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"Place and space", Reuse and recycled materials, and meaning. Gees Bend artists infuse the every day essence of Gees Bend into their symbols, color, and shapes. Connecting children and families to noticing DC place and space within making.

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We come from the fire, living in the fire
Go back to the fire, turn the world around
We come from the fire, living in the fire
Go back to the fire, turn the world around

We come from the water, living in the water
Go back to the water, turn the world around
We come from the water, living in the water
Go back to the water, turn the world around

We come from the water, living in the water
Go back to the water, turn the world around
We come from the water, living in the water
Go back to the water, turn the world around

We come from the mountain, living on the mountain
Go back to the mountain, turn the world around
We come from the mountain, living on the mountain
Go back to the mountain, turn the world around

We come from the mountain, living on the mountain
Go back to the mountain, turn the world around
We come from the mountain, living on the mountain
Go back to the mountain, turn the world around

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is life
Ah, ha, so is life

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is Abatiwaha
Ah, so is life

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is Abatiwaha
Ah, ha, so is life

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Water make the river, river wash the mountain
Fire make the sunlight, turn the world around
Heart is of the river, body is the mountain
Spirit is the sunlight, turn the world around

We are of the spirit, truly of the spirit
Only can the spirit turn the world around
We are of the spirit, truly of the spirit
Only can the spirit turn the world around

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Do you know who I am?
Do I know who you are?
See, we one another clearly
Do we know who we are?

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is Abatiwaha
Ah, so is life

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is Abatiwaha
Ah, so is life

Oh, oh, so is life
Ah, ha, so is life
Oh, oh, so is Abatiwaha
Ah, ha, so is life

Writer/s: BOB FREEDMAN, HARRY BELAFONTE
Publisher: NEXT DECADE ENTERTAINMENT,INC.
Lyrics licensed and provided by LyricFind

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Lyrics for Turn the World Around by Harry Belafonte - Songfacts

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We come from the fire, living in the fireGo back to the fire, turn the world aroundWe come from the fire, living in the fireGo back to the fire, turn the world around We come from the water, living in the waterGo back to the water, turn the world aroundWe

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"I discovered that song in Africa. I was in a country called Guinea, and I went deep into the interior of the country. In a little village, I met with a story-teller. That story-teller went way back into African tradition—into African mythology. He began to tell a story about the fire—which means the Sun—about the water, about the Earth. And he pointed out that all of these things put together turn the world around. And that all of us are here for a very, very short time. And in that time that we are here, there really isn't any difference in any of us IF we take time out to understand each other. And the question is, Do I know who you are? Do you know who I am? Do we care about each other? Because, if we do, together we can turn the world around." —Harry Belafonte on The Muppet Show, 1979

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Harry Belafonte - Turn The World Around (live) 1997

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In PK3, I wanted to choose 1 or 2 (at most) people for the 3's to focus on. They will be making talking sticks inspired by Amber Robles Gordon and traditional African talking sticks. It doesn't have to be a musician, but if they have a musical connection through you, I think it would be really successful. Maybe they will be singing sticks!

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In PK3, I wanted to choose 1 or 2 (at most) people for the 3's to focus on. They will be making talking sticks inspired by Amber Robles Gordon and traditional African talking sticks. It doesn't have to be a musician, but if they have a musical connection through you, I think it would be really successful. Maybe they will be singing sticks!

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As part of the #ifyoulivedheredc project produced by The Pink Line Project and hosted by Anacostia Smithsonian Musuem, I led a workshop in which participants learned about and were prompted to create Talking Sticks. The talking sticks were made to represent an issue or memory concerning their home, a place in Anacostia and or a social issue. At the end of the workshop participants were invited to share a specific memory of home, a experience in Anacosita, concerns regarding a social issue or simply thoughts regarding participating in the workshop. Finally, the talking sticks were used to create the featured art installation.

Truly, a moving experience folks/participants of all ages literally poured themselves, their energy into these sticks.

"Home is not just a structure. Home is family, community, stories, food, and culture. If YOU Lived Here is a hands-on public art installation that encourages us to reflect on how we live − in the house, the home, and the broader community across 150 years of shared history."

