Copyright 2010 by Florida State University Milbrandt, M. K. (2010). Understanding the role of in social movements and transformation. Journal of Art for Life, 1(1), 7-18.

Understanding the Role of Art in Social Movements and Transformation

Melody K. Milbrandt As a society, Georgia State University we need Atlanta, Georgia individuals with

the will and Abstract passion to According to Reed (2005) the func- purposefully tion as cultural forms within social movements to transform society in critique the actions numerous ways. These functions are to: encourage ; empower and assumptions and deepen commitment; inform larger society about social issues, harmonize of society in social activists within the movement; works of art. inform internally to express or reinforce values and ideas; inform externally as a more effective way to communicate movement ideals to people outside the movement; enact movement goals directly historicize to invent, tell and retell the history of the movement; set a new emotional tone; critique move- ment ideology; and provide elements of pleasure and aesthetic joy. In the first part of this paper an examination of how the arts as cultural forms contrib- ute specifically to contemporary social transformation will be discussed. In the second part of this paper an example of personal and social transforma- tion will be illuminate these concepts.

Correspondence regarding this Keywords: social justice, art education, social article may be sent to: transformation, activist art, undocumented Melody K. Milbrant immigrants. email: [email protected]

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7 wide range of art educators includ- transformative cultural forms. According ing Eisner (2004), Greene (2000), to Merriam-Webster’s Online Dictionary ACarroll (2006) have referred to the (2010) is “a doctrine or practice personal and social transformative power that emphasizes direct vigorous action of the arts. While the sanctioned purposes especially in support of or opposition to of art have been hotly debated during one side of a controversial issue.” Reed every period of history one cannot deny suggests at least ten overlapping, inter- that works of art can have an instrumen- secting, functions of the arts within social tal social function. In traditional societies movements. These functions serve within the arts serve to solidify and codify social to encourage activists by empowering and order through the intentional repeated deepening commitment, and harmoniz- use of imagery and ritual (Anderson & ing agendas of activists to reinforce group Milbrandt, 2005). In contemporary demo- values and ideas. The arts are also used cratic societies the arts not only function to communicate the issues and ideals of to maintain social traditions and describe the movement beyond the activist group. the world, but also often explore issues Through re-presenting the history of an of social justice, identity and freedom. issue, the arts may establish or revise an Most artists and scholars agree that the emotional tone or a public perception. arts alone cannot change society; but the Along with critiquing issues of social justice arts give voice and form to individual and within society, the arts may also be used collective needs that motivate and sustain to critique movement ideology, keeping social movements. As movements evolve the movement grounded and true to its within contemporary society the arts play purpose. Finally, the arts provide elements vital roles. The purpose of this article is to of pleasure and aesthetic joy, important for better understand specific instrumental- activists to recharge and rejuvenate their ist functions of the arts in social move- energy and efforts to continue their work ments and consequently how society is in a . transformed. An example of personal and In the first part of this paper I use parallel social transformation in the art Reed’s (2005) framework for the function education classroom will be discussed. of the arts in social movements to examine According to American studies scholar, how the , as cultural forms, spe- T.V. Reed (2005), all of the arts func- cifically contribute to contemporary social tion within social movements as socially transformation. Artwork by a variety of

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8 contemporary artists provide examples of dience from fear to calm resolve, or from each instrumental purpose. The examples indifference to action. In The Liberation of provided are not unique or exclusive Aunt Jemima (1972), Alison Saar trans- depictions of specific social functions, but formed a familiar long exploited deroga- illustrate the multiplicity of functions and tory image of a subservient black woman, purposes of art in social movements and Aunt Jemima, by juxtaposing the image transformation. In the second part of this with objects of empowerment. The em- paper I describe the interaction of pre- powered Aunt Jemima holds a rifle in one service art teacher educators with high hand, a grenade in the other and is over- school students during an art lesson, and laid with the image of the black power fist. creation of a and installation relating While Saar’s image denoted the demands to relevant issues, resulting in personal and of the for political, social transformation within both groups. economic, and social equity for African Americans it simultaneously acknowledges Functions of the Arts as Cultural Forms for the historically close bond of the stereo- Transforming Society typical “mammy” figure by the inclusion Within social movements informal of a small background photograph of the networks of activists evolve and from these Aunt Jemima image with a white child. networks values, objects, stories, rituals or Another layer of meaning seems to be events, roles and leaders emerge (Lo- rejecting the use of Aunt Jemima as a well fland, 1995). Art can be used to reinforce known popular commercial icon, further values of the group, raise questions about complicating the associations and emo- current social conditions, and construct tions experienced by viewers. The Libera- an image of social change. Visual images tion of Aunt Jemima launched Alison Saar’s can inspire and create a source of identity career as an artist, as it portrayed a new with the cause. Perhaps the best known vision of African-American women late in example, the civil-rights era anthem, We the Civil Rights movement. Shall Overcome, became a kind of “litany Art as Empowerment against fear” (Payne, 1995, p. 263). The Even in cases of extreme deprivation song’s powerful connotations of freedom and oppression people have shown an and justice now belong to the world; it has amazing capacity to resist dominating forces. been sung by Germans at the fall of the Resistance often takes the form of folktales, Berlin Wall and at Tiananmen Square by theater, jokes, folk art and songs (Scott, Chinese protesters. 1992). These hidden social transcripts have Visual artists utilize codes and conven- cultural impact and become a force within tions of their time that communicate more any movement. As resistance becomes more than verbal text. During periods of social overt the arts offer a means to solidify and unrest the arts can set an emotional tone take responsibility for enacting social change. and move activist participants or their -au From the early 1970’s through 1989

