Ensemble 13

More Displacement? ... Local Partnerships?

2014-2020
Each drawing: 60"x40"
Tableau: 90"x150"x2.5"

Ensemble 13 highlights boards from the siding of the 16 foot high façade of a “Charleston single” house, built at the City Gallery at Waterfront Park for the art project conNECKted: Imaginings for Truth & Reconciliation. Capscrews keep them separated from the canvases. Texts were carved with the help of conNECKted apprentices. Their authors are African American participants who openly challenge White authorities. Their names are stamped on the boards.

Many more thoughts were expressed during 18 interviews, 12 focused conversations, 8 I-statements and numerous 1mn recordings at the end of each of our meetings.

Within the show more was vented in a Book of Grievances and a Register of Dreams; on sticky notes on the Youth Wall; at the Honoring Lives Booth; during the Saturday mornings Question-Relay sessions, and signing three different Petitions.

People wrote and wrote, they were not pushed to write. They also touched, and touched everything, although they were in a pristine gallery space. They were not pushed to touch.

There lie the grassroots voices and the spirit of THE CHARLESTON RHIZOME COLLECTIVE, sprouting from accepting challenges, and the dynamics of collaboration.

Years of attempts … never over … then … conNECKtedTOO … and now … TINYisPOWERFUL … who are we/am I as artist(s)?

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The mass of CRUSHED PAPER is a collection of mailed bank and credit card envelopes or advertisings.

A WALLPAPER was printed from 100 handmade postcards carrying the remarks of MLK Day marchers and then sent to Mayor Tecklenburg, one a day for his first 100 days of his first term in office in 2016.

conNECKted: Imaginings for Truth & Reconciliation was a three years adventure (2015-2017). It sought to appeal to multiple audiences by involving them in the conception, the process and the making of the artworks. Charleston City Gallery attendants counted 3,685 visitors. A really good number they said. And many People of Color were part of the count.

Daily records show that the least attended gatherings were the ones which proposed conversations between Artists and Activists. What did we do wrong? There seems to be a cultural misconception, around very easily coded words like Artists and Activists or Art and Activism. And could the historical/touristic nature of the neighborhood be the reason? Or …

. Is it still very hard for artists to get out of the traditional European framing of the visual arts that has been challenged so strongly since World War Two, and before as well?

. Is it still very hard for activists to not see artists as only publicists of their cause?

Will Hamilton with Best Friends of Lowcountry Transit was a remarkable exception.

Three PETITIONS were initiated and sent to the County and City Councils.

The ROBERT SMALLS petition encouraged citizens to be responsible for writing their own history, lest they lose their sense of history, identity, belonging … and not let substitute academics or luminaries write it for them (see Ensemble 11).

The GERALDINE BUTLER petition called for justice, as a fifth generation Charleston citizen experienced strong pressures to abandon a large piece of her family property and history.

The CULTURAL IMPACT petition proposed a requirement for developers and institutions to be more aware of the cultural damage they do to Charleston neighborhoods.

Maps – painted by Kristy Ryba and Sabrina Jeffcoat – cover the “IMAGINATION TABLES” built with apprentices and youth. They combine one from 2017 and one from the 60’s (before the construction of the Crosstown expressway).

During public sessions the issues above were approached using formats like Questions/Relay, Story Circles, Critical Response that allow inclusive sharing. In their midst we imagined a future for diverse communities in Charleston, strengthening a universal sense of belonging and opening to a future of hope and peace. We call such an enterprise IMAGININGS FOR TRUTH AND RECONCILIATION, “the truth of history and the reconciliation of memories.” ArtSpot Productions from New Orleans, organized two days of workshops

Meandering through a maze of banners (see Ensemble 3), HONORING LIVES Through the Eyes of My Soul: every day a sound device is available to record memories of those no longer with us. They are played back the next day above the maze. Concept by Latonnya Wallace; Recordings management by Bill Carson. The moving sound machine was built in 1978 for the JEMAGWGA sound installation “The Running Dog” and reengineered here by Olivier Rollin.

VIDEOS IN VIEW: “Youth Questions“, “Parents Questions“, “Longing to Belong“, “INTERconNECKtivity“, “Experiencing Gentrification” ,”Mrs Geraldine Butler’s predicament“, “Mosquito Fleet history” with Captain Samuel Joyner. All edited from multiple Interviews. They are now archived at the Avery Research Center for African American History and Culture.

The bench was built by J’Mari Butler and Kanar Alexander during the 2016 apprenticeship program.

APPRENTICES Heaven Brisbane, Taylor Dawson, Pierre Gaudin, Kathy Graham, Allen Simmons, Dakevion Henderson, Zaïre McPherson, and Tyeshia Williams engaged in content, fabrication, presentations and docent work.

