Featuring! ** Alaina Comeaux **Angela Kinlaw ** Another Gulf is Possible ** Beka Economopoulos ** Cherri Foytlin ** Community Printshop & Darkroom ** Dallas Goldtooth ** Darin Acosta ** DJ AFRO/ANARCHY ** Dread Scott ** Gia Hamilton ** Harry Joseph ** Hidden History Tours ** Hannah Chalew ** Imani Jacqueline Brown ** Jackie Sumell ** Jayeesha Dutta ** Jessi Parfait ** John Wilfred Taylor ** Juju Child and the Hypnotic Roots Band ** Kalin Norman ** Katie Mathews ** ArtSpot Productions and Mondo Bizarro’s Loup Garou ** Maquilapolis ** May T. Nguyen ** Michael Dardar, Sr. ** Michael Premo ** Monique Harden ** Monique Verdin ** Moose Jackson ** Mossville ** My Louisiana Love ** Not an Alternative ** Pippin Frisbie-Calder ** Quintron and Miss Pussycat ** Rachel Schragis ** Raquel de Anda ** Rebecca Snedeker ** Riot Mueller ** Rory Danger and the Danger Dangers ** Sacramento Knoxx ** Sage Crump ** Spirit & Sparrow ** Shana griffin ** StoryShift ** Sultana Isham ** Sunni Patterson ** Suzanne Dhaliwal ** Yudith Nieto ** When Two Worlds Collide **
Food by ** Black Swan Experience ** Brown Girl Kitchen ** Cafe Carmo ** Shake Sugary **
Official afterparty at ** Ace Hotel **
** Free and Open to the Public (including meals)! **
Just over the border in Mexico is an area peppered with maquiladoras: massive factories often owned by the world’s largest multinational corporations. Carmen and Lourdes work at maquiladoras in Tijuana, where each day they confront labor violations, environmental devastation and urban chaos. In this lyrical documentary, the women reach beyond the daily struggle for survival to organize for change, taking on both the Mexican and U.S. governments and a major television manufacturer. A co-production of the Independent Television Service (ITVS).
There once was a town called Mossville; a community rich in natural resources and history, founded by formerly enslaved people and free people of color, where neighbors took care of one another and lived in harmony, insulated from the horrors of Jim Crow. Today, however, Mossville no longer resembles the town it once was. Surrounded by 14 petrochemical plants, Mossville is the future site of apartheid-born South African-based chemical company Sasol’s newest plant – a $21.2 billion project and the largest in the western hemisphere. The community struggles to let go of their ancestral home – and at the center of it all is a man named Stacey Ryan. As Sasol encroaches on citizens’ property with buyout offers, Stacey and other community members have to decide whether to exist in a chemical war zone, or abandon land that has been in their families for generations.
My Louisiana Love
My Louisiana Love follows a young Native American woman, Monique Verdin, as she returns to Southeast Louisiana to reunite with her Houma Indian family. But soon she sees that her people’s traditional way of life- fishing, trapping, and hunting these fragile wetlands– is threatened by a cycle of man-made environmental crises. As Louisiana is devastated by Hurricane Katrina and Rita and then the BP oil leak, Monique finds herself turning to environmental activism.
StoryShift Shorts Salon
StoryShift is a new initiative dedicated to accountable media creation, production, technical assistance, and training with communities who are building a generative future through a just and equitable transition away from exploitation of people and the planet. This deep collaborative partnership between artists, media makers, storytellers, journalists, and cultural producers is rooted in sharing stories about grassroots-driven change with accountability, integrity, and vision. We are excited to launch this project at Fossil Free fest with a salon featuring short films and storytellers involved in the project.