On June 27, 1867, Reverend Richard Hall, pastor of Union Bethel Church (known today as Metropolitan A.M.E.), purchased lot number 5, Section 2 on Stanton Road, SE, the first one-acre lot sold in the new Freedmen's community, but later renamed Hillsdale. For a down payment of $15.00 a purchaser was provided a wagon-load of lumber and instructions for building a "simple but good quality house." Reverend Hall was a pioneer − the 375-acre neighborhood, deeded to the Freedmen's Bureau, gave newly freed African Americans the opportunity to own land and build their own homes. This self-sufficient community grew and thrived, eventually having its own school, recreation areas, post office, churches, cemeteries, and markets.

Archaeological investigations conducted over the past forty years in Southeast Washington, D.C., gives us a glimpse into the everyday lives of the first settlers and their descendants. The tangible, material evidence that have been unearthed shows how the residents lived, worshipped, built homes, and maintained their community. One trove of artifacts found in a house attic prior to demolition includes fragile historic objects that provide insight into the day-to-day life of the community that would normally be lost to both history and archaeology. For example, medical supplies, a repaired shoe, a summer hat, and a sled help us understand seasonal and mundane aspects of life in this historic community.

If Lived Here seeks to commemorate the founding of this community, and also to reflect on how we live today. Visitors will draw parallels between the past and the present through a series of interactive, tactile, and creative activities.

As we recognize the anniversary of the first one-acre lot sold in the new community, Washingtonians and residents will be able to relive history through an immersive, hands on experience that will connect them with their past and present. From June 16th through June 30th, 2017, an artistic representation of a full-scale replica of one of the 1867 houses will be constructed adjacent to the Smithsonian Anacostia Community Museum. This unique setting will provide the backdrop for a series of activities including community gatherings, historical presentations, and dialogues. The project will provide an opportunity for individuals to reflect on their own basic needs now, and compare them with the past.

Community members will work with acclaimed artist and Anacostia resident Amber Robles-Gordon to complete the house with a series of art fabrications. Historic and contemporary objects and artwork will be located in, on, and around the dwelling, stirring residents to reflect on the intersection of history, community, and identity, to amplify the power of collective memory. Replicas of archaeological artifacts and attic objects can be touched and moved. Visitors will use the provided objects and be invited to bring copies of their own photos, family heirlooms, and other items of interest, to tell their own stories about house and home.

Visitors will interact with members of the DC Historic Preservation Office and the Smithsonian Anacostia Community Museum to learn about the history and archaeological findings of the families who built and lived in these houses and called this strong and vibrant community "home."

https://www.ifyoulivedheredc.com

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Talking Sticks: If You Lived Here DC / Installation / Public Art / 2017 - Amber Robles-Gordon

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As part of the #ifyoulivedheredc project produced by The Pink Line Project and hosted by Anacostia Smithsonian Musuem, I led a workshop in which participants learned about and were prompted to create Talking Sticks. The talking sticks were made to rep

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Adapted from Chris Lamm
The story of the talking stick originated from five Native American tribes: the Mohawk, Seneca, Cayuga, Oneida, and the Onandaga. These tribes all lived in what is now upper New York state, near the shores of Lake Ontario. But, in those days, these tribes were all fighting each other, having terrible wars. People were dying and suffering from starvation. A very great man named Deganawidah finally helped them learn to make a peace agreement among the five tribes. He became known as the Great Peacemaker.
Deganawidah told the people that he would plant a Great Tree of Peace to help the five tribes find peace. The branches would protect the people, and the "white roots of truth" would reach out to the four directions (north, south, east, west), carrying the news of peace. First, he incited the warriors from all the tribes to bury their weapons of war in the ground. Then he planted the tree over the weapons and the warriors sat down to make their peace agreement.

The peace agreement took a very long time, years! But finally, after much talking and listening to each other, they formed the Iroquois Confederacy. It was such an important agreement that it inspired other agreements such as the United States Constitution and the United Nations Charter.

Deganawidah believed that it was very important for each person wishing to speak to be carefully listened to because everyone's ideas were valuable. When they listened carefully from their hearts, and spoke truthfully from their hearts, the people were able to make peace. Today we call that special listening active listening.

