The

ArtistsA report compiled by goodgood Detroit for ResoCreative Many- Michigan nating Detroit Report Prepared By: goodgood Detroit 18044 Parkside, For: Detroit, MI 48221 w:www.goodgoodland.com e:[email protected] 440 Burroughs Street, Suite 365 Detroit, MI 48202 Benjamin Gaydos Research, Design, Text, w:www.creativemany.org Cinematography

Julia Yezbick Supported By: Research, Text, Edit, Cinematography The A report compiled by goodgood Detroit for Artists Creative Many ResonatingMichigan Detroit the grant immediately or spread it out, with the final 25% coming at the close of the pilot. Topics for the three peer exchanges focused About on common interests of the grantees including new cooperative ownership models, community land trusts, equity, displacement, gentrification, Resonant community benefits, participatory urban planning, climate and water justice, and Detroit municipal government engagement strategies.

In January 2015, Creative Many Michigan Current Grantees embarked on a 2.5 year pilot program to develop its role as a grantmaker by supporting • Zimbabwe Cultural Centre of Detroit http://zccd.org a small cohort of grantees working at the intersection of social justice and creative • Complex Movements http://complexmovements.com work. Made possible through funding from the Ford Foundation, resonant DETROIT • The Aadizookaan http://www.adzkn.com supports innovative creative practices that are deeply resonant with and reflective of • Design 99 http://visitdesign99.com Detroit at a pivotal moment of transition and transformation. The program provided • ONE Mile http://onemile.us $35,000 awards, professional peer exchanges, case study opportunities and additional • Detroit Culture Council project http://www.detroitculture.org resources for selected grantees. Grantees were invited to submit a proposal that designated resources in three focus areas: process + capacity; infrastructure; and programming. Grantees were able to receive up to 75% of Play House Demo Banglatown, Detroit This report attempts to lay out some of the key themes and concerns of the Resonant Detroit artists: O.N.E. Mile, The Aadizookaan, Complex Movements, Design 99, and the Zimbabwe Culture Centre of Detroit. These artists cohere around a common goal of social engagement in their work, though there is much variation in their practice. Although lengthy, this report is by no means 1 comprehensive or total. The themes that we pulled Introduction out for analysis here were themes that we heard with some repetition Art, in its diluted ubiquity has become a chimera, 1.Acknowledgements: throughout our research. goodgood would like an illusion; something that everyone thinks they to thank all of the These concerns include: know ‘when they see it’ but it crumbles to pieces artists of the Resonant self-governance, self- Detroit program for when people are pressed to define it. Does this their generosity with identification, values their time, their mean that it doesn’t exist or that it doesn’t act honesty, and their and evaluation, time, or do things in the world? Certainly not. What willingness to share property and gentrification, with us the intimacies this vapid denotation tells us is that art is indeed and intricacies of communities and their work. Much of critically important to social life, but our lack of this report is their collaboration, and aesthetics. lexical acuity does a disservice to the accurate words, their ideas. A brief but necessary Its shortcomings are description of the work that it does in the world. ours alone. context of the city of Detroit Crucially, this is not solely a problem of lexicon. It is followed by the artist is, as language often is, also linked to a fractured group profiles before the analysis portion of the and disjunctive understanding of the values of report in which these concerns are elaborated. artistic endeavors and labor. Who is valuing it in Prevalent throughout all of these topics are the core what way? Toward what end? In what context? themes of language and value; and the underlying These two elisions (one of language and one of question: how is something described and how does value) are at the heart of the crisis of support for sovereignty over this description or narration come socially-engaged arts. to define the ways in which it is valued? We state this here to draw attention to the fact that ethnographic research takes time and is most beneficial when its insights are drawn from long- Methods standing relationships built on trust.

This research was carried out by goodgood mem- Commensurate with standard Finally, we also utilized media bers Ben Gaydos and Julia Yezbick2 between practice for research using production as a process of human subjects, the researchers enquiry and presentation. We August 2016 and May 2017. Our approach to used an information sheet which present here five short videos gathering data was to employ ethnographic was handed out to participating to aid in informing our readers research methods primarily comprised of partic- artists to inform them of the about the work of these artists. ipant observation, observation, semi-structured research goals and intentions. We believe that certain types It was at this point that some of knowledge are best conveyed interviews conducted face-to-face with the infor- artists took umbrage with the through audio-visual media mants, and a questionnaire. Data was gathered use of the term “ethnographic” and to this end we sought to at artist residences and studios, community to describe our research process produce short videos that noting its colonialist history and were not redundant to what is events, performances, and workshops. This data, the already disparate power discussed through exposition however, is contextualized within insights gath- differentials between the studied and analysis in the written ered through extensive ethnographic research and the studier. We include this report. Our aim with these videos carried out by Julia Yezbick from 2011 to 2016, here out of deep respect for the is to provide a glimpse into the thoughts and opinions of our everyday physical and emotional some of which was with members of the artists interlocutors and recommend a experiences of doing socially- groups discussed in this report.3 more sensitive tack in the future.4 engaged work.

2. As per standard ethnographic writing, we have retained the use of the first-person singular, 4. It is also perhaps worth noting that what characterizes “ethnographic” methods, both “I,” even though this project was carried out by both Yezbick and Gaydos. For the purposes of historically and today is immersion and long periods of time spent with and among one’s this report, we do not feel it necessary to distinguish which one of us the “I” is referring interlocutors. In this way, ethnography, much like the creative process is not necessarily to throughout the writing. conducive to deadlines, ROIs, etc. Nonetheless, as both ethnographers and artists we work within these confines because we are beholden to those who hold the purse strings. 3. For more on Yezbick’s research, see: “Domesticating Detroit: An Ethnography of Creativity in a Postindustrial Frontier” (diss, Harvard University, Anthropology, 2016). Such populations are at height- are situated within specific social, ened risk of disease, poverty, political, and economic contexts. Context: starvation, displacement, and of exposure to violence without pro- The artists’ work discussed in this tection” (2009: 25-26). Often the report takes shape within and often result of the failure of policies at against these conditions and it is all levels of governance, precarity our aim to elaborate how their work is fundamentally tied to politics. can be better understood within the Detroit, As a concept it helps elaborate specific context of Detroit. the ways in which the vulnera- bilities of the underprivileged are So what are the relevant specificities Michigan exploited and perpetuated. of doing socially-engaged work in Detroit? We do not have the space As anthropologists Jennifer to cover in any depth the compli- Crucial to an understanding of socially-engaged Shaw and Darren Byler describe cated and multifaceted factors that have historically contributed to the artistic practices, is an understanding of the it, precarity is also a condition of millennial capitalism in which current state of the city6, but there context in which the artists are working. Detroit, the logics of economic actions are a few current conditions that Michigan is not a simple story despite the (often described as neoliberal- we would like to highlight here oft-rehearsed epitaphs that one hears about its ism) prop up an image of radical that we find pertinent. individualism, self-reliance, and population loss and economic decline. That the independence that evokes, from First, according to the 2010 city went from a population of 1.8 million in 1955 some, a moral judgment upon US Census, Detroit is 83% to less than 700,000 in 2012 is only one abstract the perceived failures of the African- American. The city’s vulnerable, while from others it racial composition is partially the measure of the everyday realities of those who live elicits a form of “liberal empathy effect of a long history of racially in this fabled city. There is a useful term that has in which those with wealth and discriminatory housing practices emerged in social science discourse to describe the privilege engage in forms of and urban policies that have everyday struggles and vulnerabilities of peoples humanitarianism that maintain, differentially privileged Caucasian rather than challenge, the status residents by barring racial living on the edge of a stable existence: Precarity. quo.5” This analytic term is minorities from housing loans, Precarity is described by feminist scholar, Judith helpful in understanding the redlining, and de facto discrim- Butler as “that politically induced condition in ways in which art practices with inatory application of federal intentions of social engagement housing policies7. Beginning in which certain populations suffer from failing social and economic networks of support and become 5. https://culanth.org/curated_collections/21-precarity, accessed May 17, 2017. 6. For this we recommend Thomas Sugrue’s “The Origins of the Urban Crisis: Race and Inequality in differentially exposed to injury, violence, and death. Postwar Detroit” (1996, Princeton University Press) as a good starting point. 7. Again, see Sugrue (1996). Context / Detroit / the mid-20th Century, Caucasian families have lived through the capital needed for investment. and Glaeser 2005 for critiques of families with the means to do decades of hardship watch in Artists have historically been his argument). so were moving out of the city amazement as their Caucasian used as ‘first-wave’ gentrifiers, driven by fear of falling housing counterparts, and more recent their labors instrumentalized Thirdly, the material conditions values due to the growing Black residents, absorb a disproportion- toward the profit maximization of of the environment, directly middle class that was buying ate amount of the positive media opportunistic developers. Indeed, linked to factors mentioned houses in traditionally “white” coverage of the city’s “rebirth.” artistic labor and products being above, have created a specific neighborhoods. What is colloqui- As artists are often charged with used to fuel speculative econo- social and physical landscape. ally referred to as “white flight” the mandate to imagine new mies is not a new phenomenon Detroit is marked by vast swathes ensued. Coupled with decades of possibilities, bring people togeth- (See: Pasquinelli 2013, Deutsche of “open-ended landscapes”9 disinvestment, the closing of fac- er, and give form to the narratives and Ryan 1984, Smith 1996, that once were occupied by tories, a dwindling tax base, and that bind communities together, Zukin 1982, Lloyd 2006, Harvey built structures and now are a crumbling infrastructure the this differential spotlight has 2002); but it plays out in partic- occupied by a mix of tall grass, city became poorer, more isolated, perpetuated some of the racial ular ways in Detroit. The usual urban farms, trash, debris, and and more racially homogenous tensions of previous decades and markers of gentrification such critters. The feeble tax base has in the second half of the 20th is tied to notions of who has a as displacement of peoples has left an eroded infrastructure that century. Racial tensions erupted “rightful” claim to speak for / as certainly been playing out along makes it difficult to get where in the Rebellion of 1967, and now, a Detroiter. relatively predictable narratives you need to be, particularly if you 50 years later, a new generation in downtown and midtown, but don’t own a car (the “preferred” of Detroiters are attempting to Secondly, the housing market in Detroit’s vast neighborhoods it mode of transport in the Motor mend these historic rifts. crash of 2008 and Detroit’s may take on unique and unex- City, despite the fact that 26% patchy and denuded tax base pected trajectories. As discussed do not have access to a working It is against this salient history have created a ripe environment below, many of the artists are vehicle10). A perceived lack of that Detroiters today make for speculative real estate con- engaged with actively mitigating law enforcement creates a sense claims to autochthony and tributing to cycles of foreclosure, against the negative effects of of “anything goes,” vigilante authenticity as young, largely eviction, and land-grabbing. On gentrification. Nonetheless, it is justice, and references to the Caucasian artists move into new- the one hand, the drop in real not inconceivable, for example, “wild west.” This and many other ly “hip” areas of the city. Further- estate values have enabled artists that developers will use things factors make safety and crime more, an over-representation of to purchase houses in (and on) like Detroit’s recent UNESCO prevention a key concern of many the efforts and accomplishments which to work as well as ware- designation as a “City of Design” residents. of Caucasian artists in the media houses for studios and loft spaces. to validate development projects has fueled contestations over who On the other hand, this climate that buy into the largely de- Detroit’s history of “white gets to represent Detroit. Gener- has privileged those with liquid bunked notion of catering to the flight,” deindustrialization, ally speaking, Detroiters whose assets8 and those able to mobilize “creative class” (See: Florida 2002, disinvestment, and depopulation

8. This is due to the fact that many houses for sale in Detroit, particularly bank-owned homes, 9. O.N.E. Mile artists avoid certain terms like “vacant lots” preferring “open-ended landscapes” that functionally require cash payments in full as the bank are hesitant to issue mortgages when they recognizes this “living matter in a state of motion” as an asset. See: http://www.onemile.us/ can get rid of their liabilities by selling to a speculator who will pay cash up front. In cases landscape.html, accessed may 30, 2017. such as the Wayne County Tax Foreclosure Auction, bidders need to “pay to play,” as there is a $2500 deposit required to be able to bid on properties. 10.2012, U-M Transportation Research Institute Study, http://ns.umich.edu/new/releases/21923-hitchin- a-ride-fewer-americans-have-their-own-vehicle

