I'd like to start this off with the fact that I totally blew my first anthropology assignment this semester. Dr. Durington wanted us to write a "Future Me" letter, where we would write about our expectations for the class and what our initial reactions to our eminent research extravaganza.
I never wrote it. It wasn't on my radar, as I had to read about 70 pages worth of other material for his class.
However, I can re-tribute myself and reflect entirely on my growth over this semester in this blog. I think it's evident after reading it through from September until now that I've become entirely newly aware of certain aspects of urban science, aspects of documenting and filmmaking and their role in anthropology, and aspects of myself as a developing and growing younger person.
My understanding of my environment and myself among the environment is what has strengthened the greatest this semester. I came back from Ireland knowing nothing about my own city. I ended up enveloping myself in it, soaking everything in. I wanted everything that was Baltimore. My relationship to Baltimore has grown, as have my connections within its boundaries. Even my geographical relationship has been greater realized. Coming from the East side is a completely alternate experience to the West. Also, being from the county has its own implications as well. This should have all been apparent to me before, and it was in some respects. But it was never put in a sociological perspective.
I think as a filmmaker and anthropologist, I am developing as well. I honestly haven't tackled the amount of literature I should have, and I'm upset to say it's very difficult for me to absorb the information scholars deliver in articles about visual anthropology. I learn much better from watching and observing footage. I can understand styles and methods better when it's actually visualized. Watching John Marshall's "A Kalahari Family" helped me totally understand everything I felt I should have been understanding all semester.
Everything that happened to me in Greenmount West is the materialization of everything I am learning and understanding. I can't believe I wrote a 26-page research paper that is now the fabric and outline of the film I WILL begin this January.
I already started filming development on the 1500 block of Greenmount Avenue. I've become nervous filming with workers on the lot, so it's becoming more guerrilla, which is fun. I sneaked into the Greenmount Cemetery to get better shots.
I digress, the film is going to be great, and I've already given it the name, "Alex Fox is Off the Grid". I will follow Alex Fox and his personal relationship with his living space in the Annex, the developments in his neighborhood, as well as his love for the Lebow building, which is prospectively being destroyed in coming months. This will play among the thematic nature of the entire redevelopment of Station North.
I'm looking forward to putting my own methods to practice. While I can read and understand other anthropologists points of view on the matter, it really comes down to the situation and the relationships that play out. The camera, in my opinion, needs to find an objective stance among the subjectivity of the relationships between the cameraman and people with whom he or she is interacting.
While I didn't produce anything tangible for this semester, I think next semester I will play catch up and produce some fantastic results with the Media Active Film Festival and my documentary.
Woot!
Tuesday, December 15, 2009
Thursday, December 10, 2009
Looking at things Differently
It's been a few weeks since I shot video for the Obaltimore Project and my "Day in the Life" project for Matt Durington's Life in the City course. That week was a whirlwind of getting things finished, so I had little time for reflection. However, I did keep a lot of lessons in mind from that week that I want to share now.
I chose my friend David to do both projects on. We have been friends for the past year or so, and have gotten very close while making film projects and being in a fraternity together. I felt I could get honest answers and a comfortable vibe from him. He grew up in Baltimore city and is an artist, so he was a great fit.
The Day in the Life project was done on a day David had a lot going on. He had to finish and start up a project in his ceramics class, then had to go shoot a Dance for the Camera segment in the same building. While I knew the assignment called for it to be done in the city, there was little I could do to control that situation. I was running out of options, and honestly I wanted to shoot with someone that I had built some kind of relationship with.
With my nifty HD Camera, I did my best to try and capture David being as natural as possible. I hadn't shot anything all semester, so it was fun to experiment with angles and positions of the camera around David. I found that David didn't behave any differently than if it was just me and him in the room. The camera made very little difference in his actions. During the dance shoot, I was limited to a very dark space with silhouetted dancers in front of a mesh curtain. I decided to shoot into the light, as that was the only way I'd capture any image. For the amount I needed to edit down to, I was able to capture some great stuff, especially with choreography and David's involvement in the piece. The handheld style I had as well as the addition of silhouetted dancers, I believe, helped this piece paid homage to the piece David was helping produce with his partner, Biz.
After that shoot, we went back to his house in the city to do the Obaltimore Project and interview for Day in the Life. This was where I started becoming incredibly aware of my questions and the ethical side to documentary filmmaking. I didn't want to stop David from answering any of the questions. I also didn't want to influence any of his answers. When I asked the question regarding Urban Housing, David was confused and didn't know if his answer was legitimate because his didn't know much about the topic. I couldn't honestly elaborate on the topic as well, so I told him his answer was his answer and is what we needed for the project.
Then, when I asked him the question about what he would want to ask Obama, I could not stop his answer, no matter how inappropriate. I didn't think something regarding Marijuana use would be advisable in a project like this, but it was David giving an honest response. If I was to sway him from answering like that, it wouldn't be honest. What is more ethical? Allowing a free flow of ideas? Or censorship?
Then when it came time to film his Day in the Life interview, I decided on a different and more intimate approach. I tried to film him as though I was just standing there having a conversation with him, and the camera was by my side to perhaps initiate the sensation of my relationship to David. I'm glad I was recording when David explained his approach to the interview, because it would be a more free flowing explanation of his life to an audience, and I would be a spectator. I added this into the final cut to retain a sense of reflexivity.
David is one of my close partners that I work on film projects with, so at some point in the night, I was trying to explain to him my new mindset and approach to filming from an anthropological stance. I found that it was extremely difficult to explain myself, as this style is still forming, and I'm still wrapping my mind around how exactly to ethically and realistically portray one person or idea, but I think the formalities and principles are continuing to brew.
I chose my friend David to do both projects on. We have been friends for the past year or so, and have gotten very close while making film projects and being in a fraternity together. I felt I could get honest answers and a comfortable vibe from him. He grew up in Baltimore city and is an artist, so he was a great fit.
The Day in the Life project was done on a day David had a lot going on. He had to finish and start up a project in his ceramics class, then had to go shoot a Dance for the Camera segment in the same building. While I knew the assignment called for it to be done in the city, there was little I could do to control that situation. I was running out of options, and honestly I wanted to shoot with someone that I had built some kind of relationship with.
With my nifty HD Camera, I did my best to try and capture David being as natural as possible. I hadn't shot anything all semester, so it was fun to experiment with angles and positions of the camera around David. I found that David didn't behave any differently than if it was just me and him in the room. The camera made very little difference in his actions. During the dance shoot, I was limited to a very dark space with silhouetted dancers in front of a mesh curtain. I decided to shoot into the light, as that was the only way I'd capture any image. For the amount I needed to edit down to, I was able to capture some great stuff, especially with choreography and David's involvement in the piece. The handheld style I had as well as the addition of silhouetted dancers, I believe, helped this piece paid homage to the piece David was helping produce with his partner, Biz.
After that shoot, we went back to his house in the city to do the Obaltimore Project and interview for Day in the Life. This was where I started becoming incredibly aware of my questions and the ethical side to documentary filmmaking. I didn't want to stop David from answering any of the questions. I also didn't want to influence any of his answers. When I asked the question regarding Urban Housing, David was confused and didn't know if his answer was legitimate because his didn't know much about the topic. I couldn't honestly elaborate on the topic as well, so I told him his answer was his answer and is what we needed for the project.
Then, when I asked him the question about what he would want to ask Obama, I could not stop his answer, no matter how inappropriate. I didn't think something regarding Marijuana use would be advisable in a project like this, but it was David giving an honest response. If I was to sway him from answering like that, it wouldn't be honest. What is more ethical? Allowing a free flow of ideas? Or censorship?
Then when it came time to film his Day in the Life interview, I decided on a different and more intimate approach. I tried to film him as though I was just standing there having a conversation with him, and the camera was by my side to perhaps initiate the sensation of my relationship to David. I'm glad I was recording when David explained his approach to the interview, because it would be a more free flowing explanation of his life to an audience, and I would be a spectator. I added this into the final cut to retain a sense of reflexivity.
David is one of my close partners that I work on film projects with, so at some point in the night, I was trying to explain to him my new mindset and approach to filming from an anthropological stance. I found that it was extremely difficult to explain myself, as this style is still forming, and I'm still wrapping my mind around how exactly to ethically and realistically portray one person or idea, but I think the formalities and principles are continuing to brew.
Sunday, November 29, 2009
A Kalahari Family
After watching all five volumes of John Marshall's "A Kalahari Family", I can honestly say I don't know where to begin with my reactions. Watching a community and culture change, grow, and basically diminish over fifty years was heartbreaking. With that change came the development of Marshall as an anthropologist and a filmmaker.
I suppose my first reactions should be towards the primitive hunting and gathering culture the Ju/'hoansi carried out through the 1950's. The fact that they were the last hunter/gatherer culture left in Southern Africa was fascinating, implying that they were able to function that way without outside assistance for thousands of years. I thought about America in the 1950's and how suburbanization was booming. People strived for their white picket fence, their car, central heating, and their kitchens with every shiny new appliance for all their cooking needs. Meanwhile, there were still people living peacefully in Africa by gathering for nuts and berries, and occasionally hunting for wild meat. After doing some research, I found that the Ju/'hoansi were one of the most peaceful societies. They lived in harmony with each other and their natural environment. My personal favorite footage was of the giraffe hunt. It felt incredibly raw and exhilarating to see an animal that we as children are taught to find cute and innocent to be killed for people's mere survival.
I found it incredibly unfortunate that while the intervening of white government power in South Africa brought them rations and cattle, their meddling set off a domino effect of dependency and depreciation of their lands and people. Their territory was diminished, and their need for water was pressed as they began competing with local wildlife. If this way of life was functioning and sustaining for thousands of years, would it still have existed if the white man had no involvement? It seemed that once the government started taking control of the Nyae Nyae, things went from good to worse and stayed that way for the duration of Marshall's involvement.
