March Spring Winds is a contemplation on tensions that coincide as seasonal change crashes into human emergence from the pandemic. Created through a meditative practice on internal ecology, the video consists of a sequential drawn animation combined with an improvisational flute melody to evoke the interplay between complements. As plants sprout and animals emerge from hibernation, this is a reflection on how we can evoke joy and honor loss.
What has emerged?
In English, the word “emergency” indicates an urgent crisis, something that came up, an emerging need. During this year of acute slow-motion crises, this linguistic quirk of English has occurred to me more than once. In French and Spanish, a the wing of the hospital for treating trauma is Urgence or Urgencias, respectively.
As I was drawing, I watched as motifs slowly emerged, creating new layers of meaning and emotion .
It made me stop to consider how with a crisis, there is potential for disruption and trauma. In my day job, which is at a school, there has certainly been a complete overhaul of our systems. There are things that are frightening about massive change, especially when it is accompanied by inequitable risks for marginalized members of our society.
However, transformation is not all bad. The acute injustices that have become visible– emergent– to more people have spurred people to push their own limits. Existing networks of care have mobilized deeper generosity and participation. Technology that seemed like science fiction when I was a child has become a broader everyday platform for education, art, and connection.
These emerging transformations have the potential to create sustainable and lasting change, but it requires everyone to make a conscious choice to continue troubling the waters of injustice.
What will you carry forward?
This year has been full of barriers, pain, and sadness, but there have been moments that emerged for me that have deepened my sense of community and interconnected ness. As you watch this video, please think about how both pain and empathy have had an impact on your own life.
What challenges have you faced?
What has helped you get through this year, and how can you pay that forward to someone else?
This video was streamed through the FOOLMoon CommUNITY Facebook page, and at the Ann Arbor Art Center on April 9! Check out the event here to see some other stellar artists.
The Second Song to Urban Ecology, this one was actually begun first. It was originally a photo series that I took in one of my favorite parks, located in Ann Arbor, Michigan.
M-14 is an expressway that runs between Ann Arbor and Plymouth, which is an ex-Urb or Suburb of Detroit.
The “Cathedral” is the open space beneath the overpass, as it runs over the Huron River. The light on the tracery of the steel-framed bridge combined with the rhythmic organ of the traffic overhead make it a very contemplative place. Nature and City collide here, not just because of the highway, but because it the western bank of the river is skirted by an old industrial corridor where welding and manufacturing shops once dominated, though few now remain.
Although the overpass could be thought of as marring the landscape, and the noise pollution and runoff can be harmful to the ecosystem, there is something beautiful to be found in the coexistence of this massive basilica of concrete and steel, designed not for occupancy, but instead for passing over.
Re-claiming the beauty of labor normally masked by its utility, I seek to showcase the labor of the Ironworkers and other skilled trades as they contribute to our culture by re-claiming the space for something besides a pass through.
The light shines off the tracery of the steel frame. The fog hides and reveals the ugly concrete pylons. Graffiti quite literally marks people’s interest in the site. Ripples highlighted by the thin line of light between the lanes create calligraphic flourishes on the surface of the water.
In this project, I also re-claim the space beneath the bridge for the ways that nature and land shine through human imposition. I stopped there and meditated, watched, listened about once a week for a couple of years. I began to notice many small details. All the photos are of plants which grow* along the banks of the river in the natural area opposite the old industrial corridor.
Here I want to acknowledge that one person or set of people cannot truly claim the land we inhabit, whether they hold deed and title or not. In re-claiming the land, I do not claim ownership. I re-claim the right to create a stronger relationship between people and the earth. This “Cathedral” is part of a complex system for which we are each responsible, and which is affected by our actions.
Beyond that interconnectedness, I also acknowledge that Washtenaw County has its own storied history of disputes between Native Americans, French, English, and ultimately the Territorial European Americans who became “Michiganders,” like me.
