Category Archives: What I’m Making

Malala Persisted

Malala Persisted—perSISTERS print, part of the #FemalePowerProject honoring Malala Yousafzai.

This print for Malala Yousafzai (born 12 July 1997) is the third design I’ve made for her. I started the Female Power Project in 2015 with shawl and scarf designs honoring Malala, and they are called “A girl With a Book.” (The blog post I made at this time shows pictures of some of the images I’ve referenced in this post.) This text refers to some of the design elements in the shawls and scarves, not all of which I have used in this print design. But I include reference to them here because I think people might find this design research interesting.

I’ve asked friends and strangers about their female heroes. In fact, now that I am often selling directly at street fairs and similar venues, I see this input from the public who enter my booth as part of the creative process, its performative aspect. The first shawl design I finished, called “A Girl with a Book,” is in honor of Malala Yousafzai, the young woman who campaigned for girls’ education in Pakistan, was shot by a Taliban man, fought hard to survive the shooting, kept working for her cause, won the Nobel Peace Prize for her accomplishments (at 16!), is now a student at Oxford University in the UK, and continues to work for every child’s right to an education. While still a teen, she founded the Malala Fund, an international, non-profit organization that fights for girls’ education. A portion of the proceeds from the Female Power Project goes to the Malala Fund.

To design the shawl I did research on the visual culture of the Swat Valley, the region of Pakistan where Malala was born. I discovered that one of the recurring motifs in the wood carving of the area is based on a woman’s neck ring. The neck ring shape, a nearly-round crescent with outer-facing ends, is pre-islamic, and is thought by anthropologists to be a symbol of female power because of its similarity to the shape of a crescent moon. It persisted even after the coming of Islam because a crescent is Islamic as well. There are several versions, one is a double twist. Although the text I read suggested that the ends look like bird heads, I think they might just as well be serpent heads. The snake is also often a symbol of female power. (The Arts and Crafts of the Swat Valley: Living Traditions in the Hindu Kush, by Johannes Kalter, 1989.)

I built a neck ring shape from various materials because I was interested in experiencing the motif as a physical thing, not just as a drawing. I made a couple versions and they both seem a little magical when I hold them. One version was wrapped and the other was twisted. The twisted version looks much more like two snakes. This is the one I scanned and used in the shawl design.

The shape also made me think of two hands held out, cupped, as if holding water—or holding a book. So I drew a motif of hands in the neck ring shape holding a book. The text on the shawl reads: “Extremists have shown what frightens them most: a girl with a book.” This is a Malala quote used by Amnesty International. I like this sentence because, on the one hand, it is calling the Taliban cowards because they are afraid of a little girl and everyone knows that girls are weak and harmless [sic!]. On the other hand, it suggests that it really is a very powerful thing for a girl to reach into the world and seize knowledge for herself. They should be afraid if their ideology dictates that women should remain ignorant. It is not a secret that the lifting of the status of women lifts up a whole society.

I also read Malala’s memoir, I Am Malala, which I recommend to everyone. She writes lovingly of her homeland. She holds fast to her Muslim faith and describes how the Koran encourages women on their path to knowledge. She tells a compelling story that describes how extremism takes hold of a society. She describes how the Taliban moved into her land and slowly won over people through rhetoric and intimidation. Then they started destroying schools and assassinating people. Their tactics were designed to breed fear and conformity. She held to her conviction that it is not a crime to seek an education. In this she was supported by her educator/activist father and her illiterate mother. Again and again we see the importance of committed fathers in the nurturing of strong women.  The day that Malala was shot, in a school bus delivering her home from school, her mother was attending her own first reading lesson.

QUESTION — Kamala Harris redux

FemalePowerProject Kamala Harris
QUESTION — #FemalePowerProject perSISTERS print honoring Senator Kamala Harris

Kamala Devi Harris (born October 20, 1964) is the junior Senator from California. Before that she served as Attorney General of California. Harris was born in Oakland, California. She is the daughter of an Indian mother—a cancer researcher who emigrated in 1960—and a Jamaican-American father who is an economics professor. (Wikipedia)

This is the second perSISTERS print I’ve made for Kamala Harris. The first design, INSIST, was made in response to her being interrupted numerous times during Senate Intel hearings in June 2017. Nevertheless, she insisted on her right to question and get an answer.

On September 5, 2018, Senator Harris asked some powerful questions during the second confirmation hearing for Supreme Court nominee, Brett Kavanaugh. The nominee had difficulty answering her. The question about laws governing female bodies vs male bodies gets to the heart of the abortion rights issue, avoiding the excuse of the “Ginsburg Standard,” which Kavanaugh said he was following when he refused to answer questions about Roe v. Wade, even though he has, in fact, a written record objecting to that decision, and so would not be divulging new information about how he might rule as a Supreme Court judge. A nominee should not divulge how he or she may rule on a particular case because the judiciary should remain independent of any promises. However, the nominee may, and SHOULD, divulge his or her thinking about the principles underlying a particular precedent, and whether the nominee agrees with the soundness of those principles, or constitutional interpretations.