John Marshall's development as a filmmaker and anthropologist, as well as activist, was apparent in the films. His style went from somewhat observational to nearly entirely participant observationist over the course of 50 years as his relationships with the locals developed and he became more engaged with the political climate of the Kalahari Desert. It's interesting to note that the government of South Africa was able to locate the Ju/'hoansi tribes because of the Marshall family's automobile path. Before that, they were nearly impossible to locate. Also, the foundation that John started to ensure positive growth in the Ju/'hoansi tribe was being taken advantage of and corrupted by other white outsiders. It calls into question the role John played in the lives of these people. What were his goals? Did he do more harm than good? What were the differences between his intentions and the outcomes? And does he represent the same colonialist attitude that the other whites imposed on this culture that was doing just fine without it? In the fourth volume, it was just insane to see the DTA standing up against Marshall's involvement, creating a very self-reflexive moment that puts into question the entire film and how opinions from another region of the conflict come into play.
However, over the course of the 50 years, it was incredible to see the transition of so many elements: The age of every integral character in the story, including Marshall. The advancements in film technology and image. The changes in culture and behavior. The impact of the white South Africans on the Nyae Nyae region. The leadership skills built among those in the new generation. And lastly, Marshall's involvement in the tribe's struggle as an activist filmmaker.
I think this film helped me understand the level of commitment a person can foster for a group of people once they spend enough time and energy with them. Understanding and humanizing a group of people that most people in middle-class White culture would label as archaic and uncivilized, his mission became to ensure their survival. His position behind the camera slowly drifted to in front of the camera as he aged. Nearly everything regarding Marshall as both an activist and a visual anthropologist. In his early films, it was clear he was limited by a tripod and lack of effective sound equipment. He is relatively disconnected and a bit far from his subjects, demonstrating a lack of knowledge and comfort. Later on, he starts involving himself in the interviews, the film stock became sharper, and the camera work is becoming more fluid and participant. He is understanding and growing, and what he captures and how he captures is proof of this. By the end, Marshall has laerned how to grab emotion in the final moments. He is a total participant and arguble manipulator. His interaction with the Ju/'hoansi from the 50's is what allowed the government and imminent take over of the region to occur. His establishment of a co-operative to ensure the growth of gardens was failing at the hands of incompetent leaders.
By the end, I started questioning the entire field of anthropology. What good are we really doing to society? Are ego's so inflated that we bestow our presence among communities that otherwise go unnoticed or marginalized, with a sense of duty? Or perhaps to make ourselves feel good? When do we draw the line between study and activism? If Marshall's family never reached these people to begin with, would this entire situation have occurred?
That is very probable, as it was only a matter of time. However, this helped me understand that during field work, it should be important to understand how my presence in both the physical world, as well on the images I capture, will affect the outcome of the people with whom I interact.
I also started questioning the involvement of tourism throughout the ordeal. I felt the vanity was creating the scam to destroy the bushman people. The myth was what sold for those greedy enough to make a profit off of exaggerating the culture they forced the bushman to leave behind.
These movies really make me dislike a lot of what happens in the world. Documentaries do that to me in general. But they impassion me. I don't think that's a word, but it is today. I feel motivated after I see a documentary to change something, or do something to continue that kind of message sending. Create something out of reality to change the perspective of another, just for a moment.
Now, this new avenue of my education is teaching me to understand my position within the space of my environment I will build through a lens.
I suppose my first reactions should be towards the primitive hunting and gathering culture the Ju/'hoansi carried out through the 1950's. The fact that they were the last hunter/gatherer culture left in Southern Africa was fascinating, implying that they were able to function that way without outside assistance for thousands of years. I thought about America in the 1950's and how suburbanization was booming. People strived for their white picket fence, their car, central heating, and their kitchens with every shiny new appliance for all their cooking needs. Meanwhile, there were still people living peacefully in Africa by gathering for nuts and berries, and occasionally hunting for wild meat. After doing some research, I found that the Ju/'hoansi were one of the most peaceful societies. They lived in harmony with each other and their natural environment. My personal favorite footage was of the giraffe hunt. It felt incredibly raw and exhilarating to see an animal that we as children are taught to find cute and innocent to be killed for people's mere survival.
I found it incredibly unfortunate that while the intervening of white government power in South Africa brought them rations and cattle, their meddling set off a domino effect of dependency and depreciation of their lands and people. Their territory was diminished, and their need for water was pressed as they began competing with local wildlife. If this way of life was functioning and sustaining for thousands of years, would it still have existed if the white man had no involvement? It seemed that once the government started taking control of the Nyae Nyae, things went from good to worse and stayed that way for the duration of Marshall's involvement.
John Marshall's development as a filmmaker and anthropologist, as well as activist, was apparent in the films. His style went from somewhat observational to nearly entirely participant observationist over the course of 50 years as his relationships with the locals developed and he became more engaged with the political climate of the Kalahari Desert. It's interesting to note that the government of South Africa was able to locate the Ju/'hoansi tribes because of the Marshall family's automobile path. Before that, they were nearly impossible to locate. Also, the foundation that John started to ensure positive growth in the Ju/'hoansi tribe was being taken advantage of and corrupted by other white outsiders. It calls into question the role John played in the lives of these people. What were his goals? Did he do more harm than good? What were the differences between his intentions and the outcomes? And does he represent the same colonialist attitude that the other whites imposed on this culture that was doing just fine without it? In the fourth volume, it was just insane to see the DTA standing up against Marshall's involvement, creating a very self-reflexive moment that puts into question the entire film and how opinions from another region of the conflict come into play.
However, over the course of the 50 years, it was incredible to see the transition of so many elements: The age of every integral character in the story, including Marshall. The advancements in film technology and image. The changes in culture and behavior. The impact of the white South Africans on the Nyae Nyae region. The leadership skills built among those in the new generation. And lastly, Marshall's involvement in the tribe's struggle as an activist filmmaker.
I think this film helped me understand the level of commitment a person can foster for a group of people once they spend enough time and energy with them. Understanding and humanizing a group of people that most people in middle-class White culture would label as archaic and uncivilized, his mission became to ensure their survival. His position behind the camera slowly drifted to in front of the camera as he aged. Nearly everything regarding Marshall as both an activist and a visual anthropologist. In his early films, it was clear he was limited by a tripod and lack of effective sound equipment. He is relatively disconnected and a bit far from his subjects, demonstrating a lack of knowledge and comfort. Later on, he starts involving himself in the interviews, the film stock became sharper, and the camera work is becoming more fluid and participant. He is understanding and growing, and what he captures and how he captures is proof of this. By the end, Marshall has laerned how to grab emotion in the final moments. He is a total participant and arguble manipulator. His interaction with the Ju/'hoansi from the 50's is what allowed the government and imminent take over of the region to occur. His establishment of a co-operative to ensure the growth of gardens was failing at the hands of incompetent leaders.
By the end, I started questioning the entire field of anthropology. What good are we really doing to society? Are ego's so inflated that we bestow our presence among communities that otherwise go unnoticed or marginalized, with a sense of duty? Or perhaps to make ourselves feel good? When do we draw the line between study and activism? If Marshall's family never reached these people to begin with, would this entire situation have occurred?
That is very probable, as it was only a matter of time. However, this helped me understand that during field work, it should be important to understand how my presence in both the physical world, as well on the images I capture, will affect the outcome of the people with whom I interact.
I also started questioning the involvement of tourism throughout the ordeal. I felt the vanity was creating the scam to destroy the bushman people. The myth was what sold for those greedy enough to make a profit off of exaggerating the culture they forced the bushman to leave behind.
These movies really make me dislike a lot of what happens in the world. Documentaries do that to me in general. But they impassion me. I don't think that's a word, but it is today. I feel motivated after I see a documentary to change something, or do something to continue that kind of message sending. Create something out of reality to change the perspective of another, just for a moment.
Now, this new avenue of my education is teaching me to understand my position within the space of my environment I will build through a lens.
Sunday, November 22, 2009
Developments
Last Wednesday, Alex Fox and Dave Szymanski, my audio partner, and I had brunch at the Wyman Park Diner to discuss developments regarding the Station North Artists Association as well as the documentary I want to start to follow the progress of this group.
Alex has recently dropped out of MICA to work full time and devote himself to dealing with the activity occurring in his neighborhood. He doesn't feel that MICA is going to fulfill whatever goals he wishes to accomplish in his life. He has plenty of talent and contacts, so working full time is the best option of him, especially given the fact that his rent will probably go up in a few months.
However, it's apparent that his main concern and passion is saving the Lebow Building, which is the abandoned coat factory on the corner of Oliver and Guilford Avenue. He has a vision for this abandoned building, which is at risk for being demolished in lieu of the looming developments in the area. He believes it can be a community center and music venue, which could be the symbol of combined growth and ingenuity of an artist community that serve all of Station North.
I think the best course of action to take is to start filming interviews with Alex. I feel the most comfortable with him among the other residents of the Annex. He is very open about his feelings and thoughts on gentrification. He was has many connections and a breadth of knowledge regarding real estate development and architecture. He also seems like the one person who is most passionate about battling gentrification and being priced out of his community.
We also plan to film inside the Lebow Building. Apparently, the building still houses all of the production materials, like sewing machines , needed for coat production. There are still coats, buttons, and even pay stubs laying about. I want to shoot in here to get a sense of what these buildings once were, and how de-industrialization how tangibly affected this area.
The thought of possibly getting arrested for trespassing in this building kind of excites me. My mom has already told me to let her know what day I'm going down to shoot incase she has to bail me out.
I forget if I've mentioned this before in this blog, but I'm doing a timelapse on the 1500 block of Greenmount to show the development of the City Arts building over the course of the next few months.
This is getting exciting!
Alex has recently dropped out of MICA to work full time and devote himself to dealing with the activity occurring in his neighborhood. He doesn't feel that MICA is going to fulfill whatever goals he wishes to accomplish in his life. He has plenty of talent and contacts, so working full time is the best option of him, especially given the fact that his rent will probably go up in a few months.