Water Warriors is the story of a community’s successful fight to protect their water from the oil and natural gas industry. In 2013, Texas-based SWN Resources arrived in New Brunswick, Canada to explore for natural gas. The region is known for its forestry, farming and fishing industries, which are both commercial and small-scale subsistence operations that rural communities depend on. In response, a multicultural group of unlikely warriors–including members of the Mi’kmaq Elsipogtog First Nation, French-speaking Acadians and white, English-speaking families–set up a series of road blockades, preventing exploration. After months of resistance, their efforts not only halted drilling; they elected a new government and won an indefinite moratorium on fracking in the province. Water Warriors invites audiences to contemplate and re-imagine their own possibilities for resistance. The film team collaborates with communities on lively, participatory events and workshops that create a dynamic forum to deepen civic engagement and strategic discussion.
When Two Worlds Collide
In this tense and immersive tour de force, audiences are taken directly into the line of fire between powerful, opposing Peruvian leaders who will stop at nothing to keep their respective goals intact. On the one side is President Alan Garcia, who, eager to enter the world stage, begins aggressively extracting oil, minerals, and gas from untouched indigenous Amazonian land. He is quickly met with fierce opposition from indigenous leader Alberto Pizango, whose impassioned speeches against Garcia’s destructive actions prove a powerful rallying cry to throngs of his supporters. When Garcia continues to ignore their pleas, a tense war of words erupts into deadly violence.
Alaina Comeaux is an Acadian-Creole-Metis water protector who was born and raised on the banks of the Bayou Teach in New Iberia. She is currently based in New Orleans where she teaches high school geography. In her spare time she organizes with the resistance against the Bayou Bridge Pipeline, works to decolonize the narrative surrounding the New Orleans “tricentennial”, and brings awareness to issues facing south Louisiana’s indigenous peoples.
Angela Kinlaw is a servant leader who is dedicated to working with children, families, and community through meaningful educational experiences and community organizing. Whether she is working in schools, alongside teachers and families to ensure access to a quality education, or she is engaged in grassroots organizing for a more equitable, healthy, and whole society along side her comrades of Take Em Down NOLA, the New Orleans Peoples Assembly, or her extended neighborhood community of the 17th ward, she is always working toward a more humane and heathier world.
It is her goal to support and maximize the brilliance of youth, stir up their agency, promote their health and well-being, and support them in identifying and living their life purpose. In order to do this, Angela believes that working class families, particularly people of color, who are too often exploited for their labor, creativity and cultural contributions, must have the resources needed to live healthy and whole lives. How does Angela connect all of this to environmental justice? She believes that everyone who breathes air, drinks water or lives on the land of the earth is affected by the environment, and must care about it in order for all forms of equity to be able to exist.
Beka Economopoulos has been an environmental justice activist for nearly 20 years. She is a co-founder of The Natural History Museum, a traveling museum and museum transformation project, a founding member of the social justice arts collective Not An Alternative, and co-organizer and Board Member of the 2017 March for Science. Beka’s experience in sustainability advocacy includes serving as the Director of Online Organizing at Greenpeace, and as the Director of Strategy at Fission Strategy, where clients included the United Nations Foundation and the Global Climate Change Alliance.
Beka co-created the museum in 2014 as a project of Not An Alternative, a non-profit organization that has worked at the intersection of art, activism, and pedagogy since 2004. Not An Alternative was recently named in the NY Times and ArtNet’s “Best in Art in 2015” round-ups. The group’s installations, performances, and presentations have been featured within art institutions such as Guggenheim, PS1/MOMA, Carnegie Museum of Natural History, Queens Museum, Brooklyn Museum, Tate Modern, Victoria & Albert Museum, MOCAD, and Museo del Arte Moderno, and in the public sphere, where they collaborate with community groups and activist mobilizations.
Cherri Foytlin is an indigenous organizer, writer, speaker and mother of six who lives in southwest Louisiana. She is the author of “Spill It! The Truth About the Deep Water Horizon Oil Rig Explosion,” as well as a regular contributor to Bridgethegulfproject.org and other written platforms. In the Spring of 2011 she walked to Washington D.C. from New Orleans (1, 243 miles), to educate and call for action regarding the BP Deepwater Drilling Disaster. More recently, as a member of the Indigenous Women’s Advisory Council for the L’eau Est La Vie Water Protector Camp, the focus of her work has been around stopping the Bayou Bridge Pipeline. She is also the founder and executive director of Louisiana Rise, an organization dedicated to a just transition for local Louisiana communities, and in particular low-income, elderly, or minority community members. Additionally, Foytlin is a member of advisory committee member for The National Poor People’s Campaign.
