Friday, December 10, 2010
JOSEPH SANTOS graffiti
JOSEPH SANTOS a native son
After reading, I couldnt belive how far we’ve come with discrimination and segegation. Yes, it still is not perfect but nothing in this world ever is. Let’s just be glad that the riots and seperate bathrooms are behind us. Baldwin writes “disease—cancer, perhaps, or tuberculosis—which must be checked, even though it cannot be cured.’’ This is refering to the effect the whites thought of the blacks at that time. That quote hit home for me than any other.
Thursday, December 9, 2010
Graffiti is Art
From Matthew Roy
Graffiti is Art; short and simple. Tagging is different than graffiti though. Tagging marks territory and has no expression and is the antonym of a mural. A mural is a beautiful painting that is created on a wall of some sort outside to express. After reading Charles Bojorquez’s Graffiti is Art, he helped me understand the background of Los Angeles graffiti and why it exists today. How he perceives graffiti, as art really helps relay a message and not just words or a picture on the wall. Why when people look at graffiti read this as a sign on danger or threatening? In the new age, tagging is overpowering graffiti caused by the growing number of gangs and new-aged people thinking tagging is cool. I am very happy though to have seen the LA Wall and view how an activist really helped changed the way people perceive graffiti and shows murals to express and inspire a true art form. When discussing the time and effort to put into the LA Wall, having known that it helped change lives for teenagers with criminal problems and brought about art instead of destruction. So alongside Chaz Bojorquez, his nature as an activist helped influence artists and activists to promote the nature and being of graffiti installments as a prominent world expression.
James Baldwin/
From Matthew Roy
In James Baldwin’s Notes of a Native Son gives insight into the lives between lower class citizens to the upper class citizens. The issue of race between the blacks and whites of society were thoroughly discussed in his book in the time of 1955. During the Civil Rights Movement Baldwin discusses the lives of the African American population living in a civilization that focused on racial discrimination. Through his book, he described the impact and possible future changes in years to come and the chaos still erupted in times ahead. One of James’ most known quotes exclaims, “All over Harlem, Negro boys and girls are growing into stunted maturity, trying desperately to find a place to stand; and the wonder is not that so many are ruined but that so many survive.” Baldwin’s tough lifestyle as an African American writer helped him use personal experience to express his activism and attitude on society through writings. One of his personal experienced was set in a restaurant where he was given poor customer service because he was an African American. Acts like this help him to express prejudice through analysis and understand how it forms. As an activist, James Baldwin helped to spread his wisdom and expressions to bring up the chaos and calamity of racial prejudice.
LAPD
Going to Skid Row really got me up and out of my box. Going from Valencia to Skid Row really changed my view on our social structure and shows how the lives of the less fortunate can be. Los Angeles Poverty Department really showed me how much change can happen and how the activists helped people changed and better their lives. Being the leading and most rehabilitative group in the United States, this shows how the group can change a person from Skid Row and get them up and back on their feet. It’s amazing how much effect ordinary people are willing to do to act upon this poverty circle in downtown Los Angeles to help troubled citizens from the area of Los Angeles to help install change. This homeless neighborhood has a department that offers the choice of change while also using art and theater to express the past, present, and future of these citizen’s lives. After viewing their many theatrical performances of their life’s experiences, these acts gave my knowledge to the lives they left and the present they have come into with LAPD. Thanks to LAPD, the poverty department has changed and saved lives by giving people encouragement to have dreams, goals, and aspirations.
Wednesday, December 8, 2010
Graffiti is Art
Tuesday, December 7, 2010
Graffiti is Art! - Bojorquez
Paula Rebelo
LAPD
Paula Rebelo
Monday, December 6, 2010
Gaffiti Art
Friday, December 3, 2010
Graffiti
LAPD
Downtown
Where the cabs don't stop
Downtown
Where the food is slop
Downtown
Where the hop-heads flop
in the snow
Down on Skid Row)
Monday, November 22, 2010
Response to Chaz Bojorquez's text
Thursday, November 18, 2010
Graffiti is Art!!
Anyway, it was great that I was able to make it to the field trip this time to see the great Wall of Los Angeles. Considering the long journey of painting the mural, it felt almost unreal for me. It was also surprising that they were continually fixing the mural.
Michael Voorhees on Chaz Bojorquez's Text
"Chaz' also talks about the marketing world being a form of Graffiti. Who has the right to post what billboard goes where, and what words reach out at us. Of course it is how much money you pay. And maybe one day Graffiti will be more respected as a whole by society. But I wonder if that's a good thing for the art work? If you take away its desperation, the rebellion, and the thrill of the tag, will it mean the same thing?
Wednesday, November 17, 2010
What is Art?
The issue though is what do we constitute as art? One person's Mona Lisa is an others' form of vandalism. When the Obey posters were plastered every where a few years ago, people where either interested or ripping them down.
I like Chaz's idea of art. He has been an artist for a long time and understands it as an art. It's hard to change a society's way of thinking especially when it's in a negative way of looking at things. We are the future generation and we have to be open minded to the idea of "art" regardless of it's medium.
