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[The meeting ] has been about much more than naming oppressions. We danced (some of us), sang, laughed, wept, mourned, strategized, debated and disagreed and most importantly we dreamed. We dreamed of a beloved community.—Nyle Fort [one of the presenters]

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This description is not hyperbole. My 3 days in Chicago (my hometown) were extraordinary, often brought me to tears. In large measure this was the perfect storm of mystery, political action, and soulfulness, ritually enlivened by the best practises of Judaism. It is all and more what I’ve long desired for Quakers–no split between holiness, love, and political action.

Love, joy, outrage, smart thinking, argumentation, energy, cooperation, innovation, singing, dancing flooded the meeting of over 1000 participants—and of course the stuff of conferences, meeting and learning. I was in tears twice on the last day, first during the morning plenary which was meditative, based on the power of rocks. I wept because I felt I was so perfectly in the right place, with a community that melds spirituality and political action. We sang Jewish, prayed Jewish, danced Jewish, lit candles Jewish, and tried to fully embody Jewish justice traditions. In some weird way, I may be more Jewish than some of my Jewish buddies. Without the pedigree probably.

Secondly, our closing included words from the Palestinian activist, Rasmea Odeh, whose trial I attended in Detroit two years ago and who has now offered a plea bargain–voluntary deportation, no prison, no fine. A Black activist from the baptist preacher tradition, Nyle Fort, and Linda Sarsour, one of the main organizers of the DC Women’s March, Brooklyn born, Muslim, wears the hijab, and has been wildly targeted, joined her, all three pushing us up on our feet.

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Fortress Truman

Campus Safety and Security is available 24 hours a day to ensure a safe and secure environment for all City College students, staff members, and visitors.

—Truman College, Chicago

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Truman College is a Chicago community college a few blocks from St Francis House of Hospitality where I periodically stay in the Uptown neighborhood on the North Side. Since the early 1990s Truman College has been an oasis for me. I’ve attended workshops and talks there, perused the walls for information about community events, eaten in the cafeteria, and read quietly and peacefully. Truman College hosted an exhibition of my photographs about Native Americans. A few days ago, I’d hoped to visit Truman for many of the same reasons, especially to learn about community events.

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The late house resident, Jimmy, on the porch of St Francis House of Hospitality

A big change: security. Private uniformed security officials sat at a desk immediately inside the main entrance, a twisted form of “Welcome Desk.” Electronic turnstiles admitted only those with sufficient credentials. I asked, may I come in? Why? To check bulletin boards for local events and grab a cup of coffee. No. Sorry.

Truman College, a public institution, is now gated. As is much of our nation.

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Train platform, Wilson Station

Perhaps an incident occurred at the college that precipitated this security. A robbery or violent assault. Such incidents are often used to justify increased security. The “Shoe Bomber,” carrying an explosive of some sort, apparently attempting to blow up a plane, led to x-raying removed shoes at airports. Are such incidents, often leading to irreversible policy changes, sufficient reason to dramatically increase security?

Or the neighborhood which draws unhoused or homeless people. Are they a threat? They could be offered a safe place out of the maddening crowd, warm, a place to rest, use the toilet, perhaps sold a moderately priced cup of coffee. Similar to the neighborhood McDonald’s which seems, by comparison, inordinately hospitable.

As of this writing, of the 77 Chicago community areas, Uptown ranked between 39th (violent crime) and 61st (property crime), hardly a high crime area.

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Wilson Station being renovated

I recall airports with minimal security. No need to remove shoes, laptops, jackets, etc, to be scanned. I recall universities with open libraries for browsing (for decades I visited the architecture library at MIT to explore photography books, a major form of my photographic education.) I recall state and federal office buildings without security. I recall neighborhoods, including the South Side of Chicago where I grew up in the 1940s and 1950s, where we kids played freely late into summer evenings. And I recall a time, an era, that was happily relatively open,relatively welcoming, relatively fearless.