016 / / 017 Context / Detroit / are stories that will sound through the largest municipal source resulted in the prolonged work they collectively address familiar to residents and scholars bankruptcy in U.S. history.11 lead poisoning of Flint residents) issues such as water rights, of postindustrial spaces from The city is crippled by poverty to largely disastrous effect. food justice, LGBTQ rights and the American Rust Belt to the levels estimated to hover around DPS continues to face many awareness, social justice, police German Ruhr Valley. Indeed, 36%.12 As of December 2016, the challenges (aging buildings, lack brutality, the prison industrial Detroit’s transformation did not unemployment rate was 9.8% of books, lack of teachers, etc) complex, youth outreach and happen in a vacuum. It was in compared to the national rate of further complicated by the fact programming, wealth distri- large part the effect of broader 4.7%, though unofficial estimates that the majority of Detroit bution and equitable access to national and international have recently been over 20%.13 public school children now attend markets, gentrification, Afrikan dynamics, such as the out- The atrophied tax base drives charter schools.16 x indigenous, indigenous rights, sourcing of manufacturing jobs up costs of living (i.e. Detroiters cross-cultural exchange, neigh- overseas as globalizing markets have some of the highest property It is amidst this climate of pre- borhood engagement, safety and made domestic production less taxes and automobile insurance carity that the artists of Resonant crime prevention, and diasporic appealing to large manufacturers. rates in the country and the Detroit work. Through their representation. The forces of late capitalism—in- cost of water and other utilities equality, loss of industrial work, are relatively high due to aging racial and class homogenization, infrastructure and a system built In Detroit, one’s ability to creatively and gutting of many urban to support a much larger popu- adapt to the conditions of the environment cores—are not unique to Detroit. lation). The estimated 81,19014 is a skilled practice that emerges from A growing body of literature on vacant properties have prompted both positions of creative intervention as deindustrialization reveals the strident and blunt action on the impact of the forces of late capi- part of the city whose nuisance well as material necessity (c.f. Herscher talism on blue-collar workers and abatement policies and processes 2012a: 6-7). Whether renovating a vacant those who remain in the cities for punishing tax delinquencies building into a community center, using and towns abandoned by industry have inadvertently pushed many the world over (See: Walley 2009, people out of their homes. Addi- music to teach political awareness and 2013, High 2003, Dudley 1994, tionally, Detroit Public Schools, keep youth off the streets, or finding Lloyd 2006, Doukas 2003). recently restructured by the creative ways to use design to meet the 15 state, has also been under the needs of a neighborhood; these actions Detroit’s challenges may not be control of a string of emergency unique among deindustrializing managers (most recently, Darnell carry extra-economic values—communitarian, cities, but they are vast. In 2013 Earley, who was managing the aesthetic, and social—which speak to the a state-appointed Emergency city of Flint, MI when the fateful broader themes addressed in this report. Financial Manager led the city decision to switch its water

11.Davey, Monica; Walsh, Mary Williams (July 18, 14.2016, RealtyTrac® report, http://www. Motors during the auto company’s bankruptcy, New York Times, JUNE 28, 2016, https:// 2013). “Billions in Debt, Detroit Tumbles realtytrac.com/news/realtytrac-reports/u-s-q1- essentially bracketing the “old” DPS from www.nytimes.com/2016/06/29/us/for-detroits- Into Insolvency”. The New York Times. 2016-u-s-residential-property-vacancy-analysis/ the “new.” The results of this measure are children-more-school-choice-but-not-better- yet to be seen. schools.html?_r=0, accessed May 28, 2017. 12.2010 US Census 15.The restructuring of Detroit Public Schools has 16.See: Zernike, Kate. 2016. “A Sea of Charter 13.Bureau of Labor Statistics been modeled upon the restructuring of General Schools in Detroit Leaves Students Adrift,” 018 / / 019 Artist Profiles

O.N.E.Mile North End, Detroit 022 / Artist Profiles /The Artists / most of their physical/architectural/agricultural interventions take place. The Zimbabwe Cultural The Centre of Detroit (ZCCD) operates on a local/ global scale as it intentionally builds cross- cultural bridges between Zimbabwe and the Artists diaspora. The Aadizookaan are also grounded in both hyper-local impact initiatives in southwest Detroit, as well as engaged in broader national and regional issues of indigenous rights and cultural awareness.

The five artist groups described herein were The diversity of the scope/scale of without a second thought to the chosen by Creative Many, MI as recipients their engagement is matched by ways in which they might already the diversity of their artistic work be differentially embedded within of their first Resonant Detroit program. They ranging from performance art and their communities and socio-eco- were chosen on the merits of their work and the music to architecture, design, and nomically, politically, and racially capacity to impact their communities. Although sculpture. The variance of modes of situated. These differences matter; operation as well as aesthetic and and they matter immensely. To all of the Resonant Detroit artist groups material range are crucial to under- assume that ‘the arts’ all operate produce work that has aims of social impact, standing the varied ways in which in some generic beneficial way to they operate at different levels and scales of each impacts their community. ‘society’ is not only a disservice engagement. Design 99, for example, live in This diversity is most often thrown to the artists but to the commu- into relief when funding bodies ask nities in which they work. This the neighborhood in which they do much for metrics with which to assess the flattening out is part and parcel of their work. Thus, their interventions are success of the projects (this will be of the homogenizing effects of primarily hyper-local. Complex Movements discussed in more depth below). So gentrification and redevelopment much of the rhetoric and thinking strategies. Each of the Resonant are engaged in issues-driven activism that tends around support for the arts is inex- Detroit artist groups is situated to be “translocal,” not necessarily specific to tricably entangled with processes within and against social and the neighborhood where their space is located. of gentrification, revitalization, and economic systems in their own O.N.E. Mile, is a bit of both; both engaged in neoliberalism such that artists are way and a better understanding of deployed as strategic vehicles of these contexts and intentions will broader activism and community organizing as transformation, as both harbingers help to understand their work and well as invested in Detroit’s North End where of and catalysts for urban change how best to support it. 024 / Artist Profiles /Aadizookaan /

Click on image above to veiw film portait or copy and paste: https://vimeo.com/219643973 026 / Artist Profiles /Aadizookaan / The Aadizookaan

Ish Kote Nene, also known as Sacramento Knoxx, co-founded • Organizational structure: collective, llc The Aadizookaan with Christy Bieber in 2014. But to put • Primary scale/scope of engagement: Indigenous rights, it this way would be to miss the point. As they explain water rights, social justice it the project evolved organically over many years of • Affiliated Projects / Artists / Organizations: Grace collaborating with various community members, organizers, in Action, Stitching Up Detroit, Dilla Youth Day, mentors, and friends. The Aadizookaan engages with youth Southwest Pride, American Indian Health and Family and community groups through dynamic storytelling and Services, Urban Arts digital media-based arts. The word “aadizookaan” trans- • Members: Sacramento Knoxx and Christy Bieber lates from Anishinaabe to mean “the sacred spirit of the • Operating as such since: 2014 story” and invokes the intimacy and legacy of messages • Primary medium: digital media arts, design, film, that are shared through storytelling across generations. dance, music The Aadizookaan use multimedia art as a vehicle for community-building, bringing together artists, community • Website: http://www.adzkn.com organizers, educators, cultural workers, students, and • Film Portait: https://vimeo.com/219643973 youth in locations the world over. Knoxx is a hip-hop artist, designer and filmmaker. Bieber comes from a back- ground in the non-profit world, and practices traditional Anishinaabe dance, organizes, and recently was hired to work full-time managing the Aadizookaan “headquarters.” Together, they perform and conduct workshops rooted in ancestral knowledge systems. Using the contemporary tools of media production (i.e. hip-hop performance, video projection) and live dance and poetry performances they support and encourage cultural exchange, cross-cultural understanding, and creative storytelling to educate and motivate others toward political awareness and action. 028 / Artist Profiles /Complex Movements /

Complex Movements

Click on image above to veiw film portait or copy and paste: https://vimeo.com/219758705 030 / Artist Profiles /Complex Movements / Complex Movements

Complex Movements is a Detroit-based artist collective • Organizational structure: Acephalic collective supporting the transformation of communities by exploring • Primary scale/scope of engagement: Engaged the connections of complex science and social justice translocally with issues including water rights, movements through multimedia interactive performance food justice, LGBTQ rights and awareness, emergency work. Complex Movements is a collaboration between preparedness, social justice, police brutality, hip-hop artists, community organizers, media-makers, a prison industrial complex, youth outreach, equity designer, and a cultural strategist. Complex Movements • Affiliated projects: Beware of the Dandelions, develops work out of a warehouse on the Northeast Side Movement Memory Maps and community workshops of Detroit with other Detroit based artists. Complex • Members: ill Weaver/Invincible, Carlos “L05” Garcia, Movements was formed in 2011 and has presented its pre- Sage Crump, Wes Taylor, Waajeed (in long term mier touring work Beware of the Dandelions, a multimedia collaboration with architect Aaron Jones) performance installation in Dallas, Seattle, and Detroit. • Operating as such since: 2011 They connected with organizers, artists and cultural • Primary Medium: digital media arts, music, workers in these locations who are outside of the large interactive multimedia installation, video, design social justice non-profit infrastructure. In this way, and community organizing they seek to uplift the voices of people doing community organizing work on the ground that might not be as covered in the media or well funded as more high-profile • Website: http://www.complexmovements.com projects. This method helps them to make meaningful and • Film Portait: https://vimeo.com/219758705 lasting change in the communities in which they work. 032 / Artist Profiles /Design 99 /

Click on image above to veiw film portait or copy and paste: https://vimeo.com/219647749 034 / Artist Profiles /Design 99 / the work they do entails research and untangling of unclear city and institutional systems that block the individual Design 99 / in taking action on their own. Mitch Cope and Gina Reichert continue to make work that lives in galleries and museums worldwide while simultaneously remaining deeply embedded in PHP their community and committed to using their artistic talents for the benefit of their neighborhood as well as their own studio practices.

Gina Reichert and Mitch Cope founded Design 99 in 2007 to • Organizational structure: Artist duo/partnership investigate new models of contemporary art and architec- • Primary scale/scope of engagement: Neighborhood- tural practice. Initially occupying a retail storefront based impacts through community enrichment/cultural space, the design studio situated itself in the public programming realm offering over-the-counter design consultations and • Affiliated projects: Power House Productions, Play marketed $99 house call specials. As of 2017, Mitch and House, Jar House, Ride It Sculpture Park, Detroit Gina are no longer actively creating work as “Design 99” Culture Council, Detroit Tree of Heaven Woodshop but still seek out opportunities to experiment with art • Members: Gina Reichert and Mitch Cope and design within their community both as artists and • Operating as such since: 2007 (officially retired this co-founders of their non-profit, Power House Productions moniker in 2017) (PHP). Power House productions was founded in 2009 as a • Primary Medium: architecture/design, sculpture, 501(c)3 focussed on neighborhood stabilization through installation, video, photography art and culture. Over the last 8 years, PHP has facil- itated and directed the adaptive re-use renovations of several houses in the neighborhood through collaborations • Websites: http://www.visitdesign99.com with different artists and community members. This http://www.powerhouseproductions.org/ includes the Play House which was gutted and renovated • Film Portait: https://vimeo.com/219647749 into a performance and rehearsal space and is used by the local performance ensemble, The Hinterlands, as well as the music education and performance programs of the Bangla School of Music, plus film nights, dance and puppet making workshops, and a venue for the 2015 Porous Borders Festival. Also Ride It Sculpture Park, a public space along the Davison Expressway for skateboarding, art making, and contemplation. Ride It provides a gathering place in the neighborhood where people of different geog- raphies, cultures, races, ages, and skill levels are all encouraged to share time and space creatively. Much of 036 / Artist Profiles /O.N.E.Mile /

Click on image above to veiw film portait or copy and paste: https://vimeo.com/219675546 038 / Artist Profiles /O.N.E.Mile / O.N.E. Mile

The ONE Mile Project is a multi-disciplinary collaborative • Organizational structure: Collaborative organization effort between artists, designers, musicians, and • Primary scale/scope of engagement: Engaged both on a community activists. The group formed along a common goal neighborhood level as well as on social issues more to support the cultural production and socio-economic generally including equitable access to markets/ activity of Detroit’s North End neighborhood and design wealth distribution, combating gentrification, Afrikan tools for broadcast and dissemination. Together, they x indigenous rights, social justice host events, exhibits, workshops, and performances both • Affiliated projects/organizations: Detroit Afrikan in their space on Oakland Avenue in the North End as Music Institution, Oakland Ave Urban Farm, The well as at remote locations. ONE Mile is uniquely both Abstract Oracle, Detroit Sound Conservancy, The locally-rooted and semi-nomadic. They use designed Enclave Project, C2BE, Free Market of Detroit, elements, such as the archway created for the Detroit Afrotopia, Detroit Recordings, akoaki, Detroit Culture Council to create public spaces and experimental Culture Council environments. The Mothership, a free-standing pod-cum-DJ- • Members: Anya Sirota, Jean Louis Farges, Bryce booth also travels to performance sites and can often be Detroit, Halima Cassells found enlivening the adapted mechanic shop that is now • Operating as such since: 2014 the home of ONE Mile. ONE Mile also produces a magazine • Primary medium: design, music, interactive by the same name, which they design and edit, and is a collaboration tool to uplift local artists, businesses and narratives. The magazine is produced annually. Through their work, ONE Mile aims to build upon and expand the network of • Website: http://www.onemile.us people committed to the “sustained collective vibrancy” • Film Portait: https://vimeo.com/219675546 of the North End. 040 / Artist Profiles /ZCCD /