However, it's apparent that his main concern and passion is saving the Lebow Building, which is the abandoned coat factory on the corner of Oliver and Guilford Avenue. He has a vision for this abandoned building, which is at risk for being demolished in lieu of the looming developments in the area. He believes it can be a community center and music venue, which could be the symbol of combined growth and ingenuity of an artist community that serve all of Station North.
I think the best course of action to take is to start filming interviews with Alex. I feel the most comfortable with him among the other residents of the Annex. He is very open about his feelings and thoughts on gentrification. He was has many connections and a breadth of knowledge regarding real estate development and architecture. He also seems like the one person who is most passionate about battling gentrification and being priced out of his community.
We also plan to film inside the Lebow Building. Apparently, the building still houses all of the production materials, like sewing machines , needed for coat production. There are still coats, buttons, and even pay stubs laying about. I want to shoot in here to get a sense of what these buildings once were, and how de-industrialization how tangibly affected this area.
The thought of possibly getting arrested for trespassing in this building kind of excites me. My mom has already told me to let her know what day I'm going down to shoot incase she has to bail me out.
I forget if I've mentioned this before in this blog, but I'm doing a timelapse on the 1500 block of Greenmount to show the development of the City Arts building over the course of the next few months.
This is getting exciting!
Saturday, November 14, 2009
Another Evening at the Nicholas Cage
Last evening was my third venture to the Nicholas Cage in the Annex on Oliver Street. It was a continuing conversation on the development of the 1500 block of Greenmount West. We were again joined by Charlie Duff as well as Doreen Bolger, the director of the Baltimore Museum of Art.
My plan for the night was to do some audio and video interviews before and after the dinner to get opinions on the development plans. That of course, was not the case. When I arrived, I began helping with the dinner preparations. Around 7:30, Charlie and Doreen arrived. I immediately began talking to the two about my research, and they were very interested in what I had to say.
Charlie and I took a walk around the apartment to discuss our feelings on development. He is a very well-known man in the real-estate market in Baltimore, so I in no way wanted to trump any of his knowledge. I told him about my positive growth theory, and how he was contributing to it, and I think it boosted his pride just a tad. He told me how he felt Baltimore was in need of gentrification, and he knows that there will be a select number of people displaced, but it was more concentrated on those who rent versus those who own their homes. While I agree, I explained how I felt there weren't enough well paying jobs in Baltimore based off of our awful education system to support home ownership. However, what Charlie was doing with this community was remarkable, which will be noted later...
We walked to our seats at the dinner table. I had never had Indian food before, for fear of how my stomach would react, but it was a pleasant surprise. Roasted garlic soup with a hint of curry, two types of naan, samosas, grape leaves, and a dessert of fig and date ice cream, complemented by my own dessert pizza and wine. I think people liked my dessert, or they were just being polite. During the meal, I sat next to Doreen and discussed many matters with her. She knew of my Uncle Paul, who had been working in the BMA giftshop for years. She loved the idea of a documentary about Station North and believed many people would be interested in seeing it. We also talked about FreeFall, art advocacy, Art on Purpose, and Baltimore's need for a highly developed art scene. The art scene would be something for actual Baltimoreans to be engaged in their city, versus the downtown area which is completely geared for tourists.
After dinner, we took a walk around the apartment again. Charlie began discussing more about the plans for the site and why he felt it was important the existing community play a major part in the development across the street. Though as he put it several times, this is not The Wizard of Oz. There is no man behind the curtain pulling strings. He was handing them the opportunity to organize and stand up for themselves. He suggested creating the Greenmount West Artists Association, where they could protest for rezoning to ensure that their way of life can be preserved. As of now, they are functioning illegally within the stipulations of the planned-unit developments. There are not supposed to be more than 4 people do a floor. As of now, it's between 8 and 9. When the building manager came by the day before, they had to stack mattresses to make it look as though there were only 4 people living in the space. The way Charlie saw it, he felt that this communal space was integral to their way of life, and if they wanted it, they had to fight for it. He wasn't going to do it for them.
Emma Alves, who I believe is the centerwoman of his group, expressed her feelings on gentrification very delicately. She was aware that they were apart of this process where they could take advantage of cheap rent for their artistic purposes, and once the popularity of that grows, the more people want to move to that area, leading to further development. However, she wants that process to change. She wants their lifestyle to continue the way it is, and for further developments to adapt to what they have created.
I then interviewed Doreen for audio purposes. She basically reiterated much of the conversation we had before. I then interviewed Emma and Alex Fox, who have been the two residents most interested in this project. Though under the influence of a bit of wine, they expelled their feelings on everything regarding the Station North development. They don't believe half of the designs and plans will actually go forth, and that most of the ideas they have for the city are stupid because they are not organic. What has been occurring in this neighborhood is organic, and the rest of the development in this area should follow. Alex also proposed the artist organization to be the Station North Artists association, because he felt if it was labeled Greenmount West, no one would pay them any mind. Because the name would have the same as the designated space, it would garner more legitimacy.
I've deduced that the video portion of this story is not appropriate at this time. I don't feel a comfort or trust level with these people yet. While they are becoming more aware of the situation surrounding their living space, I don't think we've developed enough of a bond to bring a camera around and expect them to behave normally. However, it's truly fascinating to see this process blossom in front of me. These artists are not interested in being thrusted into the public eye. As one resident put it, he wouldn't want a website for this group because he doesn't want to publicize himself.
I believe the determination and time to spend on this group development is going to be a challenge. Perhaps they need to start taking this more seriously, or else their way of life is going to disappear beneath them. It's a lot to take in on their part, but I hope to see something come out of this so that another existing Baltimore neighborhood can continue to prosper in their own way.
My plan for the night was to do some audio and video interviews before and after the dinner to get opinions on the development plans. That of course, was not the case. When I arrived, I began helping with the dinner preparations. Around 7:30, Charlie and Doreen arrived. I immediately began talking to the two about my research, and they were very interested in what I had to say.
Charlie and I took a walk around the apartment to discuss our feelings on development. He is a very well-known man in the real-estate market in Baltimore, so I in no way wanted to trump any of his knowledge. I told him about my positive growth theory, and how he was contributing to it, and I think it boosted his pride just a tad. He told me how he felt Baltimore was in need of gentrification, and he knows that there will be a select number of people displaced, but it was more concentrated on those who rent versus those who own their homes. While I agree, I explained how I felt there weren't enough well paying jobs in Baltimore based off of our awful education system to support home ownership. However, what Charlie was doing with this community was remarkable, which will be noted later...
We walked to our seats at the dinner table. I had never had Indian food before, for fear of how my stomach would react, but it was a pleasant surprise. Roasted garlic soup with a hint of curry, two types of naan, samosas, grape leaves, and a dessert of fig and date ice cream, complemented by my own dessert pizza and wine. I think people liked my dessert, or they were just being polite. During the meal, I sat next to Doreen and discussed many matters with her. She knew of my Uncle Paul, who had been working in the BMA giftshop for years. She loved the idea of a documentary about Station North and believed many people would be interested in seeing it. We also talked about FreeFall, art advocacy, Art on Purpose, and Baltimore's need for a highly developed art scene. The art scene would be something for actual Baltimoreans to be engaged in their city, versus the downtown area which is completely geared for tourists.
After dinner, we took a walk around the apartment again. Charlie began discussing more about the plans for the site and why he felt it was important the existing community play a major part in the development across the street. Though as he put it several times, this is not The Wizard of Oz. There is no man behind the curtain pulling strings. He was handing them the opportunity to organize and stand up for themselves. He suggested creating the Greenmount West Artists Association, where they could protest for rezoning to ensure that their way of life can be preserved. As of now, they are functioning illegally within the stipulations of the planned-unit developments. There are not supposed to be more than 4 people do a floor. As of now, it's between 8 and 9. When the building manager came by the day before, they had to stack mattresses to make it look as though there were only 4 people living in the space. The way Charlie saw it, he felt that this communal space was integral to their way of life, and if they wanted it, they had to fight for it. He wasn't going to do it for them.
Emma Alves, who I believe is the centerwoman of his group, expressed her feelings on gentrification very delicately. She was aware that they were apart of this process where they could take advantage of cheap rent for their artistic purposes, and once the popularity of that grows, the more people want to move to that area, leading to further development. However, she wants that process to change. She wants their lifestyle to continue the way it is, and for further developments to adapt to what they have created.
I then interviewed Doreen for audio purposes. She basically reiterated much of the conversation we had before. I then interviewed Emma and Alex Fox, who have been the two residents most interested in this project. Though under the influence of a bit of wine, they expelled their feelings on everything regarding the Station North development. They don't believe half of the designs and plans will actually go forth, and that most of the ideas they have for the city are stupid because they are not organic. What has been occurring in this neighborhood is organic, and the rest of the development in this area should follow. Alex also proposed the artist organization to be the Station North Artists association, because he felt if it was labeled Greenmount West, no one would pay them any mind. Because the name would have the same as the designated space, it would garner more legitimacy.
I've deduced that the video portion of this story is not appropriate at this time. I don't feel a comfort or trust level with these people yet. While they are becoming more aware of the situation surrounding their living space, I don't think we've developed enough of a bond to bring a camera around and expect them to behave normally. However, it's truly fascinating to see this process blossom in front of me. These artists are not interested in being thrusted into the public eye. As one resident put it, he wouldn't want a website for this group because he doesn't want to publicize himself.
I believe the determination and time to spend on this group development is going to be a challenge. Perhaps they need to start taking this more seriously, or else their way of life is going to disappear beneath them. It's a lot to take in on their part, but I hope to see something come out of this so that another existing Baltimore neighborhood can continue to prosper in their own way.
Sharp Leadenhall
After our trip to Lexington Market, we made our way down to Sharp Leadenhall to meet community members in the St. Stephen's and James Church on Hanover Street. There was not a significant amount of research done on the part of my classmates, nor was there enough back story to engage everyone fully into what this community has been through. There was also not very much organization to our interviews, and a lack of communication to the people in which we were speaking to.