The police fear Black people; thus we experience a wave of police murdering African-Americans, usually Black Males, often females as well, not as well-known. On my first evening in Chicago I attended a police accountability meeting in Uptown, one in a series to increase civilian supervision of police activity.

This nation, the most powerful in history, with a military costing more than the militaries of the next 8 nations combined, has become a people suffocated in fear. The president calls for a 10%, $54 billion increase in the military budget, while slashing money for housing, medical care, education, the environment. The military now demands more than $600 billion annually, enough to build thousands more schools, tens of thousands more homes, develop hundreds of miles of regional public transportation, and easily pay for an exterior paint job for St Francis House.

Fear rules the soul but wisdom can overcome fear. Wisdom, courage, bravery, and insight can open the doors of community resources. Truman College can once again be a refuge, a center of community activity, a beacon of what is best in the American people—welcoming, trusting, loving.

Since 1976, Truman College has been a vibrant and vital part of Chicago’s Uptown neighborhood, delivering high-quality, innovative, affordable and accessible educational opportunities and services.

—Truman College

LINKS

Is Uptown Safe?

Crime in Uptown

Uptown

Accounts from my journal, written while I photographed Detroit for three weeks during the end of summer 2016—or writing later.

Quakers to Refineries (photos)
Added November 23, 2016

Johnny’s Neighborhood (movie)

I find myself at a crossroads with this project, nearly 7 years since I began it. Now I cannot decide what to do next—consider the active photography ended, make small changes in my direction, or make major changes like devise a new strategy. Do I have too much brick and mortar, i.e., buildings, and not enough blood and guts, i.e., people? I wonder, for you the viewer, of the dynamic I have studied and tried to photograph, what comes thru?

To gain some clarity I’ve joined a group exhibition at my Quaker meeting in Cambridge Massachusetts. In my portion of the exhibit, referencing the exhibit theme “Hope Springs Eternal,” rather than show only finished exhibition size prints  I chose to show a set of thumbnail prints, each about 1.5 by 2 inches on 13 by 19 paper.  I ask you, the viewer, to vote by noting file names of photos that interest you, and sending me the names. My late mentor, Andy Towl, once asked me, when you view an exhibit, Skip, what stops you?

What if anything in my array of these small photos from one of my six sessions at Motor City (rapidly becoming Bicycle City) stops you? Please let your eye dance across the images, with as little conscious thought as possible. What strikes you?

If you click on the array below, you’ll see a matrix or grid. You can then click on the array, individual grids will pop up, and you can use the arrow keys to run thru the set. To enlarge the image so you can read the file names of individual thumbnail sets, please click on “view full size.” You can easily comment in the space on the lower left of the unenlarged grid. (A little complicated, I realize.)

Feel free to comment to this blog, write me at skipschiel@gmail.com or phone me at 617-441-7756.

I plan to return to Detroit in June, mainly for urban agriculture and events commemorating the 50th anniversary of the uprising.

Here’s my general statement:

Searching for the Seeds of the New Detroit Miracle

An examination of the shifting dynamics in the country’s iconic post-industrial city

I have been photographing, making movies, and writing about Detroit since 2010, when I attended the U.S. Social Forum that summer, initially awed by the abandoned and scrapped buildings and the enormous swaths of vacant land. Later I learned about burgeoning urban agriculture, the arts movement, numerous civic projects, innovative reuse of buildings, the rise of bicycling, Big Money pouring in to build sports stadiums and commercial and residential housing, etc.

The inner core, some 20% of the land thrives with the injection of Big Money, largely from local billionaire entrepreneurs. Paramount among them, Dan Gilbert, the founder and chief of Quicken Loans, and the late (died Feb. 2017 at 87) Mike Ilitch, founder and owner of Little Caesars Pizza. Together they might own more than three-quarters of the newly developed property such as sports stadiums, office buildings, and luxury housing. Black and largely economically suffering people, many suffering from the recent bankruptcy of the city, inhabit the remaining 80% of the area.