According to the National Women’s Law Center (NWLC), this portrayal of Justice Ginsburg’s hearings and the Ginsburg Standard is not accurate. Here I will quote at length from the NWLC:

Claims are being made that Ruth Bader Ginsburg refused to answer questions about her views on abortion and the right to privacy and liberty during her Supreme Court confirmation hearings in 1993, and that Judge Kavanaugh should follow her example. In fact, Kavanaugh made these claims when he was nominated to the Court of Appeals for the D.C. Circuit.

This portrayal of Justice Ginsburg’s hearings is not accurate. The truth is that Justice Ginsburg did the exact opposite. Then-Judge Ginsburg did answer Senators’ questions on abortion and the right to privacy—in fact, she spoke at length about her views.

Here is Justice Ginsburg’s response to then-Senator Hank Brown’s question about the constitutional underpinnings of the right to abortion:
“[Y]ou asked me about my thinking about equal protection versus individual autonomy, and my answer to you is it is both. This is something central to a woman’s life, to her dignity. It is a decision that she must make for herself. And when government controls that decision for her, she is being treated as less than a fully adult human responsible for her own choices.” (Nomination of Ruth Bader Ginsburg, to be Associate Justice of the Supreme Court of the United States, Hearings Before the Senate Comm. on the Judiciary, 103rd Cong. 207 (1993)).

And here is her answer to a question by Senator Leahy about whether there is a constitutional right to privacy:
“There is a constitutional right to privacy which consists I think of at least two distinguishable parts. One is the privacy expressed most vividly in the Fourth Amendment, that is the government shall not break into my home or my office, without a warrant, based on probable cause, the government shall leave me alone. The other is the notion of personal autonomy, the government shall not make my decisions for me, I shall make, as an individual, uninhibited, uncontrolled by my government, the decisions that affect my life’s course.” (Ginsburg Nomination Hearings, 185).

Additionally, then-Judge Ginsburg had a very extensive record of opinions and articles when she appeared before the Judiciary Committee, giving Senators an ample basis on which to determine her views on important legal issues – which is not the case with Judge Kavanaugh. As the 1993 Judiciary Committee report on the Ginsburg nomination said:
“[E]ach member of the committee had ample means, prior to Judge Ginsburg’s hearing, to discover much pertinent information—indeed, the most pertinent information—about Judge Ginsburg’s judicial approach and method. In more than 300 signed appellate opinions, and more than three score articles, Judge Ginsburg told the Senate and the American people an enormous amount about herself even before the hearings opened.” (Ginsburg Nomination Rept., 40).

Indeed, the Judiciary Committee’s report on the Ginsburg nomination concluded that “the committee knows far more about Judge Ginsburg’s views on reproductive rights than it has known about any previous nominee’s. Judge Ginsburg’s record and testimony suggest both a broad commitment to reproductive freedoms and a deep appreciation of the equality and autonomy values underlying them.” (Nomination of Ruth Bader Ginsburg, to be Associate Justice of the Supreme Court of the United States, Sen. Exec. Rept. No. 103-6, at 39 (1993)).

Attempts to claim a “Ginsburg standard” that would allow Judge Kavanaugh to refuse to explain his views on the rights to privacy, liberty, and abortion are disingenuous excuses.

Rather, Judge Kavanaugh should follow Justice Ginsburg’s example and be forthcoming in his confirmation hearings. He must answer whether or not he believes the Constitution protects the individual right of all people to make personal decisions about their bodies and relationships, including the right to use contraception and to have an abortion.

A NOTE ON THE DESIGN

I was so happy to be able to use a capital Q in a perSISTERS design. This is definitely my favorite character. The capital Q is often an eccentric letter in a typeface, an eccentricity that is most often hidden because this letter is so rarely used in the English language. Because this flamboyant letter is kept “in the closet” I took it upon my self, in 1997, to create an artists book about this letter. I have three posts about this work, here, here, and here. The Q in this perSISTER design is from the typeface BeLucian Ultra. The book weight version is used for the name “Lucian” in the book, as in queen, the abecedarium of a typophiliac by Leda Black, Palabra Press, 1997 and a Blurb edition, 2015.