We were supposed to break up into groups and interview people simultaneously. Instead, when the interviewees came into the room, they just sat down and started talking to the entire group. This was the first thing I learned from this experience: whatever happens in research is the way it's supposed to happen. Mrs. Claudette wanted ALL of us to hear her story. Then it was time for Mrs. June Hopkins to speak, followed by Betty Bland Thomas, and finally the Pastor of the church. While only one of us in the class was given practice in recording an interview, I think it was important for everyone in the class to hear each person's story and view on the neighborhood instead of a segmented perspective.
We learned all about the church and the historical designation they want to bring to the neighborhood to protect it from further development on behalf of city entertainment planning. They also heavily discussed how the Raven's games affect them every week, especially regarding parking, loitering, and polluting of the neighborhood.
When the topic of leaving out the church as a historical monument came up, Mrs. Claudette became very upset. She was very passionate about restoring its historical value and not allowing the city to "buy God". The idea of bulldozing a building from 1848 seemed completely horrendous, and was something that needed preservation as a monument of Baltimore history.
The pastor seemed to have a different opinion, considering he knew how much money it would cost for upkeep of an historical site, and it was money the church didn't have. These differences in opinion and tensions helped me understand why it takes so much effort and time to create community engagement and accomplish things when so many perspectives, opinions, and mindsets are at the table.
All in all, it was a good experience. I hope my fellow classmates took away from it as much as I did.
We were supposed to break up into groups and interview people simultaneously. Instead, when the interviewees came into the room, they just sat down and started talking to the entire group. This was the first thing I learned from this experience: whatever happens in research is the way it's supposed to happen. Mrs. Claudette wanted ALL of us to hear her story. Then it was time for Mrs. June Hopkins to speak, followed by Betty Bland Thomas, and finally the Pastor of the church. While only one of us in the class was given practice in recording an interview, I think it was important for everyone in the class to hear each person's story and view on the neighborhood instead of a segmented perspective.
We learned all about the church and the historical designation they want to bring to the neighborhood to protect it from further development on behalf of city entertainment planning. They also heavily discussed how the Raven's games affect them every week, especially regarding parking, loitering, and polluting of the neighborhood.
When the topic of leaving out the church as a historical monument came up, Mrs. Claudette became very upset. She was very passionate about restoring its historical value and not allowing the city to "buy God". The idea of bulldozing a building from 1848 seemed completely horrendous, and was something that needed preservation as a monument of Baltimore history.
The pastor seemed to have a different opinion, considering he knew how much money it would cost for upkeep of an historical site, and it was money the church didn't have. These differences in opinion and tensions helped me understand why it takes so much effort and time to create community engagement and accomplish things when so many perspectives, opinions, and mindsets are at the table.
All in all, it was a good experience. I hope my fellow classmates took away from it as much as I did.
Wednesday, November 11, 2009
Lexington Market
Last week, I had the pleasure of going to Lexington Market with my Audio Documentary classmates. Our task was for each person to interview one person working at a business. Some people did Faidley's Seafood. One person did Polock Johnny's. I chose the Utz Stand (Due to Legal reasons, Berger Cookie's was my second choice)
This past summer, the Utz Stand was closed because of allegations that the former owner was selling guns illegally from the stand. I wanted to know how business was doing in light of the previous events and how the market was readjusting to the scandal. According to the new owner, Richard Lesner, everything was just grand.
Mrs. Darlene (can't remember her last name), who is the marketing manager of the market, made it very clear that it was important that the stand stayed in business. It was a long running institution where pennypinchers could get their soda and chips for just a dollar. Apparently, there aren't too many places in the city that will offer at that price. She couldn't comment on the "Chips and Clips" incident, as she tagged it, but as a marketing manager, why would she ever say anything bad about the place she works in?
After my short interview at the Utz Stand, I allowed myself to roam around the market to take in the sights, sounds, and smells. You could pretty much find anything that you wanted in this absolutely massive marketplace. According to the site, it's the longest running open-air marketplace in the country. Now I understand why there are barely any grocery stores in West Baltimore. Everything is here. There are probably over five delis. Seven produce stands. I lost count of the Chinese joints. There's Greek, Italian, Polish, Mediterranean, and Caribbean foods. Fried chicken galore. Over five bakeries. There's even a place that sells breakfast food all day. I think it was called "Omelet Side Show". I settled for a Thanksgiving sandwich at Ronny's Combo. Hot Turkey, stuffing, and cranberry sauce on a fresh bun. Mmm. Picked out a lemon Snapple to wash it down.
I had no idea where to eat this lunch. My audio partner didn't arrive on time, and I don't have many friends in the class, so I decided to venture on my own to find a place to sit. In the main atrium of the market, there are standing only areas with tables. I found myself an empty one to chow down. Not one second later, a short Black man motioned me to come over and chat. His name was Skippy. He was a Baltimore native, and thought I was pretty and was a good choice for his friend, Kenny. We started talking about my studies and what I was doing in the city. They told me how they had been coming to the market all their lives and go there almost every single day to have lunch. When I told Skippy I was from the county, he gave a notion of "ahh the county eh?". When I told him my family originated from Highlandtown, he smirked. This gave me the inclination that there is definitely a rivalry or hightened sense of separation between east and west Baltimore..
Another gentleman came to talk, and his name was Maurice. Skippy and Kenny faded away, and my conversation with Maurice continued. We talked about my studies as well. He found it very interesting and profound that students were coming to learn about the city. He has very positive thoughts about where he was born and raised, and felt the city deserved better attention. A focus on Lexington Market is a good start he thinks. We started talking about "The Wire", and how he felt that even though it depicts a certain realism to the city, it doesn't comment at all on the positive side of life there. After all, there's a bigger reason people stay besides the fact they can't afford to move. He also thinks people need to have a better appreciation for their roots. To him, Africa is a source of inspiration, and is another place where there is a large focus of negativity. I told him about "A Kalahari Family", and he seemed very intrigued by the idea of their lifestyle.
After about ten minutes of that conversation, I was called by my class and apparently holding them up on the bus, and we were late to our Sharp Leadenhall destination. I then bid Maurice adieu, and I was off to South Baltimore.
This past summer, the Utz Stand was closed because of allegations that the former owner was selling guns illegally from the stand. I wanted to know how business was doing in light of the previous events and how the market was readjusting to the scandal. According to the new owner, Richard Lesner, everything was just grand.
Mrs. Darlene (can't remember her last name), who is the marketing manager of the market, made it very clear that it was important that the stand stayed in business. It was a long running institution where pennypinchers could get their soda and chips for just a dollar. Apparently, there aren't too many places in the city that will offer at that price. She couldn't comment on the "Chips and Clips" incident, as she tagged it, but as a marketing manager, why would she ever say anything bad about the place she works in?
After my short interview at the Utz Stand, I allowed myself to roam around the market to take in the sights, sounds, and smells. You could pretty much find anything that you wanted in this absolutely massive marketplace. According to the site, it's the longest running open-air marketplace in the country. Now I understand why there are barely any grocery stores in West Baltimore. Everything is here. There are probably over five delis. Seven produce stands. I lost count of the Chinese joints. There's Greek, Italian, Polish, Mediterranean, and Caribbean foods. Fried chicken galore. Over five bakeries. There's even a place that sells breakfast food all day. I think it was called "Omelet Side Show". I settled for a Thanksgiving sandwich at Ronny's Combo. Hot Turkey, stuffing, and cranberry sauce on a fresh bun. Mmm. Picked out a lemon Snapple to wash it down.
I had no idea where to eat this lunch. My audio partner didn't arrive on time, and I don't have many friends in the class, so I decided to venture on my own to find a place to sit. In the main atrium of the market, there are standing only areas with tables. I found myself an empty one to chow down. Not one second later, a short Black man motioned me to come over and chat. His name was Skippy. He was a Baltimore native, and thought I was pretty and was a good choice for his friend, Kenny. We started talking about my studies and what I was doing in the city. They told me how they had been coming to the market all their lives and go there almost every single day to have lunch. When I told Skippy I was from the county, he gave a notion of "ahh the county eh?". When I told him my family originated from Highlandtown, he smirked. This gave me the inclination that there is definitely a rivalry or hightened sense of separation between east and west Baltimore..
Another gentleman came to talk, and his name was Maurice. Skippy and Kenny faded away, and my conversation with Maurice continued. We talked about my studies as well. He found it very interesting and profound that students were coming to learn about the city. He has very positive thoughts about where he was born and raised, and felt the city deserved better attention. A focus on Lexington Market is a good start he thinks. We started talking about "The Wire", and how he felt that even though it depicts a certain realism to the city, it doesn't comment at all on the positive side of life there. After all, there's a bigger reason people stay besides the fact they can't afford to move. He also thinks people need to have a better appreciation for their roots. To him, Africa is a source of inspiration, and is another place where there is a large focus of negativity. I told him about "A Kalahari Family", and he seemed very intrigued by the idea of their lifestyle.
After about ten minutes of that conversation, I was called by my class and apparently holding them up on the bus, and we were late to our Sharp Leadenhall destination. I then bid Maurice adieu, and I was off to South Baltimore.
Saturday, October 31, 2009
An Evening at the Nicholas Cage
Last evening proved something that I thought was a hopeful theory. After reading and watching films about gentrification and how horrible of a process it is because of displacement and ignoring the rights of the established community, I witnessed what I believe is a gemstone in development and relations between community and developers.
In my final paragraph of my paper on gentrification, I established my side of believing it can be a positive process if all parties are including in said process.
"Community engagement is key to group struggle, and the more a movement like this is built up, the more attention is derives from the outside. Gentrification and redevelopment can be a positive process, just as long as all parties are willing to work with one another to ensure the stability of the existing community."