Other youth participation included PRECIOUS HANDS SUMMER (the group led by Pamella Gibbs, offered its responses to the Charleston Massacre. Students reproduced their original drawings on two canvas banners); JAMES SIMONS MONTESSORI ELEMENTARY (including the Elementary Lower grades for the banners and the Middle School Entrepreneurship class led by teacher Jennifer Savage, which were strongly involved under the leadership of Educator Pamella Gibbs and Artist Gwylene Gallimard); SANDERS CLYDE with “Cityscape” (an urban design program led by Ms Bobo. Built models were installed by La’Sheia Oubre and Debra Holt); MEETING STREET ACADEMY (students under the leadership of La’Sheia Oubre, wrote answers to questions that are often left for adults).

Most interviews were led and recorded by La’Sheia Oubre, Pam Gibbs, Gwylene Gallimard with Auzheal Oubre, Debra Holt, Jason Slade, Jean-Marie Mauclet, Donna Hurt and Latonnya Wallace. We have talked with and recorded Audrey Lisbon, Daly English, Mrs Hicks, Samuel Joyner from the Mosquito Fleet (see a previous bubble about it), Rob Dunlap from the New Mosquito Fleet (a temporary Charleston program) , Mr Backman from Backman Seafood, Barbara Bennett, Viviane Gordon owner of Arrow Cleaner, Vincent German and Gerald Bell, Loquita Jenkins, Charles Maker from Hannibal Kitchen, Geraldine Butler, John Chaplin, Deborah Bobo, Harriett Jenkins Simon with Millicent Brown, Norma Lemon from Island Breeze. Many meetings were recorded as well as shorter interviews with: Jennifer Bremer/Marc Jenkins/Sarah Morrison/Sarah Stewart from Fast & French Inc; Jennifer Saunders of The Stone Soup Collective; Evon Wigfall of the Low-Country Family Support Services; Carlton Turner formerly Executive Director of Alternate ROOTS; Chris Johnson of “Question Bridge” and Damon Fordham, a professor of African-American history.

Therese Shelton, Darryl Wellington, Kimberly Bowman and Celeste Cheers Mauclet offered specific texts. Many thanks to the ASSISTANTS of the “conNECKted” project: Anastatia Ketchen, Sabrina Jeffcoat, Olivier Rollin, Bill Carson and Educator Cara Ernst; to mentor Carlton Turner, now lead artist and co-director of Sipp Culture, ArtSpot Productions from New Orleans, Arlene Goldbard previously of USDAC, Poet Queen Christine, Gary Erwin of Shrimp City Slim, Wim Roefs of If Art Gallery and Will Hamilton of Best Friends of Low Country Transit, for the workshops and performances they led or organized. Most constructions were guided and/or manufactured by Jean-Marie Mauclet with Gwylene Gallimard.

Updates/ Comments/ Corrections/ Additions

EMAIL US TO ADD

TO THE COMMON SPACE

IN THE BUBBLES

Updates/ Comments/ Corrections/ Additions

Graffitis :  Partnership with whom? Prosperity for whom?

Those 2 questions came to the Collective from studying an official planning document for our region. Many of us were feeling excluded.

Updates/ Comments/ Corrections/ Additions

“conNECKted” launched three petitions:

The ROBERT SMALLS petition encourages citizens to be responsible for the writing their own history, lest they lose their sense of history, identity, belonging … and not letting substitute academics or luminaries write it for them.

(227 signatures)

 

The GERALDINE BUTLER petition calls for justice, as a fifth generation Charleston citizen experiences many pressures to abandon a piece of her family property and history.

(162 signatures)

The CULTURAL IMPACT petition, where the ownership of historic land intersects with the writing of history itself and may force upon a community the duty to affirm its self worth against the boorish pressures of gentrification, presented as inevitable, ”just like daily change” … although the bitter end of the process always befalls the same racially, economically, educationally disadvantaged social groups. It requires developers and institutions to be more aware of the cultural rights of Charleston neighborhoods.

(231 signatures)

 

Updates/ Comments/ Corrections/ Additions

ADOPT A CULTURAL IMPACT STUDY. Community development policy is marred by a widespread proclivity to see communities of color and low-income communities as disposable in the face of economic “progress.” Longstanding neighborhoods and cultural and social fabric are demolished to make way for new freeways or sports stadiums. Longtime residents are displaced by gentrification. The disturbing fact is that culture has no legal standing in such decisions, no grounds for protection.