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9 General Augusto Pinochet began a repres- historical like the migration series sive regime in Chile and attempted to (Mattson, 2010). Lawrence found primary silence all opposition. During his reign of and secondary accounts of the early 20th terror any person perceived as a dissident century movement of African-Americans was abducted from his or her home and to northern cities and created artworks never seen again. Nearly 10,000 people that deconstructed his contemporaries’ disappeared. The mothers of these victims idyllic view of the migration. Lawrence’s used their traditional roles as moth- paintings correlated with the Negro His- ers to protest the regime by organizing tory movement that produced Harlem’s sewing workshops to create arpilleras, a Schomburg Collection of resources and traditional Chilean tapestry, to tell their became historical narratives and secondary stories of government violence and atroci- historical sources. ties and to call for justice. The Catholic The arts express the values and mes- Church supported the women by helping sage to social movement opponents and them smuggle the arpilleras out of Chile undecided bystanders. Artistic forms often to exhibitions and sales. The work of the speak across boundaries of age, class, mothers brought international attention to region and even ideology. Public muralist, the human right abuses in Chile (Agosin, Judith Baca, directed community youth 1989). The images not only served to tell in the Great Wall. The groups of the world of the atrocities but also gave an Asian American, Native American, Afri- unexpected voice and power to the grief can American, Anglo, and Chicano youth stricken mothers. studied and painted scenes of revisionist A similar movement occurred in Ar- history of Los Angeles. The mural stories gentina, where the Mothers of the Plaza de weave together stories of race, gender and Mayo wore white handkerchiefs as scarves class with humor and authenticity. “The on their head, with their child’s name em- entire story of multiple intersections, and broidered onto the white material (Bonner, the power system at its core, must be 2007). The Argentina mothers organized addressed if a radically democratic, truly weekly silent marches around Buenos multicultural society is to become more Aires’s Plaza de Mayo to call attention to than a glittering promise” (Reed, 2005, the atrocities of the government. The em- p. 128). Many in Chicano communities blem of the white scarf is still used today continue to strive to maintain their identity in Argentina as a symbol of resistance and while engaging in larger social networks solidarity in activist art. that support equity in economic, cultural Constructing art forms empowers and political power. artists to feel their own commitment to a Enacting Movement Goals movement or ideology more deeply. Artists The arts not only can support activ- like Jacob Lawrence often did an extraordi- ist goals, sometimes they directly achieve nary amount of research before beginning the goals and purposes of a movement, as