To help the people work together, Deganawidah brought powerful symbols of peace. One tradition was to pass something important around the circle to show who was speaking from his or her heart. Some Native Americans began to use a talking stick. They passed the talking stick around the circle when they had a council.
A council was, and still is, a time, like a special meeting, to share thoughts and feelings about an important subject. The council works as an important way to solve problems because it is a special time for listening to everyone. When people have councils to listen and talk from their hearts, then there is no need to fight and to have wars. The listening with respect and caring for everyone is the important part of using the talking stick to help solve problems. Deganawidah knew the power of listening with respect and he brought us to this way to solve problems without fighting.
Why Use the Talking Stick?

1. Everyone has an opportunity to speak.

2. The process encourages everyone to listen more carefully.

3. When everyone has a turn, it reduces competition for time and attention.

4. It builds trust and safety in community.

5. Respect for the ideas and contributions of others is the process.

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The story of the talking stick originated from five Native American tribes: the Mohawk, Seneca, Cayuga, Oneida, and the Onandaga. These tribes all lived in what is now upper New York state, near the shores of Lake Ontario. But, in those days, these tribes were all fighting each other, having terrible wars.

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The residents of Gee's Bend, Alabama, are direct descendants of the enslaved people who worked the cotton plantation established in 1816 by Joseph Gee. After the Civil War, their ancestors remained on the plantation working as sharecroppers. In the 1930s, the price of cotton fell, and the community faced ruin. As part of its Depression-era intervention, the Federal Government purchased ten thousand acres of the former plantation and provided loans enabling residents to acquire and farm the land formerly worked by their ancestors. Unlike the residents of other tenant communities, who could be forced by economic circumstances to move-or who were sometimes evicted in retaliation for their efforts to achieve civil rights-the people of the Bend could retain their land and homes. Cultural traditions like quiltmaking were nourished by these continuities.

Most Gee's Bend residents accordingly did not participate in The Great Migration, during which over six million African Americans from the rural South journeyed to the cities of the North, Midwest, and West from about 1916 to 1970. By remaining in Alabama, most were not afforded the opportunity to become participants in the burgeoning American middle class, the wellspring of opportunity for many of the artists today recognized in the global art market.

In the 1960s, spurred on by Martin Luther King Jr's visit, community members became active in the Civil Rights Movement, ferrying to the county seat at Camden to register to vote. Authorities reacted by eliminating ferry service altogether, effectively isolating the community and cutting it off from basic services. During this period, local women came together to found the Freedom Quilting Bee, a workers cooperative that provided much-needed economic opportunity and political empowerment.

Throughout this time, and up until the present, the settlement's unique patchwork quilting tradition that began in the 19th century has endured. Hailed by the New York Times as " some of the most miraculous works of modern art America has produced," Gee's Bend quilts constitute a crucial chapter in the history of American art and today are in the permanent collections of over 30 leading art museums.

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The residents of Gee's Bend, Alabama, are direct descendants of the enslaved people who worked the cotton plantation established in 1816 by Joseph Gee. After the Civil War, their ancestors remained on the plantation working as sharecroppers. In the 1930s, the price of cotton fell, and the community faced ruin.

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In K and 1st we will be creating ceramic vessels with portraits of untold Black stories (connected to artist Robert Lugo who does these clay pots with Biggie, Tupac, and more) Scofield is connecting to environmentalist, but for Marshall, and 1st grade. I'd love to have music connections.

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In K and 1st we will be creating ceramic vessels with portraits of untold Black stories (connected to artist Robert Lugo who does these clay pots with Biggie, Tupac, and more) Scofield is connecting to environmentalist, but for Marshall, and 1st grade. I'd love to have music connections.

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The Art Newspaper - International art news and events

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The Art Newspaper's guide to London Gallery Weekend 2022 for recommendations on the best exhibitions to see during the three-day event, top trends and commentary

In the 1990s, Lonnie Holley wrote an autobiographical sketch, a stream-of-consciousness memoir of extreme poverty and hardship. Early in the text, he writes about a woman who took him away from his mother as an infant before, when he was four, "the lady sold me to another lady for a pint of whiskey". The trauma that follows is relentless, including physical abuse, horrific racism and exploitation and jail time, before his life was saved by art. Now, he is widely celebrated for both the sculptures he initially made from found objects in his yard in Birmingham, Alabama, and, more recently, his performance practice, based on improvised voice-and-piano compositions-impressionistic, autobiographical and deeply moving.

