddie Gray in 2015 had a larger resonance. Days after violence tore through the city, a mural depicting Gray went up at the West Baltimore spot where he was taken into custody. Artists organized vigils, exhibits, and concerts to give back to the community, but, just like everyone else, they’re still wrestling with its impact. Shows at Galerie Myrtis, MICA, and others tackled the black experience in America, but the response wasn’t limited to visual art. Writers D. Watkins and Kondwani Fidel, among others, have risen to national prominence by telling their own experiences of growing up in Baltimore’s poor, black neighborhoods. And in the classical music world, The Peabody Institute started offering a workshop called Art and Activism (led by Judah Adashi, who is featured on page 120) that allows music students to ponder their roles in a socially aware society.
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  “Freddie Gray has really made Baltimore look at issues of privilege, prejudice, equity, and talk about them,” Ciscle says. “I saw this with my grad students [at MICA], in regards to what they were talking about prior to Freddie Gray and since then, I’m not going to say it has put the black and white community together, but it has pointed out what the inequities are and said this is our priority as an arts community.”
  It was not a stretch, then, to imagine that Baltimore artists would respond to white nationalists marching on Charlottesville, Virginia, in August. Soon after, a Confederate monument in Bolton Hill was doused with red paint and activists placed Pablo Machioli’s sculpture of an African mother with her fist raised at the Wyman Park site of another such monument. 
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  <p class="artquote clan uppers text-center">Though the national political scene has affected Baltimore, <b style="color:#981b1e;">the death of Freddie Gray</b> in 2015 had a larger resonance.</p>
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  Machioli’s work remained as the Confederate monuments, as well as a statue of controversial Supreme Court Chief Justice Roger B. Taney in Mt. Vernon Place, were removed within a few days to much fanfare. The Walters Art Museum said in a statement that it was proud to be in a city where “monuments that glorified values we cannot condone have—literally—been taken down from their pedestals.” The Baltimore Museum of Art director Christopher Bedford—who called the removal “an opportunity to envision the art that best represents the aspirations and values of Baltimore”—is part of a panel that will decide what to do with the statues, and the spots that they leave vacant. 
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  They could take a page from Wallace, whose work gets immediate interest on Park Avenue. A car beeps a series of friendly honks, a woman lingers by a photograph of a boy on a motorbike. “How ya’ll doing?” a passing man asks.
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  “What’s going on, man?” Wallace answers, signing her photos with a marker.
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  Then a man in a rumpled red coat with bloodshot eyes walks up the block. “Are these your photos?” he asks Wallace. When she says yes, he smiles and says, “These are very nice.”
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  After he leaves, Wallace is quiet. “I would rather do this than have an art show,” she says a moment later. “You don’t always have to give back by protesting. People have to be effective any way they can. This is my way.”
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  Visual Artist, composer, musician
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  <b>Activist Work</b>:  A 2017 Guggenheim fellow and a winner of Baltimore’s Baker Artist Awards, Rucker examines human rights and communities, including the prison-industrial complex and how it relates to slavery. His exhibit Rewind, which addresses cultural and social issues relating to race, class, and power, is currently touring the country. 
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  As told to Gabriella Souza</i>: It was serendipitous because when my exhibit Rewind opened at the Creative Alliance in 2015, it was the same month that [the D. W. Griffith movie] The Birth of a Nation opened 100 years before, and that had set off a wave of white protectionism and fear in America. One of the reasons why my work is around this aspect of history is that history is repeating itself over and over again. My point was that hate groups still exist and they’re relevant and they’ve changed form. Several of the Ku Klux Klan robes I made for my show are camouflage, and I wanted to show that racism can have a stealth form, it have can have a protectionist or nationalist bent. But the thing is, you can’t always prove that it is what it is, you can’t always prove that you’re being treated differently, although you saw the person in front of you get called ‘sir’ and you aren’t getting called ‘sir’. It’s maddening, but the thing that I’ve realized is that people don’t realize what they’re doing. Even well-intended progressives, who think they’re being fair, are not acknowledging their surroundings. I love that there are a lot of white people who are putting out Black Lives Matter signs, but black neighbors matter—look at your neighborhood. Black jobs matter—look at your workplace. Who’s around you, who’s not around you? You’re in a city, Baltimore, that’s 64 percent black. 