Ivy Bloemsma-Russell
What is art?
My argument then begs another question: What about the intention of the tagger? Perhaps his intention was to simply mark a territory as mentioned in the article, and not necessarily to ‘create a work of art’. I then pose the question: can the tradition of marking one’s territory be an art in itself? At the Philadelphia Museum of Art a Japanese teahouse was erected, and an exhibit was too erected surrounding it. The Japanese tea ceremony became a work of art inside the context of this museum. So perhaps for a tradition to be recognized as an art form it has to first be recognized by a panel of curators in a particular museum who deem it worthy to enter the doors of their museum. Something about that unsettles my stomach. Why does art only have to exist inside a gallery? Who is to say that one tradition is more worthy of the artistic standard than another? Each of these questions begs much more thought and analysis, and will most likely remain open-ended until the end of time.
Tuesday, November 16, 2010
Graffiti Perversion
Graffiti is art, is it? And to whom? And in what fashion is it considered acceptable to impose on the general public? Graffiti is often negatively addressed because of the placement of the alleged “art,” the nature of the content, and the intention behind it. Yes, art is created to provoke the expression of emotion in humanity, frequently resulting from a change or for a change, so in that respect, sure, let’s call it art, for art’s sake. Graffiti is a world-renowned activity, but portrayed in a multitude of ways. Specifically speaking to Bojorquez, while he wasn’t a member to a gang, he got his start on the streets, inspired by the streets, and for the streets. He references the United States Constitution in failed attempt to prove the two documented pieces of text comparable. The Old English style font is supposed to instill a sense of dominant permanence amongst the exclusive group, as well as the misinterpreted significance of the government instated manuscript. According to the first amendment, “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.” This law has been radically manipulated by many, including the gangs of Los Angeles, which Bojorquez alludes to. While gang graffiti is their version of free vocalization, it does not appeal to the majority vote, therefore it is not operating as a democratic system. He defines gang graffiti as “markings by generations of rebellious youth announcing their pride and strength to all outsiders,” and states that “we all have the same mother, rebellion.” If that is true, and that sense of anarchy does in fact exist, than that given circumstance, by no mean, corresponds to the ideals of the constitution. Charles Bojorquez’s graffiti art emulates the street society, but through a variety of mediums that doesn’t involve destruction of government property. He said that he has done work for “movie and product advertising agencies” as his day job, which is highly affective, as the media appeals to the masses, thus rebelling though government support. Bojorquez solicits several questions. “Does graffiti have intent, purpose, cultural identity, history and create unity? Who owns the public space and who has the right to speak and be heard?” It is absurd to question the purpose of graffiti, after writing a several page log of its use and intention of said supposed “art.” The “public space” is owned by the government, that also happens to support even criminals’ rights to life, liberty, and the pursuit of happiness. Rebelling against those higher powers, that are instilled to provoke a universal justice, is just plain ignorant.
Danielle Korman, BFA 3 Stage Manager
GRAFFITI IS ART !! by Charles "CHAZ" Bojorquez
GRAFFITI IS ART !!
by Charles "CHAZ" Bojorquez
It was very interesting to read about the history of east LA graffiti from the perspective of a graffiti artist who has seen the medium grown and change with the times. I also found his interest in graffiti as an art form and not a political statement intriguing as well.
In this article Bojorquez barely touches on the issue of graffiti “violating” property and instead says “Any dialogue about graffiti that does not talk about the image is just politics”. Most conversations concerning graffiti do only consider it’s morality and it’s origins rather than it’s merit and worth as an art form. I recall that on the first day of this very class my fellow students were very concerned with the morality of graffiti and not once did the dialogue discuss the line, form, history, and (artistic) impact of the graffiti movement…I am looking forward to our field trip tomorrow to the The Great Wall of Los Angeles and am interested in learning more about graffiti as a arts movement rather than as a “menace” to private property.
graf art
Though Bojorquez's focus is graffiti, he also inherently addresses grand social issues, and longstanding civic developments; such is the nature of the practice, afterall. His claim that, "if the city was a body, graffiti would tell us where it hurts" was quite striking and conjured up an image of a dynamic, voiced city, rather than the official conception of a graffiti'd city being beaten down and shut up.
graffiti
I found the article to have many interesting points of similarity to what I have been comprehending and approaching in my craft. When the author describes the confrontation and understanding of graffiti as an art form, this rang true with me as an actor. Understanding and becoming vulnerable enough to open up and to just listen to that call. Another aspect of this article that spoke to me was how honest and passionate the author is. It is clear and evident in the language of the text of how much passionate the author has for his art. From his own personal history to the history of graffiti.
As for the actual subject of graffiti, I didn’t have any previous knowledge of it until this reading. It is interesting to hear the detail between the “cholos” style and the style in New York. One of my favorite lines is. “We all have the same mother, rebellion. Just a different father, style.” I feel that that line can be used to describe any form of art. It is that line between the art and the artist.
