Wednesday, November 2, 2011

Where We've Been: Under The Poor Moon


Folks, your humble editor has been working hard over the last few days to take care of a number of responsibilities that, in their own way, are related to The Art of the Rural. I appreciate everyone's patience; we'll return to normal article-posting tomorrow.

Until then, I'd recommend giving a listen to Poor Moon, the new record by artist / musician / folklorist MC Taylor, who records under the name Hiss Golden Messenger. A review is forthcoming; Poor Moon stands as one of the finest records I've heard in a long time, and it meditates around a series of ideas and lyrical concerns that will be interest to our readers. Beyond all that: these are beautiful, challenging, and haunting songs. 

Here's "Call Him Daylight" from Poor Moon:

Friday, October 28, 2011

The Vernacular: This Is Our Whole Family

Selection from an unsigned, undated photograph-postcard




To Miss Maude Richmond, Broadhead, Wisconsin

Mar 9 1910

Dear Friend: - Well we have not got there yet. Frank is going with a corn shredder so we can't very well get away now, but Eddie's time is up Dec 1st and then we will try and come. - this is our whole family taken a year ago last summer. Are having fine weather for corn husking. As ever Martha



Selection from an unsigned, undated photograph-postcard

All images copyright Matthew Fluharty / Art of the Rural

Thursday, October 27, 2011

Listening To Miranda Lambert

To me, country music is about real life, the good and the bad. That's why country started, and it was because of Hank Williams telling true stories. And I don't see why a woman can't tell the truth just as fast as a man can.
Today on NPR's Morning Edition, Renee Montagne spoke with country music superstar Miranda Lambert. As folks might expect from her music and songwriting, the conversation had a substance to it that's missing from so much contemporary music coming out of Nashville. Here's an excerpt from the transcription:
When she was growing up, Lambert's parents would occasionally open their home to women who were in abusive relationships. She often shared a room with a displaced mother, daughter, or both, and heard from them the devastating effects domestic abuse. "Half of the women take your advice, use your help and get out," she says. "Half of them can't leave and always go back."

Lambert pulled from their stories to write the song that helped put her on the map, 2007's "Gunpowder and Lead," in which she sings, "His fist is big but my gun's bigger / He'll find out when I pull the trigger."
Here's Ms. Lambert performing "Gunpowder and Lead" live on Austin City Limits:



One of Miranda Lambert's earliest successes was "Everybody Dies Famous In A Small Town." This song came to mind again as the Occupy movement began to percolate in rural America. While the witty verses and that infectious hook are in keeping with what one would expect from Nashville, these lyrics also speak to a truth about the kinds of knowledge folks have in rural areas - and the kind of open humility that could make for some positive, and non-partisan, problem-solving in such small towns. It's a perfect country-pop song for such an urban - rural critique.




UPDATE: Folks may also be interested in feminist responses to Miranda Lambert's music. In "Rifles and Rural Feminism," journalist and blogger Kate Noftsinger considers the rural - urban dynamics of the term, and how its sensibilities are marketed in music. There's a wide range of feminist responses to "Gunpowder and Lead" within the feminist community - and the subject deserves an Art of the Rural article all to itself. Please feel free to send along any responses you might have to the idea of "rural feminism" or its critique here.

Wednesday, October 26, 2011

Revisiting The Dreams of Appalachian Youth

Self-portrait with the picture of my biggest brother, Everett, who killed himself when he came back from Vietnam; Freddy Childers

A new project has appeared on the USA Artists crowd-funding site that will no doubt interest our readers: Portraits and Dreams: A Revisitation, directed by filmmaker Elizabeth Barret, in collaboration with Wendy Ewald. Included below are two excerpts from the detailed project description:
Over the past three decades a growing number of artists have worked as collaborators with people from outside the art world. Photographer Wendy Ewald is one of the pioneers in this approach to artmaking.  During 1975 – 1982 in the coalfields of Letcher County, Kentucky, where one-third of all families were living below the poverty level, Ewald worked as an artist in the schools.  She encouraged her young students (ages six to fourteen) to use cameras to record themselves, their families and communities, and to articulate their fantasies and dreams.  Material from that artistic and educational initiative was collected in the groundbreaking 1985 book Portraits and Dreams.   It was named one of the 10 best art books of that year by the American Library Association and will be republished by visual arts press Steidl Verlag.  Ewald was awarded a MacArthur fellowship in 1992.  Her work has been included in the 1997 Whitney Biennial, and her fifth book, a retrospective documenting her projects entitled Secret Games, was published in 2000. 

