Tag Archives: digital image

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.

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

ORGANIZE honors Dolores Huerta

Dolores Huerta perSISTERS Feminist Art #FemalePowerProject
ORGANIZE — #FemalePowerProject perSISTERS poster honoring Dolores Huerta

Dolores Huerta is profoundly gifted with the skills of listening, speaking, inspiring, and negotiating. These, along with courage, persistence, dedication to non-violence—and fed by her love of people—make her one of the most successful community organizers ever. I didn’t think organizing could be such an amazing thing until I started researching Dolores Huerta. I can only sketch in some details about this amazing woman here. I urge everyone to watch a recent documentary about her called “Dolores” (2018). I have started with some quotes of Huerta’s, then sketched out some of her history. I have pasted some links to my sources below.

To begin, you should understand that the migrant farm workers in the US around 1960 were subject to deplorable and shocking living and working conditions.
Dolores Huerta on organizing:
“It is rarely practiced today because it is tedious and time consuming. However, the results are long lasting and while people are in the process of building organization, they are learning lessons they will never forget and the transformative roots are planted. The fruit is the leadership that is developed and the permanent changes in the community. In other words, this is how grass roots democracy works.”

“…giving them the confidence they needed through inspiration and hard work. Educating them for months to realize that no one was going to win their battle for them. That their conditions could be changed by only one group of people, themselves.”

Huerta’s first occupation was as a teacher in California: “I couldn’t tolerate seeing kids come to class hungry and needing shoes. I thought I could do more by organizing farm workers than by trying to teach their hungry children.”

From the documentary film: “I used to think it was wrong to take credit for the work that I did. But I don’t feel that way any more.”

Dolores Huerta on learning about the history and dignity of your own people (this is in the context of Arizona eliminating ethnic studies in the schools and erasing Dolores Huerta from their history curriculum): “All that a person has is their story. If you deny their story you take away their power.” (Of course this resonates with me and my work!)

Dolores Clara Fernández Huerta (born April 10, 1930, in New Mexico) is a Mexican-American labor leader and civil rights activist who, with Cesar Chavez, was the co-founder of the National Farmworkers Association, which later became the United Farm Workers (UFW). Huerta helped organize the Delano grape strike in 1965 in California. In 1966, Huerta and her fellow organizers led a 300-mile march from Delano to the state capitol in Sacramento to focus media attention on the strike. In 1966, she negotiated a contract between the UFWOC and Schenley Wine Company, marking the first time that farm workers were able to effectively bargain with an agricultural enterprise. But what made the largest impact was the nationwide grape boycott, which Huerta went to New York to organize there. While in New York, Huerta worked with feminists like Gloria Steinem, and they influenced each other greatly. Huerta embraced feminism, and Steinem realized that the women’s movement should try harder to include people of color. The grape boycott was successful. The entire California table grape industry signed a three-year collective bargaining agreement with the United Farm Workers in 1970. Furthermore, in 1975 the California Labor Relations Act was signed, the first law in the country that recognized the right of farm worker unions to negotiate contracts with the agricultural industry.  Huerta originated the rallying cry, “Sí, se puede” which she and Cesar Chavez used during a 25-day fast in Phoenix, Arizona, trying to organize farm workers to demand fair wages and better working conditions. It means, “Yes, it can be done.” Huerta created the phrase because people kept telling her, no, you can’t do that, it is not done: “No se puede.” But two negatives make a positive, and saying “no” to a no, means saying “Yes,” yes, it can be done. And she did it. Over the years, “Sí se puede” has also been adopted by other civil and labor rights groups involving Latinos around the country. It was adopted also by Senator Obama during his presidential campaign. In 2012, President Obama awarded Huerta with the highest civilian award in the United States, The Presidential Medal of Freedom. Upon receiving this award Huerta said, “The freedom of association means that people can come together in organization to fight for solutions to the problems they confront in their communities. The great social justice changes in our country have happened when people came together, organized, and took direct action. It is this right that sustains and nurtures our democracy today. The civil rights movement, the labor movement, the women’s movement, and the equality movement for our LGBT brothers and sisters are all manifestations of these rights. I thank President Obama for raising the importance of organizing to the highest level of merit and honor.”The Female Power Project supports causes that resonate with the stories of the females featured. Using her unrestricted gift of $100,000 from the Puffin Foundation, Huerta started a foundation to train people to do community organizing. I urge everyone to support The Dolores C. Huerta Foundation (as I have).  http://doloreshuerta.org/

SOURCES
https://en.wikipedia.org/wiki/Dolores_Huerta
http://doloreshuerta.org/dolores-huerta/
http://eloquentwoman.blogspot.com/2015/09/famous-speech-friday-dolores-huerta-at.html
https://awpc.cattcenter.iastate.edu/2017/03/09/nfwa-march-and-rally-april-10-1966/
https://libraries.ucsd.edu/farmworkermovement/media/oral_history/ParadigmArchive/arc%2029.pdf
https://www.aarp.org/politics-society/history/info-2004/interview_dolores_hurerta.html
https://www.amazon.com/Dolores-Huerta/dp/B07F5FXP71/ref=sr_1_2?ie=UTF8&qid=1535663112&sr=8-2&keywords=dolores+huerta
https://insider.si.edu/2018/04/dolores-huerta-a-latina-civil-rights-icon/