Sunday, November 14, 2010
Graffiti
Monday, November 8, 2010
LAPD EXPERIENCE
However, I am not sure this is the way that I should have been moved. I think that we are past realizing the beauty of gritty humanity. I think we all know that impoverished people have dreams and aspirations. Yes, this is touching, but I do not think we went to Skid Row merely to marvel at these survivors. We went to see a theatrical presentation.
The pace of the show lacked umf, many of the skits seemed quite unrehearsed, The skits, quite honestly, were not well written and very timidly skimmed deeper subject matters. I am only being so harsh because it is obvious that the Skid Row performers had something serious and special to bring onstage that got lost somewhere. Their "magnificent spirits" were not put in the scripts. There was a scary gap between the vivacious energy available in the performers and what LAPD made of that energy.
(Holland?? What are these people talking about?)
Ahlam
Wednesday, November 3, 2010
From Jaco Loeb / LAPD
The charisma at LAPD headquarters in Skid Row is something to behold. I am really fascinated by the idea of LAPD and think it’s got the potential to be an incredibly powerful initiative. However, I was not very much inspired by the boal-esque skits they performed on Wednesday morning. It seemed almost as though the performers were excusing themselves—like, at any moment they may have turned out to us and said, “give us a break, we live on Skid Row.” I want to see unapologetic, fierce, gripping performances from LAPD. Work that forces me to put on their shoes and look at the world. Work that leaves an impression on me whether I knew the performers are from Skid Row or not. I imagine that artists living on Skid Row have a lot to say, and I believe its LAPD’s job to support those voices by, not only unifying the artists, but also promoting technique, perfection and originality in their work and pushing them farther than they thought they could go. Based on what I saw, I think LAPD should hold a higher standard for their work, because I’m sure that the artists of skid row can do better.
LAPD
Skskskskid row.
I got to wake my white privileged butt up an hour early to drag it down to the impoverishment capital of LA county: skid row. I told my car I loved it, kissed it goodbye, locked it up tight, and entered the offices of the LAPD. No, not that cops. The poverty department. Seriously, they aren't cops. They just want to hear about your hopes, dreams, and aspirations. And give you some menacing-cool shades.
The sort of theater we got to experience was not the sort I'm used to making, It was theater as a tool, rather than as the goal. Watching the little skits performed by the homeless and formerly homeless was almost akin to the sort of puppetry used to talk to traumatized children: the theater is obviously only the means to what they're trying to do. As such, there is no real drive to make it GREAT theater, so it's awfully hard to talk about as theater.
Even harder to talk about were those young foreign artists whose answer to "What is your goal here?" seemed to be "Exactly! what IS our goal here?"
LAPD
I also enjoyed watching some of these artist create as walked by. They are the prime example of artist who create art for the sole purpose of creating art. There is no hidden objective that they are trying to accomplish because some of these individuals have nothing left.
Though I learned alot from the presentation, I wish we could have gone deeper. Rather than listening to skits I would much rather have a more “hands on” approach to leaning about this issue. But all in all, I’m glad I made the trip and I have a greater sense of humility because of it.
LAPD
Los Angeles Poverty Department///LAPD
LAPD
When I was first told that we were taking a class field trip to Skid Row my immediate reaction was, “Are you kidding me?” But I found myself enjoying the trip more and more as we were moving closer into LA. The car I was with had parked a few blocks away from our destination and my initial reaction was creeping into my head again. But once we had entered the building of our intention I had forgotten where we were at. After the presentations and the performances I had felt ashamed of what I was feeling and thinking before we had left and once we had arrived. One of the greatest lessons that I had learned from the performances and the presentations is that we are all people. It amazes me when I see struggle like this and very little is being done to correct these living situations. It is interesting to see that society has placed all of these social standings and class standings amongst people from a variety of backgrounds and cultures but at the core of it all: We are all people. No one is truly better than someone else. We all live on this planet together and the realization of that will be the first step towards lending that helping hand.
Skid Row
LAPD
I wish we had heard more about the personal stories of what brought these people together. I loved the fact that they created and prepared a performance for us and I was honored to watch there work. But I wish we could have had the chance to simply speak to these people. Why they came to Skid Row or what there connection to skid row was if they hadn’t physically lived there. I was more curious about the neighborhood and what within the neighborhood inspired them to stay and create art, rather than an end result that was prepared for us. I kind of wish that we had caught them more off guard to see who they really are; while we saw what they believe in, which gives us an idea of they are, we didn’t see them at their most basic. I wish we had had a talkback with them and I wish we had more time with the people of LAPD rather than their guest artists. I loved the trip I just wish we had learned more about their programs rather than how they wanted to appear to people on the outside, their inner workings, rather than the mask they wear for others.