When I arrived at the Annex on Oliver St. around 11pm, I expected to encounter a group of artists drunkenly enjoying each others company. I expected to feel slightly awkward, as I usually do in new surroundings with new people, and was worried about latching onto my research partner for social support.
Instead, I spectated the ending stages of a conversation between the residents of the Nicholas Cage (the name of the 3rd floor of the Annex) and Charlie Duff, leading developer of Jubilee Baltimore. I didn't read his description till now, but this guy is pretty big...
"Charlie Duff is an experienced developer and planner and perhaps the greatest living authority on Baltimore’s architecture and development. In eighteen years as Jubilee’s President, Charlie has led a team that has built or rebuilt houses and apartments for thousands of Baltimoreans. Author of the Midtown Community Plan, he has been central in facilitating the revival of Baltimore’s four central neighborhoods. Charlie is a frequent lecturer on architectural history at the Walters Art Museum and the Johns Hopkins University. He is the past president of both the Baltimore Architecture Foundation and the Patterson Park Community Development Corporation. Charlie is a graduate of Amherst College and the Harvard Graduate School of Design."
The conversation seemed to have gone on for hours. They discussed the development of the empty lot across the street, which went into discussions of displacement, public transportation, poverty, and general urban renewal of Station North and especially the survival of the planned-use developments like the Annex, Copy-Cat, and Area 405 building. A big topic was the abandoned Lebow Coat Factory, which is subject to be either demolished or redeveloped. Alex Fox is a huge advocate to save and renovate the building into a music space. There was also a lot of talk about the buildings owner, Abraham Zion, who doesn't seem to care about much except himself and his finances, and wasn't concerned about the building as a space for the artist community.
This cropped the discussion for what the next step would be for these resident artists. Duff simply stated he hoped that the PUD's existed well after his death. He wants the artists to organize and stand up for themselves in order to establish their presence during this redevelopment process. It was incredible to see this, knowing that it was rare to have developers interact with those who will possibly be displaced.
I found it interesting that when asked what will happen to those who won't be able to afford housing in this area, Duff simply stated that these people would end up moving anyway. He also said most black Baltimore citizens aren't poor. He also noted how it was the first community meeting he had been to where there were no black people in attendance, to which the artists responded that there were barely any living in the building. It became apparent that there was an unintentional racial divide in this community.
One artist who is about to move into the building, Katharine, suggested that the empty lot be turned into a community space, which would be more stimulating for creativity and communal efforts. A park or green space would be more conducive and beautifying to their standards. However, Duff knows how the vacancy rate at the moment is at 56% in this area, and better housing opportunities will be more beneficial and also bring a profit to the neighborhood.
Duff suggested that in two weeks they meet again, also with the head of the Baltimore Museum of Art, who is also on a board discussing the redevelopment of the area.
Once the meeting was over, I discussed my research and motives with several of the members, all whom seemed very excited about what I wanted to do for them. Katharine suggested we go into the community to talk to black residents to inform them of the changes happening and to get their opinions. Alex suggested that for the next meeting we had a hidden camera and tape recorder in order to get un-altered facts that can be kept on record. I don't know how I feel about that yet...
The only person who seemed to have a problem with my proposition was a performance artist named Emily. She seemed very skeptical, and wants to have a proposal in hand so she knows exactly what would be occurring. She seemed very shocked by the entire evening, especially because this was the first time she had heard anything about redevelopment. She then incurred why I hadn't brought this up before, and I felt it was more appropriate to bring up my research that evening because the community would be in a better mind-set to discuss gentrification, research, and community organizing than if I was just to pop-up unexpected one evening and change the mood.
I'm excited for the prospects of engaging myself with this group. What I stumbled upon that evening was something organic and spurring. Gentrification is teetering in this area, about to go into stage 2, and those who are new to this area are obviously trying to hold onto it's baby stages, keeping it special and out of the hands of corporate interest. I witnessed my theory come into play, of top hands coming into works with those from the bottom. This is an unfolding story that I now get to play a part in. This is going to be a great learning experience as a documentary filmmaker, because I'm watching something happen before my eyes. More to come!!!
In my final paragraph of my paper on gentrification, I established my side of believing it can be a positive process if all parties are including in said process.
"Community engagement is key to group struggle, and the more a movement like this is built up, the more attention is derives from the outside. Gentrification and redevelopment can be a positive process, just as long as all parties are willing to work with one another to ensure the stability of the existing community."
When I arrived at the Annex on Oliver St. around 11pm, I expected to encounter a group of artists drunkenly enjoying each others company. I expected to feel slightly awkward, as I usually do in new surroundings with new people, and was worried about latching onto my research partner for social support.
Instead, I spectated the ending stages of a conversation between the residents of the Nicholas Cage (the name of the 3rd floor of the Annex) and Charlie Duff, leading developer of Jubilee Baltimore. I didn't read his description till now, but this guy is pretty big...
"Charlie Duff is an experienced developer and planner and perhaps the greatest living authority on Baltimore’s architecture and development. In eighteen years as Jubilee’s President, Charlie has led a team that has built or rebuilt houses and apartments for thousands of Baltimoreans. Author of the Midtown Community Plan, he has been central in facilitating the revival of Baltimore’s four central neighborhoods. Charlie is a frequent lecturer on architectural history at the Walters Art Museum and the Johns Hopkins University. He is the past president of both the Baltimore Architecture Foundation and the Patterson Park Community Development Corporation. Charlie is a graduate of Amherst College and the Harvard Graduate School of Design."
The conversation seemed to have gone on for hours. They discussed the development of the empty lot across the street, which went into discussions of displacement, public transportation, poverty, and general urban renewal of Station North and especially the survival of the planned-use developments like the Annex, Copy-Cat, and Area 405 building. A big topic was the abandoned Lebow Coat Factory, which is subject to be either demolished or redeveloped. Alex Fox is a huge advocate to save and renovate the building into a music space. There was also a lot of talk about the buildings owner, Abraham Zion, who doesn't seem to care about much except himself and his finances, and wasn't concerned about the building as a space for the artist community.
This cropped the discussion for what the next step would be for these resident artists. Duff simply stated he hoped that the PUD's existed well after his death. He wants the artists to organize and stand up for themselves in order to establish their presence during this redevelopment process. It was incredible to see this, knowing that it was rare to have developers interact with those who will possibly be displaced.
I found it interesting that when asked what will happen to those who won't be able to afford housing in this area, Duff simply stated that these people would end up moving anyway. He also said most black Baltimore citizens aren't poor. He also noted how it was the first community meeting he had been to where there were no black people in attendance, to which the artists responded that there were barely any living in the building. It became apparent that there was an unintentional racial divide in this community.
One artist who is about to move into the building, Katharine, suggested that the empty lot be turned into a community space, which would be more stimulating for creativity and communal efforts. A park or green space would be more conducive and beautifying to their standards. However, Duff knows how the vacancy rate at the moment is at 56% in this area, and better housing opportunities will be more beneficial and also bring a profit to the neighborhood.
Duff suggested that in two weeks they meet again, also with the head of the Baltimore Museum of Art, who is also on a board discussing the redevelopment of the area.
Once the meeting was over, I discussed my research and motives with several of the members, all whom seemed very excited about what I wanted to do for them. Katharine suggested we go into the community to talk to black residents to inform them of the changes happening and to get their opinions. Alex suggested that for the next meeting we had a hidden camera and tape recorder in order to get un-altered facts that can be kept on record. I don't know how I feel about that yet...
The only person who seemed to have a problem with my proposition was a performance artist named Emily. She seemed very skeptical, and wants to have a proposal in hand so she knows exactly what would be occurring. She seemed very shocked by the entire evening, especially because this was the first time she had heard anything about redevelopment. She then incurred why I hadn't brought this up before, and I felt it was more appropriate to bring up my research that evening because the community would be in a better mind-set to discuss gentrification, research, and community organizing than if I was just to pop-up unexpected one evening and change the mood.
I'm excited for the prospects of engaging myself with this group. What I stumbled upon that evening was something organic and spurring. Gentrification is teetering in this area, about to go into stage 2, and those who are new to this area are obviously trying to hold onto it's baby stages, keeping it special and out of the hands of corporate interest. I witnessed my theory come into play, of top hands coming into works with those from the bottom. This is an unfolding story that I now get to play a part in. This is going to be a great learning experience as a documentary filmmaker, because I'm watching something happen before my eyes. More to come!!!
Thursday, October 22, 2009
Frozen Time Check
On Saturday, October 17th, I took visited the Load of Fun studios as part of the School33 Art Center Open Studio Tour. On this day, over 175 artists opened their work space and art to the public.
Here is a list of every artist and studio participating that day.
http://www.school33.org/index.cfm?page=events§ion=4&subsection=studioParticipants
I had the pleasure of discussing Station North developments with 3 of the artists in the Load of Fun space: Jennifer Berk, Sergio Martinez, and Spoon Popkin.
These are my field notes for each interview...
Jennifer Berk: Oil Painter
-Born and raised in Bolton Hill
-Loves living in Baltimore, feels that the artist community is vibrant for the city
-Thinks that gentrification is a good thing because areas of the city need to draw in talented and productive people to replace abandoned buildings and eliminate crime.
-She believes that there will always be areas to catch those who are displaced
-Their landlord is constantly at the studio fixing up the space to meet codes through is own sweat equity; nothing is done for profit
-believes MICA helps stimulate the community with a constant flow of new artists and through rejuvenating the image of the city with new buildings.