Click on image above to veiw film portait or copy and paste: https://vimeo.com/219729445 042 / Artist Profiles /ZCCD / artists and scholars visiting Detroit; and advocating for the identity of Zimbabwean-Americans as a cultural Zimbabwe heritage unique beyond a generalized African-American cultural understanding. The project critically engages with these hyphenized and hybridized notions of identity Culture to ultimately foster cross-cultural understanding, aware- Centre of ness, and celebration. Detroit

The Zimbabwean Cultural Centre of Detroit (ZCCD) was • Organizational structure: co-founded by Zimbabwe- founded in 2013 by and for artists living in Zimbabwe based artist, Kumbulani Zamuchiya and Detroit-based and outside its borders. It deliberately seeks to artist, Chido Johnson pose questions and subvert notions of nationalism, • Primary scale/scope of engagement: Local/global, nationhood, and the nation-state by blurring the engaging diasporic populations and facilitating boundaries between “Zimbabwe” (a country) and Detroit cross-cultural exchange through locally-based (a city) through media exchanges over both virtual and initiatives physical space. The organization fashions itself as a • Projects: Sadza, Call and Response, exchange consulate — its co-founders as consul agents — as it exchange, I Wish You Were Here – a postcard project, seeks to dismantle boundaries conventionally upheld by Jit, pimp my shoes, skype + mix, The Caretaker, geo-political abstractions. Acting as the Zimbabwean Writers Exchange, ZCCD coat of arms consulate in Detroit (and vice versa), the ZCCD aims to • Affiliated Projects / Artists / Organizations: Njelele promote community and cross-cultural understanding by Art Station (Harare), Jibilika Dance, Trust (Harare), celebrating the differences inherent in our similarities. National Gallery of Mutare (Mutare), Popps Packing The participants and collaborators of the ZCCD recognize (Detroit), Power House Productions (Detroit), N’Namdi their role as cultural ambassadors and “endeavor to Center for Contemporary Art (Detroit) foster a culture of research, dialogue, and production” • Members: Chido Johnson (co-founder), Kumbalani across physical space and political divides. They do Zamuchiya (co-founder) this through supporting critical artistic production • Operating as such since: 2013 and creative collaborations such as hosting traditional • Primary medium: music, performance, mix-media Sadza dinners in Detroit; facilitating virtual call and responses between musicians, DJs and poets in Detroit and Zimbabwe; “skype + mix” sessions; supporting De- • Website: http://zccd.org troit-based artists to travel to Zimbabwe for cultural • Film Portait: https://vimeo.com/219729445 training and exchange; supporting and hosting Zimbabwean Analysis / Value /

Analysis

Oakland Avenue Urban Farm, North End, Detroit Analysis / The City & Self Governance / the City of Detroit). The neighborhood, sometimes called No Ham (north of Hamtramck), other times Or: referred to as “Banglatown” was historically a The CityInfiltrating Polish and Ukranian enclave and has in the last the couple of decades demographically shifted such Bureaucracy that it now houses a large Bangladeshi population and (Self-) as well as many Yemeni, African-American, and Bosnian families.

Governance After explaining that the foundation likes to occasionally take a step back and look at On a warm summer day in mid August, I sat in their initiatives as part of a 2-3 year process of on a meeting at the Power House Productions’ Jar assessment, the foundation representative leaned House (Power House Productions is a non-profit back in his chair and said: “You talk, we listen. organization started by the artist duo, Design You decide the scope of this conversation.17” All 99). The meeting was called by a local private present introduced themselves and then various philanthropic foundation that funds the arts members of the community expressed their and has given grants to many local artists. The concerns ranging from the need for indoor spaces representatives from the foundation arrived in to congregate or play in the winter months to their suits and large black SUV and parked in getting the police to act on instances of breaking front of the small house-cum-community center and entering. The foundation representative asked in northeast Detroit. They admittedly looked a bit what the identity of the neighborhood is and out of place as we sat on folding chairs and talked several present offered their take on what makes over the hum of several box fans. The house, one of it unique (density, a large immigrant population several art houses renovated for adaptive re-use by and the benefits that they bring to a community, Power House Productions, sits in a neighborhood the only private Islamic school, walkability, the just outside the boundary of Hamtramck (a small “gardening culture,” etc). separate municipality completely surrounded by 17. August 18, 2016.

046 / / 047 Analysis / The City & Self Governance / “And this neighborhood in the various grants they have put over capital required to renovate their work. Gina has explained to context of Detroit?” asked the a million dollars into the neigh- homes. They did not understand me before that her acuity in representative from the founda- borhood concentrated in about a that the funds were arts grants. grant-speak, not to mention the tion; “Do they [the city] get it?” 3-block area. To a casual observ- These types of miscommuni- ability to navigate the legalese Gina (Design 99) responded: “Not er this area, though unique for cations are not uncommon and and professional jargon of the really.” She explained that three its creatively renovated houses, seem to pervade all levels of the real estate market, is not shared different people at the city have certainly does not resemble the grant-making process. When a by her neighbors (nor, indeed, told her that this neighborhood is gentrification of downtown or foundation is funding art practic- many of her artist counterparts). not worth investing in. “They talk midtown Detroit. Gina explains es with intentions of some type of One’s ability to code-switch in market values,” she explained, that all the investing has come explicitly stated or implied social these ways seems to be directly “when I’ve never seen the market from arts grants, not from private impact, things get muddy quickly. related to successfully acquiring do anything for this city.” Her un- businesses (as is the case in With the case of Design 99/ grants. Yet how artistic projects derstanding was that the city was downtown and midtown) and this Power House Productions (PHP), are named/described to both interested in investing in neigh- is important to them. “We are not for example, many of their art community-members and borhoods like Russell Woods, interested in art as development,” houses have quasi-public func- funders, as well as as how they which has a more middle-class she said; rather, their concern is tions19 but at first it was unclear are made visible (and to whom), profile. Meanwhile the children with what’s already happening to neighbors living in their marks some of the politicized of this immigrant neighborhood there, what do people need, and vicinity which ones are run by boundaries of this work. are becoming doctors and going how can they support that work PHP, a non-profit, and which are on to successful careers. The without changing the unique domiciles or have other purposes Particularly, due to the fact that city, she explained, however, qualities of the neighborhood.18 (aesthetic or otherwise). In this much of their work involves is not investing back in this way, the non-profit organization the purchase and renovation of community despite subscribing However, vast socioeconomic was initially visible as such only single-family homes, Design 99 to the hype around the work that disparities persist. Gina to their investors, while the has had to learn to navigate a web Design 99 are doing there. Mitch mentions that the other parents communication of what’s on of bureaucratic and municipal (Design 99) chimed in and put it at her daughter’s school need the ground happens on a more matrices.20 Their success in doing in more quantitative terms. He access to jobs and child care; informal level. Mitch and Gina so is in large part due to an adept explained that for example, they citing that 47% of those in their now often have sandwich boards ability to act both in resistance to could get $250,000 in funds neighborhood live in poverty. On sitting in front of Jar House and compliance with municipal from U.S. Housing and Urban another occasion, she told me or Play House translated into authorities and regulations some- Development to renovate a house that upon seeing all that she and Bangali so that their neighbors times flying “under the radar” in their neighborhood that then Mitch have done, neighbors have can know what’s going on. But despite their best attempts to do might sell for only $70,000. He approached them inquiring how there is a double-speak required everything “by the book.” Gina elaborated stating that through they, too, can gain access to the of artists to do this type of is emphatic in voicing their need

18.Ibid 20.For example, the annual Wayne County tax Foreclosure Auction as well as the recently formed Detroit Land Bank Authority, a public-private partnership brought in to help the city manage its 19.The Jar House where our meeting was taking place is often made available to community groups tens of thousands of city-owned residential properties. to gather for various purposes. The Play House, whose renovations you see in the video, is a performance venue used by a local theatre ensemble as well as the Bangla School of Music.

048 / / 049 Analysis / The City & Self Governance / for what she calls “back-of-house” federal services only to require impactful cultural legacy and Her presence validated the services, explaining that she them again the next year. The can be affixed to the facade of collective efforts of the younger often doesn’t even know where to “back-of-the-house” services any building to lend institutional generation and made all present find answers to questions about that Gina desires would help to prowess to any gathering. After feel the significance of the event. the complicated legal, insurance, assuage the large portion of her the attendees passed through The Detroit Culture Council has accounting, permitting, and real time that is taken up with admin- the archway and took their seats, been meeting quarterly since this estate issues that arise in the istrative work-- for the existence, Ingrid LaFleur, local curator inaugural meeting to discuss the production of their work. For safety, and legality of both their and MC for the event, explained needs of the artistic community example, the skate park that artwork and their family. the goals of the evening. Design in Detroit. they built in their neighborhood 99, in conversation with O.N.E. is not a public park; in fact the One partial solution to this would Mile and Ingrid had come up More than merely indicative city refused to take it on as such. be to have a liaison for artists with a list of topics of interest of the need for better relations Thus questions arise such as: in city hall. Many artists in the to Detroit artists. The list was between artists and local Who will empty the trash bins? city have expressed exasperation put on a large spinnable wheel municipal governance, events Who is responsible if/when with the ways in which the City and spun to determine the topic and actions such as these point to someone gets hurt? uses their projects as signifiers of discussion. Topics included: the cultural force undergirding of resurgence and development graffiti task force, design matters, the artistic community and their Critically, the complicated while simultaneously refusing to nepotism, criminalization, resolve to organize and demand administrative labor is not substantively support their efforts. 1%, permits, bankruptcy, 83% more from the governing struc- limited to the artistic work itself This general frustration led many [African-American], rent control, tures within which they work. but seeps into the maintenance artists (including members of risk, and public funding. Despite This is, however, a substantial of the artists personal lives. Gina Design 99 and O.N.E. Mile) to the heavy subject matter, the amount of work in itself, that explained the complications in form the Detroit Culture Council gathering was suffused with an can take away from the time and keeping herself and her family which held its inaugural meeting air of excitement and fellowship. energy these artists would like to covered by medical insurance in October of 2016. The attendees represented many be spending creating their artistic when their monthly income aspects of Detroit’s artistic work. If the artist community swings drastically from month A golden threshold affixed to community from music to the in Detroit had representation at to month based on whether or the doorway of O.N.E. Mile’s visual arts. The significance of the city level to lobby for their not grant funds come in. She is Oakland St. venue welcomed the the convening of artists across needs, this could reduce some weary of explaining to medicare myriad of artists, musicians, and race and generational divides of the burden of self-organizing. officers and accountants that cultural producers that came to was called out by Bryce (O.N.E. And, ideally, such representation the $50,000 they got last attend the Detroit Culture Coun- Mile) who took a moment to should not diminish the benefits month is not indicative of their cil’s first gathering. The threshold thank Dell Pryor, a cultural of autonomy. usual monthly income. This also created by the design team “Mother,” for attending.21 results in them being frequently akoaki (of O.N.E. Mile) is embla- made ineligible for certain zoned with symbols of Detroit’s 21.Dell Pryor has been involved in the arts in Detroit since the 1960s has run the Dell Pryor Gallery for the better part of two decades.

050 / / 051 The future site of The Aadizookaan headquarters Southwest, Detroit Analysis / Value / ways in which its value can be transferred from, for Or: instance social value to market value, is complex, What’s political, and highly susceptible to exploitation. The Value & it worth, Resonant Detroit artists are keenly aware of this and to whom, many of them actively work to subvert the power & how? structures that seek to disarm or usurp the value Evaluation they create.

The assignment of value to artistic products and labor is further complicated by the fact that, whether public or private, many funding bodies How a thing (or action or labor or experience) adopt the logics of the neoliberal market and is valued is far from apolitical. We can speak of thus impose these logics on the artists they fund market values, dictated by abstract forces of the by implementing structures that demand to see market economy. We can speak of social values, “returns on investment,” quantifiable outcomes, and shored up through the interrelationships of people results that adhere to fiscal deadlines. None of these and places. We can speak of aesthetic values-- things seem to resonate with the ways that artists which are culturally-specific but in the Western typically work. Foundations that fund the arts also world are generally determined by the “art world” shape the creative climate in part through the types (i.e. art schools/institutions, art critics, galleries, of work that they fund, the ways in which the funds auction houses, etc). These values are subject are dispersed (i.e. is it a competition among peers, to different, but at times overlapping, methods matching grants, etc), and through the types of of evaluation and assessment; and some values things the monies can be spent on. tend to carry more power (the ability to influence and control) than others. Creative production is Additionally, there exists substantial research valuable across these differential metrics because, that points to the ways in which artists and arts as the word implies, it creates value. However, the funding become (intentionally or inadvertently)

054 / / 055 ANALYSIS / Value / bound up within processes of economic growth In this section, we will describe ways development, gentrification, and displacement in which Resonant Detroit artists grapple of those most vulnerable in society (c.f. Deutsche with these implications, recognizing, and Ryan 1984, Smith 1996, Zukin 1982, Lloyd however, that it is equally crucial 2006, Harvey 2002). Gentrification is most to keep in mind the role played by the likely to occur when there is a gap in value (i.e. funding bodies in creating a climate when the “market” values fall far enough below that perpetuates a market-driven logic the use values or potential values; geographer to supporting the arts. Neil Smith calls this the “rent gap,” c.f. Smith 1987).22 Particularly in cities like Detroit, where private foundations have stepped in to fill gaps in what are traditionally considered municipal responsibilities,23 we see a heightened civic role being taken on by largely private philanthropic foundations. Their intentions may be benevolent, but their accountability (to their board) lies outside the purview of democratic systems thus leaving the public reliant on their goodwill and ability to assess and meet their needs. Working within this civic gap and value gap, the foundations in Detroit wield great power in defining the terms of the game, setting up the playing field, and assigning value across boundaries of governance and economics.