Dread Scott makes revolutionary art to propel history forward. In 1989, the entire US Senate denounced and outlawed his artwork and President George H. W. Bush declared it “disgraceful” because of its use of the American flag. His work has been exhibited/performed at the Whitney Museum, MoMA/PS1, BAM Fisher and galleries and street corners across the country. His work is in the collection of the Whitney Museum and he as received grants and awards from Creative Capital Foundation, The Map Fund, the Pollock Kranser Foundation, and a Socially Engaged Artists Fellowship from A Blade of Grass Foundation. He has been written about in The New York Times, Sculpture, Art In America, ArtNews, The Village Voice, Time and The London Guardian.
Gia M. Hamilton
Gia M. Hamilton joined the Joan Mitchell Center in 2011 as a consultant and was appointed Director in July 2013. She comes to the Joan Mitchell Center with a broad perspective of visual art, operational functions and community development where she acts as a conductor of information between the New York and New Orleans communities as well as a catalyst for change in contemporary art through designing innovative models for artistic and cultural exchanges and expansive public programming in the global arts and creative community. Hamilton is currently on the board of Alliance for Artist Communities and a member of Res Artis, ArtTable, The American Anthropological Association, and a Dr. Norman Francis Leadership Institute 2014 Fellow.
Hamilton, a native of New Orleans, received her Bachelor’s in cultural anthropology with a minor in visual art from New York University and her Master’s in applied anthropology from City University of New York. For 15 years in New York City, Hamilton worked with non-profit organizations as a Serial Entrepreneur, Program Development Consultant, Community Engagement Organizer and Curator. Gia spent 6 years working in the corporate sector as a researcher and organizational design consultant with Downey Associates International, supporting financial firms and non-profit organizations like Citigroup, Hearst-Argyle and TIAA-CREF in their restructuring process. In 2009, Hamilton founded Gris Gris Lab, as a place based incubator and cultural exchange space to ensure that emerging thought-leaders could actualize their interdisciplinary projects through an innovative live-work model in Central City, New Orleans. Later, Gris Gris Lab built a team of social scientists who began cultural consulting to further support and strengthen the local economies of non-profits and small businesses in New Orleans, Seattle, Haiti, Washington D.C., Detroit and New York City.
Hannah Chalew is an artist from New Orleans. Her artwork explores the relationship between nature and culture as we slide into the collective uncertainty of life in the age of the climate change. She received her BA from Brandeis University in 2009 and her MFA from the Cranbrook Academy of Art in 2016. Chalew has exhibited widely around New Orleans and has shown around the country at Popps Packing, Hamtramck, MI, Dieu Donné, New York, NY; Asheville Museum of Art, Asheville, NC; Acadiana Center for the Arts, Lafayette, LA; and other venues. Her work is held in the collections of the City of New Orleans and the Ogden Museum of Southern Art. Her work is included in two creative atlases by writer and activist Rebecca Solnit, Unfathomable City: A New Orleans Atlas, co-authored with Rebecca Snedeker and Nonstop Metropolis: A New York City Atlas, co-authored with Joshua Jelly-Schapiro.
Harry Joseph is the leader of the 113-year-old Mt. Triumph Baptist Church. His community, already surrounded by chemical plants and crude oil storage tanks, would become the terminus of the Bayou Bridge Pipeline. Pastor Joseph is leading his community and the HELP Association of St. James in advocating for a better future for the region’s residents. “My prayer is that Governor Edwards looks at the situation our community is facing – and not just how much money the state is making, but how many people are being destroyed.”