The Huron River, after all takes its name from one of the several local groups of Native Americans: groups that have traversed and lived here include speakers of Anishnaabe and Wyandot, known to many Americans by their tribal names (Chippewa, Ojibwa, and Huron, Iroquois respectively) as well as other tribes from Canada and Ohio with whom they traded well into the 19th Century.**
One step, beyond acknowledging who was here first, is to think about how we can better honor the land itself. I don’t own any land that I could give back, but I can be a better steward of the earth, and advocate for more harmonious relationships and care between humans and nature.
Place Based Education: Stay at Home Workshop
Saturday May 16, 10:30 AM
Join with Google Meet: https://meet.google.com/cwg-akvj-hed
For the participatory art part of this project I am creating a workshop which will be geared to sharing some ideas about how to combine art and science to take advantage of the time we are all spending stuck at home.
Everyone is somewhere. But what is somewhere? How do we know our own “where?”
Place-Based Education focuses on those questions in order to engage people. Looking closely at the world right in front of us. It is something that people often take for granted, but to study it, to really look at it to see things as they connect to you and to other things, takes practice.
Place Based Learning can begin with a small moment right where you are.
Everywhere you go, there you are. Place is an easy text for anyone and everyone to begin a learning journey.
Before the Workshop Saturday at 10:30 AM:
In this workshop we will play with taking time out of every day to look and listen by drawing and photographing something you can see near your house. Since we are all on various versions of Stay Home Stay Safe, I ask that anyone wishing to participate adhere to local public health recommendations and local law enforcement. If you are allowed to go to a park, do it! If not, don’t.
Take a picture of something you are interested in that you see nearly every day (for example outside your window).
Take a picture of the same thing every time you notice a change.
Write down or draw out things that you notice:
What is the same?
What has changed?
Is it only visible things? What about sounds and smells?
If you don’t have time between now and then, don’t worry, I will have some samples and give time to go out and take a picture during the workshop. You might also want some things from your recycling bin, some crayons, some water, something to stick (tape or glue) and some markers.
*With the exception of the trillium, all of the plants were photographed within a half-mile of the bridge. The trillium grow there, but mostly in very small patches. I found such a beautiful large pink patch elsewhere that I couldn’t resist cheating This particular trillium plant was photographed in Montibeller Park in Pittsfield Township.
**In some ways, Michigan’s history, with French dominance into the 1820’s means that relationships between present inhabitants and past inhabitants have been preserved. The French wanted to convert, and “save” rather than dominate like the perpetrators of Manifest Destiny. There are still Native Americans from local tribes living in Michigan, particularly farther north. This does not mean there was no harm. Forced family separations, discrimination, and damaging economic practices remain to this day. But I did learn Native American History during my second grade class, and it did include the harms and the wars in my eighth grade class, and went into staggering detail about the cruelty by my junior year of High School.
While natural systems and cities are symbiotic everywhere, there are huge equity gaps across the globe. Higher income areas have more access to open space, and foliage and are therefore more likely to have active and noisy animal populations. There have been many articles about this through the years. One of the most memorable for me was in 2012, on a blog called PerSquareMile titled, “Income inequality as seen from Space. It was during the time when Google Maps was becoming more detailed and people outside the research community were just starting to think about this and the author, Tim de Chant, collected anecdotal information about many cities and their open space which he shared in the second link above.
When I started this project last fall, and even when I sent the germ of it to FossilFOOLs I was not thinking that it would come to life during a global pandemic, but it turns out, the decrease in human activity in cities has drawn attention to how animals are influenced by human action in urban ecology. I heard a piece on New England Public Radio via the NPR app this morning about hearing different and more birdsongs now that there is less traffic on the roads due to quarantine measures so that even in dense urban centers, people can hear more natural noises.
Wildlife biologist Paige Warren of the UMass Amherst Department of Environmental Conservation has reviewed research on how human-generated sounds impact animal communications. She talked about the challenge different kinds of birds normally face when they sing near the rumble of cars. “If you have a high-pitched, ‘tweety tweet tweet’ sound, then it might get through better than if you have a low-pitched kind of sound,” Warren said, imitating the call of a dove. “So if you’re a dove, it might be harder to get your message through the traffic. And then when there’s less traffic, it might be easier to be a dove.”