22.Smith writes: “gentrification happens when the ‘rent gap’ is sufficiently wide that developers can agencies) to be able to do their work. However, when the granting agency has different, or even purchase structures cheaply, can pay the builders costs and profit for rehabilitation, can pay dual goals for their investment (i.e. supporting the arts and neighborhood uplift) then they enter interest on mortgage and construction loans, and can then sell the end product for a sale price into the role of developer and shape the aesthetic, social, and real estate market in one move. that leaves a satisfactory return to the developer” (1996:65). If we replace “developer” with 23.For example, the donation of police cars and ambulances by the Downtown Detroit Partnership (a “artist,” while the end goal may not be a return or profit on investment, the risks of investments public-private partnership that included local corporations and private philanthropic foundations) carry other payouts (like the ability to leverage social capital through appeals to community to the city in 2013. engagement or revitalization that allow artists to access other external investors (i.e. granting 056 / / 057 Analysis / Value / Valuing Labor we encountered in our research. networks and build their social can legitimately be funded with Many artists expressed a concern capital. However, the difference the amount of money available that not only was their labor between being able to access but everyone wants to win. And undervalued, but there was such networks, and the expec- so everyone makes these amaz- also expectations from funders tation of their deployment is ing promises, and then they get Valuing that they would be able to tap vast. To assume the deployment the money based on the amazing into large armies of volunteers-- of networks of social capital not promises, and then the reality Labor assuming that if the work only undervalues, but critically of having to deliver a product being done is benefiting one’s de-legitimizes this labor. that is grossly under-valued by community, everyone should the system hits, and nobody gets all drop what they’re doing and Related to these concerns, paid, realistically. And so all of pick up a paintbrush or a broom. many of the artists expressed a this cultural programming is It was pointed out that this also desire to get rid of the “in-kind” happening virtually for free with assumes that these community expectations on grant budget very little investment.”25 Stepping into the white-walled members don’t have jobs or other proposals because this again receiving area of Complex things pressing on their time. To assumes and sets up the expec- One group explained that after Movements space on Detroit’s assume that the economically tation that artists will leverage receiving a grant from a large northeast side, workers were depressed or underemployed “free” labor or goods rather than granting agency they were told spackling, sweeping, and doing should volunteer their time to actually giving the funds to pay by a representative of the agency finishing work. This work was clean up their neighborhoods is the laborers a wage that their that they should have asked for started when Complex Move- patronizing at best. One artist labor would demand on an open more than double the amount ments decided to install their was cautious to elaborate for this market. In this way, funders are that they had. However, the multimedia project, Beware of report the extent to which they “uber-capitalists” as one artist put representative said that he did the Dandelions, there and bought leverage their own cultural cap- it; on the one hand they seem not tell them this before accepting the building. The workers were ital by calling on their networks to be outside of a competitive the proposal because if given not volunteers. “We always pay for fear that this information market, while on the other hand, this full amount, “‘the project everybody. Funding the commu- would only empower funders to they set up a situation in which would have gone down in flames nity members and community further under-value their work artists are competing against because it would have been like processes is integral to a com- and reinforce the expectations each other for limited funds the most expensive project in the munity-based art practice,” Ill of such leverage. As this artist and getting sucked into cycles city and everyone’s going to judge explained.24 explained it, they not only tap of over-promising. One artist you even worse, so we decided to into their social networks for help elaborated in this way: “The let you go forward.’”26 Instances The issue of how labor is to produce the work, but they promises that everyone is mak- such as these, point not only to valued was a common theme also use the work to expand their ing are above and beyond what the unevenness of markets (in

24.Personal communication, May 18, 2017. 25.Personal communication, August 26, 2016. 26.Personal communication, date redacted to protect anonymity

058 / / 059 Analysis / Value / Valuing Labor which you can buy a house in One artist explained the ways Another artist echoed this Under-valuing of the labor seems Detroit for the “price of a New in which funders who think sentiment stating that their to be most acute when artistic York dinner”27) and the uneven- like businesses miss the mark: project had to grants are launched as “chal- ness of the valuation of work, lenges” or public competitions. but also of the ways in which “ Everything is set up “ adjust on a daily One artist group jokingly but for these for-profit systems, basis. The idea that you can such under-valuing of labor is but we work differently; have a plan for 18 months accurately describes this as the perpetuated in places where you’re not always selling a and go forward with your “crazy dog” syndrome because disinvestment and depopulation thing. This form [referring 18-month plan is insanity. artists are like a crazy dog trying to grant applications] is Something is changing have been routinized and to get the treat. “You learn how not considering how I exist everyday; you find out normalized into the everyday in the world … . Business- something new: oh, someone to jump very high so you get the precarities of urban residents. minded groups are not just bid on this building, most money, or you don’t want to advocating for artists the oh someone is going to jump too high but you focus on way that artists need to demolish this, oh someone Indeed, many of the artists work… . There’s another is going to get evicted, oh what you want to do for a certain expressed the sense that category we need to be someone is going to jail for political or cultural or artistic they feel that funders want to in. It’s not for-profit, or making a piece of art that’s goal and sometimes it matches charity. It’s not our hobby misconstrued as graffiti exhaust them, to wear them out and we all want to do good and they can’t beige-ify it the candy and sometimes it (as resources). Thus, strategies in a way that is valued, but because it’s too high up. So doesn’t match … [but] you have for combating “burn out” are a it’s not like we are all you are constantly adjusting to survive and play the game.30” gonna do 9-5, Monday through in this type of situation very real concern. Rather than The sense that as an artist you Friday, 40 hour weeks.28“ and it’s very complicated.29“ assuming the donation of labor are expected to drain yourself hours (by the artist as well as or exhaust yourself of all your The classic work week does not The need to invest in and volunteers), if funding bodies energy and personal resources describe the reality of many art- account for the sometimes provide funds to hire contrac- in order to create the work is ists’ lives. As described above, meandering nature of the tors, lawyers, consultants or fundamentally misunderstanding the amount of time that it takes creative process was echoed by other services, they will free up and undervaluing the labor. to complete a project (if it is a almost all of the artists. This is the time and creative capacity project that has a completable so much the case, that Complex of artists to do their work. Un- goal) is often under-estimated Movements, as discussed below, derstanding how artists work is in attempts to get the grant in has decided to shift their work- crucial to supporting such work the first place, perpetuating ing method to actively combat and, ultimately, adequately cycles of over-promising what this climate of competitive valuing it. can be accomplished in a given under-valuing. period of time.

27 Neimann, Juli. 2011. “Manufacturing, not housing, will help us out of financial slump.” Marketplace 29.Personal communication, August 26, 2016. Morning Report, American Public Media. http://marketplace.publicradio.org/display/web/2011/09/27/ 30.Personal communication, August 26, 2016. am-manufacturing-not-housing-will-help-us-out-of-financial-slump/ (accessed September 27, 2011). 28.Personal communication, August 29, 2016.

060 / / 061 Analysis / Value / Evaluation & Assessment

qualitative measures (“metrics about supporting a process that or phrases that transgress these of change”) might be the wrong may not have a “thing” at the boundaries (i.e. “place-making”) response to this problem. The end. It means supporting lose all meaningfulness as each concerns with assessment “process not product” as one artist realm uses it to mean different Evaluation generally centered around three succinctly put it. It also means things (and in this case, it is issues: quantitative vs. qualitative understanding the iterative also used by developers to mean & measures, the language of nature of any creative process something entirely different). Assessment assessment, and what is actually and that it might “fail” the first or Part of the problem of measure being assessed. second or third time. is that their work doesn’t have its own language, or language that is While many of the artists Some of the Resonant Detroit accurate enough to bring nuance acknowledged that the proverbial artists find it difficult to appease to the many ways in which this “headcount” is not a sufficient the many metrics upon which work gets created and valued. measure of the impact of their their work is assessed. For There is virtually unanimous work, most recognized the example, their work might gain What is the measure of success- agreement that tools of measure difficult nature of reporting on cache in the art world for certain ful, socially-engaged art? While for this type of work are inef- the “outcomes” of their projects. attributes, but these may not be this is a question that has rever- fectual at best. At worse, these “What about that kid that comes the same evaluative measures berated throughout academic misaligned metrics warp projects back for 5 years? It’s the qualita- that their neighbors are using to debates of “social practice” art to claim things they cannot do or tive part of it that’s missing and judge the work, and finally the (see below for a very brief discus- push artists to over-promise the the long-term story,” opined one funders may have another set sion), the entity doing the judging outcomes of their work (which is artist. Though there have been altogether. While this may be here is not the art world, it is the often uncertain), and generally attempts to come up with better unavoidable to an extent, the lack funding body. Thus, the various create a climate of competition tools for assessment (such as the of an accurate lexicon to describe answers to this question reveal amongst artists rather than work being done by Americans the work doesn’t do anybody any the ways in which artists feel like fostering collaboration, skill for the Arts and Animating favors. Many of these artists can they have to game the system to sharing, and sharing of best Democracy), when the Resonant borrow language from activism get the grant. What is the funder practices.31 However, one artist Detroit artists describe their and community organizing, really looking for as markers of group, though in agreement, ex- processes and the amount of others can borrow from social a “successful” project? One artist pressed the opinion that funding time it takes them to respectfully entrepreneurism, and others can explained it this way: for social justice work is even embed oneself in a community, borrow from the art world, but more rigid in its assessments it becomes clear that this is not those don’t all translate in a way “ None of the foundations say clearly: than funding for socially-engaged just a matter of employing more that makes sense to each other. ‘we are here to finance arts. Perhaps a quick jump to qualitative measures. It is also In fact oftentimes, the few terms art. [Instead, they say]

31.Admittedly, metrics are a difficult task, but there are organizations such as Animating Democracy (a program of Americans for the Arts) that have developed 11 “attributes of excellence for arts of change.” See: http://www.animatingdemocracy.org/aesthetic-perspectives, accessed May 19, 2017.

062 / / 063 Analysis / Value / Evaluation & Assessment We’re here to finance art picture of “successful” projects. At the Oakland Avenue Urban in communities to produce The foundations, they said, are farm, on a stretch of grass beside equitable redevelopment;’ they all say they want the the last to understand how those the rows of kale and collards same thing. And so the images are being produced and Freeing growing tall, the 4th Annual artists come back and it’s instrumentalized. Healing Arts Festival was like: “I’m not just doing art, the I’m doing art that produces underway. People were practic- this outcome.” And whoever Market ing yoga, getting massages, food can articulate it the best was being prepared and enjoyed, and who can have the best and the swap tent displayed photos with the T-shirts and the pizza and the whole thing, treasures yet to be claimed. One regardless of how it works or of the initiatives of O.N.E. Mile who it affects, gets the most is the Free Market of Detroit, a grant money.32 pop-up “free” store that champi- This led this artist to conclude ons swap culture and alternative that the operable measure is economies by encouraging its image. That in the end, if you participants to bring something have a good photo of what and take something. By facil- happened, even if it was itating processes of exchange unsustainable or non-durable, that are not based on money or this “proof of an artistic moment” monetary value, the free market satisfies the funder who then can plays on and subverts the very parade it around as part of their ideologies of market exchange portfolio. Images, in this way and re-assigns value in ways come to stand in as indicative of that disarm socio-economic whatever the funder claims to be hierarchies. supporting rather than measures of sustainability, experience of For members of O.N.E Mile, the artists, or long-term impact. their work has a pointed As this artist explained this political and cultural mission to situation, they made it clear bring equity to the marketplace, that artists competing for the specifically seeking to empower grants are keenly aware of this Afrikan x indigenous peoples economy of images and have and those historically oppressed become masters in producing the by European systems of thought

32.Personal communication, August 26, 2016.

