Capacity involves the efforts to build strategies for organizing along with raising the status marginalized and disenfranchised communities. Our Capacity video features the Youth Resiliency Institute who provide cultural arts programming and training to youth and their families in Baltimore City. Navasha Daya and Fanon Hill describe the organizations’ methods of using multiple forms of art from dance to poetry to provide an outlet for agency building. Using the creative skills developed through YRI, youth have become become engaged politically, culturally, and locally engaged.
To view the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube channel.
Coming up next week……. Action Part 2!
The Continuum of Impact Video Series is based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.
Mosno Al-Moseeki is an international singer/songwriter and a native of Sudan. Mosno uses his music to bring a positive image of Sudan to the United States, and a positive image of the U.S. to Sudan. Mosno’s music is a pentatonic blend of acoustic rock known as Desert Electric mixed with his own Arab-poetic lyrics.
He is currently working on a full length album entitled “Novella” which is in part inspired by his cultural migration. His song “System Down (#SudanRevolts)” caused his websites to be banned in his home country. Mosno donates the proceeds from the song to Girifna (we are fed up), a non-violent protest movement based in Sudan.
He will be performing at Artscape this weekend on Friday AND Saturday!
Friday July 19th, 2013 performance with Sahffi Lynne of goatfish for the Musicians of Mercy’s Conscious Cabaret at Falvey Hall at 5:30pm
Saturday July 20th, 2013 performance with Spyros as part of the Greek Nubian Collective performance at Falvey Hall at 7pm
**Want to be featured in our profile of the week? Go to artplusjustice.org and put yourself on the map!**
As Ashley Milburn was beginning his work as an artist he struggled to find meaning or purpose in the creation of art while in the studio. It was when he began to do art that was community based that he felt that his work was truly “valuable.” Milburn describes community based art as impactful because of the engagement and sharing that the artist experiences with community. Essential to community based art he feels is the ability for the artist to give up ownership of the art making process and allow themselves to come into the project with a blank slate that is capable of being inspired from within the community itself. Driven by his passion for community art last year Milburn helped organize ROOTS Fest 2011, an outdoor festival and gathering of community-based art-makers and practitioners who engaged in community dialogues, held performances, visual art installations, films, and more in West Baltimore.
Milburn has drawn his inspiration from the community and topics that have proven timely and personal. Through his work The Hoodie Diaries, he draws attention to the way in which our society attributes entire realities to inanimate objects. His work focuses on the hoodie, which has been invented from a simple piece of clothing into a threatening and dangerous symbol profoundly embedded in racist anxiety. The construction of this false reality is used as a tool to oppress people of color and maintain the created image of a menace to society. Milburn challenges the societal perceptions of the hoodie by transforming the stigmatized clothing into three dimensional works of art whose beauty expose the false reality behind the constructed image.
In Milburn’s new project Flipped: The Art of Visualizing Racism, he continues his work focused on “flipping” and changing negative images into something transformative. “Flipped” works to highlight the deep seeded roots of racist imagery embedded in American culture by drawing examples of these images and using them in his art. Milburn’s new pieces take the images intended to dehumanize and oppress a race of people and creates a new message that works to dismantle the old. The use of the racist imagery assures that the viewer does not forget the extensive history of racism or the impact that such imagery has on manipulating societal attitudes. At the same time the way in which the images are used and flipped challenges the power behind the images by changing not only the way the images are viewed, but who is creating them.
Throughout his work Milburn consistently shows how art can be used as a tool to expose the problematic aspects of society. In his different projects he is able to take images and objects that are immersed in racism and transform them into wholly new works of art that disarm the original power and intent all the while ensuring that its history is still visible. The Hoodie Diaries can be seen at the upcoming Facing Race conference in Baltimore from November 15-17th, please visit arc.org/faceingrace for more information. For more information on The Hoodie Diaries please click here. For more information on Flipped: The Art of Visualizing Racism please click here.
The Baltimore Art + Justice Project
What’s the Word? Click to read!
- Artists Within Spotlight: Y-LLEAD – Healing the Self to Heal the Community
- Artists Within Spotlight: Single Carrot Theatre Arts Integration in an Uprising
- Baltimore Uprising Art Archive Series 4: North and Penn Visual Artists and More
- Baltimore Uprising Art Archive: Series 3 – Youth Voices
- Baltimore Uprising Art Archive: Series 2
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