I was raised on Chicago’s Southside from 1940 to 1955 when my family ignobly was the first to flee African-Americans searching for new housing. I have always been ashamed of this part of my family history and recently realized that by returning regularly to Detroit, living in a Black neighborhood, part of the 80% land mass, I have returned. I’ve made friends among my neighbors, developed a portrait series about them, and I’ve interviewed some about changes in their neighborhood.

Influenced by mentors Robert Frank and his book, The Americans, and W. Eugene Smith with his Pittsburgh Project, I hope to reveal aspects of Detroit beyond what’s now termed “Ruin Porn” and ultra beautiful and expensive development. I hope to portray the dynamic between Big and Little Money, development and gentrification of the urban core fed by Big Money, and the effects on housing, education, water access, urban agriculture, and economic development in the periphery, resulting from Little Money. This includes reduced pensions and health benefits of civil retirees and, to a lesser extent, police and firefighters.

2017 marks the 50th anniversary of what some call “The Uprising,” others “The Riots,” marking a new phase in Detroit’s demotion from what had been named “The Paris of the West.” And now? I intend to continue my photographic exploration. As W. Eugene Smith has stated, “Truth is my prejudice.”

I ponder: will Detroit become the model for post-industrial urban resurrection or self implode?

TO BE CONTINUED

LINKS

Anniversary of Uprising

Turning Derelict Buildings into an Urban Farm in Detroit

Riverwise magazine

James and Grace Lee Boggs Center for Community Leadership

 

 

 

 

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Shrine in Delray to someone murdered

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Shrine from at least two years ago, near Delray, near the Detroit River, near Historic Fort Wayne, near Delray

Delray in southwest Detroit

Delray in southwest Detroit

I believed it was necessary to investigate photography, dismantle it, jettison all the non-essential components, and begin again with a stripped down but more powerful idea of what is, or could be photographic.

—Lewis Baltz

Accounts from my journal, written while I photographed Detroit for three weeks during the end of summer 2016.

PHOTOS

September 5, 2016, Monday, K’s house, Detroit

As I neared home by bike [on September 4, 2016], after visiting Delray and attending the Jazz Festival, I noticed flashing red lights in the distance along Grand River Avenue. Closing in I saw they were fire engines. Closing in further I saw they were at the intersection of Grand River and Washburn Street, my usual turnoff. I then noticed smoke and water, the water pouring from hoses directed by two fire fighters on an extended ladder. Another Detroit fire, an abandoned building, perhaps set alight by kids, perhaps by someone needing the insurance money. With Gene Smith, the pre-eminent photojournalist who made the monumental photographic exploration of Pittsburgh in mind, his use of light, I tried to line up the water streams with the setting sun behind them. I tried several positions, the last directly into the sun.

Fire in an abandoned building along Grand River Ave, apparently arson

Fire in an abandoned building along Grand River Ave, apparently arson

As I worked the light I saw a black car suddenly race between the fire equipment. People shouted, stop, hoses! The driver stopped at the hose and then gunned the engine in reverse. More shouting. Crash! Right into a fire truck, ripping off the left rear fender of the black car. People raced to the car. Police arrived. Poked heads inside the car. Pulled out the driver, a woman who looked drugged or drunk. Cuffed her and put her in the police car.

I photographed the entire event, thinking for me this might be the find of the day. For her, disaster. Talking with an African-American fellow on his bike, watching the events with me, I asked, what do you think of the Detroit fire department? He answered, the best, responsive, effective, can’t ask for more. I conclude, could be, they get a lot of practice. I might have asked what did he think would happen to the woman?

Biking home I chanted a Buddhist prayer for her, who now was probably on her way to jail and maybe eventually prison. All because of a few drinks or a tiny brief poke of the needle. One life, for now, possibly ruined. A tragedy on a small-scale, city-wide, nationally, internationally. A major event for that one woman, perhaps also her family. Does she have dependent kids? What a fiasco.