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  <center><h5 class="captionVideo thin">Paul Rucker’s <i>Proliferation</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“My point was that <b style="color:#981b1e;">hate groups still exist</b> and they’re relevant and they’ve changed form.”</p>
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  After the [2016 presidential] election, I realized that I didn’t need to take my show to New York or Los Angeles or Chicago—this show needed to be seen in smaller places. It’s going to Ferguson, then to York, Pennsylvania, then the Institute for Contemporary Art at Virginia Commonwealth University in Richmond. Ferguson couldn’t pay for it, so I sold a piece of mine to the University of Maryland, College Park, to fund my airfare and the airfare of the photographer documenting the show, as well as the cost of shipping, building, and presenting the show. I don’t sell a work to sell a work. Anything that I sell dealing with people’s deaths, I put the money back into a show or give it to another institution. 
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  Being in Baltimore, it’s really important that we know more about slavery since this was a major slave port. We need to emphasize that slaves were not just big black men. They were pregnant women working in the fields, they were children, as soon as they could walk, who were made to shoo birds away from the field or participate in manual labor. This is important to me, but it should be important to America and American history as far as how we got here today, and who benefitted from these atrocities, and who’s benefitting now. We have to think about why we have what we have in place and how we got here—and if we don’t, it’s not going to be pretty. We’re wrestling with the soul of our city, and this city and this country are suffering.
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  Photographer, multimedia artist, and educator
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  <b>Activist Work</b>:  Garcia’s 2015 exhibit Después de la Frontera (After the Border) at the Creative Alliance told the stories of undocumented youth and families who had fled their homes in Central America to come to Baltimore. Her work “Counterpunch” documents the fighting spirit of three Latina women who work at the facilities management department at the Maryland Institute College of  Art. She is the editor and co-founder of Hyrsteria, a zine that highlights the social disparities that challenge our day-to-day lives.
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  As told to Gabriella Souza</i>: The work I make is reflective of the communities I’m surrounded by or what they’re concerned about. Especially because I am Latina, immigration is something I’ve worked on for a couple of years, and is something that I care about. It’s even more intense since the presidential election, with deportations and raids, plus just the culture shock of being an immigrant—trying to find work, deal with the language barrier. I work a lot with narrative. Stories are something really innate to people. They’re from our ancestors, something we’re familiar with from our ancestors, and I think that stories are really powerful ways of teaching people. When someone tells you a story from beginning to end, your brain is imagining yourself in that story. That can create empathy to a certain degree. I make the work that I do using stories because it’s a powerful medium of teaching people. The work that I do, regardless of what it is, is about stories and sharing.
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  <center><h5 class="captionVideo thin">Tanya Garcia photography from <i>#ShutItDown</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“oftentimes, <b style="color:#981b1e;">we’re silenced for whatever differences we have</b>, whether we’re a woman, a woman of color, an LGBTQ woman of color.”</p>
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  I did a video in my exhibit Después de la Frontera of a woman from El Salvador telling her story of coming to the U.S. where I only showed her eyes. There are a few reasons why I did that. One is to keep some anonymity about who she is because she is undocumented. But her eyes really told a story, too—everyone’s do. The expressions you make, and your gestures, show in your eyes. I wanted the viewer to be confronted with her story and not look away. It’s simple in that there’s nothing else going on visually, it’s just her eyes, her oral history essentially, so you’re really focused on her and her story. 
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  Storytelling like this is needed because, oftentimes, we’re silenced for whatever differences we have, whether we’re a woman, a woman of color, an LGBTQ woman of color. It’s combating this narrative that we aren’t important and we’re not human. The more you strip people away from their identity, their stories, their histories, their citizenship, their rights, the easier you can demonize them, call them a menace, say you should be scared of them. You’re feeding off people’s fear, and fear is really strong. Our government has done a really good job of connecting fear and safety to race, and it’s really important to contradict that narrative through personal stories of people who are responding to what they’re living through every day. Once that’s lost, it’s easy to just cast them off, ship them off as if they don’t exist, they don’t have relatives and families, they don’t have lives.