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10 eco-activist art helps restore an ecosystem. ethnic heritage. Artists today continue to Artist, Lynne Hull, (Anderson & Milbrandt, use guerilla tactics to break through the 2005) constructs habitats for animals clutter of media noise and routines to endangered by human’s destruction of the make a visual statement of resistance. environment. Her work directly addresses History and Identity an environmental concern and is used to Artists often invent, tell, and retell inform others. histories, some autobiographical, that Today film and digital images are attempt to depict historical stereotypes increasingly popular media for presenting or assumptions have shaped collective convincing arguments for change. While memory and identity (Desai & Hamlin, not presenting himself as an artist, Al Gore 2010). Unlike texts seeking to objectively combined his Power Point presentation of portray historical accounts, contemporary ecological disaster with images of melting artists often use imagery to convince and glaciers and scenes of New Orleans in the persuade. Contemporary artists challenge aftermath of Hurricane Katrina, to convey and reframe our understanding of history his concern for the environment in the by depicting individual stories that disrupt film documentary, An Inconvenient Truth and discredit the grand narrative by reveal- (David, Bender, Burns, Chilcott, & Guggen- ing its omissions and biases. Images by art- heim, 2006). Visualization of the impact of ists like Kara Walker represent the untold human systems on the environment was oppressed stories of slaves that challenge presented as a persuasive argument for the popular narrative of the genteel South changing our individual and collective eco- (Mattson, 2010). Ironically, to depict kitsch logical footprint (Mirzoeff, 2009). While parodies of historical romantic vignettes, not taking direct action on the environ- Walker cuts large black paper silhouettes; a ment Gore’s work has been highly effective method previously associated with genteel in curtailing industrial practices impacting portraits and romanticized landscapes. global warming. While Gore has talked “Walker’s works are controversial among about the dangers of global warming for viewers of all races and have provoked de- many years his film seems to have best bate about how to represent the history of conveyed the seriousness of the issue and slavery in the United States” (Robertson & moves people to action. McDaniel, 2005, p. 57). Walker’s work tells Feminist artists such as the Guerilla stories about slavery in the anti-bellum Girls also used direct resistance tactics to South that range from humorous to outra- anonymously raise awareness of museum geous and sad. Walker suggests that some biased practices (Anderson & Milbrandt, images irritate serious social re-construc- 2005). The performance tactics eventually tivists, who do not appreciate her humor, had a direct impact on targeted museums and she questions the responsibility and and galleries resulting in exhibitions by ability of artists to deal with issues of social women and artists of diverse racial and justice alone (Walker, 2010).

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11 The work of Brazilian artist, Adriana increasingly fluid and varied concept social Varejao, re-tells the story of Portuguese movements are likely to continue as a colonization of Brazil, often using the source of identity. metaphor of cannibalism as a cultural alle- Setting an Emotional Tone gory to depict the Brazilian absorption of a Art works have been created with foreign culture while maintaining their own the intent of establishing, rejuvenating or (Robertson & McDaniel, 2005). The violent diffusing an emotional tone within a social imagery used by Varejao reveals that the movement. One of the most powerful and absorption of culture was not without pain emotional visual reminders of the AIDS and struggle. Contemporary artists’ re- pandemic is the AIDS Memorial Quilt. To- constructions of history often challenge us day there are more than 44,000 three-by- to a better understanding of the present. six-foot panels have been sewn together The re-telling of history through presenting into a commemorative community art- multiple viewpoints is critical for revising work, with each panel designed to honor the historical record, but more importantly the memory of a loved one who lost their for the construction of identity today. life to AIDS (The History of the AIDS Quilt, Reed (2005) insists that while identities are Names Project Memorial Foundation, The not “frozen forms,” they all are “collective AIDS Memorial Quilt). The Memorial Quilt and that social movements are among the has key forces transforming/creating new cul- redefined the tradition of quilt- tural identities” (p. 308). He continues: making in response to contempo- The move from print to broadcast me- rary circumstances. A memorial, a dia to networked computing and other tool for education and a work of new media has shaped identity general- art, the Quilt is a unique creation, ly and movement identities specifically. an uncommon and uplifting re- Alongside and entwined with new me- sponse to the tragic loss of human dia, movements have been major forc- life. …. The Quilt was nominated es in the creation of the contemporary for a Nobel Peace Prize in 1989 emphasis on identities….The inherent and remains the largest commu- paradox is that “identity politics” can nity art project in the world. (p. 1) exist only when identities are in ques- tion. Identity becomes an issue only Art works have also been created with the when it is no longer presumed, intent of bringing a sense of closure to old taken for granted. (Reed, 2005, p. 309) wounds and discord, thus commemorat- ing the event. Among the most well-known Another author, Sidney Tarrow (1997) examples of contemporary commemorative argues that social movements will con- art are the Vietnam War Memorial by tinue to play an important role in defining Maya Lin and the Civil Rights Memorial by collective identities. While identity is an the same artist (Storr, 2001). Both were in-