I am eager to tell K about all this; she seems inordinately interested in my project. She is my local confidant (Anne also but not as directly). What would the project be without her, both for her house and for her interest, companionship, and suggestions?

TO BE CONTINUED

LINKS:

“What About Delray? The Past and Future of Detroit’s Forgotten Neighborhood” (2012)

“Drug Abuse Patterns and Trends in Detroit, Wayne County, and Michigan—Update: January 2014” (National Institute of Drug Abuse)

“New chief putting mark on Detroit fire dept.” (Christine Ferretti and George Hunter , DetroitNews, 2016)

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The Tetons & the Snake River, Grand Tetons National Park, 1942 c, Ansel Adams

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Mobile Homes. Jefferson County, Colorado, 1973, Robert Adams

The desire to go home that is a desire to be whole, to know where you are, to be the point of intersection of all the lines drawn through all the stars, to be the constellation-maker and the center of the world, that center called love. To awaken from sleep, to rest from awakening, to tame the animal, to let the soul go wild, to shelter in darkness and blaze with light, to cease to speak and be perfectly understood.

Rebecca Solnit, Storming the Gates of Paradise: Landscapes for Politics

PHOTOS

Social landscape photography portrays the effects of human beings on the earth; it is photography of the human-built or human-altered landscape. It may incorporate the natural landscape, the usual domain of landscape or nature photography—but it is most distinctly not about the natural world. In the more traditional approach human beings, any sign of human beings like roads and cabins, and any human effects on earth are notably absent. I believe this general attitude is a deliberate absence.

Consider the work of the exceptionally talented—and exceptionally limited—photographer, an American icon producing iconic photographs of the American landscape, Ansel Adams. Despite my love of his photos, Adams rarely shows people (and when he does, as in his Manzanar Japanese-American internment camps series, they look like rocks).

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Dust Bowl, Dallas, South Dakota, 1936, uncredited

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Yakima Washington, 1939, Dorothea Lange

Sharply contrasting with Adam’s photos are those from the Farm Security Administration during the Great Depression. These vividly and intentionally portray the effects of human beings on the earth—sand storms, fleeing farmers, destroyed farms. This is the crux of social landscape photography—how we human beings interact with the earth. This expanding awareness reflects our larger concerns with global climate change.

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Point de vue du Gras, France, 1826 or 1827, Joseph-Nicephore Niepce

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Boulevard du Temple, Paris, 1838. Louis-Jacques-Mande Daguerre

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Nelson’s Column under construction, Trafalgar Square, England, 1844, William Henry Fox Talbot

Social landscape photography has been around since the first photographs—or heliographs as they were first called. Consider the first photographs by Niépce, Daguerre, and Talbot. All involved buildings and people, implicitly the interaction between human beings and the earth.

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Quai d’Anjou du Matin, Paris, 1924, Eugène Atget

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New York City, 1888 c, Jacob Riis, from How the Other Half Lives

Consider Eugene Atget at the turn of the last century. Recognizing the massive changes on Paris and environs created by the industrial era—and for other reasons, financial in particular—he assiduously photographed “The City of Light.” Likewise, his contemporary, Jacob Riis, newly emigrated from Denmark to the United States, photographed tenements in New York City which resulted in major changes in housing laws and the end of the most dangerous housing.

For contemporary examples, look at the aerial photos of numerous photographers like Alex McLean; Marilyn Bridges with her book, Markings: Aerial Views of Sacred Landscapes, and the highly popular series called The Earth From Above by Yann Arthus-Bertrand.