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  Composer, professor at the Peabody Institute
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  <b>Activist Work</b>: Adashi is the founder and director of Rise Bmore, a multifaceted concert held each year on the anniversary of Freddie Gray’s death, and the founder and artistic director of the Evolution Contemporary Music Series. His choral work “Rise” traces America’s civil rights struggles from Selma to Ferguson and beyond. 
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  As told to Gabriella Souza</i>: I think a lot about my own upbringing and how it relates to the things that I do now. My mom is from Romania and my dad is from Israel. I was a sheltered only child, who was taught to do well, taught to not rock the boat. I’ve definitely become more attuned to the fact that I’m first-generation American. I used to not care about it at all, because when you’re a kid, all you want is to be like everyone else, and your immigrant parents are just a hindrance to that. Then you learn how meaningful it is to be other. One of the things I’ve noticed is that what a white person goes through is relatively easy. But people want to decry calling out racism more than they want to decry racism. Apparently the word “racism” is nastier to people than the thing itself. Just like there are people for whom the Baltimore Uprising in 2015 will forever be violent when I always hold fast to the idea that the single most violent act of the Uprising was the murder of Freddie Gray. 
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  <p class="artquote clan uppers text-center">“Music is a good <b style="color:#981b1e;">figurative space</b> in which to engage with these things. ”</p>
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  That, to me, is what most of my music is about. Music is a good figurative space in which to engage with these things. There are many schools of thought about what it means to write activist music. A composer friend of mine [David T. Little] makes a distinction between revolutionary music and critical music. Revolutionary music is essentially propaganda; critical music is a sense of bearing witness to things so that they’re not forgotten, so that they don’t become casualties of cultural amnesia—you are not offering the truth or the conclusion. I think Freddie Gray is a pretty distant memory for some people, and that’s unbelievable. I do think that’s not as common with cultural traumas that affect white people equally, like 9/11. He had no intention of being the symbol that he has become, and he deserves to be alive. But he did touch something in a lot of people here, and that’s powerful. That’s what I see in Baltimore. So much art seems to come from that place—that deep love of this city, and a pretty clear-eyed awareness that we are one of the ground zeros for what it looks like when a city was conceived as hyper-segregated and people here still live that truth in many ways. Art can connect artists across different genres, races, ages, genders, and identities of all kinds, and it also invites people into what that creates. I think it has potential to heal, to transform, to make people sit with discomfort. That’s what I’m trying to do with Rise Bmore, to form community around this remembrance.
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  Poet, organizer
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  <b>Activist Work</b>: Agostini is a founding member of the Rooted Collective, which is a gathering of black LGBTQ people in Baltimore that creates events featuring music, art, and conversation centered around healing. She is a part of the Black Ladies Brunch Collective, a group of poets that just published its first book, Not Without Our Laughter. She serves as the chief operating officer of FORCE: Upsetting Rape Culture, which works to support survivors of domestic violence and sexual assault and transform cultural attitudes to prevent rape and abuse.
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  As told to Gabriella Souza</i>: At a very young age, I survived sexual abuse. I didn’t have the words for it, I didn’t know how to name it. I grew up in a family where you trusted adults, you trusted the people around you, and when I started telling people, it was hard for them to comprehend what to say to me or what to do. I just thought, ‘okay, this is my fault, this is something that is my burden, I failed the people around me.’ I took that with me, I carried that as my shame for a very long time. When I was about six, my grandmother taught me how to write, and that was the first place where I could go to where no one was telling me what I could and could not say. I couldn’t talk about being sexually abused, I couldn’t talk about the violence I was seeing in my home, I couldn’t talk about the pain I was feeling in my body, but I could write these poems. I don’t think I could articulate it at that time, but that became a point of resistance. 
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  <center><h5 class="captionVideo thin">Saida Agostini shares her piece, <i>Bresha Meadows Speaks On Divinity</i>.</h5></center>
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  <p class="artquote clan uppers text-center">“it’s not just about what it is that we’re <b style="color:#981b1e;">fighting against</b>, but it’s actually about what we’re <b style="color:#981b1e;">fighting for</b>.”</p>
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  I really carried that with me, and I was really fortunate that I had this beautiful collective of black writers who saw my work and said this is what you need to be doing. I think what we often forget about resistance work is that it’s not just about what it is that we’re fighting against, but it’s actually about what we’re fighting for. The most radical art helps us think about different ways to think, different ways to feel, and the world that we want. For me, I want a world that is safe, and a world where I don’t have to say black lives matter, where I don’t have to say that my life as a black queer woman or the lives of black trans women matter, because it’s just as accepted and as natural as breathing.