Harley
Tuesday, November 2, 2010
LAPD
Our visit to the LAPD left me with a whole lot of questions and reservations about my feelings. While watching the performances I couldn’t help but feel mixed emotions. Part of me was smiling to see in front of me why theatre is such an amazing art form. The power theatre has to transform ones life and to inspire hope. The cynic in me began to question other aspects though. As much as I enjoyed parts of LAPD’s performance I wouldn’t call it a professional performance by my standards. That’s not to demean what LAPD has accomplished or what they are doing but simply how I felt. My mind began to think about how theatre is getting more and more saturated every day and I couldn’t help but wonder if LAPD would get recognition that might be more deserved based on theatrical merit somewhere else because of where LAPD comes from. This notion still doesn’t sit right with me. This led me to questions of authenticity in theatre. Very rarely do you see shows that are written, directed, and acted by people that have lived what they are performing. This was an interesting framework through which to present work. I have seen this done before in one-man shows but as part of a larger production this was new to me. I wondered how this felt for the performers. Is part of the theatre going experience escapism and is this attainable when the experience you are witnessing is one degree of separation closer to the reality?
L.A.P.D, not the Popo
I must admit when we went to visit LAPD, I thought we were going to hear stories about how the residents of skid row got there. Part of me wanted to know why and was curious. Maybe I was the only one? I'm not so sure why either.
ANYWAYS!
I was still trying to process the whole performance during the ride back. I wasn't sure where the Dutch guy was going with his project?
But I loved the life that everyone there had. The excitement. The joy. Hope. And most of all that there was no shame. They all take care of one another and are a huge family. It was rather welcoming. And they were wonderful performers, it was noticeable they enjoyed being up there and it came from the heart because they experienced it before.
Ok, I feel I'm rambling on about different things here...
I kind of want to learn a little more about the organization but coming from the people who started it. To start an organization is difficult but with people who might not want to participate for whatever the reason.
I'm curious about what happens to the people who they help out and leave skid row, do they ever? What about the children?
I guess I have more questions than anything..
I had a interesting time.
Karina
LAPD project
I was really moved by the reenactments and poetry preformed last week. I think it’s important to spread the word about the need for assistance in our downtown. Honestly, I didn’t feel comfortable going down there to see the office. With all the negative stereotypes and rumors of it being unsafe I was very wary of traveling, and parking my car there. It was a great relief to see that this project was helping to break the negative thoughts and help bring the community together. I never realized that Los Angeles had the most homeless per area. I always thought San Diego had the most, with the down town area filled with street tents and cardboard box homes. LAPD is a great resource for these people and I look forward to seeing what they can do for the community.
LAPD
katherine ortiz
Monday, November 1, 2010
LAPD
Making the Case for Skid Row Culture: Findings from a Collaborative Inquiry by the Los Angeles Poverty Department and the Urban Institute
by Maria Rosario Jackson and John Malpede
The concept of the LAPD is to create an arts center and “safe-space” in an area that is otherwise ignored when it comes to arts and culture. According to the case study, “If a homeless person applies to the county welfare department or if someone is just out of jail, most likely he or she will be given a voucher to a hotel on Skid Row.” It was interesting for me to learn that those just out of prison are encouraged to live it Skid Row. I also found in interesting that the area is “a ‘high-tolerance’ zone-one in which public safety and sanitation laws are poorly enforced if they are enforced at all.” And found it backwards and almost satirical that laws that are usually ignored or not given a high priority for enforcement, like jay walking, are strictly enforced in the Skid Row area. I wonder if creating an arts and cultural center in an area that in design is “determined …to isolate it’s….residients” actually makes an impact, and if it really does help to un-alienate it’s residents.
L.A.P.D.
While I believe the field trip to have been overall, a great educational and cultural experience, I have very mixed feelings about what we were witnessing. I think the concept of the Los Angeles Poverty Department (L.A.P.D.) has outstanding potential and significance to truly helping and enlightening those that inhabit the inner city area. The program gives those of lesser financial fortune, a chance to participate in a community based and mentally enriching art development project, that can then be shared with whoever chooses to join. As I’m sure those that presented their communicative process were enveloped in the activity, it seemed there existed a sense of falsehood in their intention. They were not sure of themselves and what they were doing or saying, which completely defeats the purpose. They were using being broke and unsupported as an excuse to not try. While Skid Row is an influential area of town, I don’t know that attracting young art students to it on a regular basis is necessarily a great idea. The LAPD pamphlet reads, “Despite the rampant drug use, Skid Row is actually one of the safest areas in the city.” The term rampant, in combination with drug activity, should not be something we are willingly immersing ourselves into. And furthermore, what was the point of the small foreign town presentation. I personally was not able to draw any significant correlation between inner-city theatre, Skid Row, and goat herding. I would be interested to discuss all of this further, but not by means of an Internet post. I also feel like much of the thought process and tone becomes lost in the prose, rather than accentuated by the validity of a verbalized dialogue.
Danielle Korman, BFA3 Stage Manager
Sunday, October 31, 2010
LAPD
I thoroughly enjoyed the performance that LAPD did for us. Something that I really enjoyed about it, other than just the subject matter, was this idea of theatre with no judgement. This is something that I have been thinking about for a long time. These people were performing something that was close to their heart, they were not thinking about blocking, voice, or other things that actors with formal training think about. They were just being and doing what they wanted, and as a result, what they produced, I felt was something that was spectacular. They were just doing theatre, not worried about anything else other than just making art. The LAPD is a space where they could do that. Also, when I first walked into the space, I didn’t think about it as a theatre space. As soon as they began to perform, it was transformed into something else other than an office. Just reminded me that any space can be considered a theatre space if the performers are dedicated, which LAPD was.