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Fleet of B-52 Bombers at the “Bone Yard,” Tucson, Arizona, 1991, Alex MacLean

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Mesoamerica, 1986 c, from Markings: Aerial Views of Sacred Landscapes by Marilyn Bridges

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Icebergs & Adelie penguin, Adelie Land, Antarctica, date unknown, Yann Arthus-Bertrand

In 1975, confirming the need for an expanded sense of landscape photography, the prestigious photographic venue, The George Eastman House, in Rochester NY, presented the startling exhibit, New Topographics: Photographs of a Man-Altered Landscape. Oddly enough, given last names, one of the featured photographers was Robert Adams, no relation to Ansel—a dramatic contrast. Attesting to the importance of this genre, since 1981 various adaptations of the original exhibit have been circulating worldwide. In 2013 Greg Foster-Rice and John Rohrbach edited and published Reframing the New Topographics, which brings the genre up to date.

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In my own work and teaching, motivated primarily by the global climate crisis, I detect a clue to my new direction, long nascent, but now more clearly evident: Social Landscape Photography.

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Downtown development in Detroit, 2016, photo by Skip Schiel

LINKS

The New Topographics, on artsy.net

New Topographics: “Landscape and the West – Irony and Critique in New Topographic Photography” by Kelly Dennis

Deadpan Geometries: Mapping, Aerial Photography, and the American Landscape” by Kim Sichel

Photos of Boston’s new Seaport district

Dearborn

Dearborn, Michigan, along Schaefer Highway, photo by Skip Schiel

Accounts from my journal, written while I photographed Detroit for three weeks during the end of summer 2016.

PHOTOS

September 10, 2016, Saturday, Detroit

Biking in to Dearborn yesterday [September 9, 2016] I stopped at the bicycle shop on Schaefer that I’ve frequented earlier, to pump air in my tires. A voluble employee (at first, from the way he acted, so forthright, I assumed he was the owner), short and curt, felt the tires and declared, your tires are full, pumping more air into them might make them burst. Then he spotted my camera, which I always carry around my neck, fully exposed. Wanna take some pictures here? he asked. Sure thing, what would you like?

Is this gonna cost something? he asked. No, is this gonna cost me anything? I replied. Everyone in the store chuckled.

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Eddie’s Bike Shop, photo by Skip Schiel

That led to portraits of him outside the store, inside the store, the storefront itself from outside, and then the owner, Mr. Eddie Merhi, and two customers, Black women, mother and daughter, who were having their tricycles adjusted.

The daughter, Woody, and I chatted awhile about the pleasures of biking. She, like many here, admired my folding bike, inquired about it, and said, I’d like to eventually ride one like that. She invited me to visit them at their home near me—she was ecstatic when she learned where I live (as if to think, wow, this is some kind of White guy, living where he is, probably the only White guy in milespretty fuckin brave, or insane.) I find living where I do builds credibility.

She asked me to photograph her on her bike, which I did. She lacks email and we couldn’t figure out how to transfer the file from my camera to her phone with Bluetooth. So she snapped a photo with her phone from my camera screen, decidedly inferior.

Mother and daughter, Detroit residents, buy tricycles

Woody and her mother, Detroit residents, have their tricycles adjusted, photo by Skip Schiel

I had a thought about a daring next step for my Detroit project: photograph on public buses, compare city bus riders with suburban bus riders, and photograph at different times of the day. I’ve long felt that one can gain a quick impression of one aspect of Detroit by riding the city bus at night. Riding the same bus during the day might create a different impression. And riding the suburban buses yet another.

The big question is how to do this? Sneak photography (aka, hip pocket), ask permission, carry a big sign announcing the project? It may involve some risk, especially at night, me alone. I’ll consider this. Maybe I can find a colleague, preferably Black and from Detroit. (Like George a few years ago who toured me to different neighborhoods.)

A sequel to A Summer Bus Ride in Detroit. A movie by Skip Schiel & Teeksa
Photography, October 2010

A precedent is the photo series of South African workers riding at night to reach their work sites on time. David Goldblatt did this with his series, The Transported of KwaNdebele. I recall phoning him in the 1990’s while setting up one of my South African trips. I heard a dog barking in the background, rendering the call very personal even tho at such a great physical and cultural distance.