Nancy Eve Cohen, NEPR, March 31, 2020
To create the sound in my video, I raised the treble to accent the birdsongs that I was hearing, and raised the bass to accent the traffic rumbles and whooshes. It is true that the middle range of sounds is not as audible, and with the sheer volume of those other sounds, even on the unedited audio recording, it would have been hard to distinguish sounds closer to the pitch of the traffic noise.
The audio track was created before the shutdown began in Boston, as I was getting into my car for the morning commute, with many other motorists flying by on the Jamaicaway less than a football field away from me. Now, even at the height of rush hour, there are gaps in the roar and sputter, and fewer planes rumbling above.
Yesterday on my short walk, I jaywalked across the Jamaicaway into Olmsted Park at a place where that would normally be unadvisable. As I meandered into the trees, I heard at least five different types of birds in the middle of the afternoon, fighting, calling, chasing each other. There was even a red-headed woodpecker high in a tree on the border with Brookline. Right now, I hear wind in the trees, two mourning doves calling to each other, groups of starlings, a robin, a jay, a house wren, and a distant redwing blackbird from the park.
In this fraught time of self-isolation, I feel privileged to be in a place where I have a backyard to look into and a park nearby. Even growing up in an economically disadvantaged area I was embedded in the City of Ann Arbor, it was surrounded by natural areas, and so I was privileged to have orientation to wide open spaces, and still be able to navigate many advantages of life in a thriving college town.
However, many economically disadvantaged urban communities have a lack of space devoted to sustaining accessible natural systems. Torn down houses in formerly “blighted” areas of Detroit, for example, may contain natural systems, but they have largely been left to hazard, filling up with invasive weeds, foragers, and pests instead of being re-planted with native plants and trees that might attract a more sustainable ecology.
Urban and natural spaces are permeable to one another all around the world, and human participation in natural systems is intrinsic.
We are part of nature, and hearing less traffic and more birds right now sounds out loud and clear both how interconnected we are, and how deeply our noise and pollution affects our ecology. These new commentaries about birds and silence and breezes make me hopeful that more communities will prioritize investment in creating cities that are sustainable by both human and ecological measures.
It has been inspiring to do online workshops: I can hear and see what others have been creating.
It has given me a peek out windows here and around the world. Even though I’m in Boston, since everyone is working online, it was easier to connect with two former students in Michigan. After teaching online, I then did a teaching-artist oriented workshop with two colleagues in Illinois and Sri Lanka. Observations from all the participants from their windows or wishes included sheep, school buses, monkeys, cobras, cars, trees, and more birds.
This project was originally created inside a portable tent cinema full of transparencies with the idea that I would bring this project around the world, packed into a market tent. I do hope to bring the project around the world in a tent.
Or if you want to participate in with a slightly less complicated story just send me a photo of the view out your window and tell me what you hear or make a recording of the sounds.
The collected works that you share will be used to create another clip in this series, possibly “Lullaby for Empty Cities.” The next work already in progress will most likely be titled “Fugue for The Cathedral of M-14“
You can email your submissions to me, comment on this post with your photos, or tag anything you make with these tags on instagram or twitter so I can find them: #FOOLmoonreimagined #foolishsongs20
For FossilFOOLs, I created a work of arts-based research about how city-dwellers access nature combining digital animation and found sounds to highlight the ways that nature is affected by and yet still permeates urban areas. Inspired by Finnish composer Einojuhani Rautavaara, I combined a recording of the sounds in my backyard– both human and natural– with instrumental and vocal tracks to create a re-mix of narrative sounds. Rautavaara is known for his symphony to biodiversity, Cantus Arctics, in which he composed a rich multi-layered work that is built around recordings he made of birds in arctic region of Finland.
Originally, the work was to be presented with an active call for participation, people would have created shadow puppets to interact with the installation of the video on a multi-layered tent full of transparencies.
The original inspiration, collecting the ways that nature permeates the lives of my fellow city-dwellers still holds, and I have translated it to a virtual call for participation:
You can MAKE YOUR OWN shadow-puppet machine and share your story!