064 / / 065 Analysis / Value / Freeing the Market and value. This mission is not that seek to keep them out Writing from her position and experiences in defined by simple “anti-capitalist” of the marketplaces. They northeast Detroit, Gina (of Design 99), wrote in no rhetoric, but grows out of the recognize that they have the complex experiences and opportunity and the agency to uncertain terms in the O.N.E. Mile magazine: struggles that they have had to create their own marketplaces deal with, both personally and based upon their own terms “Detroit is not a consumer-based culture. This historically, as people of color. of value. One of the artists is not because of our poverty or unemployment At the heart of their critique of explained it as rates, which are truly high, but because the ways in which marketplaces “ evolving the consumer we value something much deeper than market are used to maintain the status identities and market numbers. I’m not talking about the arts as a quo is a redefinition and reas- frameworks to commodify our marketplace, there’s [sic] is not much of an signment of value. Recognizing own ‘cultural products.’ We’re practicing creating arts market to speak of within the city limits. that what the powerful deem marketplaces that are based And I am not speaking of the arts as a luxury valuable may not be the same on the definitions of culture or an expression of wealth and privilege. We things or experiences that they that come from our ancestral and indigenous [roots]. So do things. We make things. But this is not deem valuable, these artists [we] no longer feel that about creating objects of commodity. This is seek to re-align the spectrum of it’s necessary to homogenize about art & culture as a fundamental component our own cultural identity in valuation to better fit with the of being. principles, lifeways, and cultural order to create a product that fits a European-dominant knowledges that they hold. marketplace.33” Our neighborhoods do not follow real estate market logic in part because, after decades of Economic empowerment is a The assertion of one’s self-iden- systematic disinvestment, who [sic] would? Just critical part of their goals, and tity is thus tied to the freedom because there is nothing here to make money intricately tied to self-deter- to define and assert the value from does not mean there is nothing here. We mination. On the one hand, it of one’s production. These are not a blank slate waiting for anyone to fix recognizes that in order to build artists are astutely aware of the or solve or save. We are not the tools of your new economies they must work, ways in which these systems development project or your financial agenda. to an extent, within the confines of value are entangled and We are not your next Brooklyn, and to say so of the “old” economic structures. seek to use their artistic work erases the identity of this place, our history to fundamentally change the and culture. It is mere market speculation, However, to accept that the systemic forces of neoliberal options put forth by the “old” capitalist markets that currently and we will not let your dollars take our structures are the only options work against them. identity. We are not bottom live driven[sic], reinforces the values systems although we do mean business (2017:77).”

33.Personal communication, May 24, 2017.

066 / / 067 The first public meeting of the Detroit Culture Council North End, Detroit Analysis / Self-Identification / It was a mild late-autumn day the ways in which meaning is and the clouds kept the light soft given to things we come to call Or: and diffuse. A sandwich board “cultural heritage.” Reclaiming sat outside the Play House, a proj- Self- ect of Power House Productions, The meal and the activities the noting the event. Participants brought community members Narrative entered the white aluminum-sid- together to learn about Zimba- ed house and were greeted by the bwean (and Zimbabwean- Identification smells of chicken and spices. An American) culture but also intercontinental collaboration to critically think about how between DJs – one in the corner, such identities are constructed. Self-identification is about claiming the right to the other in Zimbabwe – filled Another such activity was the house with music. As they a flag-making exercise. The determine the parameters of one’s own existence matched beats and overlaid sam- American flag and the Zimba- in the world. It is about self-organizing along terms ples onto each other’s selections, bwean flag hung on the wall. that are not set by power-holding institutions or children squeezed by adults who Participants were given colored marketplaces, colonizers or nationalisms. The chatted as the event got under- pencils and a sheet of paper that way. Across from the DJ sat prompted: “Draw a flag that you Zimbabwe Cultural Centre of Detroit takes as its Michael Mangenje, a Zimbabwe- would feel proud to represent mission a critical engagement with hybridized an-American and his children you.” Next to this drawing notions of identity playfully challenging preparing the sadza meal for they were asked to explain the the participants. After Michael symbolism that they drew. After conventional notions of nation, nationhood, and shared the process of making compiling the participants’ flag the generalized hyphen of “African-American.” sadza, local artist and performer, drawings, artist and designer, The co-founders and consul agents of the ZCCD Torri Lynn Frances talked about Shoshanna Utchenik and organized a traditional “sadza” dinner in December the okra dish that she made collaborators merged the many from her grandmother’s recipe themes to create one new flag. 2016 to celebrate “sadza,” a staple food in Zimbabwe. and its route to Detroit from the This project was prompted by Zimbabwean-Americans eat sadza to maintain South. These two foods, sadza a pastor in Zimbabwe who had connections to their homeland, however, sadza is and okra, both came to symbolize asked the people of Zimbabwe particular identities despite the to rethink the symbolism of made of maize originating from the Americas. The fact that they originated from the colors and shapes of the event was billed as a way to remind the participants another place. This encouraged Zimbabwe flag so as to reclaim of our “immigrant hyphenated identities.”34 a discussion about diaspora and it for themselves; to shift its

34.Facebook event page: https://www.facebook.com/events/1171850942907783/, accessed May 23, 2017.

070 / / 071 Analysis / Self-Identification / symbolic attachment from that of Through many ZCCD events and The event was held in a change our goals – at a critical the state to a symbol of unity that collaborations, concepts of place repurposed store-front in level.”35 The emboldened could bring people together. and diaspora are thrown into downtown Detroit and the anti-immigrant sentiments critical contrast by the dis- room was packed. Chido and post-election only reaffirmed This and the coat of arms for the tance-eliminating technologies of three other “immigrant-artists” Chido’s commitment to Province of Manicaland (which the web – virtual space coming sat on stools facing the crowd. critically re-think the “hybrid,” emcompasses the city of Mutare, to create its own new sense of I don’t think it was lost on him or hyphenated identities. ZCCD’s African base) sparked cultural identities that are not that here again, he was being The renewed conversations the ZCCD’s interest in using these bound to conventional notions of asked to speak on account of about nationalism, nations symbols in an artistic-critical way. grounded place (i.e. land, nation, a hyphenated identity. In the without borders, identity, and The Manicaland coat of arms country). At the sadza dinner, days following the election citizenship post election made is strikingly similar to the coat this was again made tangible (and indeed since), many the work of the ZCCD take on of arms of the state of Michigan and legible to participants where immigrant communities new significance. “Right now, (which is on the flag). Both have a hands-on, co-creative processes across the nation shared it feels like we have to fight crest that is flanked by deer (MI) came to symbolize broader anxieties over what the new against this stereotype, this or antelope (Manicaland) with concepts about identity and administration might mean generalization of immigrants, a bird on top and a scroll with community through material for them. And this anxiety which is an identity that text at the bottom. The ZCCD is connections: flags and food. permeated the event and cast goes back 60-70 years ago.”36 interested in how these symbols a dense weight of unease over Chido and Kumbulani get used, gain meaning, and are The ZCCD is a loose organization the conversation. understand that their work mutable over time and space. A of artists, musicians, and schol- and the cultural exchanges it quick google image search for ars that work together, exchange A week later, Chido, Kum- fosters can mitigate against “Manicaland coat of arms” reveals beats, dance steps, and experienc- bulani and I sat around a the ossifying of stereotypes the extent of this mutability. The es through physical and virtual campfire in Chido’s backyard. and the effects they can have third image to show up is a pen interaction. The project was Chido recounted that the on people’s thinking and drawing from the ZCCD website started by Chido Johnson (De- panel had been planned actions. They know that food, of a coat of arms that merges troit) and Kumbulani Zamuchiya long before the election flags, and music can unite elements from Manicaland and (Mutare). Kumbulani traveled to results were in. He had been people across differences and Michigan. In this way, the ZCCD Detroit – his first visit to the U.S. planning on talking about distances. But on another has succeeded in creating their – in November, just days after their upcoming sadza event level, the ZCCD is also about own virtual space, a ‘cyber-nation’ the 2016 presidential election. but the election cast their claiming the right to tell one’s of sorts that playfully subverts Chido, originally from Zimbabwe, conversation in a new and own collective story, to not the power of the state to define had been asked to speak on a unexpected light. “We have only create, but also put forth our common symbols. panel about immigrant artists. to be so careful that we do not one’s own narrative.

35. Personal communication, November 18, 2017. 36. Ibid

072 / / 073 Analysis / Self-Identification / sharing best practices, as well as affect you differently today Speaking about the Detroit the principles that guide one’s than it did before. I was thinking about the good work Culture Council inaugural work. Indeed, each group of the that people are doing and meeting that had taken place just Resonant Detroit artists has what we’re doing and this weeks before, Chido said developed their own methods idea that we’re trying to keep telling our stories in for telling the story of who they real time: these archives of “ We had a lot of are and what they do. Complex media pile up like crazy, so things to fight for with Movements, for example, worked trying to retell things from the city. […] But this is a long time ago versus really with the local videographers, on-going… it started in a trying to keep things in dining room having dinner The Right Brothers, to make real time, making sure that with friends who started a video38 that describes their we are sharing the truth: really questioning how […] collective and the project Beware what’s happening as it is the artists’ practice was happening. I think that is a being narrated and [how] of the Dandelions. O.N.E. Mile’s very profound piece that we the narration impacts its zine and website goes into great can learn from: always being full potential [for] impact depth about their work, its immersed in story provides a it [can] have within a city lot of healing and wellness or within history. So that meaning, and the philosophies for our community.”40 became really important. How that guide their creative action. do we define our practice? For the O.N.E. Mile designers, How do we make it something Indeed storytelling, effective to our community and design is the “tool of broadcast for do something that becomes narration. And the narration is self-identification, worthwhile? And that was very politic[al].”39 For the Aadizo- and the ability to two years ago… the beginning of a conversation in terms okaan, their very name points to broadcast one’s nar- of understanding our own the importance of narrative as rative are key tools empowerment. And then the an avenue for healing. Christy Culture Council, jumping of empowerment for forward, was a place that explained the meaning behind many of the Resonant we feel some level of their Anishinaabe name. Detroit artists. empowerment.37 “ The Aadizokaan is this The ability to create and dynamic word for a story, but is implying a very sacred disseminate one’s own narrative story that has a spiritual is partially about maintaining message or a very profound the power over how you and message that transcends your work are communicated different timelines. You could listen to a very old story to others. It is also a key tool for from a grandparent that will

37.Personal communication, November 18, 2017. 40.Personal communication, August 26, 2016. 38.https://emergencemedia.org/pages/complex-movements, accessed May 23, 2017. 39.Personal communication, May 25, 2017.

074 / / 075 Chido Johnson, during ZCCD consulate renovations, Banglatown, Detroit Analysis / Time & Duration / according to Invincible aka Ill Seattle) but the first time it was Weaver, is “about honoring our being performed at its’ home Or: ancestors and about learning base in Detroit. The perfor- Taking from the past and imagining the mance component of the piece Time & future to impact change in the requires the audience to enter the Long present.”41 It took months of cor- a polyhedron pod onto which View respondence to find a time to sit digital images are projected in a down and chat with them about 220-degree surround. Beware of Duration their work. This was complicated the Dandelions is a science-fiction by the fact that members of their fable set in Detroit in the 25th collective are geographically century in which the Dandelion dispersed – one of them teaches Revolution is underway and When I entered the warehouse on the Northeast in Virginia during the academic the townspeople (and audience Side recently acquired by Complex Movements, year and another resides in members) are charged with the sense of urgency charged the air like an New Orleans. This requires a the task of hacking the pod focused sense of deliberation and to reclaim it for their activist electric current. It was late September – about intention to the time that they purposes. Throughout the piece, two weeks before the Detroit premiere of their do have together. Ill described it the audience is asked to make show, Beware of the Dandelions – and the space like a long-distance relationship, decisions about issues that many “where when you come together Detroiters have personal experi- had no drywall and the bathroom had no toilet. you’re ready to go all in, and ences with (i.e. water rights, land They worked quickly and diligently as they set focused on being present with usage, urban farming, etc). It was up the metal framing that would become the pod, your partner. It carves out more also deeply meaningful for them 42 a structure that their audience would enter to be intentional time.” to show it in Detroit because many Detroiters personally knew immersed within their performance. In October of 2016, Complex the “recently-gained ancestors” Movements did 20 performances, that they honor in the piece. It seems perhaps appropriate that our conversa- several community workshops, When Beware of the Dandelions and 4 installation viewings as finally came to Detroit, it had tion with Complex Movements was dominated components of their project, been 7 years since they started by (and dictated by) time. Their interactive Beware of the Dandelions.43 This working on the project. multimedia performance/installation, Beware of was the third time they had the Dandelions, is a genre-defying piece that, installed the piece, (having done When we met up with them it once in Dallas and once in months after the October