25 After a day’s work they take the bus from Pretoria to KwaN

9:00 p.m. Going home: Marabastad-Waterval bus: For most of the people in this bus the cycle will start again tomorrow at between 2:00 and 3:00 a.m., 1983 from David Goldblatt’s, “The Transported of KwaNdebele: A South African Odyssey (1983–84)”

Maybe I’m getting too old to pursue all my dream projects, like Detroit metro busing. How many more years remain for me and my work?

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Biking home to Detroit from Dearborn, photo by Skip Schiel

To be continued

LINKS

Bike Detroit

A bike ride thru Dearborn by Skip Schiel, 2010

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“The Feeling of Being Watched: A Town Hall Discussion on Profiling and Surveillance” at the Arab American National Museum, Dearborn

The gravest responsibility of the photo historian or journalist is the search through the maze of conflictions to the island of intimate understanding, of the mind, of the soul, amid circumstances that both create, and are created by—and then to render with intelligence, with artistic eloquence, a correct and breathing account of what is found; and popular fancy, myth can be damned. Meaning: get to the guts of the matter and show the bastards as they are.

—W. Eugene Smith (Let Truth be the Prejudice about Smith by Ben Maddow)

Accounts from my journal, written while I photographed Detroit for three weeks during the end of summer 2016.

PHOTOS

September 10, 2016, Saturday, Detroit

At the Arab American Museum last night [September 9, 2016] I attended the program about governmental spying on people in the United States, especially human beings thought to be The Other. It was titled, “The Feeling of Being Watched,” and was a co-production of the museum and an organization called Take on Hate. All four participants were eloquent, knowledgeable, personally experienced with the topic, and had much to offer. I learned mainly about a Homeland Security program called CVE, Countering Violent Extremism, that enlists community members in surveiling their own community. It could be regarded as insidious collaboration, turning students, health professionals, teachers, clergy, anyone in frequent contact with others, into implanted cameras and audio recorders, passing information to the government about suspected terrorists. Pilot programs exist in St Paul, Los Angeles, and my city, Boston.

I could be enlisted—or I could be targeted. Maybe I could report suspicious behavior in my photographic workshops, or I could be reported on the basis of my Palestine-Israel work.

Because of the host site, not only the Arab American museum but the city of Dearborn, Muslim Americans were the focus. But other groups could be targeted as well, notably people of color and immigrants. As several panelists observed, marginalized communities, those living in poverty or extreme racism for instance, are often the most seriously watched.

How effective is such surveillance? was a question raised by several panelists. One panelist claimed that a similar program in New York City has resulted in no arrests of actual terrorists. I’m sure some would argue that this claim is false or irrelevant, but the question remains: given the work and expense involved surveiling, how often do the programs have demonstrable effects? Result in so-called “actionable intelligence”?

Cameras, for instance, may be effective as a deterrent even if they are not hooked up; the idea of being watched may curtail violence. I experienced this yesterday when eating at the New Yazmeen bakery. Some patrons had left food, the space was empty, I helped myself to some delicious-looking flat bread, and considered taking more uneaten food. Then I noticed the cameras, I stopped eating the bread, I smiled at the camera.

History was another sub topic. An immediate precursor of terrorist watch programs was COINTELPRO, the Counter Intelligence Program of the FBI under Hoover, targeting radical Black movements like the Black Panthers. Before that, anti communism programs, most notably the infamous HUAC, House Un-American Activities Committee, hearings and the hero of some, Joe McCarthy. Programs existed before that targeting union organizers, Black leaders, “Bolshevism,” the Irish, other immigrant groups, etc. Surveillance has a long history in this country, as it might in many. Fear seeds suspicion. What precisely is the psychology of surveillance? Not a topic mentioned, except in passing when an audience member asked about the role of psychologists in these surveillance projects.