First, do some research
When you go out today for an appropriately spaced walk, bring a piece of paper or a notebook with you.
Look at the plants and animals that are around you, and spend some time looking at a few that you feel drawn to.
STOP, LISTEN for 3 whole minutes: Write what you hear using onomatopoeia: some letters that you think will make the best impression of what you hear where you are.
It doesn’t have to be sounds from the thing that you are interested in. Just any sounds you hear, practice saying them outlaid.
For example the plane going over my building right now says “GURURURURURURUOOOOOOOSHSHSHSh!” and the birds say “CRRRRpppptCCrrpt-shwooooot.”
THEN: Draw all the shapes you think the plant or animal you are interested in has in it. Don’t try to draw the thing, just draw the shapes.
FINALLY: try to draw the thing, using the shapes you just drew. Since we are making shadow puppets later, don’t worry about the details, just get the outside shape of the thing.
When you get home, think of a story about the things you drew.
What are the relationships between those things?
How does the sound relate?
Then go home and make your spinner:
Re-used plastic bottl- cap
Drill or something sharp to poke with
Paper Plate, or re-used cardboard
Re-used plastic Forks, or popsicle sticks
Paperclips for attachments and hooks
Yarn if you want your puppets to dangle more
Re-used cardboard for puppet
Tape, Glue, other sticky stuff
Drawing stuff like markers
Make the spinner
1. Poke a hole in the bottle cap, using a drill. If you don’t have a drill, you can probably use a nail and a hammer, or some other sharp thing combined with a heavy thing. For this part, you need to have a friend or a grown-up around just to be safe.
2. Stick the chopstick into the hole in the bottle cap. Put a dot of glue or tape under the bottle cap inside the lid so that it stays where it is.
If you use a hot glue gun, remember that the silver part and the glue are hot, so you should not touch those.
4. Take out the plate and mark the center by folding in half and pinching the middle to make an X.
5. Poke a hole through the X using a pencil or scissors, spin them around to make the hole nice and big so it spins easily. This might also need a grown up or friend to be safe.
6. Glue or tape your spokes, which are the popsicle sticks or forks to the edge of your plate so they stick out like a sun. You can use cardboard scraps if you don’t have popsicle sticks or forks to recycle.
7. If you are using cardboard or popsicle sticks, you can tape or glue a paper clip to the end of your spokes so that you have something to hook your puppets onto.
Make the puppets
Take out your research drawings.
Look at the shapes and the way you put them together to draw your image. You will use this to decide how to cut the cardboard for your puppet
Draw the shapes you want to use for your animal or plant onto the cardboard. I like to use old TV dinner packages for this. It’s relatively soft, and not so hard to cut with scissors.
Cut them out.
If you want multiples, you can fold the cardboard, like making gingerbread people, or snowflakes to get multiples of the same shape.
You can cut them with scissors or a knife. If you use a knife, please make sure you have a friend or a grown-up to help with this, just to be safe.
Tape or glue them together.
Tape or glue them to a paperclip. You may have to bend the paperclip to make a hook for your spokes.
Hang your puppets onto the spinner.
To assemble your story, think about the order you put them in
If you have birds, for example, different wing positions could indicate progress.
If you have flowers and Bees, you could put two flowers and one bee, or lots of flowers, some empty spokes, and then a bee.
Participate in FOOL Moon Re-imagined
To participate, post photos, videos, stories and more to the FOOL Moon Re-imagined Facebook page.
You can go with your grown-up or friends to find things that make noise in your kitchen, pots, pans, jars of rice, and create a sound response to what you heard. A wok makes a nice resounding noise, some sticks from outside might make nice snaps or scrunches.
Combine those with the onomatopoeia you created in your notes, to create a few seconds of sound to make while you take a short movie of your shadow puppet story.
Film your puppets, with the flashlight and your spinner on the wall, like in the photo. Use the hashtag #foolishsongs20 when you upload, or just put it onto the FOOLMoon Reimagined Facebook group.
Make noises like the ones you wrote down! Tell your story in a short video or write it down with some pictures of the shadows you make!