41.Salant, Shelley. “Complex Movements present Beware of the Dandelions” Metrotimes. October 5, 2016. http://www.metrotimes.com/detroit/complex-movements-present-beware-of-the-dandelions/ Content?oid=2467368, accessed May 20, 2017. 42.Personal communication, May 18, 2017. 43.Salant, Shelley. “Complex Movements present Beware of the Dandelions” Metrotimes. October 5, 2016. http://www.metrotimes.com/detroit/complex-movements-present-beware-of-the-dandelions/ Content?oid=2467368, accessed May 20, 2017. 078 / / 079 Analysis / Time & Duration / installation, work was still being the Dandelions required a venue within community and we knew through. Furthermore, in a move completed inside the warehouse to be closed to other bookings those things took time.”46 For to actively combat the tendency and workers were busy re-fin- for at least 6 weeks and they them, the amount of time a piece to let your work be dictated by ishing drywall and sweeping up were concerned about displacing takes to develop is a constitutive external temporal forces (wheth- plaster dust when we arrived. other important programming part of the work; it cannot be er grant opportunities, deadlines, The group had recently returned and potential revenue for spaces done quickly or in a rushed presenter opportunities, or from a retreat in which they had that aligned with their values. manner. This understanding otherwise), Complex Movements reflected on the Beware of the In hindsight, they were pleased informed their decision to limit collectively resolved to follow a Dandelions project and there was with their decision to purchase themselves to installing the piece new principle to act rather than a collective sense of decompres- the building and install Beware of in only 3 cities. Throughout our react. They are working with in- sion and self- assessment. I had the Dandelions in their own space conversation, they discussed the tention on their own timeframes inquired about what factors were even though it meant renovating time and resource-intensiveness and refusing to participate in at play in determining when while also preparing the show; of the piece. Wes commented: the “crazy dog” circus (see above). the piece was performed. Sage and thus it was a hectic time for They also recognize that their replied all involved. Ill explained that “ you know the word work happens at different layers massive has come up, but it’s they had been trying to find a and scales; their everyday work “ The reason Beware of epic… and a lot of what we the Dandelions Detroit took space in Detroit for the project for did was symbolic. It had to as activists will continue but so long to come to Detroit 4 years but that “systemic struc- move slow, it had to take a the scale and scope of their next lot of people. All of those was because we couldn’t tural inequities” kept them from project as Complex Movements find another venue to do things were symbols for what being able to present it at home. 47 is yet to be determined. Given [it] in, for both spatial the piece was.” reasons, political reasons, In the end: “We took a lot of pride their geographic distances and and value alignment. So the in being able to do this without The scheduling of the piece given the fact that another member will fact that the collective compromising our values.”45 its scale meant that all involved soon leave for graduate school, was able to purchase this building, and then we had had to block off a 2-month period they are exploring new ways to find the resources to They often described the of time for each installment of working, which might mean renovate it because it wasn’t project as “durational” and they which would be scheduled working intensively for shorter in a presentable state to about a year in advance of the do Beware of the Dandelions indeed went into it with a clear periods of time. right after purchase.”44 conviction that this commitment performance. They echoed the of time was a necessary part of difficulties mentioned by their All of the work being undertaken For them, it was critical that they doing the deep community work peers regarding working within by the artists of Resonant Detroit find a venue that aligned with that they wanted to do. Sage grant deadlines, but added that, is done so with the ‘long view’ their values and goals for the explained: “We went into it with for them, the desire to finish the in mind. These artists are not project. This, however, was com- a certain intention: about how project after so many years is interested in quick turn-around, plicated by the fact that Beware of do you build deep relationships what finally pushed them to see it easy-fix kind of projects. Mitch

44.Personal communication, May 18, 2017. 46.Ibid 45.Ibid 47.Ibid

080 / / 081 Analysis / Time & Duration / and Gina invest in the houses about their work as a process of anymore. You don’t have heat, despite multiple visions, goals, they renovate with an eye to investing in a community, slowly, you don’t have insulation, so and modes of operating. They everything is on [a] dramatic how the houses will live over over time building up cultural schedule.”50 also had to contend with the time. For example, they put a resources for the people they aim racial politics of the fact that half metal roof on the Play House, to serve. The pressures of these temporal of their collaborative team is because metal roofs last longer demands forced the team to Caucasian and does not hail from than asphalt-shingle roofs. They Indeed, time is a necessary part re-think the project several times the North End neighborhood (see also stripped down the paint on of this process of investment as unexpected factors arose as above for a brief explanation as to the Power House and repainted and, conversely, not being given they worked. They advocated the some of the reasons such cultural it with linseed oil-based primer, sufficient time to do the work in a 3-year plan model: and racial politics persist). But

which won’t chip or peel. These meaningful and sustainable way “ You’re given a certain over time, community members types of capital investments can seriously hinder the project. amount of support to produce who were suspicious of their may cost more initially but pay For example, members of O.N.E the environment in which intentions came to see how they other people can plug in off over longer periods of time Mile were adamant about the and actually do something worked and their apprehensions than the cheaper alternatives. unreasonable demands of the so you don’t need to engage lessened. This is not to say that As described in the next 18-month grant cycle, explaining anyone, they’re engaging you time alone can heal all wounds, with what they’re already section, Knoxx and Christy that, on a purely logistics level, it but if artists work thoughtfully, doing and then you have a of The Aadizookaan have just really only allows you 3-months sense of cultural equality, respectfully, and take the time acquired a building that they will to make the project. nobody is enforcing a way to build deep relationships, it renovate into a multi-purpose of doing things. But none certainly can help to assuage “ Very often you’re of these foundations think community center. Knoxx said about that in a project-based some of the contestations that given the funds either in 51 that his mentor, Ill (of Complex summer or winter. If you are universe.” might arise when working within Movements), told him “‘You are given the money in summer, it a community. cooking this meal that you are means all of the planning They explain how their own and all of the design, if its probably not going to get to eat”’48 collaborative process took time a place-making initiative, meaning the pay-off may not happens immediately. Then and trial-and-error to develop. At be immediate. Wes of Complex you can’t do anything in the first, the process involved many Movements said that the purchase winter because you can’t meetings, misunderstandings, build. … if you get funding and people stressing out about of the warehouse for Beware of the … and it’s January, you plan Dandelions was “an investment for three months. Boom! You whether the project would be in our collective work. It has have to start building in built in time. They all agreed April because four months that the beginning was rocky as this cultural value; as a legacy later it’s done, you can’t type of thing.” 49 Many of the make anything anymore, you they learned the best practices artists of Resonant Detroit spoke can’t occupy the space for working with each other

48.Personal communication, May 25, 2017. 50.Personal communication, August 26, 2016. 49.Personal communication, May 18, 2017. 51.Ibid

082 / / 083 Analysis / Property & Place / Christy had finally acquired here can see the work that this building through the people in the community are Wayne County Tax Foreclosure doing.”53 We walked through the Or: Anti- Auction. Christy explained that circular floor plan of the upstairs. Property they were originally thinking The paint was curling off the Gentrification of buying a duplex, “But then walls and most of the windows Tactics we were on the auction and were broken or missing. To our this building was bigger, so untrained but not inexperienced & Place our dreams got bigger. And we eyes, the building appeared to met up as a team and collected need a complete interior renova- all of the ideas … . [Knoxx] tion, new plumbing, and all new said ‘Just envision this as big windows, but the immensity of as possible. Don’t think of any the task didn’t seem to dampen limitations.’”52 the optimism and fortitude with which Knoxx and Christy went When we first met with Sacramento Knoxx and The Aadizookaan is a multi- about their work. They were Christy Beiber of The Aadizookaan, they told us faceted artist/activist group clearly in it for the long haul. that works with youth to give that they wanted to open a community center. them an alternative to violence “Introduce yourselves,” Knoxx Nine months later, we walked up to a large brick by providing mentorship and said to a group of teenage boys building on the corner of Dennis and Cicotte skills training in media and wearing ventilation masks and in southwest Detroit. It was May and I could music production. Knoxx and taking a break from sweeping up Christy’s vision for the building a front room. Knoxx explained smell the building thaw after winter. Two large is to build a space where they they had been working with speakers sat on the corner pumping hip-hop can hold workshops in media these individuals for some time. music and flanking a table with a sign-in sheet, production as well as political “Yeah, he keeps us out of trouble,” training and leadership. They offered one young man. shovels, brooms, and garbage bags. They were also plan to house visiting artists holding a clean-up day in conjunction with the and musicians in the space and Over lunch a week later, Knoxx city-sponsored volunteer initiative, Motor City facilitate their respectful enter- explained to us how he got into Makeover, to begin the arduous task of clearing ing into the community. Knoxx this work. He said that he had excitedly walked us through the been in the hip-hop world but the large building of debris. After trying to get a building, “Over here, we’ll have was looking for another path for house house through a land contract, Knoxx and a gallery so that people staying his life.

52.Personal communication, May 25, 2017. 53.Personal communication, May 20, 2017.

084 / / 085 Analysis / Property & Place / “ [I was] like ‘I don’t Over lunch he introduced us their relationships to others capital for their groups is difficult want to be a drug dealer or to Gianni, a young man whom across time; the ways in which since many funders only want I don’t want to be a part of this underground economy.’ … he and Christy were mentoring, their mentors have shaped them to fund projects, not give money We were in a music scene teaching him leadership skills and how this gets passed on for supplies or real estate. With where it was just gang and political awareness. Gianni through their relationships with the support from Creative Many, banging and music. And I was getting tired of that shit. explained to us the impact that these youth. Christy explained Knoxx and Christy were able We were going to shows where Knoxx has had on him (as well as to purchase the building. With it was all like: ‘We’re the workshops through Urban Arts “ All of the folks that this project, they understand best and we’ll fuck your we have been working with and at the Detroit Hispanic Develop- that they are investing in their women and we’re going to get learning from over the past all the money and we’ll kill ment Corp): several years … we’ve built a community and the concept of you if you try and touch me!’ family that has allowed this shoring up a collective resource to become possible.”56 And that’s what it is, and “ Growing up, I knew for the community is at the heart it’s over and over and over. I was going to be in the People are getting their ass of their work. Christy eloquently hip hop community, but … I In order to best serve the family whipped, and there’s gunshots, thought I would be a fan, an described it this way: and there’s all kind of emcee that would rock the that is their community, Knoxx shit, and I’m like: ‘Man, I crowd, be a hype man type and Christy knew that having “ The Aadizokaan seeks don’t want to do this. This of deal. But I transformed a designated space for people to create a cooperative is not what I signed up for from that, from this youth economics model where we are music for.’ I was trying to advocate, and this youth to gather and hold workshops sharing professional skills find outlets, trying to find leader to this community would be key. Buying a building with our community and with 54 something else.” organizer… I feel like I have to convert toward these purposes people that want to build the best community organizing entrepreneurship, really had been a goal of theirs for some He explained that Invincible’s team watching over me and empowering autonomy, while time. When we first met Knoxx (of Complex Movements) music leading me, than anybody has sharing resources with each ever had in this community, and Christy they explained how other. I think that is a changed his perception. Listen- key and inspiring piece of because it’s just fucking hard it had been for them to ing to their music and hearing amazing what we are doing.”55 how we try to function. We navigate the real estate market. the message of their lyrics led are technically an LLC but “There is the foreclosure auction, how we function is through Knoxx to the Allied Media This was not the first time that then there’s the land bank, and collaboration – taking Conference where he learned Knoxx and Christy brought projects on as a group, and then there’s ‘rehab and ready,’” about things oppression, equality, some of their mentees to our collectively deciding how to Knoxx said. “It was so hard split these wedges, and build and injustice. Knoxx often meetings. It was clear that their up skills as we go for our involvement with the youth of figuring this all out, but I met recognizes the mentors and people.”58 with an organizer and in a few people in his life that gave him their community was immersive hours he broke the whole thing “a chance” and he now actively and deeply collaborative. Both As with many of the artists down for me.”57 Many of the works to give others that opportu- Christy and Knoxx are very groups, Knoxx and Christy artists explained that building nity as well. aware of the connectedness of are concerned with the

54.Personal communication, May 25, 2017. 56.Ibid 55.Ibid 57.Personal communication, August 26, 2016. 58.Personal communication, May 25, 2017.