Tuesday, October 19, 2010
"The Devil Finds Work" -James Baldwin (Post by Daniel Goldenshtein)
Title: "The Devil Finds Work"
“My father said, during all the years I lived with him, that I was the ugliest boy he had ever seen and I had absolutely no reason to doubt him. But it was not my father’s hatred of my frog-eyes which hurt me, this hatred proving, in time to be more resounding than real: I have my mother’s eyes. When my father called me ugly, he was not attacking me so much as he was attacking my mother. (No doubt, he was also attacking my real, and unknown, father). And I loved my mother. I knew that she loved me, and I sensed that she was paying an enormous price for me” – p.21 of ”The Devil Finds Work”
This passage literally struck me in the face when I read it. Baldwin seems so poignant yet ultimately powerful with his words. His love for his mother contrasts with the hatred that his step-father has for him, yet the passage is not one of pity. It just presents the fact in a poignant but not overly sentimental way. The way this man writes is so captivating. That sentence is about his father hating him for his eyes is deeply saddening. That is how this man is a phenomenal writer. When a writer can make someone feel something, I think that is when he/she is a success.
Sunday, October 17, 2010
From Arielle Siler
A Talk to Teachers
Baldwin’s essay, A Talk to Teachers, reaffirmed my belief that in order to make social and political change then we must be candid with our children regarding social and political issues. Thus, teachers are responsible for inspiring the younger generation to make change. Baldwin mentions that children are already aware of their environment. Baldwin uses the example that a Black child who gets smacked by their parents for trying to sit in the front of the bus with a White person, is aware that something is amiss. In order for that child to be proactive in making change, as opposed to accepting the miserable state of their condition, they must be shown how to look at the world for themselves.
At the end of the essay Baldwin says that he would tell children that the images of people on television and movies are “based on fantasies created by very ill people.” This makes me aware of the fact that children are at a higher risk for looking at themselves and others as stereotypes if they are not taught about the nature of the stereotype. Though Baldwin’s essay was written some decades ago it is still relevant especially now that teachers are encouraged to “teach to the test,” which takes away valuable class time that can be used towards teaching critical assessment.
Thursday, October 14, 2010
From Austin Andries
Thoughts by Austin Andries
James Baldwin’s Notes of a Native Son is an intriguing combination of criticism, pride, and opinion. Baldwin’s strong voice permeates this collection of essays in a way that can be very off-putting at times. In his analysis of popular works by black artists and writers, Baldwin has a tendency to speak bluntly and is occasionally demeaning towards the classic works of the African-American canon. Nevertheless, his powerful opinions and passion towards the black image is extremely apparent to the reader and he makes use of it quite often. For example, the concern of the African-American identity is a theme that Baldwin focuses heavily on, and at times his arguments are valid and poignant. Simultaneously, he has a tendency to articulate very harshly against any form of stereotype or fictional creation. The debate here is a strange one as of course any group of people would be strongly adverse to stereotype. What I don’t believe Baldwin takes into consideration is the fact that every group is stereotyped: Jews, whites, Latino, blacks, Chinese, etc. It seems as if Baldwin is arguing that blacks should be above this stereotype and that it is disgusting what the image of the African-American has become. He lashes out against some of the most important African-American literature (Native Son, and Uncle Tom’s Cabin) calling them, “badly written and wildly improbable.” The question of improbability is in this case unnecessary as both works are pieces of fiction and fiction is called such because it is improbable. As for making judgments against their styles, Baldwin is of course welcome to publish his opinion, but he should also think about the fact that these texts have lasted the test of time in the American canon because of their subjects, themes, and styles. Overall, I feel that if Baldwin has a desire to reform the African-American image, he should first examine his voice and how he speaks against other work. If the only concept of the African-American that whites have is that of Aunt Jemima in the kitchen, then there is a necessity to educate them otherwise. Baldwin’s verbose rants against said topics may not be the best starting place. The most successful way to have groups assimilate is to find common ground, not point out the differences between them. In order for different nationalities and cultures to see the similarities in others, one cannot stand out more than another in a negative light.
Emma Barrow
‘Hope on a Tightrope’, I feel like the tightrope has gotten smaller since 2008. West speaks of progressives gaining power and steam once more but boulders and logs and debris is being thrown on the tracks. There is a great need for unity, or a common voice. Everyone is so afraid of the backlash for standing up for something they believe in. We live in a culture of instantaneousness. There is no waiting time for information, the internet has made sure of that. With the click of a button you can access things from around the world, we can skype with people on different continents. Yes, technology is fantastic, I so grateful for it, but it has desensitized us to how long things take in the real world. When Obama came into office he had 8 years of negligence to begin repairing. I am not arguing that he and his adminiatration have down enough, or quickly enough, but they have been working. Americans expect the economy to be instantly mended, the war to be instantly over, all the damage to miraculously disappear. You can’t just jump out into nothing without a safety net, you’ll fall. You wouldn’t jump off a cliff without a parachute and I think that the parachute is what needs to be built. It’s a scary time, we see the tea parties, which are interesting because while they are totally absurd they are also growing at an extreme pace. People are grasping anything they can, they feel voiceless and when people feel powerless they resort to extreme meaures.