Here’s some ideas for how to start:
I picked ________ because…
________ are important because…
_______ and _______ do ________ together because…
I plan to make a compilation video of all the submissions that everyone creates, so if you want to be included, drop me a line in the comments here, or send me an email to the letter “A” at Allida dot com. If you do not give me express permission, your documentary words, photos, and videos will not be included in our final collective story.
About this project:
Climate change is an issue that directly impacts equity, and environmental justice world wide. Wealthy nations and communities have the resources to anticipate and act on behalf not only of themselves, but of the rest of the planet, but too often they ignore the urgency of the issue because it is inconvenient to the bottom line. In this moment, with a pandemic influencing the globe, it is clearer than ever that our mutual fates are intertwined, and that collective action is necessary, not just to prevent harm to the vulnerable, but to create beauty and connection for all.
“When I started out in the office here, I remembered the love I felt when my grandparents would read to me, and I thought, I want every Finnish child to feel that love and support while they learn.”
Irmeli Halinen, retired Head of Curriculum and Development, Finland
Yes an artist, my Finnish cultural heritage influences my understanding of getting by by making do. My mother and grandmother taught me how to re-use everything from cutting down clothes and creating rag-rugs, to darning socks and coming up with inventive ways to use old plastic bags. I have always worked with re-purposed and re-cycled materials both because of these habits, and because the impact of seeing everyday objects in new forms raises awareness of our cultural associations. I’ve re-purposed construction materials to create wearables and decorative home objects.
It almost made me cry, because my grandparents– both the Finnish ones and the others– used to read to me and were all strong advocates for empathetic supportive education as central to civic agency. Their model has inspired me as an educator and an artist to cut through my own identity and privilege to find common ground with people across cultural, class, race, and disability. It makes me passionate about elevating the voices and ideas of the communities I have served as an artist and and educator.
In my work, I endeavor to love every student, and hear what they have to say because we are all one, and the multiple points of crisis our world is facing right now makes that clearer than ever.
The unexpected places in which surprises happen are the places where invention happens. Whatever plans I made, the process of creating and performing forced me to push my limits. Those limits left space for the air to pass, and for others to enter and share in the learning.
This performance did not have a title when I started, it began with the feeling of transience and tension that exists in cities between constructed and natural space. I loved Chicago in many ways, but things moved so quickly, especially for me: I worked full time and went to art school part time, trying to afford space and time for myself to breathe was extremely challenging.
In response to that feeling of continual fatigue, my stream of making turned meditative. I did drawings, beading, knitting, manual work that I could carry and which made me stop to breathe.
These small works, however, did not solve the feeling of being stuck in close quarters: a too small apartment, the space between people on a bus, the low-ceilinged platforms of the Red and Blue lines, and no benches or welcoming areas to stop and contemplate the beautiful tall buildings and open spaces.
Out of this feeling of claustrophobia, arose a desire to create a sacred space, created through and set aside for the things that I value. So this performance had four goals:
Creation of an artifact that illustrates or leaves traces in time or space
Consideration of sacred or meditative space as internal or external
Connection to pattern, repetition, but valuing biomimetic or organic
Consciousness of processes for growth
To leave traces of the process of meditation, I designed a structure that could be sewn sequentially, one tube after another like beads. The finished product would be a 5/8 icosahedron. To pull in natural and biomimetic forms, I then wove fabric in and out in a meditative way to create a cocoon-like structure. This was all done with a rhythm and in silence, considering, meditating and creating at once.
Putting all of this together, the dome created a space for contemplation shared with others. The process, artifact, pattern and form being inspired were combination of human and natural forms, and they created an interior space in open air. I chose the spot, on top of the airshafts surrounded by wildflowers because they epitomized for me the tension between natural and urban that I felt in Chicago, and felt like a generative location.
The surprising moments in the process, where the poles fell through the grating, and when the whole structure blew over, illustrate for me something that I have since taken on as key to my practice: There is no such thing as a mistake in art, only a new opportunity to create something new. As you click through the gallery you can read my thoughts on the artwork at the time.