Ewald was inspired to take on this new project when she initially reconnected via email with one of her former elementary school student collaborators Denise Dixon.  She worked with Ewald during the time she was nine to twelve years and is now a reading teacher who also operates her own video business recording local events.  The two realized how much their lives and work had been affected by their early encounter. Ewald then became interested in creating new work that draws on her former students’ experiences as children and adults as a vehicle to explore memory and reality across the passage of time.  

Ms. Barret, whose films have been the recipients of numerous awards, is working with Wendy Ewald to help provide context to the reunions and remembrances the film seeks to document.  As their USA Artists site outlines, the story of these children-turned-adult photographers becomes the story of a whole generation of Appalachian youth who seeked to navigate their cultural and regional inheritance alongside their own evolving identities as young people raised in the national milieu of the late 1970s.


FINAL USA PROJECTS PORTRAITS AND DREAMS from Robert Salyer on Vimeo.

[The earlier 17-minute Portraits and Dreams "sound slide," directed by Andrew Garrison, can be viewed in its entirety on Vimeo.]

Please follow the links to explore Ms. Barret's Stranger With a Camera, an award-winning film that considers how contentious the rural - urban, outsider - insider relationship can be when pitched in Appalachian communities. This is an extraordinary piece of place-based art, and we highly recommend it to our readers [a copy of this film will be sent in thanks for support of Portraits and Dreams: A Revisitation].

Sunday, October 23, 2011

Sunday Song: Reverend Johnny "Hurricane" Jones

The cover to the most recent Dust-To-Digital release of the Reverend's music and sermons

It is a glorious thing when a person can say "I am walking with God. I don't have any money. I don't know how my bills are going to be paid." If God had not been walking with me, I could not have made the journey.
     - "The Hurricane," Reverend Johnny L. Jones

The Atlanta publication Creative Loafing has recently published an excellent and extensive consideration of Dust-To-Digital, a record label and publishing imprint with few peers. I imagine that many folks are already familiar with the astounding range of material they have brought into the world; if not, please refer to the link above and enjoy exploring their archives of LPs, CDs, books, and radio programs. 

Dust-to-Digital has worked hard over the last two years to bring the live recordings of Reverend Johnny L. Jones to folks around the world -- first with Jesus Christ From A to Z (the title track is essential listening) and later with Rev. Johnny L. Jones: The Hurricane That Hit Atlanta, a two CD set. Here's a video Creative Loafing produced of the Reverend:

Saturday, October 22, 2011

Homecoming: America Needs Farmers

Kinnick Stadium just before the Iowa - Northwestern kick-off; Benjamin Roberts, Press-Citizen

Each October, folks travel across town or across the country to return for Homecoming weekends. We were reminded of this in an email from Shawn, a long-time reader, who's looking forward to watching the Iowa - Indiana Homecoming game with friends today in Riverside, Iowa. 

Many thanks to Shawn for forwarding this photograph from last weekend's home game -- a local mix of state-pride and Big Ten-style-installation art.

Friday, October 21, 2011

Occupy Rural: Will It Play In Peoria?

Gone Viral: Diane McEachern and her dogs in Bethel, Alaska;  Anchorage Daily News

There’s something wrong in the world, where you are promised to be immortal but cannot spend a little bit more for healthcare. Maybe we need to set our priorities straight here. We don’t want higher standard of living. We want a better standard of living. The only sense in which we are Communists is that we care for the commons. The commons of nature. The commons of privatized by intellectual property. The commons of biogenetics. For this, and only for this, we should fight.
          - Slavoj Žižek, speaking at Occupy Wall Street on October 8th