Wednesday, October 13, 2010
Brother West-Living and Loving Out Loud by Cornel West
I personally felt always not that much comfortable about talking religions (and it is not easy still). It is not that I don’t want to talk but it feels like such a heavy topic. I actually do not want to talk about it unless I am talking to my closest friends. However it makes me curious that how Cornel talks about his journey relating with his religion and his belief.
Go Tell It On The Mountain by James Baldwin
It was definitely quite fascinating reading most of this novel through, as it is a semi-autobiographical journal. I would be quite curious to see what parallels are drawn exactly between author, James Baldwin, and character, John. Either way, there are strong religious and morale factors that come into play throughout this story, whether it be race, religion, sexuality, or parental relationships. This was Baldwin’s first novel he ever wrote, so I can only imagine how much the text truly corresponds to his real life. Growing up in a racist community, amongst a religious upbringing, during a very anti-color age, has really appeared to become the dictator at large for the prose.
Danielle Korman
Bushonomics
Researching Cornel West, I was surprised to find a man who was so accessible to the ‘younger’ generations. His upbeat personality makes you want to listen to him, and though you have full freedom to disagree with his opinions, he makes you want to hear what his views on the issues are. He is someone who you want to hear talk, rather than just feel you should. And if listening to a lecture is not your style, well the man collaborates to create hip hop music. His song ‘Bushonomics’ is the song I chose to look at because I found the lyrics entertaining. You can listen to the song at http://www.youtube.com/watch?v=4FauNFa9epc, and read the lyrics at http://lyrics.wikia.com/Talib_Kweli_%26_Cornel_West:Bushonomics. The first five lines of West’s song act as it’s thesis statement, “revolutions require participation/ but sometimes people be hesitating/ the government must respect the will of the people/ the government serve the people/ the people don’t serve the government”. The song is almost in essay style with the thesis stated, the lyrics continue to act as backup for the thesis with mention of education, heath care, weapons of mass destruction, the environment, and the very apparent oil issues of today. Cornel West is very critical of the government both under Bush, and of Obama, as can be seen in Fault Lines’ interview with him (http://www.youtube.com/watch?v=aVl8QFhnadY)
Optimistic Activism
Preface to Notes of a Native Son
Notes of a Native Son by James Baldwin
In James Baldwin’s, Notes of a Native Sun, Baldwin seems to be discussing racial perspective and analyzing what it means to be “Black” or a minority in this country. But what he actually seems to be touching upon is racial culture and how it separates the people of the country. Baldwin looks at literature first, mainly Stowe’s Uncle Tom and Wright’s Native Son and whether he meant to do it or not, the points that he is arguing have to do with a separation of culture and how “white” culture was thrust upon African slaves that were brought to the country later to become African Americans. He speaks about how it is poor writing and unlikely writing. He also looks down upon Uncle Tom because of the fact that the slaves were praying to the “White God” to cleanse them. While he brings up a valid point he fails to acknowledge that the point Stowe is making is the same as the one he later uses in a metaphor to support his argument: the missionaries traveling to Africa to cover up the natives. It is not an issue of the “White” dominating the “Black,” but rather two completely contrasting cultures and one has an older presence in the country and has larger numbers than the other. Therefore one culture imposes itself on the other, despite what the outcome may be. Stowe was speaking of the irony of two cultures colliding, one stronger than the other.
Harley
Tuesday, October 12, 2010
A Beaming Lecture by Cornel West
James Baldwin's Notes of a Native Son
In James Baldwin’s, Notes of a Native Son, Baldwin depicts a world, in his eyes, as a division between black and white. A perception of the “underprivileged” versus the “group of amazingly well-adjusted young men and women” (page 27) seems to be the on going comparison. The Aunt Jemimas’ and Uncle Toms’ of yester years are long gone, but the idealism and stereotypes are still engrained in our society minds of the black man. America has an underlining hidden racism for any ethnicities that doesn’t conform to the model of our ideal citizen. However, when we look back at our history, it’s a melting pot of groups who made this country. From the Irish, to the Vikings, to the Spanish and the natives who were here first. America is a country filled with cultures and differences in beliefs. So how is it that even now in 2010, we have racial discrimination and anti same sex marriage rallies?
A passage that really stuck out in my mind was on page 9 when Baldwin wrote: “ I think all theories are suspect, that the finest principles may have to be modified, or may even be pulverized by the demand of life, and that one must find, therefore, one’s own moral center……” A society might dictate what is acceptable and what is not, but I personally believe that is up the us as individuals to break through censorship and cookie cutter ideals. As artists, we have the opportunity to speak through our designs and create a world of less hate and more understanding of our differences regardless of race, gender or religious beliefs.