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12 tended to honor those who gave their lives independent groups, often against the to their country’s greater good, but the desires of the government. As an art- racial heritage of Lin sparked controversy. ist Holzer has asserted a right that all Maya Lin’s work was challenged when citizens have, and re-imagined these citizens became aware that an unknown documents in a truly public way.” Asian artist was creating a memorial to an (Desai, Hamline & Mattson, 2010, p. American war in Asia. By the time Lin was 105-106) commissioned to create the Civil Rights Memorial she was a well-known sculptor, Holzer raises issues about the image but some critics still felt that a black artist of our country abroad and the Consti- should have been selected to construct the tutional right of all Americans to access Montgomery memorial. Once viewed by information about our government and the public each commemorative artwork the right to free speech. In a similar vein, evoked strong emotion and healing for the The Freedom of Expression National audience, raising the message above its Monument by Erika Rothenberg, John contextual detractors and serving to har- Malpede, and Laurie Hawkinson was monize social tension and national conflict. constructed in Foley Square in New York Critiquing Social Movements City from August 17- November 13, 2004. The arts often challenge dominant The traditional concept of monument was ideas, values, and tactics of a society and re-conceptualized to a participatory space also social movements, and their tenden- for people to verbalize their concerns cies toward dogma, by evoking emotions about the government by speaking into a and meanings not easily reduced to nar- large red microphone. The art work both row ideological terms. Artists explore the depicts and attempts to address the “real tensions and boundaries of public and divide that many people feel from the private space. Jenny Holzer recently cre- systems of power and decision making ated a series entitled, Redaction Paintings, in the United States” (Desai, Hamlin & in which she presents individual pages of Mattson, 2010, p. 102.) While a number declassified documents. of individuals expressed strong opinions The process of redaction allows the and concerns, the reality of their voices government to withhold details of actually impacting change illustrates the documents that: have been placed contradictions of the democratic ideals in the public record according to the presented in the Bill of Rights, and the Freedom of Information Act assed realities of the process of a representa- by Congress in 1966. Holzer’s use of tive democracy (Desai, Hamlin & Mattson, these documents is a very self-con- 2010). scious act of further publicizing and Diffusion and Defusion dissemination information that has The power of these functions of activ- been requested by citizens and ist art can be further distilled into two

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13 primary roles of art in social movements Creating Activist Art in the and on society; diffusion and defusion Art Classroom (Reed, 2005). Through engagement of our Each semester I ask my art education emotions, activist art can communicate, methods students to work in small groups support and extend the message of the to create an installation that persuasively social movements across society. Certainly comments on a social issue of their choice. not every contemporary artist uses their Last year instead of asking students to se- artwork as an avenue for activism, but the lect their own topic for a small group instal- art work of many contemporary artists lation everyone in the class addressed the does serve to critique, defuse and diffuse same issue. This change came because of the message of social movements. The a topic that arose during a special service voice of the artist becomes a catalyst for project. exploration of issues within society that Our pre-service art education class can open avenues for dialogue and a diffu- partnered with a high school in the metro sion of ideas in a non-violent manner that Atlanta area with a school population that supports and encourages engagement in is 85% Latino. I worked with a faculty democratic ideals and processes. member designated as the Freshman Team Once symbols and images used in Leader to develop a project for a group social movements, such as peace symbols of 70 students who seemed “at-risk” for or Afro hairstyles, are seen as unthreaten- dropping out of school based on their ing they became appropriated and defused attendance record and grades. Many of in the larger society. While the original the students we worked with came from context of the symbol is lost the movement homes where only Spanish is spoken; in becomes further embedded within our col- their high schools gangs are predominant lective history and culture. Cultural move- and students routinely drop out of school ments have the most impact when they are at age 16. diffused into larger society in a less overtly For part of the project the art educa- ideological way, but lose their impetus tion students led at-risk students in the when symbols of change are defused in- creation of a collaborative woven mural. discriminately (Reed, 2005). Thus defusion For the mural imagery the high school and diffusion of imagery and symbols not students were asked to visualize and paint only communicates across society during their goals for the future. The high school a social movement, but through time. The students also toured Georgia State Univer- meaning and power of images and symbols sity and attended a ropes challenge course of one generation may radically evolve facilitated by GSU faculty designed to build and change as new generations view the trust and camaraderie. images in the context of different experi- During the course of the project ences, environments, and values. the GSU students discovered that in the state of Georgia each institution of higher

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14 in Georgia because of the current laws that prohibit her from receiving financial aid. She’s very unsure of her future. This is a very demoralizing situation throughout this school and community that wastes human potential and ultimately erodes society. After working with the high school students, researching and discussing the issue, GSU pre-service teachers con- structed installations around the topic of undocumented immigrants’ access to The Georgia State University Ropes higher education. This was an emotionally Challenge Course is designed to promote charged and complex topic for most stu- trust and team work among participants. dents to address. Students discussed their The freshmen high school students who ideas within small groups and developed participated in the program were cohesive statements for their installations. considered “at risk” and some were known to be members of rival gangs. Based on their discussion, two student groups constructed installations that ad- education can decide who they admit, but dressed the injustice of an educational even if admitted undocumented students system that claims to prepare all students are charged out of state tuition and denied to realize their dreams and then blocks financial aid. Denying access to financial their access to that system. In one instal- aid prohibits most undocumented students lation the false promises for education and from entering Georgia colleges and univer- a bright future were illustrated by hanging sities. Our small partnering high school has a carrot and over an enlarged inauthentic a total school population of around 800 high school diploma that blocked access students; 500 of those students are undoc- to further education. In another instal- umented residents. The longer we worked lation art education students raised the at the school the more stories of heart- questions “What does it mean to be an break and frustration we heard from not American?” “What are the most important only students, but also from teachers and attributes that define being an American?” administrators. One particularly touching and “What are the responsibilities of the story was about Anita, who wants to be an ruling majority in a democracy?” This was art teacher. She is president of her senior an interactive installation that invited view- class and the art honor society in her ers to contribute comments by writing on a school. She is at the top of her class with large wall space. The invitation to respond a 3.9 grade point average and she works provoked a lot of discussion in the hallway part time to contribute to her family’s and written comments from participants. income. Anita can’t afford to go to school These classroom experiences may be