Imani Jacqueline Brown
Imani Jacqueline Brown is a New Orleans native, artist, activist, researcher, writer and designer. Her work attempts to expose the layers of oppression, injustice, resistance, and refusal that make up the aggregate of our society’s foundation stones. Imani believes that art can drive policy and orients her practice toward the ever-elusive flicker of justice on the horizon, knowing that our world cannot find balance until social, ecological, and economic reparations are won. Imani currently works as Director of Programs at Antenna, New Orleans, is a co-founder of Blights Out and a core member of Occupy Museums. Occupy Museums’ project, “Debtfair”, was featured in the 2017 Whitney Biennial at the Whitney Museum of American Art. In 2015, Imani traveled to COP 21 to help establish the international Museum Liberation Movement as part of #FossilFreeCulture. She initiated and serves as Artistic Director of Fossil Free Fest. Imani is a Young Cultural Innovators Fellow with Salzburg Global Forum and a Future Leaders Connect Fellow with the British Council. She is honored to have been invited to participate in several artist residencies, including at the Ujazdowski Castle Center for Contemporary Art in Warsaw, Poland, in November 2017 and, in 2018, at The Luminary Arts in St. Louis, MO, and Headlands Center for the Arts in Marin County, CA. Her writing has been published in Pelican Bomb, Blok Magazine, Krytyka Polityczna and Shelterforce Magazine.
Jackie Sumell is a multidisciplinary artist inspired most by the lives of everyday people. Her work speaks to both traditional artist communities and those historically marginalized by structural racism. Ms. sumell’s work has been exhibited extensively throughout the US and Europe. She has been the recipient of several residencies and awards including, 2016 Robert Rauschenberg Artist-As-Activist Fellowship, 2015 Eyebeam Project Fellowship, and 2008 Akademie Solitude Fellowship. An ardent public speaker and prison abolitionist, sumell has lectured in Colleges and Universities around the US including UC Berkeley (BAMPFA), RISD, ZKM Karlsruhe, and as keynote for the National Prisoner Advocacy Conference 2014. Her collaborative work with Herman Wallace, The House That Herman Built, is the subject of the Emmy Award Winning documentary Herman’s House, screened to a national audience on PBS in 2013. sumell’s work explores the intersection of creative practices, mindfulness studies, social sculpture, and the principles of The Black Panther Party for Self Defense. Her path has been greatly shaped by the wisdom and compassion of Herman Wallace, Albert Woodfox, Robert King, Mwalimu Johnson, Malik Rahim, Norris Henderson, geronimo jijaga & all those who continue to struggle against an unjust and oppressive prison system.
Jayeesha Dutta is a tri-coastal Bengali-American artist, activist, and strategist for StoryShift at Working Films. She is part of the core leadership circle for Another Gulf Is Possible Collaborative, galvanizing the voices and experiences of brown (indigenous, latinx and desi) women from across the Gulf Coast working towards a just transition for our people and the planet. She is also the communications committee chair on Big Class/826 New Orleans board of directors and visual arts working group chair for Alternate ROOTS. Jayeesha is an avid traveler, home chef, and loves being near (or, preferably, in) any body of water. As a multi/interdisciplinary artist, she aims to make more time for dancing, singing, and participatory theater in her life. Jayeesha was born in Mobile, raised in New York, aged in Oakland and is deeply grateful to call New Orleans home.
Jessi Parfait is a graduate student at LSU working on her masters in anthropology. She is currently a fellowship student working on a grant funded by the National Academy of Science studying the adaptive capacity of her tribe The United Houma Nation in regards to environmental and man made stressors. Having also been the archivist for her tribe for the past 2 years, she has learned a lot about tribal history and the history of Terrebonne Parish. Growing up in Houma, Louisiana she has been around the oil industry her entire life and witnessed both the benefits and the harms it has caused. She hopes that her research will shed light on the environmental and human damages caused by the extraction industry to justify a transition away from fossil fuels but include those currently involved.
