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The Mural Art of Resistance in Oakland, California

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The Mural Art of Resistance in Oakland, California THE PAINT MARKS THE PLACE: THE MURAL ART OF RESISTANCE IN OAKLAND, CALIFORNIA NARMEEN S. HASHIM A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2016 © NARMEEN S. HASHIM, 2016 ABSTRACT The Paint Marks the Place: The Mural Art of Resistance in Oakland, California In the context of both historical and current urban redevelopment schemes in Oakland, California that displace black, brown, and indigenous peoples, businesses, and communities, I examine the work of mural artists and activists to resist erasure and mark belonging. Specifically, this research explores the relationship between the practice of intentional community mural-making, projecting narratives of culture and resistance, and geographic concepts of place-making, and sense of belonging. The research was conducted through a critical feminist anti-colonial methodological process of artography. Through semi- structured in-depth interviews with artists, residents, and community activists, photography, archival media analysis and a case study of the Madre Maize (2012) mural by the Community Rejuvenation Project crew, I uncover how the process of mural-making is a means of place-making by allowing some of the most societally marginalized to author the landscapes in which they dwell, work, and live. This thesis argues that intentional community mural art is a means of counter monument, community justice, and an act of decolonization through embedding a decolonial aesthetic in the fabric of urban landscapes, uncovering hidden black, brown, and indigenous geographies and contributing to larger movements of social justice making. Key words: Oakland, artography, public art, mural art, place-making, resistance, decolonial aesthetic ii ACKNOWLEDGEMENTS A very special thank you to Dr. Alison Bain for holding up the green light to this research, and being a supportive supervisor over the entire course of the study. To the colour warriors of Oakland for inspiring me daily by holding up truth and fighting for justice by every means necessary. To the fam at the Peoples Grocery, for sharing and teaching with generosity and grace. To Desi and Saqib for being both mentors and a guides. To my soul sistars who know their place in my constellation, for believing and holding space. To Dr. Linda Peake, Dr. Ranu Basu, and Dr. Brian Ray for being strong allies and making sure my critical mind and complex skin felt both place & belonging in the discipline. To my parents Fatima and Shoukat Hashim for giving me wings and permission to fly in the direction of my intellectual dreams. To my loving partner, comrade, and husband Isfandyar for never giving up and never letting me either. Thank you all for your inspiration, care, and support. I hope this work is the beginning in a series of documentations of the people’s history and artful acts of courageous resistance. iii TABLE OF CONTENTS CHAPTER 1: THE PAINT MARKS THE PLACE: THE MURAL ART OF RESISTANCE IN OAKLAND, CALIFORNIA .................................................................................................................. 1 PUBLIC ART (MURAL ART) AS SYMBOLIC RESISTANCE AND MEANING MAKING ..................................... 3 SENSE OF PLACE AND IDENTITY AS AESTHETIC EXPERIENCE ................................................................ 6 A CRITICAL GEOGRAPHIC LOOK AT THE POLITICS OF PLACE-MAKING .................................................. 7 POWER AND RACE IN THE URBAN LANDSCAPE ...................................................................................... 8 DECOLONIZATION AND ART-MAKING .................................................................................................... 9 CHAPTER 2: METHODS BLURRING THE LINES BETWEEN RESEARCH AND LIFE .............. 13 PAINTED PLACES, SITES OF STUDY ..................................................................................................... 13 ARTIVISTS AND THE MAKING OF A RESEARCH PROJECT ...................................................................... 14 MURAL CREWS IN FOCUS .................................................................................................................... 15 THE COMMUNITY REJUVENATION PROJECT ............................................................................................. 15 TRUST YOUR STRUGGLE CREW .................................................................................................................. 17 A GLIMPSE INTO THE FIELD: TRIAL VERDICT, HEATED LANDSCAPES, AND MEMORIALIZATION .......... 17 POSITIONING: SAFETY PLANNING, PRIVILEGE, AND FEAR ................................................................... 