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15 ing the immigration topic gradually defused as students discussed the controversial topic and constructed a work of art. As the students found ways to resolve dif- ferences in opinions within small working groups they created a message that was dif- fused to a larger audience. The artistic pro- cess allowed the students to take a stand on an issue and have a voice, individually empowering, and collectively expressing their concerns. This process eventually elicited more questions about the issue. Although a solution to the immigration issue was not found, and little consensus within the large group was reached, the difficulty of grappling with complex social realities demonstrated the multi-layered nature of contemporary issues that require a citizenry willing to move past initial re- sponses to solve problems. Students began One installations questioned the validity to understand why some contemporary art of a high school diploma for students who simply raises questions or communicates may have grown up in the United States as ambiguity. Answers or solutions are not undocumented immigrants. always immediately found. Based on their Even when students earn a high school comments many of the students will con- diploma they may not have access to the further education needed to achieve their tinue to investigate the complexities of the dreams. immigration issue. As previously mentioned, during the perceived as activist art, or perhaps trans- GSU mural project the high school students formational activism. The term “transfor- also changed, becoming more open to mational activism” suggests that people discussing their problems and consider- need to transform on the inside as well on ing ways that they could better support the outside in order to create any meaning- each other in reaching their goals to stay ful change in the world (Scott, 1992). As I in school. Transformational politics guide listened to Georgia State pre-service teach- participants to look inwardly to define their ers share their ideas and attitudes about view of true power (Scott, 1992). Develop- this aspect of illegal immigration I noticed ing deep connections to others taps a new changes in their comments and discussion. sense of belonging and trust. This supports The impatience and initial anger surround- power structures that are not over some-

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16 one, but rather power to unleash collective students with “a way to practice the arts of creativity in constructing or re-conceptu- consideration and taking a stand…the arts alizing society. Transformational activism are the foundation of democratic citizen- supports looking for common values among ship and personal development” (Matt- members and then negotiating relation- son, 2010, p. 18). The challenges of living ships that are productive and satisfying to peaceably in a diverse community require all. In the process one or both parties may opening the minds of residents to new find their inner landscape and paradigms ideas, diverse cultural practices, and the changing (Kriesberg, 1992). re-constructed historical perspectives that can ultimately build more productive social relationships, including the democratic practice (Giroux, 2003). Social movements alter cultural codes that bring about social change. While the arts transmit traditional cultural mores important for maintain- ing social order, they are also an essential component of social movements that call for personal and collective social transfor- mation. Paradoxically, while works of art can be put to political ends aesthetic texts cannot be reduced to only political mean- ings. If arts are to critique and transcend During the final phase of the project ideology the conflict between politics and Georgia State art education pre-service art must not be solved (Reed, 2005). teachers worked with high school students to create a woven painted mural. As a society we need individuals with Each student painted their goals on a strip the will and passion to purposefully critique of heavy paper. the actions and assumptions of society in The strips were then woven together to works of art. Facilitating change within symbolize the importance of each society is an ongoing function of the arts, individual’s contributions and support to the overall success of the group. through works of literature, music, and the visual arts, including digital media. Looking Conclusion and thinking critically about contemporary Sustainability of the democratic visual art prepares students to become process is based on the ability of individu- more thoughtful of the messages commu- als to develop their voice, exercise their nicated and the power of those images to liberties in responsible ways, and routinely shape a socially just and equitable society. adapt to changing leadership in policies and As students understand the relationship of government. Thinking critically about the the arts to contemporary social movements arts and their historic contexts may provide they may better understand how imagery

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17 can signal the need for social change or justice and motivate personal and collective trans- formation in ways that maintain social stability by defusing conflict and diffusing multiple perspectives.

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