Ivy Bloemsma-Russell
Hope On A Tightrope
"The question is never whether catastrophes will come but rather, when they come, what choices will we make."
These wise words of Dr. Cornel West came from a magazine article entitled Hope On A Tightrope (actually an excerpt from West's new book Hope On A Tightrope: Words And Wisdom). This has got to be the most moving, provocative, one page article i have ever read; Short yet seeping with depth. The excerpt is about what empowers us to keep on walking "the tightrope" in the face of forces that try to knock us off our course. West describes the "three pillars of spirituality" as hope, faith, and love; "yet it is courage that enables all three". The passage begins with West's recollection of his own experience when he was told he had terminal cancer with only a few months to live. It was then that he "turned away from fear", and embraced his hope with courage, faith and love. Death is imminent, so why feel powerless. Embrace the power that you have and make a change in the world. These words that came from a man who was close to death make me want make change in my life now. I am far from old, and i have alot of time to make change on this earth, so why waste time.
QUESTIONS FOR FUN : Questions Straight from Mr. West's Website
In what ways, if any at all, do you think a sense of cultural awareness in America could provide hope to the United States? in the present state of social and economic turmoil ?
What kind of human being do you want to be?
“How can we include or rewrite our educational history books to note a sense of pride, strength and courage from slavery?” - Joann Williams Olora
stand up speak out! @:D
-Zach Schwartz
Restoring Hope
For this post I watched Dr. Cornel West talk about his book Restoring Hope. The link for this video can be found at the bottom of this post.
After reading some excerpts from the actual book I couldn’t help but wonder how a book full of such raw emotion is edited. And while I acknowledge that his speech was likely also edited, I would imagine it was edited to a lesser degree – not going through publishers. There is something to be said about the way Cornel West speaks. His tone and demeanor itself was part of an answer to a question that interested me as I began looking into Mr. West. How do you approach a topic that spans the socio-economic spectrum without offending or ostracizing some of your audience? Mr. West accomplishes this feat by somehow blending himself into every person in the audience. Mr. West is dressed in a nice suit with a slightly unkempt beard, he mixes standing up straight and delivering resounding ideas with hunching over his podium and simply talking, and finally he mixes words spelling bee contestants dread with simple slang words.
One idea Mr. West mentioned that was particularly interesting was the idea that being an optimist is a dangerous thing to be. Instead, he promotes being a “prisoner of hope.” This struck me because it was both poetic and intriguingly positive compared to most of what Mr. West talked about.
http://www.youtube.com/watch?v=kPaf9gqBIx8
Blues for Mister Charlie by James Baldwin
In the scene a group of Negro protesters have returned from a demonstration, and enter the home of the reverend. Several remarks are made about how fortunate they are to not have had bricks thrown at them, and to have finished the demonstration unscathed. Violent retaliation against the whites is suggested by one of the demonstrators who is discouraged by their failed ‘non-violent attempts’ (Lorenzo’s lines pages 15-16). It brought about a lot of admiration in me. To be in a situation where wrongs are done to you, or your community, and to act in a rational way is one of the hardest things to do. In my education I have encountered two conflicting arguments regarding this. The first is the saying ‘An eye for an eye…’ and the second ‘Turn the other cheek’. While the first saying might be the most just of the two, the second saying is one that will lead to progression in a battle for peace. By demonstrating peace we set an example for others and for our oppressors. In demonstrating violence we lose the struggle for justice, and thus begin again a cycle of continued hatred.
James Baldwin // A Talk to Teachers
Baldwin's primary and most urgent point is that citizens and teachers with senses of responsibility must "be prepared to 'go for broke'" (325)while they approach existence and teaching as forms of activism and resistance to the highest degree. He says that "what passes for identity in America is a series of myths about one's [supposedly] heroic ancestors" (330). Although Baldwin finds this to be a falsehood, and though it does admittedly hold much merit, the remainder of his speech holds a subtext suggesting that there is absolutely no reason for this to be a sustained mode of operation within American society. There is no reason why we can not be the true "heroic ancestors" for our descendants.
James Baldwin "Sonny's Blues"
Frank Raducz
I read James Baldwin’s short story entitled “Sonny’s Blues” and what stuck with me was the racial segregation that took place in Harlem. A line that stuck with me was when the narrator says that his students are “filled with rage”. This line touches on overall feeling of the African-American community at the time. It is interesting to see the author touch on the notion of rage within a community especially at that time when racial tension was at a high level. It is ashamed that the rage that is felt in the community is caused from the lack of advantages that the community had and this caused some groups of people to delve deeper into committing crimes.
But even though this lack of opportunity had its many negative sides to it, Sonny ends up creating beautiful music through this struggle in his life and in his community. It was also interesting that Sonny’s brother (narrator) and himself never quite got along until he went to go see him play. Before he was so focused on the fact that his brother was on drugs but couldn’t see the talent and passion that his brother had possessed.
