This past April and May, I participated in a Group-Centered Leadership mini artist residency with the Yeyo Arts Collective in St. Louis. Throughout the residency, each participant worked on envisioning an art project, going through the process of creating an elevator pitch, working out a budget, and coming up with a plan to see the project through. It was an incredible experience to work with local artists who were starting the process of honoring their identities as artists by working to bring their dream projects to life. Each artist’s project was a reflection of a central truth of theirs.
Like with most things, I applied to the residency based on a gut feeling, knowing that it would be a rewarding and enriching experience. I did not, at that time, have a project really planned out. But for the purpose of applying to the residency, I created one. Well, I committed to finally taking seriously an idea that I’ve been mulling over for some time.
Ever since returning from India and moving to St. Louis, I’ve wanted to create art that
- reveals the struggles that cotton farmers in India face daily
- connects their struggles to consumers in the United States by highlighting all of the cotton we consume daily, and
- connects Indian cotton farmers’ struggles to Monsanto, a locally based multi-national corporation that sells cotton seeds to farmers in India and funds really worthwhile art, education, and community programs in St. Louis.
For a myriad of reasons, I’ve never moved past the brainstorm/envisioning stage of this. And I’m glad I was stuck there for a long time, because over the last few months I’ve realized that there is a whole new dimension to the project that I want to highlight.
Many of you know that I’ve been involved in the activist community in St. Louis since moving back to the city in 2013. And since last August, when Darren Wilson shot and killed Michael Brown, that my involvement has centered around issues of race and inequality. Rampant racial disparities in St. Louis were one of the main reasons why I was compelled to work on food justice issues in St. Louis. Mike Brown’s death re-centered race issues in my work. I participated in the YWCA’s book club “Witnessing Whiteness.” I found a group of creative thinkers to plug into actions with – helping to create and enact #chalkedunarmed, the symphony action, FoodSpark potlucks centered around discussing race and privilege, and various banners and art used in protests spanning from August to today.
In February we hosted two FoodSparks, one in Ferguson and one in Shaw. These FoodSparks focused on creating a space for protestors and activists to creatively process the last 6 months in St. Louis and Ferguson and collectively envision the next 6 months. Participants added thoughts and artwork to placemats at each potluck, as well as to a blank storywall that was added to a collection of storywalls created in August in response to the things our communities were experiencing in the aftermath of Mike Brown’s death. We collected these works and exhibited them at the Atelier D’artiste 14 Community Gallery in Old North, St. Louis.
artwork by William Burton Jr.
When I walked into the gallery to meet with William Burton, Jr., one of the gallery owners, I immediately noticed a vase with cotton. As I took in the artwork on the walls, I saw cotton, cotton, cotton. I began to realize that cotton has an incredibly important history here in the United States. The history of slavery and racial oppression in the United States is bound up in the economy of cotton. I began to think about how capitalism and today’s economy enslave small-scale cotton farmers in India and what the threads connecting these seemingly separate social justice issues are.
artwork by William Burton Jr.
As I got into my residency with Yeyo, I began to envision ways to visually draw these connections and create a critique of the racist and oppressive nature of capitalism that could span centuries and continents. It was around this time that I received an email from JetAirways alerting me of a one-weekend only deal on flights from Newark to Mumbai. The deal was too good to pass up. So I bought a ticket and began planning a return trip to India for October-November 2015.
This catapulted my project into the beginning stages of action!
I applied for (and received!) an Artist Support Grant from the Regional Arts Commission (RAC). Leading up to leaving for India in October I will exhibit photographs from my work in India in 2011-2012 at the Yeyo Arts Collective Gallery (2907 S. Jeffereson Ave). “cotton: the fiber of our being” will be up in the gallery from July 3 – July 31. On Monday, July 13, I will screen the film Bitter Seeds, a documentary about growing cotton in India. Bitter Seeds was filmed in Vidarbha, the region where I lived and did my research in 2011-2012. We’ll screen the film and I’ll speak briefly about my experience in India and field questions related to the film and cotton farming. On Friday, July 24, I will lead an oral history workshop at Yeyo.
Although I received a generous grant from RAC, I need to raise more money to cover additional costs. I will be presenting at Sloup, a local monthly crowd-funding event in St. Louis, on July 26. And in August I will launch an online crowd-funding campaign to raise the remaining funding necessary for me to complete this project on the scale that I’m envisioning it!
Stay tuned for blog updates for all of the events I will be facilitating this July, as well as information regarding the fundraising (I’ll need your help, i.e. donations and spreading the word!), and project updates.
It’s good to be back!