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  Everybody has their own path around artistry and resistance, and for me, storytelling and talking about my own experience and what has happened within my body has become so important for me. We’re taught that there’s this ethic of responsibility politics and if you’re black you have to present this perfect image. I did all of the right things, went to the right universities, got the right grades, and I wasn’t happy. I even tried not to be a poet for a really long time because I felt like I didn’t fit into the box of what my parents and my family would want. And I kind of kept going back to the thing where what makes me most joyful, and when I’ve seen my family and my people be most joyful, is when we’re sharing these stories. So that means that truth-telling is the best thing that I can do, when I’m standing in witness of what I know.
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  Members: Melissa Webb (MW), Amy Eva Raehse (AER), Maggie Villegas [MV], Ryan Hoover [RH], Rob Ferrell, Lillian Hoover, Bart O’Reilly, Emily Jane Soontornsaratool 
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  <b>Activist Work</b>: This collective of artists, professors, and curators organized its first benefit exhibition in June, showing more than 250 artworks by 150 local and national artists. Through the sale of those artworks, it raised $16,000 for The Center for Media Justice, the Baltimore Action Legal Team, the Enoch Pratt Free Library, and The News Literacy Project.
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  As told to Gabriella Souza</i>:  <b>MW</b>: Soon after the 2016 presidential election, Lillian [Hoover] posted an inquiry on social media asking if anyone wanted to put on a benefit exhibition. There was just this feeling of helplessness, that things had spiraled out of our control. All who responded were looking for a way to contribute—to utilize our skills as artists and organizers to unify the community around collective concerns, and to find a way to raise money to aid organizations that have long been focused on issues we care deeply about. After much discussion surrounding civil rights, police brutality, and climate change, among others, we moved toward the issue of truth, and the consistent lack thereof. The deliberate misinformation and manipulation of facts in media and political discourse encapsulated so many of the concerns we had. It turned out to be timely, right before “fake news” became the news. 
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  <b>AER</b>: The chaos leading up to—and the repercussion of—the election was sobering, just as the proliferation of fabricated information was overwhelming. The safety of our citizens felt tenuous. We were still trying to rise up, as a unified city, from the impact and implication of Freddie Gray’s death, and we suddenly had an unstable man—who openly expressed hateful, misogynistic, racist, homophobic, anti-immigrant, anti-culture views—leading our country. Baltimore needed a counterpoint to the anger—something restorative while remaining an act of resistance. We wanted to do something to send a message, and we wanted to help artists find their voices because artistic voice has been a potent looking glass and change maker throughout history. 
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  <b>MV</b>: There’s a sense of social responsibility here in amplifying the work of other activists, in educating, that I just hadn’t seen before moving to Baltimore. It’s central to how artists think here. People here don’t wait for the city or institutions to solve problems for them. They are focused on figuring out what they can do themselves. I think they recognize that it’s the best way to get shit done. And that might be frustrating, but it’s also empowering.
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  <b>RH</b>: Some artists in Baltimore address political issues as the subject of their work, some engage in political action through their work, and other artists are politically active outside of their art practice. I think this ethos comes from the city in general. We have problems, but they often bring people together to work on solutions and make a real difference. There is a lot of work to do in this regard, but there is a tremendous amount of value in bringing people together to share knowledge, perspectives, and resources. I value not just the activist spirit of the arts community, but the way the activist community welcomes and incorporates the arts into their practices. I hope these lines continue to blur even further as more relationships are built. 
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  <p class="artquote clan uppers text-center">“We wanted to do <b style="color:#981b1e;">something</b> to&nbsp;send&nbsp;a&nbsp;message.”</p>
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<p><a href="https://www.baltimoremagazine.com/section/artsentertainment/fall-arts-this-is-what-activism-looks-like/" rel="nofollow">Source</a></p>]]></content:encoded>
					
		
		
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