-The accessibility of art studios and venues is incredibly important for local artists to be engaged in the community i.e. areas in walking distance
Sergio Martinez- Wood Worker
-Moved to Baltimore 4 years ago from Washington, DC
-It was the obvious choice because DC was sterile and snooty, did not cultivate his creativity; Baltimore's art community was recognized and he wanted to become apart of it; there's always something going on, very hip city
-He was also at the mercy of incredibly expensive DC rent; Baltimore was much more affordable
-He came to Baltimore and immediately found a space in Loads of Fun; originally he was on the bottom floor, but space opened up on the 2nd floor and was much more conducive for him, especially because of the light
-He plans to buy a home very soon
-He believes that gentrification is benefiting Station North through the reuse of old buildings
-He enjoys the antiquity of Baltimore and its laid back setting, and doesn't believe that new-build should occur in areas around the train station and Greenmount West; it would destroy the authentic look of the area
-No to big developers
-Yes to influx of artists and DIY living style, has his own opinions on displacement and doesn't feel it's a bad thing for the kind of living style they are trying to accomplish
Spoon Popkin- mixed media artist, painter, drawer
-She grew up in North Carolina, came to MICA for college in 1986, and has stayed.
-Feels that gentrification hasn't really happened here since there hasn't been a terribly large amount of redevelopment, only that there has been renovation of existent vacated buildings
-The only instance of displacement she has seen is the closing down of the New York Fried Chicken shop and the check cashing store below her studio.
-Says the neighborhood is a great deal safer since the turn of the century
-Has noticed the great changes that have taken place since the 2002 designation; safer community, more stores, shops, venues and greater accessibility for artists
-Once joe squared opened it was all uphill
-Understands that artists are the shock-troops for gentrification but hopes that new-build does not happen
-Enjoys the accessibility of the neighborhood, the friendly people, and the walkable streets
Here is a list of every artist and studio participating that day.
http://www.school33.org/index.cfm?page=events§ion=4&subsection=studioParticipants
I had the pleasure of discussing Station North developments with 3 of the artists in the Load of Fun space: Jennifer Berk, Sergio Martinez, and Spoon Popkin.
These are my field notes for each interview...
Jennifer Berk: Oil Painter
-Born and raised in Bolton Hill
-Loves living in Baltimore, feels that the artist community is vibrant for the city
-Thinks that gentrification is a good thing because areas of the city need to draw in talented and productive people to replace abandoned buildings and eliminate crime.
-She believes that there will always be areas to catch those who are displaced
-Their landlord is constantly at the studio fixing up the space to meet codes through is own sweat equity; nothing is done for profit
-believes MICA helps stimulate the community with a constant flow of new artists and through rejuvenating the image of the city with new buildings.
-The accessibility of art studios and venues is incredibly important for local artists to be engaged in the community i.e. areas in walking distance
Sergio Martinez- Wood Worker
-Moved to Baltimore 4 years ago from Washington, DC
-It was the obvious choice because DC was sterile and snooty, did not cultivate his creativity; Baltimore's art community was recognized and he wanted to become apart of it; there's always something going on, very hip city
-He was also at the mercy of incredibly expensive DC rent; Baltimore was much more affordable
-He came to Baltimore and immediately found a space in Loads of Fun; originally he was on the bottom floor, but space opened up on the 2nd floor and was much more conducive for him, especially because of the light
-He plans to buy a home very soon
-He believes that gentrification is benefiting Station North through the reuse of old buildings
-He enjoys the antiquity of Baltimore and its laid back setting, and doesn't believe that new-build should occur in areas around the train station and Greenmount West; it would destroy the authentic look of the area
-No to big developers
-Yes to influx of artists and DIY living style, has his own opinions on displacement and doesn't feel it's a bad thing for the kind of living style they are trying to accomplish
Spoon Popkin- mixed media artist, painter, drawer
-She grew up in North Carolina, came to MICA for college in 1986, and has stayed.
-Feels that gentrification hasn't really happened here since there hasn't been a terribly large amount of redevelopment, only that there has been renovation of existent vacated buildings
-The only instance of displacement she has seen is the closing down of the New York Fried Chicken shop and the check cashing store below her studio.
-Says the neighborhood is a great deal safer since the turn of the century
-Has noticed the great changes that have taken place since the 2002 designation; safer community, more stores, shops, venues and greater accessibility for artists
-Once joe squared opened it was all uphill
-Understands that artists are the shock-troops for gentrification but hopes that new-build does not happen
-Enjoys the accessibility of the neighborhood, the friendly people, and the walkable streets
Thursday, October 8, 2009
My feelings on anthropology and the esoteric nature of its studies
I'm being thrown into anthropology head first with my GPA as a safety net. I've only taken three classes prior to this semester, only dabbling in the lingo and mindset. While I try to think abstractly about culture and the forces of globalization and colonization and the effect of our behavior on the planet, I think in my own way. I'd like to think I have an open mind, and I feel understanding of these global forces would help people understand why things are the way they are, and people would be less likely to judge or have an aggressive stance against others.
Also, because of my film education, I understand the power of the media and the messages it can send. Therefore, I have built a thesis surrounding both, and that is why I want to be a documentary filmmaker. I want others to understand causes and effects of things going on in the world to expand tolerance and acceptance. If every American was forced to watch "Sicko" by Michael Moore, I'm sure (or I'd hope), that they'd have some sense of the problems with the health care system and why there needs to be reform.
However, this semester is wearing me thin. I spend 60% of my week trying to get through readings and questions, and most of hte time I'm cracking a dictionary in order to retain some of the vocabulary so I can at least understand an entire paragraph. When I approached Dr. Durington about these difficulties, and how I wish some of these theories and readings were explained in layman's terms, he replied that this is not a study for layman people.
This is where the line is drawn between my intentions and the basis of the study of anthropology. This is also making me question the entire field. I was lying in bed last night, couldn't sleep, and kept thinking about this semester and how much work I had cut out for me. I was also pondering why this field had to be so esoteric. What is the point of anthropology? Why do we study cultures? Who is this research for?? Do we only study so we can share our knowledge with other anthropologists?
In my mind, anthropology should be used for the benefit of our globally imagined society. We are connected on levels that can now never be broken. Our cultures, families, economies, and political ties are now bounded, yet we are constantly fighting and warring over resources, religion, and race. We hold so many stereotypes and thoughts about people we do not even know. Lines are drawn, not just through country and state boundaries, but through institutionalized behaviors and upbringing. Maybe I'm too optimistic of a person, but I believe if there was more exposure to positive culture instead of cable-news exposure and nightly-news broadcasts of terrorists plotting our death, people would have a different perspective of places half way around the world.
This is why I believe visual anthropology can be the answer. If you want someone (this someone being a "layman" who perhaps thinks that Middle-eastern people should rot in hell) to understand life in another area of the world, what do you think will be more effective? Reading a 40-page article of someone's research that will be completely incoherent to them? Or a video of the Pamir, who are of Middle-Eastern descent, yet do not align themselves with terrorist regimes or dictatorships? People relate to video. We live in a visual culture. I believe that a person is much more likely to be sympathetic and accepting of another culture or set of beliefs if it is materialized in front of them.
Also, the visual allows the subject to have more control over how they are perceived. Yes, the lens refracts reality, and a subject may act differently than they would without the camera there. However, a research paper does not let a person speak for themselves. The researcher is speaking for them and analyzing their culture and behaviors through strictly the lens of the researcher's eye. The visual equalizes power. Editing can be a tricky factor, as that manipulates any sense of reality, but at least the subject is given power by representation of the material self.
In conclusion, I'm at a crossroads with my studies. I want to create films that can expand consciousness of reality and spread tolerance. If anthropology is not about that, and if it's only meant for a particular audience, then maybe this is not the field for me. Or perhaps, it is a signal that I should start a method of my own.
Also, because of my film education, I understand the power of the media and the messages it can send. Therefore, I have built a thesis surrounding both, and that is why I want to be a documentary filmmaker. I want others to understand causes and effects of things going on in the world to expand tolerance and acceptance. If every American was forced to watch "Sicko" by Michael Moore, I'm sure (or I'd hope), that they'd have some sense of the problems with the health care system and why there needs to be reform.
However, this semester is wearing me thin. I spend 60% of my week trying to get through readings and questions, and most of hte time I'm cracking a dictionary in order to retain some of the vocabulary so I can at least understand an entire paragraph. When I approached Dr. Durington about these difficulties, and how I wish some of these theories and readings were explained in layman's terms, he replied that this is not a study for layman people.
This is where the line is drawn between my intentions and the basis of the study of anthropology. This is also making me question the entire field. I was lying in bed last night, couldn't sleep, and kept thinking about this semester and how much work I had cut out for me. I was also pondering why this field had to be so esoteric. What is the point of anthropology? Why do we study cultures? Who is this research for?? Do we only study so we can share our knowledge with other anthropologists?
In my mind, anthropology should be used for the benefit of our globally imagined society. We are connected on levels that can now never be broken. Our cultures, families, economies, and political ties are now bounded, yet we are constantly fighting and warring over resources, religion, and race. We hold so many stereotypes and thoughts about people we do not even know. Lines are drawn, not just through country and state boundaries, but through institutionalized behaviors and upbringing. Maybe I'm too optimistic of a person, but I believe if there was more exposure to positive culture instead of cable-news exposure and nightly-news broadcasts of terrorists plotting our death, people would have a different perspective of places half way around the world.
This is why I believe visual anthropology can be the answer. If you want someone (this someone being a "layman" who perhaps thinks that Middle-eastern people should rot in hell) to understand life in another area of the world, what do you think will be more effective? Reading a 40-page article of someone's research that will be completely incoherent to them? Or a video of the Pamir, who are of Middle-Eastern descent, yet do not align themselves with terrorist regimes or dictatorships? People relate to video. We live in a visual culture. I believe that a person is much more likely to be sympathetic and accepting of another culture or set of beliefs if it is materialized in front of them.
Also, the visual allows the subject to have more control over how they are perceived. Yes, the lens refracts reality, and a subject may act differently than they would without the camera there. However, a research paper does not let a person speak for themselves. The researcher is speaking for them and analyzing their culture and behaviors through strictly the lens of the researcher's eye. The visual equalizes power. Editing can be a tricky factor, as that manipulates any sense of reality, but at least the subject is given power by representation of the material self.
In conclusion, I'm at a crossroads with my studies. I want to create films that can expand consciousness of reality and spread tolerance. If anthropology is not about that, and if it's only meant for a particular audience, then maybe this is not the field for me. Or perhaps, it is a signal that I should start a method of my own.