Both aspects of Holley's practice feature in a two-part contribution to London Gallery Weekend. At Edel Assanti is his first UK show of sculptures and paintings for almost 20 years, since he exhibited at the Ikon Gallery in Birmingham in 2004. Alongside that is a film, The Edge of What, commissioned by Artangel, streamed on the organisation's website from this month and shown as part of an evening event at the new London arts venue Stone Nest on 14 May alongside a performance by Holley.

Lonnie Holley performing on Orford Ness in southern England, March 2022 in a still from The Edge of What, 2022

Courtesy of Artangel

All of this new body of work is inspired by the Artangel commission, for which Holley was based on Orford Ness, the peninsula at the Eastern extreme of southern England. The Ness was a military testing site and is now a nature reserve, where shingle and wetlands surround atmospheric military ruins. In that landscape, he gathered materials for sculptures, and performed a series of musical works for the film. The site's biggest claim to fame is that the first demonstrations of the feasibility of radar as an air defence system were done there, a cornerstone of the allies' success in the Second World War. And this is among the things that Holley picked up on as he made his work, typically linking it to his own biography. "My grandfather had been in World War One, and my father had been in World War Two," he tells The Art Newspaper, and the experiments on the Ness "served the purpose of making things better for really all the soldiers around the world, because if you look at the technology, they were sparing no expense back then to make things better, or to advance things."

He sits amid the weather-beaten buildings in the film and sings about the cold. "I got a chance to feel the chilling part of it, how that could be a part of what affected their mentality, the occupants of the island itself," he explains. "And it was just such a wonderful experience."

In his songs, sung in Holley's bluesy tone with an elegiac vibrato, the words flow from him with few pauses and no stumbles, a remarkable feat given that they're improvised. "It's just about grabbing information, and then going into the gravity of information. Because if we don't use information, it sinks deeper and deeper within us, but it never goes anywhere." He calls it "the ocean of thought", a "never-ending depth of information" that he calls on.

His way of processing that information is pictorial, he says-he conjures images from it. And this is true, too, of his sculptures. He learned to pick up and re-use materials from his family, particularly his mother and grandmother, who would gather discarded objects to sell to junkyards. "Nothing can be considered nothing until we don't want it no longer, until we don't need it," he says. "We call it trash, garbage and debris instead of thinking of it as material with a source of information."

He was "a digger or a scratcher" when he was a young child, maybe even two years old, "picking up something from the earth and moving it from point one to point two". As an adult, long before he gained any attention, he was making sculptures for himself in his own yard in Alabama (which was eventually destroyed in Birmingham's airport expansion-he now lives in Atlanta, Georgia) and on his daily travels. "There were times when nobody saw what I created. A lot of times I'd walk the railroad track and I did my placements. And then I took a photo of them. And then I kicked them loose, I scattered them back into their, one would say, habitat."But as he worked almost compulsively, he honed his craft. "We as artists practise just as much as athletes do," he says. "I think we practise as much as a doctor, or nurse or any professional person does."

Lonnie Holley's I Knew They Were Mine (2020), made from a wooden doorframe and tree roots

Recognition did come, in the 1980s, when William Arnett, a collector, began buying work by Holley and a number of other African-American artists in the southern states, which were eventually gathered in Souls Grown Deep: African-American Vernacular Art of the South, a travelling 1990s show and important two-volume catalogue. Numerous works are now in American museums. "We ended up being called artists of vernacular, and we didn't even know what the word meant," Holley says. He also mentions how his work was discussed in terms of assemblage, through which, he adds, he learned that "we were doing the same thing that had been done pretty well all around the world". But until then, unlike others working in this way, he and his peers had not received recognition.

He calls the sculptural and musical strands of his practice "Siamese twins", because "they're coming from the same brain". And it is a hugely distinctive and productive brain. But the work is also clearly embedded in a long tradition of African American making. Holley talks about "a community of materials" at the heart of that tradition. He mentions the great quilts of the south, like those famously made by women in Gee's Bend, Alabama. "The women not only could identify each piece of material, but then say that that piece of material had a certain amount of information-who wore it, and what was happening during that time. So much went into our subject."

It's clear he's also talking about his sculptures. "After we put these things together, it's almost like these materials had a life of their own... they had an identity of their own. And we took those identities and we put them together as a conversation for others to gather from." There will be much to gather in Holley's two projects for London Gallery Weekend; in the community of materials he has gathered on Orford Ness and elsewhere and assembled into sculptures, and in that ocean of thought he draws on in his songs.