We call on all agencies and organizations with public planning responsibility to adopt a Cultural Impact Study (CIS) for every project with potential negative cultural impact, assessing impact on cultural fabric just as do Environmental Impact Studies with respect to the natural environment.

  In 2024 in Charleston, I felt it necessary to design a new poster. Martha Lou operated a soul food restaurant for 37 years in downtown Charleston and the iconic building was demolished. The opportunity to keep it as a historic Charleston African American reference was lost (see Ensemble 15). But a tree was saved!

Updates/ Comments/ Corrections/ Additions

THE MEN OF THE “MOSQUITO FLEET”         

Rewritten and revised by Auzheal ‘KC’ Oubre’

  Colonial Charleston’s fishing industry was heavily dependent on the work of enslaved boatmen who were allowed by law to own their own vessels. These skilled boatmen brought fish-catching and boat handling skills from West Africa. Many early boats were cut from large cypress logs 20-35 feet in length and were propelled by sail made of hand-made blankets and quilts. Fishing gear was simple but efficient. Hand lines with hooks were used in near offshore waters while lines with 10 to 12 hooks were used in deeper waters. Shrimp was the most common used bait. The term “Mosquito Fleet ” was derived from the appearance of the vessels multicolored patchwork sails on the distant horizon which resembled a swarm of mosquitos.

   The origin of Charleston’s Mosquito Fleet is obscure. The devastating hurricane of 1752 destroyed many fishing crafts. During the Revolutionary War, American and British troops obtained provisions from entrepreneurial enslaved fishermen who were allowed by their masters to leave the plantation to fish. In 1770, the South Carolina Legislature acknowledged that the business of fishing was principally carried on by Negros, Mulattoes, and Mestizos. On March 29,1788 Charles Cotesworth Pinckney, a state legislator and property owner along with others, agreed to deed to the City Council of Charleston land between the channel of the Cooper River and Meeting Street for construction of a 100 feet wide street. It was to establish a public market for the purpose of vending all sorts of poultry, game, fish, vegetables, and other provisions. The market was built and its location was an open passage point to the Copper River.

   In 1796, an enslaved boatman named Will Lining saved St. Philips Church and was rewarded with his freedom along with a boat and nets. Will became one of the early fleet captains. Launching from areas along the Cooper River near the public market, these black men sailed miles out to sea without compasses or maps. The fishermen would go out together as what became known as the “Mosquito Fleet”. The fishermen welcomed the treachery of the open sea which offered an unparalleled sense of freedom and accomplishment.

   By the mid-18th century, prior to the Civil War, the Mosquito Fleet was comprised of freed Negros, enslaved men who purchased time from their owners and enslaved men fishing for their owners. After the Emancipation Proclamation came into effect in 1865, a large number of Freed Black Men were in a position to choose their own profession and fishing became a way of life for many. By 1880, as many as 50 vessels made up the Mosquito Fleet which consisted of over 300 fishermen who organized a union to care for the sick and to bury the dead.

  Throughout history, the Mosquito Fleet experienced many disasters. Storms often appeared too quickly for boats to reach safe harbor. In 1901, an unexpected storm caught the fleet of the Isle of Palm and resulted in the loss of 3 boats and 15 souls. Between 1900 to1935, a total of 57 crew members loss their lives to the sea pursuing their love and livelihood. A 1940 hurricane destroyed nearly the entire Fleet as well as the Market Street Wharf. The Market was rebuilt but the Mosquito Fleet never recovered.

   In 1930, the US Government recognized the Mosquito Fleet as a Unit and addressed it’s oldest Captain, William Johnson, as Commodore. World War ll resulted in a number of younger black fishermen accepting high paying employment opportunities at the South Carolina States Port Authority and the Charleston Navy Shipyard. Bigger and more efficient refrigerated vessels were constructed after the war and states started commercial fisheries. Some of the fishermen were hired on those vessels as crew members. By 1950, the Mosquito Fleet no longer existed although individual fleet men continued to fish and trade.   

The ‘Mosquito Fleet’ was an integral part of the fishing community and contributed substantially to Charleston’s appeal and charm. The fishermen were a respected and appreciated segment of the community because their way of life was a microcosm of American values and attitudes. Collectively they represented a highly reputable group of intrepid fishermen who toiled for an honest living, loved their families and simply enjoyed living their life. It’s important to note that, at a time when Black Men were first property, counted only as 3/5 of a person, the Men of the Mosquito Fleet were not only respected but acknowledged as great fishermen and businessmen by the American and British troops, the South Carolina Legislature and the United States Government.

Listen to the story of the Mosquito Fleet as told by Captain Joyner (the blue seat). And hear a little bit about the women who supported the fishermen.

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