In and Out of Africa and Video Cannibalism
This morning I watched two more ethnographic films, In and Out of Africa and Video Cannibalism.
I enjoyed both, as they each had their own framework focusing on two very distinct non-Westernized cultures. In and Out of Africa analyzed the art market of the Hausa tribe and the dynamics of trade between Africa and Western countries. By the end of the film, you understand the values and distinctions of art to different cultures, and how artists can use those values to their benefit, even if it is not considered "authentic." For example, African artists know that Westerners like "authentic" African art, so they age the wood they use to make it seem like it could be old and used for ceremonial purposes. In fact, the wood is brand new, and is made that way to both support the African economy and appease Western taste. However, to Africans, money doesn't seem to be the single desire to their fortune. As described, children are the most important thing to them. In my own opinion, their art may at one time been a form of cultural and artistic expression, reflective of their ceremonial practices as well as the colonialism that has taken over the entire continent. Because Westerners have become exposed to their culture through colonialism, they are able to connect and consume said culture through art. The Africans are able to take back from these Westerners what their ancestors took from them, and market this art to their taste in order to support their children.
Video Cannibalism was a direct study of visuals in the isolated village of the Enauene-Naue Indians. In a culture where sexuality is not stigmatized, these villagers, especially the men, were not afraid to play around with the camera and show off their genitalia. The women, however, were much more embarrassed of being seen on camera without clothes on. This was interesting, considering that was the norm of their culture. Perhaps they knew people not associated with their culture would be viewing this video? Or as the video put it, they were afraid that when the video would be seen later that evening in the tribe, the men would make fun of them. I find it very interesting that the element of the image would create this kind of torment, whereas reality would not bring this about. Their detachment from the outside world becomes apparent when they view what I think was "Dances with Wolves", given it was a Kevin Costner film. They didn't realize the film was being acted out, believing that the Indians murdered in the scenes were actually being killed. This gives them the inspiration to create their own battle scene, that in which they basically direct themselves. Given this was their first attempt at expressing themselves on camera "in character." they do a fantastic job even though there is still a level of reflexivity. This video shows that even in the most remote of villages where technology has yet to grace, electronic media still has similar psychological effects that it does on those who are socialized in a visual culture.
I enjoyed both, as they each had their own framework focusing on two very distinct non-Westernized cultures. In and Out of Africa analyzed the art market of the Hausa tribe and the dynamics of trade between Africa and Western countries. By the end of the film, you understand the values and distinctions of art to different cultures, and how artists can use those values to their benefit, even if it is not considered "authentic." For example, African artists know that Westerners like "authentic" African art, so they age the wood they use to make it seem like it could be old and used for ceremonial purposes. In fact, the wood is brand new, and is made that way to both support the African economy and appease Western taste. However, to Africans, money doesn't seem to be the single desire to their fortune. As described, children are the most important thing to them. In my own opinion, their art may at one time been a form of cultural and artistic expression, reflective of their ceremonial practices as well as the colonialism that has taken over the entire continent. Because Westerners have become exposed to their culture through colonialism, they are able to connect and consume said culture through art. The Africans are able to take back from these Westerners what their ancestors took from them, and market this art to their taste in order to support their children.
Video Cannibalism was a direct study of visuals in the isolated village of the Enauene-Naue Indians. In a culture where sexuality is not stigmatized, these villagers, especially the men, were not afraid to play around with the camera and show off their genitalia. The women, however, were much more embarrassed of being seen on camera without clothes on. This was interesting, considering that was the norm of their culture. Perhaps they knew people not associated with their culture would be viewing this video? Or as the video put it, they were afraid that when the video would be seen later that evening in the tribe, the men would make fun of them. I find it very interesting that the element of the image would create this kind of torment, whereas reality would not bring this about. Their detachment from the outside world becomes apparent when they view what I think was "Dances with Wolves", given it was a Kevin Costner film. They didn't realize the film was being acted out, believing that the Indians murdered in the scenes were actually being killed. This gives them the inspiration to create their own battle scene, that in which they basically direct themselves. Given this was their first attempt at expressing themselves on camera "in character." they do a fantastic job even though there is still a level of reflexivity. This video shows that even in the most remote of villages where technology has yet to grace, electronic media still has similar psychological effects that it does on those who are socialized in a visual culture.
Saturday, October 3, 2009
Home Economics and Number Our Days
Today I had the pleasure of viewing two more ethnographic films: Home Economics and Number Our Days.
Home Economics examined the lives of housewives in a new suburban development in California. They went from discussing personal decorating styles, to traffic, to racial tensions in the neighborhood, and to the problems of raising children and holding a marriage together in the suburbs (just to name a few). The conversations were very natural. The women were incredibly honest and unashamed. I was taken aback when one woman discussed how the community fought against a low-income housing unit to be built in the neighborhood, and then said how they were people who haven't "realized the American Dream" yet. Another observation I found intriguing was that one mother felt that children were becoming autonomous in the household. This supports the idea that the suburbs are alienating and isolating, not just from urban and cultural centers, but from the nuclear family.
Number Our Days was the documentary short Oscar winner in 1974. Barbara Meyerhoff spent time with an elderly Jewish community in Venice Beach, California to learn about the older generation of her roots. Most of these people were alone, and this community was all each other had to support themselves. What I gathered most from this illustration of aging, especially with this demographic, was their rapid displacement. First, most of them fleed Europe because of discrimination against the Jews. Second, they age in a community where the elderly are not widely accepted. Third, the tourism hiked property values, and many cannot fend for themselves past a certain age, so many are forced to give up their homes for elder care or for inadequate apartments. It saddened me to think that many were ending up so lonely and unhappy. However, this community engagement on behalf of the gentleman running the program was integral in ensuring the elderly that their heritage, and most importantly, their lives, were not forgotten in the quickly developing beach culture of Venice.
Home Economics examined the lives of housewives in a new suburban development in California. They went from discussing personal decorating styles, to traffic, to racial tensions in the neighborhood, and to the problems of raising children and holding a marriage together in the suburbs (just to name a few). The conversations were very natural. The women were incredibly honest and unashamed. I was taken aback when one woman discussed how the community fought against a low-income housing unit to be built in the neighborhood, and then said how they were people who haven't "realized the American Dream" yet. Another observation I found intriguing was that one mother felt that children were becoming autonomous in the household. This supports the idea that the suburbs are alienating and isolating, not just from urban and cultural centers, but from the nuclear family.
Number Our Days was the documentary short Oscar winner in 1974. Barbara Meyerhoff spent time with an elderly Jewish community in Venice Beach, California to learn about the older generation of her roots. Most of these people were alone, and this community was all each other had to support themselves. What I gathered most from this illustration of aging, especially with this demographic, was their rapid displacement. First, most of them fleed Europe because of discrimination against the Jews. Second, they age in a community where the elderly are not widely accepted. Third, the tourism hiked property values, and many cannot fend for themselves past a certain age, so many are forced to give up their homes for elder care or for inadequate apartments. It saddened me to think that many were ending up so lonely and unhappy. However, this community engagement on behalf of the gentleman running the program was integral in ensuring the elderly that their heritage, and most importantly, their lives, were not forgotten in the quickly developing beach culture of Venice.
Tuesday, September 22, 2009
37 Uses of a Dead Sheep
Ben Hopkins' film 37 Uses of a Dead Sheep is not what it sounds like.
While a sub-interview of the film does actually discuss these uses, it documents a story far more captivating and engaging than that of a dead sheep.
It follows the lifeline of the Pamir Kirghiz, a once-nomadic tribe forced to leave their homeland in the central Asian Pamir mountains to escape the communist regimes of Russia and China. Through the leadership of Haji Rahman Qui, the tribes last Khan, they struggle through blistering climates and battles to their final settlement in East Turkey.
The film is unique in its reflexivity, as it was common to catch glimpses of the camera crews and sound technicians. It was also reflexive in that one of the main points of the story was to recreate scenes of their past by creating silent films using the current people of the tribe as actors. The creation of this living history is documented as well within the film, as members of the tribe often spoke their mind and gave insight to certain scenes.
What intruiged me the most about the dynamics of this tribe was how communal and giving they were to each other and the travelers who passed through the Pamir on the silk route. In my mind, that's what I envision as communism at its best. However, they were constantly running from the communist regimes of Soviet Russia and China. They were self-sustainable tribe who lived off the land and their animals, as noted by the final interview of discussing how much can be done with just one dead sheep.
The final segment of the film was very intruiging as it discussed the future of the tribe, which was assimilating to modern culture at an alarming rate because of the new generation not upholding the ancient traditions. Most of the tribe has grown accustomed to skilled labor in Istanbul, leaving the agriculture and livestock behind. The growth can be seen as positive, as a female Pamir has risen to a high position in Nursing and wants to be the best in her field. This ambition and opportunity was never available thirty years previously.
I love seeing films like this. They make you realize the differences in the billions of us, and that there are other ways and walks of life that deserve and need to be appreciated and understood. It puts your own life into perspective, and may possibly question it, because you start to really think about how easy it is to live in a priviledged society.
37 Uses of a Dead Sheep
While a sub-interview of the film does actually discuss these uses, it documents a story far more captivating and engaging than that of a dead sheep.
It follows the lifeline of the Pamir Kirghiz, a once-nomadic tribe forced to leave their homeland in the central Asian Pamir mountains to escape the communist regimes of Russia and China. Through the leadership of Haji Rahman Qui, the tribes last Khan, they struggle through blistering climates and battles to their final settlement in East Turkey.
The film is unique in its reflexivity, as it was common to catch glimpses of the camera crews and sound technicians. It was also reflexive in that one of the main points of the story was to recreate scenes of their past by creating silent films using the current people of the tribe as actors. The creation of this living history is documented as well within the film, as members of the tribe often spoke their mind and gave insight to certain scenes.