086 / / 087 Analysis / Property & Place / sustainability of their work. Not offer her community. She will have purchased many houses (as and to secure it against the that the Aadizookaan, as such, now be working full time with well as one commercial building). homogenizing and erasing and must continue forever, but that the Aadizookaan to take the lead All of them have recounted the “beigifying” efforts of developers. the work that they do can contin- on setting up their headquarters headaches involved in learning Detroit’s North End has a rich ue and grow from the seeds that in the new building. She states: the ropes of real estate and the history of music and culture they are planting now. Many of opaque legalities that come that is largely unknown to those “ After that, the the artists commented that this with the buildings like fees for who only read national news on possibilities are endless. type of sustainability is hard We can continue to build storm-drainage run-off. However, Detroit. The neighborhood was to establish because of funders’ with young people, and despite the murkiness of this a Jewish enclave throughout preference for ephemeral, event- there are less limitations terrain, many of the artists the Great Depression but by the with what we can do as the based, high-visibility, but non-du- Aadizokaan. With the new understand the politicized nature 1930’s, its’ Oakland Avenue had rable project-oriented funding space I am more interested of real estate and have made become a “hub for black musical models. “Pizza and T-shirts” as in cultural education, there securing it (so as to keep it out innovation, making it the heart are opportunities for a one group summed it up. For garden to share Anishinaabe of the hands of developers) a key of Detroit’s Blues and Jazz scene” Knoxx, building sustainability teachings about plants… There part of their work. (Elliott et.al. 2013:10, see also and being able to purchase tools are so many things that Zunz 1982 and Bjorn & Gallert could happen – it’s exciting! and build products and profit is For some members of O.N.E. 2001). The North End was one of Having more autonomy and intimately linked to his efforts to having land, more indigenous Mile, this is the core of what few neighborhoods that Afri- combat colonialist land politics. spaces in the city. There drives them. They understood can-Americans could purchase “Land is power,” he said and with are only 4 [indigenous] that their project was either and build houses in during the organizations, and some of this building “we can have a them are only in the metro- “going to be a new model for mid-twentieth century as re- foundation that is our home, so Detroit area… We want to countering gentrification, or it strictive covenants and redlining that we can uplift our lives and dream our visions and look was going to be a gentrifier.”61 effectively barred many upwardly for funding. I’m excited to the lives of our communities. have more time and resources The power of their work was mobile African-Americans from 59 We’re building a legacy…” to do cultural work.” made clear to them when they settling in other neighborhoods of launched the Mothership and Detroit at the time (Sugrue 1996). Having just secured their build- *** had an overwhelming response. As may be apparent by this point ing, Knoxx and Christy have set The issue of real estate and prop- At this point they realized “this in the report, the themes that their eyes on the course ahead erty is one that affects all the shit will bring gentrification if we emerged through our research and they face the coming work Resonant Detroit artists. Every are not careful.”62 This realization are hard to disentangle. They with a sense of excitement and one of them have had to, or are pushed them toward an anti-gen- are in fact intricately related; purpose. Christy is leaving her in the process of, navigating trification mission that seeks to one affecting and impinging job working at a non-profit where the purchase of a building or affirm what is already there in upon the other. Gentrification she felt limited in what she could house. Some, like Design 99 their North End neighborhood and efforts to mitigate against its

59.Personal communication, May 25, 2017. 61.Personal communication, August 26, 2016. 60.Ibid 62.Ibid

088 / / 089 Analysis / Property & Place / power are tied to the assertion of systems and infrastructures have why they don’t want artists to to drain yourself to make the one’s self-identification, cultural been decimated intentionally as become-- under a capitalist work, and if it’s the artist’s goal history, and the assignment to displace them”64 and make way gaze or like framework-- more to buy a building, that is what I of value to place. Economic for redevelopment. They suggest wealthy. It’s like they want you need to do.”66 empowerment and autonomy are that those who want to support part of the struggle against the “black and brown folks staying market-based approach to urban in their communities” should While these artists continue to find development. For members of support community-based artists, creative ways to channel capital towards O.N.E. Mile, their anti-gentrifica- grass-roots organizations and work their needs, they also are exploring tion campaign is about thwarting toward more equitable access to alternative models to private property the forces that seek to “invisibi- the market. The stark imbalances lize” their neighborhood. in access to market-based values ownership such as community land con- can be profound. One artist illus- tracts, collective ownership, cooperative “ We have to think trated this contrast and the sense strategically in that regard economic models, swaps, skills-sharing, because this is not a fucking of being barred from economic art project anymore; we are opportunities, saying: “‘Cause all and economic autonomy. It is a well-worn trying to stop gentrification the community shit is gorgeous and narrative now that artists can be by asserting our identity through art. Art is just the beautiful, but when everyone is complicit in gentrifying an area, but medium through [which] we can buying up all the property around gentrification is not an inevitable force assert identity and legacy. you…. and I’m waiting on this grant Period. … These are not art 65 or foregone conclusion. The work of projects. I don’t care what just to paint a wall!” the foundations say. For these artists demonstrate some of the those of us who give a fuck, The notion that the system as its these are anti-gentrification ways in which gaps in real estate values set up denies artists the ability to projects; so that informs our can be used to their benefit, displacement strategic framework.”63 enrich themselves in a capitalistic way was one that was echoed by can be avoided, and place can be affirmed Artists in this group believe many of the artists. Many funders to stymie the power of the systems that that, within a market-based don’t seem to want to support we often take as given. approach to investment today, acquisitions of any kind whether foundations find it counterpro- they are as small as a ladder, or a ductive to support the economic hammer, or a camera, or as big as sustainability of Afrikan x a building. “It’s hard to empower indigenous peoples “since those yourself through economic struc- are the people whose economic tures,” one artist said. “I don’t know

63.Personal communication, August 26, 2016. 66.Personal communication, May 18, 2017. 64.Ibid 65.Ibid

090 / / 091 Play House Demo Banglatown, Detroit Analysis / Community & Collaboration / building real relationships with contexts from the art world to pub- people. Funding organizations lic policy. Engagement in art and Or: anticipate a certain demonstration design contexts often glosses into of “engagement” (often made degrees of participation, however, CommunySituating & simplistically visible by the use of even within these contexts there Relationships volunteers); but “‘engagement’ and is much variation. “Participatory ‘cultural participation’ are totally art” is generally defined as art that different.”68 One artist explained, only exists as such through the Collaboration participation of others beside the “ Engagement is symbolic; artist themselves.70 “Participatory […] and also it’s very pejorative. It means somebody design,” also often called co-de- has an idea and they have to sign or co-creation implies involv- get other people on board as ing stakeholders at all phases of In the muddy lexicon of socially-engaged art (which though those people don’t have the design process from research 67 the idea.69 is also confused with a number of other terms ) to implementation (see: Sanders perhaps the most polysemic word of all Indeed, in practice there is a great 2006, Plowman 2003).70 Depending is “community.” “Community” is used as if it has deal of variation among partic- on if one’s discursive context is one meaning, and it is assumed that this meaning is ipatory practices and processes policy, community organizing/ of “engagement.” Engagement can activism, academia,or urban transparently understood by all. What community mean holding workshops with planning, “cultural participation” are we referring to when we talk about “engaging those you want your art to serve; can mean any number of things one’s community”? Whose community is it? What is it can mean having feedback from participating in arts events sessions in which those same to voting. Clearly, “community the artist’s relationship to this community? Are they people can critique and give input engagement,” across these differ- coming from a different racial, socioeconomic, gen- on something the artist has done ent fields, carries with it plenty of dered, or intersectional background? Ultimately the or made. But it may also simply room for creative interpretation. polysemy of this term is further cast into meaning- mean that the artists work from a place of trust and embed- One of the artist groups was lessness when we pair it with another almost equally dedness within the communities keen to distinguish their work vapid term: “engagement.” As noted above, some of with which they work. from what they see as a model the Resonant Detroit artists noticed that the inap- of “community engagement” that The term “engagement” slides (not urban planners are trained to propriate usage of this word is tied to the 18-month unproblematically) between many use (i.e. a town-hall style meeting turn-around cycle as if one can put a timeline on different relevant but discrete where people can voice their

67.“Art for social impact,” “dialogic art,” relational aesthetics,” “community-based art,” “social 68.Personal communication, August 26, 2016. practice” are just a few of the many names given to “socially-engaged art.” Each has a slightly 69.Ibid different meaning and perhaps slightly different aims, goals, or conversants. 70.Classic examples of participatory art range from passive-engagement in projects like Carl Andre’s sculptures to Felix Gonzales-Torres’ Untitled (Portrait of Ross in L.A.) (1991) in which participants are encouraged to take a piece of candy from a pile sitting in the gallery, to Yoko Ono’s Cut Piece (1964) where participants cut off her clothing piece by piece leaving her naked. 71.For design scholar Elizabeth Sanders this means respecting “the expertise of the people and 094 / view[ing] them as co-creators in the process” (2006:5). / 095 Analysis / Community & Collaboration / opinions on a development That we find it hard to determine (and often beyond) the life of a influence the ways in which project so that the planners can the extent to which the Resonant project. Likewise, Mitch and people move through their social go back to the city and say: ‘we Detroit artists use “co-creative” Gina also have had to work across worlds (i.e. the types of events asked the community and they processes points to the inade- economic disparities, explaining that women will attend without said: yes’). Instead, their model of quacy of these terms. Certainly to their neighbors that the million their husbands present, how far engagement is based on a 3-year The Aadizookaan are involving dollars of grant money that they children, especially daughters, cycle of what they call “engage- members of their community in have invested in the neighborhood are allowed to stray from their ment through cultural produc- processes of media and music over the years is largely from arts mother’s eyesight, etc). As with tion.”72 They explain that their creation, but this may not look grants and not coming from the any neighbor relationship, they collaboration only got to this point like post-it notes on a wall or U.S. Department of Housing and are closer with some than others, about 2 years into the project. For people gathering around a table Urban Development. and Gina jokes about holding them, this means producing an to collectively draw, map, or “sidewalk meetings” with her environment in which people can brainstorm. What this reveals Race and ethnicity are also neighbor Ibrahim, who quickly engage on their own terms; where is that textbook tools of partici- pertinent factors in how the asks her how to get the city to people can come and propose patory practices are only a part artists position themselves in pick up some concrete steps he projects or events and if it’s a of the toolkit here, and perhaps their communities and navigate removed from his front porch community program that fits with a broader and more nuanced relationships both with collabo- before they both rush off to their their mission, and no capital is understanding of an artist’s rators and community members. next or most pressing task. Also exchanged, then they support it.73 positionality is a better indicator Design 99, an English-speaking true of all relationships, these of how they work or the extent couple, works in a neighborhood “engagements” can be taxing The Resonant Detroit artist’s also and type of their “engagement.” where many residents do not as expectations may exceed work along various points of the speak English. They have had one’s capacity. spectrum of socially-engaged art. Some of the artists are working notices of their events posted in Mitch and Gina (Design 99), for across vast disparities in resourc- Bangali in attempts to be more For The Aadizookaan, their example, gather input from their es. Carlos, of Complex Movements, inclusive of their most immediate ethnic identity as Native Amer- neighbors on what they’d like to noted that producing and install- neighbors. They have also offered icans provides the philosophical see a certain house be turned into, ing Beware of the Dandelions, a their spaces for English classes and ethical foundation upon but in the end, they do not describe very resource-intensive project, (on the request of neighbors) which they work. However, their artistic practice as “participa- in areas that are not resource and the Bangla School of Music their embeddedness in their tory design.” They do the build-out intensive, is something that they regularly uses their space, the community stems from shared and employ other artisans and consider and think about often. Play House. Cultural and experiences and upbringings skilled tradesmen (who sometimes As a group, they work with religious differences have also not specific to ethnicity. Knoxx also live in their neighborhood, community “cohorts” that are affected their relationships jokes with people that he got his but not necessarily so). involved with them throughout with neighbors as these things Masters or PhD in being a part of

72.Personal communication, August 26, 2016. 73.Ibid

096 / / 097 Analysis / Community & Collaboration / the community. In describing The ways in which an artist a way to get closer to his goal knows that this shit is not how the Aadizookaan got started, positions themselves vis-a-vis eventually by using the resources hammered out. We did not have the blueprint stepping he explained: the experiences of others (either that they had at the moment. “It into this thing. We have through being susceptible to the took like eight months for me our best intentions, all of “ I’ve learned from so same external forces or through to be like: ‘oh, I am so clear on us. Yet this thing is fluid, many people – all types of it must be flexible, and we classes, colors, all types empathetic extension) influences everything that we are doing cannot be attached to any one of identification, the Two- how they work with communities, and how it was going to lead to perspective. We have to be Spirit peoples and males and 78 their modes of engagement, everything that I want.’”76 He open to adapt at all times.” females – it was a culmination of all of these things… and and the issues of topics of commu- explained that they had gotten different structures of fitting nal concern. some feedback from people who From their first attempt at in and not-fitting in with had been more involved with the collaborating in this way, these places, and because we come artists learned the importance from identities of being The artists’ relationships with the project at the beginning. “[They] invisible to people, i.e. being communities in which they work felt disrespected or disregarded of clearly communicating this poor in the neighborhood, is only one half of the sociality by the way we were engaging iterative process to the commu- having two parents in the nity and each other, and the neighborhood,having some money here; the other half is artistic col- in the first eighteen months. need for all parties involved to be in the neighborhood, having laborations. The Resonant Detroit We talked about doing a whole citizenship in the neighborhood, artists are all duos, collectives, bunch of stuff. We had like six, or flexible and not too rigidly fixated having your family in prison, on a particular outcome. having your family affected or collaborations, not individual seven, or eight curatorial groups. by drugs, all these different artists acting alone. Collaborating The project was huge, as far as factors of space and identity is hard work and takes constant its’ dreams.”77 He explained that For many of the artist groups, and uncovering those layers. communication, feedback, and while some of their collaborators collaboration is more than a My personal transformation working process; it philosophical- was understanding all that reflection on one’s processes. One were iterating and adjusting ly permeates the work. For these and the connectivity of all of the groups remarked upon the scope of the project on the those things. If I’m going to the challenges they faced when fly to meet deadlines, it was collaborative groups, individuals transform from a caterpillar beginning their collaboration and misinterpreted by other people are not credited as “the artist” or to a butterfly, I have to look “the founder,” rather they favor around me and question: dealing with competing visions, involved as if their ideas weren’t what happened to all of the plans, goals, and trying to find being regarded. collective models that distribute other caterpillars? Who ate a way to work collectively that the praise, accolades, and funds them? We have to look out “ To me that’s not what across the networks that are 74 took these various positions into for each other.” was going on. We don’t know account. Speaking about what indeed necessary for this type what we’re doing, ya know of work to happen and have a The kind of cultural knowledge he learned, one artist said: “I what I’m saying, so, like, we lasting impact. that Knoxx references here came into the project with a clear are learning the best way to go about this by prototyping narrow focus.”75 But through the comes from shared experiences certain things. Like creating and a sense of common struggles. collaboration, they worked out a space where everybody