SOURCES

https://nwlc.org/resources/the-ginsburg-standard-requires-judge-kavanaugh-to-give-full-and-complete-answers-to-questions-about-liberty-privacy-and-abortion/

https://www.facebook.com/USSenateDemocrats/videos/sen-harris-explains-the-ginsburg-standard-to-judge-kavanaugh/253038132016219/

https://www.npr.org/2018/07/13/628711698/the-reality-of-the-ginsburg-rule

The image of Ms. Harris is based on a screen shot from the video clip “Kamala Harris Interrupted at Intel Senate Hearing” from CNN. (http://www.slate.com/blogs/xx_factor/2017/06/07/watch_two_republican_men_try_to_shush_kamala_harris_in_a_senate_hearing.html)

TAKE CREDIT honoring Elizabeth Cotten

Elizabeth Cotten, Feminist Art, Folk Music
TAKE CREDIT — #FemalePowerProject perSISTERS design honoring Elizabeth Cotten

It’s really not hard to find amazing women to make art about. The Takoma Park Folk Festival is coming up and they were kind enough to count digital design and typography as a craft, so that the Female Power Project can have a booth at their juried craft show this Sunday. My work slips through categories, since I don’t do limited edition prints for the Female Power Project, and they aren’t strictly handmade. The message is my medium. Anyway, I thought I might do a folk musician for the event, and I immediately thought of Cotten, even though I’m not much of a folky. I even think I saw her at a folk festival in Oregon in the 1980’s, though she didn’t make much of an impression on me (probably because of the drunk jerks carrying on at the edge of the crowd where I was standing). But she really was immensely impressive, as I discovered in my research. I urge you to check out some of the YouTube videos I’ve linked to at the bottom of this post. As usual, I have relied a lot on Wikipedia for the highlights. Here are some details.

Elizabeth “Libba” Cotten (née Nevills) (January 5, 1893 – June 29, 1987) was an American blues and folk musician, singer, and songwriter. A self-taught left-handed guitarist, Cotten developed her own original style. She played a guitar strung for a right-handed player, but played it upside down. This position required her to play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as “Cotten picking”.

Cotten was born near Chapel Hill, North Carolina, to a musical family. At age seven, she began to play her older brother’s banjo. “From that day on,” she said, “nobody had no peace in that house.” By the age of eight, she was playing songs. At the age of 11, after scraping together some money as a domestic helper, she bought her own guitar. By her early teens she was writing her own songs, one of which, “Freight Train”, became her most recognized.

In 1910, at the age of 17, she married and soon after she complied when her church told her to stop playing her music. Cotten did not begin performing publicly and recording until she was in her 60s. The story of her return to playing is remarkable.

While doing seasonal work in a department store, Cotten helped a child wandering through the aisles find her mother. The child was Peggy Seeger, and the mother was the composer Ruth Crawford Seeger. Soon after this, Cotten began working as a maid for Ruth Crawford Seeger and Charles Seeger and caring for their children, Mike, Peggy, Barbara, and Penny. While working with the Seegers (a voraciously musical family that included Pete Seeger, a son of Charles from a previous marriage)—surrounded by music and instruments—she picked up the guitar again. Peggy heard her playing and asked Elizabeth to teach her the song. It was “Freight Train.”

In a documentary, Mike Seeger described how astonished they were by this “folklorist’s dream. She was a true musician.” The quote on the upper left of this print is from Mike Seeger: “She was certainly a confident person. Before every show she would say to the audience [that] nobody taught her anything. She did it all herself. And she gave herself all the credit.” This is from the first YouTube link below.

In the later half of the 1950s, Mike Seeger began making reel-to-reel recordings of Cotten’s songs in her house. These recordings later became the album Folksongs and Instrumentals with Guitar, which was released by Folkways Records. Since the release of that album, her songs, especially her signature song, “Freight Train”—which she wrote when she was 11—have been covered by Peter, Paul, and Mary, Jerry Garcia, Bob Dylan, Joe Dassin, Joan Baez, Devendra Banhart, Laura Gibson, Laura Veirs, His Name Is Alive, Doc Watson, Taj Mahal, Geoff Farina, and Country Teasers. Shortly after that first album, she began playing concerts with Mike Seeger.

In the early 1960s, Cotten went on to play concerts with some of the big names in the burgeoning folk revival. Some of these included Mississippi John Hurt, John Lee Hooker, and Muddy Waters at venues such as the Newport Folk Festival and the Smithsonian Festival of American Folklife.

The newfound interest in her work inspired her to write more songs to perform, and in 1967 she released a record created with her grandchildren, which took its name from one of her songs, “Shake Sugaree”.

Using profits from her touring, record releases and awards given to her for her contributions to the folk arts, Cotten was able to move with her daughter and grandchildren from Washington, D.C., and buy a house in Syracuse, New York. She was also able to continue touring and releasing records well into her 80s. In 1984, she won the Grammy Award for Best Ethnic or Traditional Recording, for the album Elizabeth Cotten Live, released by Arhoolie Records. When accepting the award in Los Angeles, her comment was, “Thank you. I only wish I had my guitar so I could play a song for you all.”

Cotten died in June 1987 in Syracuse, New York, at the age of 94.

from
https://en.wikipedia.org/wiki/Elizabeth_Cotten
and
https://www.youtube.com/watch?v=k439N7Ns0wg
https://www.youtube.com/watch?v=NvXNT9Cu_X4
https://www.youtube.com/watch?v=voPJENW6i4c