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A Report Compiled by Goodgood Detroit for Creative Many Michigan

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A Report Compiled by Goodgood Detroit for Creative Many Michigan 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.
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