74.Personal communication, May 25, 2017. 75.Personal communication, August 26, 2016. 76.Ibid 77.Ibid 78.Ibid

098 / / 099 Analysis / Who is it For? / tensions have existed within such However, without devolving into art from its inception; namely, the a debate of semantics, the issue tension between “equality and of language and the terms used Aesthetics, quality, between participation to define and describe this work Who is and spectatorship, and between is pertinent. As was described Politics, & art and real life” (Bishop in in the previous section, some of Pragmatics Thompson, 2012: 38). She notes the artists do not think of their that these conflicts “indicate that work as “art” but rather see it it For? social and artistic judgments do as a means to an end. Many of not easily merge; indeed they the artists also come from a seem to demand different criteria” background in design and to (Bishop in Thompson, 2012:38). them, disciplinary distinctions She further proffers that the are important because design is paradox of this situation is that a practice of problem-solving and It is perhaps easier to ask the question: ‘Who is it although participatory artists replicable process. I asked many for?’ than to pragmatically understand that there “stand against neoliberal capi- of the artists: Why do funders need not be only one answer to the question. This talism, the values they impute say they are funding “art” if they to their work are understood are indeed after other specific question has long plagued work of cultural produc- formally … without recognizing outcomes? One of the designers tion that deals with the lives of others from ethno- that so many other aspects of this answered my question in this graphic film to socially-engaged art. Where does the art practice dovetail… with neolib- way: “Foundations like to fund artist begin and end? Who does the work ultimately eralism’s recent forms (networks, art projects because art projects mobility, project work, affective side with the one-off; they’re serve? As with all of the above sections, an answer labor)” (Bishop in Thompson, about singularity, uniqueness, to this varies across the Resonant Detroit artists. 2012: 38-39, see also Bishop 2004, applicability to a particular context, 2006, 2012). However, whether something idiosyncratic.”79 Design, the Resonant Detroit artists in her view, is about learned This question is tied to critiques of socially-engaged deem their work “social practice” processes that can have applica- artistic practice within art history and criticism art or “community-based art” or tions in other realms and serve as that argue that an inherent tension within this work some other sub-genre altogether a “prototype for action.” That the splits its’ foci between ethical and aesthetic con- (or indeed even in “art”) seems foundations are now coming to to only be of interest to some. her and saying: ‘tell us about your cerns. The primary voice behind these critiques is For the others, they are merely design process’ demonstrates art historian, Claire Bishop, who argues that certain esoteric distinctions. the slippages here of language

79. Personal communication, August 26, 2016.

0100 / / 0101 Analysis / Who is it For? / and intent. However, imprecise project. In this understanding, its’ aesthetics made meaningful of the genius-artist -- the sole language is not typically apolitical. the rhetoric of “art” is a move to various parties?’ Work that progenitor, the “artiste”-- rather to pacify or placate the people is generally lauded within an than acknowledging, as these One artist sees a direct connec- because it isn’t perceived as a tool “artworld” context is in some way artists do, the fact that this work tion between these politics and with functions linked to capital in conversation with art historical is inherently built upon collec- the corporate social responsibil- gain, like “design.” work (movements that have tivities of experience, networks ity that drives facile tokenistic names like “institutional critique” of social capital, deeply-rooted gestures of social awareness.80 However, while the teeth are and “fluxus”). Work that is gener- and shared histories of place, and He said the foundations need taken out of “art,” depoliticizing ally lauded within a social-impact the shared capacity to express/ to come across like they have a it into a jejune alternative to world is generally, at least ideally, narrate/communicate these socially responsible initiative, so terminologies that reveal their in conversation with the commu- relationships. they use terms like “art” because economic intentions, the artistic nities of people that it is claiming it is disarming. He continued, “…if or aesthetic merits of socially-en- to impact (and with movements A great example is the gold you say art, especially in commu- gaged art projects are often not that have names like “Black Lives threshold created by O.N.E. Mile. nities where art and music have high on the list of criteria for Matter” and “Idle No More,” as The designers told us that this already been removed from the selection. One designer/artist well as communities less defined concept behind it draws from school systems [where] people stated: “No foundation wants by organized movements). But similar practices that historically already understand ‘art’ as some- to get into the issue of taste or as any art history student can occurred in Africa where an thing that doesn’t exist no more aesthetics, or skill or capacity for tell you, aesthetics and their archway would be attached to … it makes it feel like something real. If the goal is for equitable functions are never such discrete, a facade to give it temporary is happening that should be redevelopment, you can’t judge isolatable phenomena. Aesthetics significance in some way. The happening for their community taste, but there’s still a taste matter. They matter to the artists. threshold, however, makes this … even though the projects that component that’s elevated one And they matter to the neighbors. locally meaningful by not only get chosen are the ones that have above others. Who’s judging that? To assume otherwise is to flatten tapping into an Afro-futurist development implications from a It’s never spoken.”82 That aesthet- our experiences of the world aesthetic (as with the Mothership) design perspective [and] are about ic considerations are perceived to into siloed realms of Cartesian but also playfully paying tribute staging a community for future be determined within a regime existence. Pragmatically to various iconic elements of architecture-based development. of value discrete from the consid- speaking this binaristic view of Detroit’s popular aesthetics that That’s design.”81 According to erations of community impact or the world (where aesthetics can are recognizable to those who their understanding design is engagement ultimately fails to see be bracketed as if they do not play might pass through its gates. To linked to capital and has the the power of culturally-significant a critical role in the ways these understand the power of art to ability to flourish in a market- aesthetic work. Perhaps the more artistic interventions socially empower people, the aesthetics place; whereas “art” is expected pertinent question than ‘who is impact a community) is also must not be disarmed or bracket- to be done for free, as a passion it for?’ is the question: ‘how are wedded to the modernist notion ed, but, rather, embraced.

80.His example was a consumer purchasing a pink Coke can to show their support for breast cancer awareness. 81.Personal communication, August 26, 2016. 82.Ibid

0102 / / 0103 Assembling the pod for Beware the Dandelions Northeast, Detroit Challenges / The following list is a composite of their challenges. Redux 1. Turn-around time frames 10.Longevity of the group itself (expectations for “deliverables” (what remains when a group at the end of a grant cycle are disperses?) Challenges often unreasonable) 11.Burn-out and how to hand over 2.“Crazy-dog” syndrome / cycles a project to the community of over-promising to get the grants / lack of understanding 12.Communicating goals and the artists’ capacity handling misperceptions of what the artists are doing (and 3. Collaborating with community who it is for, and how, and why) To recap and state the above more members and other artists 13.Communicating with the succinctly, the challenges faced by the 4. Navigating legal challenges funding bodies (several artists (i.e. insurance, building mentioned that it’s a constant Resonant Detroit artists seemed to fall permits, etc.) struggle to even know who to contact at a foundation, and into the general categories of value, 5. Navigating relationships with often the person filling a certain the city position will change during the language, time, and relationships. life of a project, and then they 6. Understanding the real estate have to figure out again who is landscape and how to acquire their point person). buildings so as to not be priced out of an area 14.Funders tend to want to fund individuals as opposed to 7. Unreasonable expectations collectives. by foundations for volunteer “armies” 15.No one is doing longitudinal studies. The long-term aspect of 8. Undervaluing of the labor this work is not being taken into account. 9. Sustainability of project-based model (no one wants to give 16.Social justice funders don’t money for equipment, only for think of the work as sufficiently programming, etc; “what looks in the “organizing” realm and good in pictures”) arts funders don’t think it is sufficiently in the art realm.

0106 / / 0107 Notes to Funders /

Notes to Redux Funders What the Artists want to say to funders.83 Feedback specific to Creative Many:

1. Funders should take into 6. Need funding to learn new skills. While much of the conversations we had with Resonant Detroit artists account the artists’ economic 7. Be reasonable in what can be was about how funders (in general) could better support their work, goals as well as their economic accomplished in a given time there were a few things that arose as feedback specific to Creative principles and philosophies (i.e. frame. Many that they wanted to share. Some artists felt that in their attempts they may not want to reinforce to allow artists to use their funds toward things that other funders a hyper-capitalist model or 8. Expand your horizons of wouldn’t support, Creative Many was micromanaging a bit instead of neoliberal agenda). assessment. Not everything is allowing them to determine where the funds should go at any given measurable. time. A criticism that we heard from several of the artists was that 2. Fund operations/admin (the there was a general lack of communication (i.e. when they would be ugly, behind the scenes stuff 9. Allow for things to develop slowly, called together, the artists thought it would be useful to know more that is necessary for us to do on their own terms, on their own about what the goal of the meeting was and how they might come our work). timelines. more informed/prepared for it?). Several artists mentioned that the peer-to-peer exchange were very alluring to them, but they hoped that 3. Fund more open-ended 10. Communicate openly and Creative Many could do a bit more of the administrative work to make creative processes (not just frequently with us, but don’t these happen (i.e. finding the time/place, communicating the details to project-based work). micromanage. the group, etc). They also thought that the peer-to-peer sharing is won- derful, but that these gatherings should be public events. Finally, some 4. Process is as important as 11. Funding the community members of the artists wanted to express that Creative Many was very helpful product. It’s important to fund and community processes is in teaching them how to communicate with funders and helping them the development and the time it integral to a community-based art find legal help. Many of the artists said that Creative Many’s capacity takes to make work without an practice. to act as a liaison in this way is very helpful. expectation of a thing right away. 12.While we are grateful for you 5. Need more long-term funding – support, we don’t want to have Invest in people! present ourselves as indebted. 83.We also recommend seeing the “Changing the Conversation” Report put together by Allied Media Projects (https://www.alliedmedia.org/news/2017/05/09/changing-the-conversation-report), accessed May 24, 2017.

0108 / / 0109 Conclusion / This is inherently muddy, multifaceted, variegated work because no two artist groups work in the exact same way, with the exact same goals, materials, Conclusion capacities, skills/expertise, etc. Quite appropriately, this takes time. A deeper understanding of their work will also begin to rectify the inadequacies of the current rhetoric used to describe and evaluate the work. Buzz terms and industry jargon are often the result of lazy research or a lack of true “engagement” with the artists’ work. The more that funders can take the time to listen to how the artists It is worthwhile to note that some of the “challeng- describe and define their work, the less likely they es” faced by the artists groups were considered will misrepresent them or force them into defini- necessary to their process. As stated by Complex tions that fit predetermined investment portfolios. Movements: the time it takes to do the work is part of their intentional process; they aren’t interested Part of this approach is also about understanding in making fast and quickly- turned around projects specificities of context and the political economy of but are invested in the slow work necessary to place. First of all, socially-engaged artists working mindfully engage with their communities. And in Detroit are often also politically-engaged, with although almost all of the participants mentioned concrete agendas for action and policy change. Sec- some animosity or disdain toward the market logics ondly, they are operating both within and against of funding bodies, not all of them were concerned forces of neoliberal capitalism that continually with actively trying to change this. attempts to conscript their efforts into processes of gentrification that serve those with wealth and Ultimately, knowing how the artists work and the power. Neoliberal policies feed off the resilience things that are most crucial to their process will of the dispossessed. Such millennial capitalist improve funders’ ability to properly support them. logics valorize an image of radical individualism,

0110 / / 0111 Conclusion / self-reliance, and independence that burdens those in favor of a socially-constructive labor force proved most vulnerable in society with civic tasks and ultimately to serve “capitalist” uses—namely urban services owed to them under their rights as resi- real estate development; a collusion she describes dents of Detroit. Artists and designers, as creative as the “Artistic Mode of Production” (1982:176). problem-solvers, are susceptible to exploitation as Yet the complicities between artists as first-wave cogs in these logics that ultimately seek to serve gentrifiers and real estate speculation documented top-down redevelopment schemes. Supporters by many of these scholars focus on urban cores of the arts, thus, should think outside the logics of of cities such as New York and Los Angeles. Such the market. processes of gentrification are certainly happening in Detroit’s downtown core, but transformations of Many scholars of deindustrialization would agree the urban environment are also happening in the that “urban pioneers,” “homesteaders,” artists, and prairies of Detroit’s neighborhoods where gentrifi- other opportunistic actors not only play a role in the cation looks and acts very differently. gentrification of low-income urban spaces, but that they also contribute to the mutation and adaptation The Resonant Detroit artists are working of capitalist economies that are largely responsible to shift this narrative, to steer the for the current state of disinvestment (c.f. Pas- ship toward a course that aligns with quinelli 2013, Deutsche and Ryan 1984, Smith 1996, their own goals, that values their labor, Zukin 1982, Lloyd 2006, Harvey 2002). Describing and that retains and reaffirms the cul- the social uses of modern art arising during the tural, political, and aesthetic agency of Great Depression, sociologist Sharon Zukin writes: communities in which they work. “In conditions of economic crisis and social despair, a well-subsidized, well-diffused cultural ‘product’ held out the possibility of reintegrating American society—as long as the artists who produced it could be brought within the discipline of the state” (1982:177). She argues that the depoliticization of art

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