21 SAMPLING PROCEDURES AND INTERVIEWS ............................................................................................... 23 VISUAL METHODS, ETHNOGRAPHY, AND DOCUMENT ANALYSIS .............................................................. 24 CHAPTER 3: RADICAL MURAL-MAKING IN OAKLAND, A LANDSCAPE OF POSSIBILITY FOR A PEOPLES PUBLIC DOCUMENTATION OF HISTORY ...................................................... 25 WHY STUDY RADICAL MURAL-MAKING IN WEST OAKLAND? ............................................................... 25 OAKLAND CALIFORNIA, NORTH AMERICA’S LAST RADICAL STRONG HOLD ......................................... 25 OAKLAND’S RADICAL HAPPENINGS 1800-2000 ......................................................................................... 26 THE MAKING OF BLACK GEOGRAPHIES .................................................................................................... 26 GENTRIFICATION AS A PRODUCT OF NEOLIBERAL URBANISM ................................................................. 30 A BRIEF HISTORY OF MURAL-MAKING IN OAKLAND ........................................................................... 32 THE 1950S AND 1960S: GUARDIANS OF THE MURAL ................................................................................ 33 THE 1970S POLITICS AND PAINT ............................................................................................................... 33 THE 1980S THE EAST BAY MURAL BOOM ................................................................................................. 34 THE 1990S PUBLIC FUNDING FOR PUBLIC ART ........................................................................................ 37 THE 2000S THE NOW OF MURAL-MAKING ................................................................................................ 38 INTENTIONAL COMMUNITY MURAL-MAKING AND MUNICIPAL PROCESS .............................................. 39 CONCLUSION ...................................................................................................................................... 41 CHAPTER 4 THE PROCESS OF MURAL-MAKING AS PLACE-MAKING TRANSFORMING THE SOCIAL & MATERIAL LANDSCAPE: ............................................................................................. 42 MURAL-MAKING TO RESIST GENTRIFICATION .................................................................................... 42 iv TYPES OF RADICAL MURAL-MAKING IN OAKLAND .............................................................................. 44 OAKLAND RADICAL MURAL ART CREWS ............................................................................................. 48 LOCAL AUTHORSHIP OF PLACE ........................................................................................................... 49 PROCESS OF MURAL-MAKING AS PLACE-MAKING ............................................................................... 50 COMMUNITY AUTHORSHIP THROUGH ONGOING COMMUNITY ENGAGEMENT ....................................... 52 MADRE MAIZE (2012) AND THE ‘FREE YOUR WAY’ GARDEN: MARKING AND ROOTING POLITICS INTO PLACE ................................................................................................................................................ 54 ‘IT WAS ALL A DREAM…’ THE ORIGIN OF THE MURAL PROJECT ........................................................ 55 COMMUNITY ENGAGEMENT: PLANNING THE NARRATIVE OF THE PIECE THROUGH RESEARCH AND FLEXIBILITY ....................................................................................................................................... 56 THE PAINTING PROCESS ..................................................................................................................... 58 A COMMITMENT TO INCORPORATING LOCAL VOICES, THE ON-GOING PROCESS OF COMMUNITY ENGAGEMENT .................................................................................................................................... 58 TRANSFORMING THE LANDSCAPE, NOURISHING THE COMMUNITY: THE FREE YOUR WAY GARDEN .... 59 CONCLUSION: PLACE-MAKING AS RESISTING DISPLACEMENT ............................................................. 65 CHAPTER 5 SYMBOLISM AND SENSE OF PLACE ...................................................................... 68 THEORIZING SYMBOLISM IN GEOGRAPHY ........................................................................................... 69 MADRE MAIZE: MURAL IN FOCUS ...................................................................................................... 71 SYMBOLISM OF THE MURAL ................................................................................................................ 73 GRAFFITI ART ...........................................................................................................................................
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