Notes of a Native Son
Grant Dunn
After reading parts of Notes of a Native Son by James Baldwin, one statement that resonated with me was on page 7, “In effect, I hated and feared the world. And this meant, not only that I thus gave the world an altogether murderous power over me, but also that in such a self-destroying limbo I could never hope to write.” Baldwin’s tone is bleak, and quiet blunt. His sense of self-examination seemed to have painted an all too despair view of the world around him, and his relationship with in it. Obviously his opinion either changed as his life as a writer evolved, or he simply suppressed his true opinion on being a black author in today’s world. Baldwin proves the point that self examination can be tiring, intense, and not always result in an ideal conclusion. That being said, Baldwin has managed to push aside his conceived notions of himself, and continues to write, simply as a writer, not a “black” writer (despite what critics may pronounce). Baldwin’s attempt to simply be a writer is a bold one. Through my experience viewing galleries at CalArts, I can say the pieces that consistently move me the most aren’t about “being black” “being a woman” or being anything, but rather cover larger, more universal subjects.
Preface: Notes of a Native Son, James Baldwin
read thankfully from : http://books.google.com/books?id=HDnxq1cyEq4C&printsec=frontcover&dq=notes+of+a+native+son&source=bl&ots=zJokBpzFPJ&sig=XKaN0ttz52zmN_qB_6EavsO6LZc&hl=en&ei=Ys6vTJeCEoOesQPdk9z8Cw&sa=X&oi=book_result&ct=result&resnum=2&sqi=2&ved=0CCkQ6AEwAQ#v=onepage&q&f=false
I chose to read the preface for it's immediate availability, and also to discover what the author had to say about the journey it took to write such a memoir. After writing and producing my first one woman show, I learned that the amount of self reflection it takes to turn one's story into an artwork-- an honest, thought provoking creation-- is all at once terrifying, dangerous and fulfilling. the actual start, the beginning, is the most difficult part. It's addressed in this preface: Where do we come from, and how do we acknowledge the different aspects of our being? He says, "I am what time, circumstance, history have made of me, certainly, but I am, also, much more than that. So are we all." It's about discovering how you, the being, created you, the being. How we react to circumstance, how we deal with it and push through it, more create a definition of our humanity than the actual, sensuous circumstance.
Baldwin lays this notion next to his personal racial struggle-- and the struggle of the world to give definition and meaning to both the "inheritance" and "birthright" of people, black and white. Such as my mind goes.
Monday, October 11, 2010
Democracy Matters/ Cornel West
Democracy Matters Are Frightening in Our Time by Cornel West
link: http://www.logosjournal.com/west.htm
Differently from the society we live in, in which true nature of facts are often masked by massive media and consumerism, the Cornel West made a clear and specific choice when presenting deterioration of democracy through three dogmas that determine our society.
It really stroke me when West commented on the Free-market fundamentalism shifting the focus from health clinics to plastic surgeries, from children’s care to strip clubs. The huge difference between this matters, health care and esthetic treatment for instance, are many times not perceived in society. And while television and radio are announcing the new laser hair removal center, people are dying from not receiving proper medical care. I find it insulting that we are lead to believe we are the only existing human beings in the world at the same time as business leaders are homogenizing us.
If you think about the second dogma, aggressive militarism, you begin to understand how cyclically the system regresses. In order to end crime and violence the U.S. government chooses to make use of the very same. West resumes: “It views crime as a monstrous enemy to crush rather than as an ugly behavior to change”
It is really fascinating how he is able to unfold the three dogmas and link them to racial issues that haunt society for centuries.
I just commented on the two most striking segments of the reading for me, but there’s much more to learn ourselves if you read the whole article.
- Paula Rebelo
Karina Y. "A talk to teachers" -J.B
A talk to teachers- James Baldwin.
I recently read Baldwin's essay "A talk to teachers". The essay touched many points with me because it not only spoke about why the African American students have a difficult time in school's but why students who live in low income areas do in general. Which is a system I went through being from Los Angeles and part of the LAUSD system for a few years.
Baldwin 'keeps it real' with his straight on confrontation that the way that America is teaching it's children is simply not working and will not continue to work unless changes are made. A particular section of the essay that grasped my attention was when Baldwin states “ There is something else the Negro child can do, too. Every Street boy-and I was a street boy so I know-looking at the society which are not honored by anybody looking at your churches and the government and the politicians, understands that this structure is operated for someone else’s benefit- not for his. And there’s no reason in it for him. If he is really cunning, really ruthless, really strong- and many of us are- he becomes a kind of criminal. He becomes a kind of criminal because that’s the only way he can live. Harlem bad every ghetto in this city- every ghetto in this country- is full of people who live outside the law…” This is something I’ve see first hand and many people don’t understand that in these kinds of environments people do have options but its much easier to sell crack on the sides of the streets and join some gang because there at least you have some sort of brotherhood and protection.
The education system doesn’t understand that? Or want t comprehend that. Firsthand I feel as if they feed children books they are not interested in, give them standardized tests which are designed for many of them to fail and then they put them in lower are classes which they feel they have to succumb to everyone else. Or they treat the other kids special, the ones who are taking AP level classes and Honors courses. They treat those with the respect and attention they should be treating everyone.
I recommend the essay to those who have not had the opportunity to read it.