I'd like to continue a discussion of the rural dimension of the Occupy movement with these words by internationally-acclaimed literary critic Slavoj Žižek. Folks can read his full remarks in transcript, along with video here; and I'd encourage our readers, regardless of political persuasion, to review Mr. Žižek's comments, as his remarks stand as one of the most lucid articulations of this movement from one of the world's most celebrated thinkers. From what I can tell, much of the mainstream media -- just as Diane Sawyer focuses again on rural destitution for urban consumption -- is more interested in displaying a cartoonish view of the Occupy movement. These words help to expand the dialogue; here's another excerpt:
There is a danger. Don’t fall in love with yourselves. We have a nice time here. But remember, carnivals come cheap. What matters is the day after, when we will have to return to normal lives. Will there be any changes then? I don’t want you to remember these days, you know, like “Oh. we were young and it was beautiful.” Remember that our basic message is “We are allowed to think about alternatives.” If the rule is broken, we do not live in the best possible world. But there is a long road ahead. There are truly difficult questions that confront us. We know what we do not want. But what do we want? What social organization can replace capitalism? What type of new leaders do we want?
Remember. The problem is not corruption or greed. The problem is the system. It forces you to be corrupt. Beware not only of the enemies, but also of false friends who are already working to dilute this process. In the same way you get coffee without caffeine, beer without alcohol, ice cream without fat, they will try to make this into a harmless, moral protest. A decaffienated process. But the reason we are here is that we have had enough of a world where, to recycle Coke cans, to give a couple of dollars for charity, or to buy a Starbucks cappuccino where 1% goes to third world starving children is enough to make us feel good. After outsourcing work and torture, after marriage agencies are now outsourcing our love life, we can see that for a long time, we allow our political engagement also to be outsourced. We want it back.
Žižek gets to the two poles at the center of this debate: on one hand, that this gathering of voices could be minimized to a "harmless, moral protest," something for which a number of folks in rural organizations can no doubt identify. In keeping with that, and considering Occupy Wall Street from a rural perspective, the closely-related possibility is that, for many living outside of the cities and suburbs, these members of this movement will appear, in modifying Žižek's words, only "in love with themselves." 



I include these images not to offer a caricature, or to poke fun, but to suggest that while the Occupy movement should be concerned with projecting a richer narrative of its aims to the American public, they also need to be concerned with the very image- and media-related techniques which they openly critique  Or, to put it another way, they might ask how will it play in Peoria? 

Or, how would it play to Joe Bageant? He would no doubt support their efforts, but the video below adds a class-perspective, and a cautionary one at that,  to the possible perceived "smugness" of the Occupy movement. If folks haven't read it yet this week, please see Lisa Pruitt's stellar consideration of his work in The Daily Yonder.


Beyond this, the movement should ask themselves if the rhetoric of "smashing capitalism" allows for real change, or if it is a self-congratulatory position. Is it perceived, outside of the largely urban sanctuaries of Occupy culture, as a comfortable, elitist slogan? Across most of the countryside we need rural economic development, we need local and sustainable business communities, we need imaginative entrepreneurs. Purely from my own perspective, I would echo what Alec Baldwin says below, that capitalism is worthwhile. I would add to his remarks that we need to think, as the Occupy movement has forced us to, about how we can can adapt these questions on a local level. Consider the words of Wendell Berry in The Citizenship Papers along with Alec Baldwin's remarks amongst Ron Paul "sentimentalists" at Occupy Wall Street:
We live, as we must sooner or later recognize, in an era of sentimental economics and, consequently, of sentimental politics. Sentimental communism holds in effect that everybody and everything should suffer for the good of "the many" who, though miserable in the present, will be happy in the future for exactly the same reasons that they are miserable in the present.

Sentimental capitalism is not so different from sentimental communism as the corporate and political powers claim. Sentimental capitalism holds in effect that everything small, local, private, personal, natural, good, and beautiful must be sacrificed in the interest of the "free market" and the great corporations, which will bring unprecedented security and happiness to "the many" - in, of course, the future. 

 
Since our initial piece on the rural dynamic to the Occupy movement, many new outlets have emerged to help tell the broader cultural story; earlier this week we mentioned Occupy Rural, and to this list should be added two Occupy Rural America Facebook groups here and here

As I mentioned earlier in the week, the kind of change folks could see in their local, rural communities might be more lasting, more permanent, than what emerges on a broader scale from Zuccotti Park.  I'd refer above to Rachel Reynolds Luster's description of her experiences in southern Missouri, and I'd also suggest that these kinds of social gatherings in a rural America could cut across generational, cultural, and political lines in such a way that these newly formed communities could put their minds towards solving together some of their region's challenges. If the politics of the last decade has fractured our sense of participation and cooperation, then perhaps such collaborations might be the lasting legacy of the Occupy movement.