Mr. And Mrs. Mallard live near the Boston area of Massachusetts. Mrs. Mallard is due to have children, a group of several young ducklings, quite soon, so she and Mr. Mallard undertake the task of finding the ideal spot to make a home and raise their young flock. While scouring the landscape for the perfect place, the Mallards–Mrs. Mallard in particular–take into account two key qualities they believe denote an acceptable place to raise children. First, they need to find an environment with all the factors a duck needs to survive: water for swimming, food to eat, and land on which to nest. Second, the duck’s home must be safe, protected from all threats the Mallards believe to be particularly dangerous and impossible to abide. In doing so, the Mallards undertake the sacred task of the (most often human) parent, that is, to protect children from all possible avoidable harm as a matter of parental duty and necessity and as the only way to ensure the survival and wellbeing of offspring and safeguard said offspring from the danger of uncontrolled forces. In the short term, this course of action does accomplish the goal of keeping young ones safe and avoiding unnecessary injury or loss of life, but in the long run can prove detrimental to child development and hinder a child’s, or duckling’s, ability to properly asses risk and analyze sources of danger. Therefore, one cannot help but question whether the Mallards of Robert McCloskey’s Make Way for Ducklings, in carefully selecting a site to nest, truly do what is “best” for their ducklings.

Hi everyone, 

I wasn't able to talk about my art project & artistic response to the Shonibare exhibit in class yesterday, so I'm posting my thoughts here. Like Sarah, I had a harder time thinking of an artistic response to the Shonibare exhibit. I really enjoyed it but was stuck on thinking of an isolated artistic response to it, so I decided to use my reflections & thoughts to build on the project I began thinking of after the trip to Tinicum. I walked away from the class after Tinicum not only as an Eco-Warrior but feeling very good about my project as well as the feedback and suggestions I received. Just a reminder, last week I talked about making a mosaic/collage using the photos I had taken at the wildlife refuge. 

Something that I was really struck by at the Magic Ladders exhibit was the way books were incorporated. I kept thinking about how books informed colonizing leaders, how books and what Shonibare read may have informed the way he designed this exhibit, and how what I've read throughout the different 360 classes is informing how I perceive and experience the different places we've visited. So, that gets me to my next point of continuing to work on my mosaic, adding photographs from the different places I go, but also quotes from different texts that have particularly resonated with me and have shaped my experiences in Camden, at the Wildlife Refuge, and at the Barnes Magic Ladders exhibit. 

So, here are some of the quotes I plan on weaving into my final mosaic project: 

on friday, sara and i shared an over-the-top experience in our current 360, which led us--curiously, curiously--
back to the fund-raising this group did in November. for the backstory, see Dutch wax fabrics, conceived ecologically....

I have to admit it, I was seriously dragging my feet on Friday. There were TOO MANY OBSTACLES. I knew that the universe was telling us to GIVE UP. By 10 am, I was certainly ready to--and I kept telling Ava and David, for the next two hours, that they were trying too hard to make something happen...

and then I was so glad that they did! (I'm also glad, aphorisnt, that you did NOT swerve--who knows what might have happened then....?!?)

I was so surprised and delighted by the Shonibare exhibit, when we finally arrived @ the Barnes Foundation: I was grabbed first by the whimsy, by the color, and also as immediately by the complex representation of colonializing educational practices. Like others, I was particularly struck by history of the Dutch wax textiles, so I did a little more reading on The Curious History of "Tribal" Prints: How the Dutch peddle Indonesian-inspired designs to West Africa. What strikes me most in this account is how "ecological" it is--that is, how demonstrative that "everything is connected," not just biologically, but culturally and commercially (really? I think there's an Econ project lurking close to the surface here: see the web site for VLISCO,  which offers free delivery to Africa....).

A few lines from the Slate article, which highlight these interconnections:

Shonibare's Magic Ladders exhibit at the Barnes Foundation was incredible, interesting, and thought provoking. I was particularly struck by the way books from Albert Barnes' own collection were incorporated in the exhibit--especially how they were used as rungs on the ladder. I was thinking about colonialism and education, and how perhaps the books on the ladder represented the fact that it takes a certain kind (Western/colonial style) of education and specific books for someone to be deemed educated & enlighened. It was also interesting how the books were also on the desks where headless mannequins were sitting. What does this say about the adults who receive the Westernized/colonial education? 

My favorite part of the Shonibare exibit was the piece Scramble for Africa, the one with the big wooden table with men seated all around it. I felt so strongly the emotions felt by all the headless men in the room, the desparation of delegates from different European countries (and America). I could almost empathize with their feelings of need for control of the colonies of Africa. I was reminded of how I felt as a child, dividing up toys between me and my friend, and so strongly wanting my fair share, wanting justice. Except of course that in this situation, justice is impossible, and this debate which feels so real to those men, and to viewers of the piece, fails to make real the millions of people it concerns. So many lives swung in the balance of this argument, and yet those men in power felt none of them, only their own needs. It would be easy to call them greedy, to call all powerful white men greedy, and perhaps many are. But Shonibare's piece gave an interesting perspective, one that in my anger over privilege and oppression it is easy for me to overlook. This doesn't mean that these men (and the countries/societies they represent) can be forgiven for claiming control of lands and people that they had absolutely no right to, but it is helpful for me in thinking about motivations behind oppression.

Although I didn't get the opportunity of going to the Barnes Foundation to experience Shonibare's exibit, watching just the video made me really interested in his work. His collections aren't just about self expressions, they're about melting both, having the priviledges of a white man as well as having the freedom of and right to critique them. As the video played, and I explored a few more images of his work and the more I saw the more I built on the idea of building on our connections. Shonibare, himself identifies as both European and African and freely uses both identities to create what his mind unravels. Like him, I believe that I shouldn't have to choose one identity to identify who I am. I am Mexican- American, which means I am not only moving forward and adapting to the "american life" but keeping the threads that keep me tied to my physical attributes. I can be a part of this modern society and enjoy it but at the same time I can have the freedom of enjoying not having my phone and listening to Have you ever seen the rain by Creedence Clearwater Revival on blast as I lay away in the backcountry. I can be both and enjoy both quite equally, I shouldn't have to feel forced to choose which defines me more. 

Shonibare's work is all about being among the abyss and not feeling stressed or chained to a perspective you must believe and stick to forever. It's about fighting among all the disadvantages and yet managing to stick your head above the current and enjoying the sun's rays as they glisten on your face. 

Shamial

2/15/14

one of my brother-in-law environmentalists, who monitors ClimateWireNet, forwarded me this news item. i share it with you as a contribution to our conversations about how to have these difficult conversations. how does the religious language of evil work in the context of discussion about climate change? (of course the Church of England is also thinking of using the language of economics, as it discusses pulling the church's investments out of fossil fuel companies...)

Church of England battles 'great demon of our day,' climate change  (Friday, February 14, 2014)

The Church of England has threatened to terminate its investments in companies that aren't making efforts to mitigate climate change and thus disregard the church's moral, social and theological ideals.

Steven Croft, the bishop of Sheffield, referred to climate change as "a giant evil, a great demon of our day," adding: "Its power is fed by greed, blindness and complacency in the present generation, and we know that this giant wreaks havoc though the immense power of the weather systems, which are themselves unpredictable."

While the church's Ethical Investment Advisory Group has refused to pull the church's money from fossil fuel companies, its deputy chairman told the General Synod that it was contemplating "all options" in developing a future investment policy.