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Dawud Walid, executive director of the Michigan chapter of the Council on American­-Islamic Relations

When asked about the future of this program and surveillance generally, a panelist mentioned the need for privacy factor, whether people value their privacy enough to oppose programs like CVE. Because of the proliferation of on-line self disclosure—Facebook, Twitter, Instagram, YouTube, etc—often encouraging opening lives to public view (I myself exemplify this, my blog in particular, and how much I might potentially disclose about myself if these journals that I adapt for the blogs ever become public), one might guess that many folks do not highly value their own privacy. Thus they may not be too eager to fight for limits to surveillance.

Assia Boundaoui, the director of the film we watched a clip from, The Feeling of Being Watched, summed up the evening well when she built on the idea presented by another panelist, a Wayne State—the panopticon. This is a prison design that places guards at the center of the building, able to observe the prisoners existing in cells isolated from each other. She called for two approaches to surveillance, analogous to prison reform: open the cells to each other so the prisoners can communicate and organize, and reverse the line of sight so the prisoners can observe the guards. That is, all communities affected by surveillance need to coordinate and form coalitions to resist unreasonable surveillance. And those watched need to watch the watchers.

Freelance journalist and former Al Jazeera America producer. Assia Bounadoui

Assia Bounadoui, freelance journalist and former Al Jazeera America producer

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Panopticon

After noticing others making photos with their phones I felt emboldened to bring out my camera and from more than half way back in the hall make a few photos. I began with the moderator, a striking Black woman. I pushed the camera to determine just how much I can do in low light. Given the topic, I wondered if I’d be viewed as a watcher.

Asha Noor, TAKE ON HATE Advocacy and Civic Engagement Specialist

Asha Noor, Take On Hate Advocacy and Civic Engagement Specialist

Later I spoke with a museum staff person, David Serio, who’d introduced the program. He wore a keffiyeh, now known as identifying the wearer as a supporter of Palestinian rights. I offered him two observations: your keffiyeh resembles a Jewish prayer shawl, and have you ever noticed that the keffiyeh design suggests barbed wire? He’d not noticed either but said he enjoys the ambiguity. Talking further, I promised to suggest to Jewish Voice for Peace-Detroit that they link with the museum and the Take on Hate program. And I’d suggest to JVP-Boston which has an ongoing campaign about Islamophobia that they also connect with Take on Hate. I picked up two Take on Hate lapel buttons but they escaped my plastic bag when it ripped open as I crossed Grand River coming home by bike.

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Keffiyeh, courtesy of the Internet

While awaiting the start of the program, after eating Arab nummies, I examined the photographic exhibit, “What We Carried: Fragments from the Cradle of Civilization.” When I initially learned about this I discounted it, thinking, what a weak way to use photography. But examining it more closely I felt it was tremendously moving and brilliantly and simply conceived. I wrote those remarks in the guest book.

The photographer had invited immigrants from Muslim and Arab countries, Iraq and Syria mostly, to choose one thing they brought with them. The artist, Jim Lommasson, then photographed the object and asked for a written comment from the immigrant. So many were touching, like photos of family; in fact, family was a central theme—missing them collectively or missing individuals like grandparents.

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From “What We Carried” by Jim Lommasson

At the end of the exhibit the photographer installed a wall panel asking viewers to write what they would bring with them. I demurred. What would I bring? First thought: a family album in digital form, or all my journals in digital form, or one camera, or something my dear friend S had given me, or one of my kids had given me, or Louise had given me, or something from my mother or father. So difficult to decide. I was reminded of Linda Hass’ photographic project about the stuff her mother’s had accumulated and might send her notification of this show. Linda’s was a different case entirely. She photographed what her mother had accumulated in the United States after she’d lost everything escaping the holocaust.

To be continued

LINKS

The Feeling of Being Watched (movie)

Take on Hate (campaign)

Countering Violent Extremism (CVE)

What We Carried (exhibition)

Arab American Museum, Dearborn Michigan

“FBI: Hate crimes against Muslims in US surge 67 percent” (2015)

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