* Lonnie Holley: The Growth of Communication opens at Edel Assanti on 13 May for London Gallery Weekend. Artangel and Edel Assanti present a live performance with Lonnie Holley at the Stone Nest on 14 May. Artangel's commissioned short film The Edge of What is available to view online in May.
The Art Newspaper is an official media partner of London Gallery Weekend

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A life saved by art: Lonnie Holley on making work inspired by trauma, 'garbage'-and being stranded on an English island

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The Art Newspaper's guide to London Gallery Weekend 2022 for recommendations on the best exhibitions to see during the three-day event, top trends and commentary In the 1990s, Lonnie Holley wrote an autobiographical sketch, a stream-of-consciousness memoir of extreme poverty and hardship.

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Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes.

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Lugo is reimagining traditional ceramics with a 21st-century street sensibility.

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Sio Ceramics

Brookland Art Walk, Washington DC

Makeda Smith's ceramics feature irresistible palates, intriguing shapes and surprising details. She first took a ceramics class in college and fell in love. After teaching for years and earning a Master's in education, she missed her spark. She took another class, then an artist residency, and launched Sio Ceramics last year.

It's hard starting a second career, but the process keeps Smith motivated. "The work is really meditative," Smith says, and then she gets to share it. "That people share stories about finding joy out of something I create is really, really satisfying," she says.

Smith just picked up the keys to her first retail and studio space. While she's moving in, sales will still run through her retail partners (like Salt and Sundry and Shopmade in DC ,) and her self-made website. The pandemic served as a catalyst, helping her pull it all together, but she's not hustling. She's savorying the process. "If it's not sparking joy like Marie Kondo," she says, "it's gotta go."

Website - www.sioceramics.com

Instagram - @sioceramics

Smith recommends - @khaoscreates

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6 Black Ceramicists to Support Right Now - Craft Industry Alliance

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Brookland Art Walk, Washington DC Makeda Smith's ceramics feature irresistible palates, intriguing shapes and surprising details. She first took a ceramics class in college and fell in love. After teaching for years and earning a Master's in education, she missed her spark. She took another class, then an artist residency, and launched Sio Ceramics last year.

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Acres of Ancestry Initiative | Acres of Ancestry/Black Agrarian Fund

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The 400-year Black agrarian liberation struggle in the United States is inextricably bound to the European construction of racial identity, hierarchy, and domination enshrined in American jurisprudence and societal custom. In her seminal work, "Whiteness as Property," Cheryl Harris examines how the origins of property rights in the United States were ingrained in the racial subjugation of Africans and Native Americans through the parallel systems of slavery and colonization.

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Several of these wire works by the Pasadena-based artist now hang in the window of Long Beach's Flux Art Space as a mixed-media installation, "Wire, Raffia, and Shadows," which is on view 24 hours a day, seven days a week through Oct. 3.

As much as these sculptures are an expression of time, space and movement, the art also grows out of DeVine's interest in the Dogon, a tribe in the Mali desert of West Africa known for their knowledge of astronomy, which ignited her larger interest in the cosmos as well as a desire to explore her inner self.

"Kym Rising", 2020 by Adrienne DeVine. steel, aluminum, brass, & copper wire, raffia, beads, aerosol paint, 22 x 20 x 4...

Posted by Flux Art Space on Friday, August 21, 2020

"Not only the astronomical elements but everything that they do, be it weaving, all aspects of their life have some sort of connection to the earth and the universe," said DeVine, who received her MFA from Claremont Graduate University after graduating from Cal State Long Beach. "Lately that's been a driving factor for me while I'm just learning about it and trying to understand more about it. They just have these whole complex systems of understanding the world."

The Dogon influences in her spiral forms are the result of her ongoing interest in African spirituality that DeVine says has been "demonized and mischaracterized as evil... and the way that has been characterized isn't necessarily how it is conceptualized among the people who practice that spirituality... In terms of my own personal biography, there's these layers of wanting to know who I am, who we are as people, there's a separation as we came, you know, were kidnapped and brought to the West, and not allowed to practice our culture, not allowed to speak our language, just basically stripped of our cultural heritage."