What intruiged me the most about the dynamics of this tribe was how communal and giving they were to each other and the travelers who passed through the Pamir on the silk route. In my mind, that's what I envision as communism at its best. However, they were constantly running from the communist regimes of Soviet Russia and China. They were self-sustainable tribe who lived off the land and their animals, as noted by the final interview of discussing how much can be done with just one dead sheep.
The final segment of the film was very intruiging as it discussed the future of the tribe, which was assimilating to modern culture at an alarming rate because of the new generation not upholding the ancient traditions. Most of the tribe has grown accustomed to skilled labor in Istanbul, leaving the agriculture and livestock behind. The growth can be seen as positive, as a female Pamir has risen to a high position in Nursing and wants to be the best in her field. This ambition and opportunity was never available thirty years previously.
I love seeing films like this. They make you realize the differences in the billions of us, and that there are other ways and walks of life that deserve and need to be appreciated and understood. It puts your own life into perspective, and may possibly question it, because you start to really think about how easy it is to live in a priviledged society.
37 Uses of a Dead Sheep
Def Poetry Jam 9/19/09
I've been working events for 2 1/2 years now, and I can honestly say there have only been a few that stick out in my mind as inspiring and memorable.
The beginning of this school year has not proven promising. Every time I worked, something went wrong. Equipment would fail, clients would go way over their end times, departments overstepped boundaries, I would lose my cool, etc...
On my Saturday evening shift, I refused to let the event get the best of me. With a positive outlook and professional demeanor, and with enough time to set up the event, I knew I could have at least one good shift.
I was pleased beyond any expectation.
I had the honor of meeting Bruce George, the co-founder of HBO's Def Poetry Jam. He was the special guest speaker for the Poetry Club, who gave an in depth look at his rise to success and his passion for spoken word artistry. The first three hours of the event, which included a speaking portion and a poetry workshop, went almost completely unnoticed with no attendees. Finally around 9:30pm, people started to show up for the open-mic night. This is when the event truly started.
I had heard spoken word, or a Poetry Jam, in years previous in high school and on the internet, but I didn't know what to expect from peers at Towson. Needless to say, I was totally blown away. The way these students could articulate themselves with such speed, passion, and thought provoking lyrics astounded me. Students turned their lives and powerful experiences into poems, and some even brought me to tears.
The first poet spoke on how it felt to be the only person of color to graduate from her high school.
Another spoke of how it felt to be a young black man in a neighborhood highly influenced by life and crime in the street.
A young black girl exposed her addiction to drugs and the struggle she had to ween herself off.
The final girl who completely blew me away did a five-minute oration on a childhood friend who was shot and killed at a very young age. Her poem ranged from nostalgia to commenting on the black youth and the stereotypes and struggles of black culture. Of course I can't remember what she said verbatim, but her words hit me very hard. It was a shift in perspectives of understanding what it's like to grow up in an environment where people are pushed to certain limits to survive which are completely dependent on the larger context of government and city development.
It was awe-inspiring to hear voices speaking against the stereotypes of young blacks. Bruce George made a point of stressing the fact that they as young people had much more to live for than drugs, sex, violence, and gangs. He even told them not to work for anyone else but themselves.
The evening made me realized how priviledged of a life I've lived, and gave me a greater insight into the experiences of people I'll most likely encounter in my research.
Best of all, the event planner loved me so much she's requested me for all her upcoming events. And I've gotten nods from event coordinators for my job well done!
Amazing what a positive attitude will bring!
http://www.hbo.com/defpoetry/
The beginning of this school year has not proven promising. Every time I worked, something went wrong. Equipment would fail, clients would go way over their end times, departments overstepped boundaries, I would lose my cool, etc...
On my Saturday evening shift, I refused to let the event get the best of me. With a positive outlook and professional demeanor, and with enough time to set up the event, I knew I could have at least one good shift.
I was pleased beyond any expectation.
I had the honor of meeting Bruce George, the co-founder of HBO's Def Poetry Jam. He was the special guest speaker for the Poetry Club, who gave an in depth look at his rise to success and his passion for spoken word artistry. The first three hours of the event, which included a speaking portion and a poetry workshop, went almost completely unnoticed with no attendees. Finally around 9:30pm, people started to show up for the open-mic night. This is when the event truly started.
I had heard spoken word, or a Poetry Jam, in years previous in high school and on the internet, but I didn't know what to expect from peers at Towson. Needless to say, I was totally blown away. The way these students could articulate themselves with such speed, passion, and thought provoking lyrics astounded me. Students turned their lives and powerful experiences into poems, and some even brought me to tears.
The first poet spoke on how it felt to be the only person of color to graduate from her high school.
Another spoke of how it felt to be a young black man in a neighborhood highly influenced by life and crime in the street.
A young black girl exposed her addiction to drugs and the struggle she had to ween herself off.
The final girl who completely blew me away did a five-minute oration on a childhood friend who was shot and killed at a very young age. Her poem ranged from nostalgia to commenting on the black youth and the stereotypes and struggles of black culture. Of course I can't remember what she said verbatim, but her words hit me very hard. It was a shift in perspectives of understanding what it's like to grow up in an environment where people are pushed to certain limits to survive which are completely dependent on the larger context of government and city development.
It was awe-inspiring to hear voices speaking against the stereotypes of young blacks. Bruce George made a point of stressing the fact that they as young people had much more to live for than drugs, sex, violence, and gangs. He even told them not to work for anyone else but themselves.
The evening made me realized how priviledged of a life I've lived, and gave me a greater insight into the experiences of people I'll most likely encounter in my research.
Best of all, the event planner loved me so much she's requested me for all her upcoming events. And I've gotten nods from event coordinators for my job well done!
Amazing what a positive attitude will bring!
http://www.hbo.com/defpoetry/
Saturday, September 12, 2009
Dan Deacon Show 9/11
Last evening (Friday, 9/11) I had the special pleasure of attending an experimental music show at the Nicholas Cage Annex on E. Oliver Street. I had never been to a place like this before; a seemingly abandoned warehouse transformed into an artist enclave/commune type arrangement. The surrounding neighborhood was not my typical hangout spot; boarded up houses, people roaming the streets in black hoods and baby-strollers, little kids throwing rocks at my car.
I was invited to this gathering by a new friend in my Audio Documentary class, Dave Syzinski (SP?), who has become interested in my research endeavors with the art community in Baltimore. He has a lot of "ins," and really wants to help me out. I was introduced to Alex, a gentleman in a snug fitting suit and styled hair that suggests a throwback to 1950's nostalgia. He apparently has a stack of numbers, and we should have lunch sometime to discuss the new artist housing that may be put into the empty lot across the street from the Annex, where MICA students will have new and relatively cheap housing (and perhaps they'll have more than one bathroom per floor).
The people who live in these buildings have very eclectic tastes for decoration and design. They also have little contempt for dirt, grime, and mess. The bathroom I used looked like it hadn't been cleaned in years, there was no flooring, and paint brushes were scattered among the sink.
The kitchen area had been sectioned off with Christmas lights, but with good reason. All of the inhabitants food was stashed on shelves, an indication these people were rather more open with their food supply and probably didn't have the affordable funds for cabinets.
While I don't care what people think of my dress and style, it was obvious that my friend and I stuck out like sore thumbs. I was wearing matching clothes of bright purple, orange, and pink, with jeans and Converse sneakers. My friend, Billy, was in Spuries, a Stevenson U hoody, and green Polo shorts. Everybody else was as unconventional as you can get. Skinny jeans, oversized sweaters, ridiculously awful (in my opinion) hair cuts, and a general off-beat, counterculture, non-conformed look that I don't think I could attach myself to if I even tried.
The music was another interesting aspect. There was, as my friend put it, "an abrasive Canadian experimental artist," who made abrasive an understatement. At one point, between her screaming and guitar shreiking, she managed to start playing her instrument with an animal bone (I hope it was an animal). Dan Deacon finally came on around 11:30pm. A dance party ensued for the following hour, led by my exhaustion and subsequent leaving to find a 24 hour-McDonalds, cause damnit, I wanted a quarter pounder.
I was invited to this gathering by a new friend in my Audio Documentary class, Dave Syzinski (SP?), who has become interested in my research endeavors with the art community in Baltimore. He has a lot of "ins," and really wants to help me out. I was introduced to Alex, a gentleman in a snug fitting suit and styled hair that suggests a throwback to 1950's nostalgia. He apparently has a stack of numbers, and we should have lunch sometime to discuss the new artist housing that may be put into the empty lot across the street from the Annex, where MICA students will have new and relatively cheap housing (and perhaps they'll have more than one bathroom per floor).
The people who live in these buildings have very eclectic tastes for decoration and design. They also have little contempt for dirt, grime, and mess. The bathroom I used looked like it hadn't been cleaned in years, there was no flooring, and paint brushes were scattered among the sink.
The kitchen area had been sectioned off with Christmas lights, but with good reason. All of the inhabitants food was stashed on shelves, an indication these people were rather more open with their food supply and probably didn't have the affordable funds for cabinets.
While I don't care what people think of my dress and style, it was obvious that my friend and I stuck out like sore thumbs. I was wearing matching clothes of bright purple, orange, and pink, with jeans and Converse sneakers. My friend, Billy, was in Spuries, a Stevenson U hoody, and green Polo shorts. Everybody else was as unconventional as you can get. Skinny jeans, oversized sweaters, ridiculously awful (in my opinion) hair cuts, and a general off-beat, counterculture, non-conformed look that I don't think I could attach myself to if I even tried.
The music was another interesting aspect. There was, as my friend put it, "an abrasive Canadian experimental artist," who made abrasive an understatement. At one point, between her screaming and guitar shreiking, she managed to start playing her instrument with an animal bone (I hope it was an animal). Dan Deacon finally came on around 11:30pm. A dance party ensued for the following hour, led by my exhaustion and subsequent leaving to find a 24 hour-McDonalds, cause damnit, I wanted a quarter pounder.
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