[easy-image-collage id=30000014390]

Eccentricity Less Than 1 is based on a mathematical concept describing the shape of an ellipse, and elliptical orbits, another piece inspired by Dogon culture. Dance For Mother Earth, which was imagined initially as a hanging piece, stands on its own as a sculpture.

"It really comes from my desire and this drive I have to explore African spirituality," said DeVine. "Because as religion was brought to-particularly the Christian religion-brought to Africa it came with a whole lot of other stuff that, in my mind really doesn't have anything to do with Christianity. It really does come out of my exploration of African spirituality and veneration for the ancestors and different ideas about stories of creation, some that make more sense to me than a lot of what's been taught in the West. It's very internal."

Flux Art Space founder Betsy Lohrer Hall says the best time to view the works is around 5:30 or 6 p.m., as they cast shadows onto the sidewalks in front of the small studio as well as inside. DeVine imagines Cosmic Capsule and Kym Rising as small-scale experiments to use for a much more interactive installation when time, and the pandemic, allow for her to create and show on a larger scale.

"I hope that it provokes thought," DeVine said. "I like to talk to people because often you may, as an artist, you may have one idea about what this piece means to you and someone else will look at it and it may mean something totally different. I want people to one, enjoy it visually, and I want them to experience the shadows and the movement. I want them to have a moment, if you will."

DeVine, whose works were recently featured in " LA Blacksmith " at the California African American Museum, works with mostly canvas, paint, paper, wood, wire and raffia. Visitors to Flux Art Space may recognize DeVine's wire work from Flux's "Small Works" show last year or her tiny, handmade book in "Flux by Mail" from earlier in June.

DeVine was also one of the six artists who spoke during July's Conversations About Abstraction: Six Black Women Abstract Artists in Los Angeles, which can be watched via YouTube.

VIDEO: A glimpse into the world of six Black women abstract artists
"Wire, Raffia, and Shadows" will be on view through the windows of Flux Art Space at 410 Termino Ave. 24 hours a day, seven days a week, now until Oct. 3. To see the work inside the gallery, you can make an appointment by emailing [email protected] . Learn more about DeVine's work at adriennedevine.com/art and on Instagram @adriennedevinemixedmediaart.

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This artist explores African spirituality through 'Wire, Raffia, and Shadows' * the Hi-lo

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Several of these wire works by the Pasadena-based artist now hang in the window of Long Beach's Flux Art Space as a mixed-media installation, "Wire, Raffia, and Shadows," which is on view 24 hours a day, seven days a week through Oct. 3.

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Xenobia Bailey is a trash alchemist, a single stitch, urban crochet aficionado, designer, artist and community activist, whose practice industrializes the visual aesthetic of "Cosmic-Funk," practiced by African-American homemakers since Emancipation, into utilitarian "Funktional" design. Media exposure ranges from an Absolut advertisement to a design consultancy with Disney World, and a subway mosaic commission from the MTA in New York. She has shown internationally, with such institutions as Creative Time, the Sharjah Art Foundation, and numerous U.S. Embassies. Her work is held by numerous museums, as well as in academic, corporate, public and private collections.

Her ABOG Fellowship will support Paradise Under Reconstruction, a pedagogical model that will collectively fabricate prototypes for health aids and services for the needs of African-American communities in Seattle, WA and Harlem, NY. A multigenerational, inspirational, motivational, and passionate dreamscaping and skills-building project, Paradise Under Reconstruction will bring together community homemakers, household members, adults, young adults and teens to cultivate future visions and de-traumatize and fabricate commercial utilitarian artifacts for sustainable living in their homes. Conjuring Afrofuturism through rural and urban storytelling and historical remixing, participants will also write de-traumatizing fictional historical bedtime folktales, lullabies and medicinal psycho-parables, using the inspirational environments inspired by "Funktional Artifacts."
Visit Xenobia Bailey's website Artist portrait by Daisy Chen.
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Xenobia Bailey is a trash alchemist, a single stitch, urban crochet aficionado, designer, artist and community activist, whose practice industrializes the visual aesthetic of "Cosmic-Funk," practiced by African-American homemakers since Emancipation, into utilitarian "Funktional" design. Media exposure ranges from an Absolut advertisement to a design consultancy with Disney World, and a subway mosaic commission from the MTA in New York.

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Reuse, natural,  and recycled materials and meaning. Telling untold stories (maybe musicians they are learning in Music)