John Wilfred Taylor
John Wilfred Taylor is an artist based in New Orleans. Taylor’s creative work is inspired by the natural environment, in particular the plants and animals of the wetlands, where he spent most of his time as a child and continues to study and photograph. He carves and paints found wood and also photographs the environments where he finds his materials. Taylor has exhibited his work at Antenna Gallery (2017), National Wildlife Federation (2015), and Global Green (2012), and given talks at A Studio in the Woods, the Sanctuary Arts Center, New York University Bayou Talk, National Wildlife Federation, Lake Pontchartrain Foundation, among other venues.
Kalin Norman is a photographer, videographer, graphic designer, and mixed media artist from New Orleans, Louisiana. Starting in the summer of 2013, Kalin began working on becoming a filmmaker, with another New Orleans artist and mentor Brandan “Bmike” Odums. Kalin uses the medium of mixed media, the collaboration of one or more mediums, and combining pictures/videos of people and their environment to tell their stories. Kalin has been featured on the fan pages of Rich Hommie Quan, Jackson State’s Blue and White Flash, The Clarion Ledger, and the Mississippi Museum of Art. Kalin currently has a solo show in Jackson, Mississippi titled “Static: the Battle between Originality and Trendiness.
ArtSpot Productions and Mondo Bizarro’s Loup Garou
Loup Garou is an environmental performance that uses rigorous physicality, poetry, music and visual design to investigate the deep interconnectedness between land and culture in Louisiana. It is a sparse but replete installation made from found objects, metal, and natural materials. And it is an epic poem, a hero’s journey. A large swath of land is transformed into a stage, and much of the set is buried into the earth, revealed slowly throughout the show by a werewolf. The work is performed outdoors, beginning at sunrise or ending at sunset; all lighting is natural. Co-created by ArtSpot Productions and Mondo Bizarro, Loup Garou is part performance, part ritual, part howl to the world about southeast Louisiana’s plight.
Loup Garou: Hannah Pepper-Cunningham
Hannah Pepper-Cunningham is a co-artistic director and training coordinator at Mondo Bizarro and a collective member with Last Call New Orleans. Hannah organizes with European Dissent and is a proud member of Alternate ROOTS.
Loup Garou: Kathy Randels
Kathy Randels is a native New Orleanian and the founding artistic director of ArtSpot Productions with whom she has written, performed in, and directed numerous original solo and group works. Awards include the V-Day Leadership Award, the NEA/TCG Career Development Program for Directors, and an OBIE (for NITA & ZITA). She founded the LCIW Drama Club in 1996, and in 2012 co-founded a performance ensemble of formerly incarcerated women called The Graduates. Upcoming events include a summer tour of SEA OF COMMON CATASTROPHE; ongoing performances of The Graduates’ WON’T BOW DOWN! throughout Louisiana; and The Beyond Incarceration Summit, coming April 6-8, 2018. For more information, please visit and www.thegraduates.net.
Loup Garou: Nick Slie
Nick Slie is Co-Founder and Co-Artistic Director of Mondo Bizarro and the Associate Professor of Theater at Nunez Community College in Louisiana. Nick’s performance work ranges from physical theater to multi-disciplinary solo work, from digital storytelling to collaborative ensemble productions. He creates original works of performance that are rooted in a particular sense-of-place, reflecting the needs, desires, memories and possibilities of the community from which they are born. His creative endeavors have been experienced extensively in cities across the United States and occasionally abroad. But he is most proud of the work he does at home, in his beloved South Louisiana, where the water kisses the land.
Loup Garou: Sean Larocca
Sean Larocca is the Managing Director of ArtSpot Productions. His foolproof plan to become a famous rock star got waylaid in 1996 when he was flayed by a one-woman performance called RAGE WITHIN/WITHOUT. Over the course of the intervening years, he has gradually and mostly willingly come to dedicate his musical art and soul to this crazy thing we call theater.
May T. Nguyen
May T. Nguyen, Community Outreach Director, joined Tulane Environmental Law Clinic in 2015. She develops and disseminates popular education on Louisiana environmental law and policy (for example, community trainings based on TELC’s “My Guide to Environmental Protection in Louisiana”), assists with advocacy campaigns led by TELC clients, processes intake requests, and fundraises for the Clinic. In 2013, Nguyen received the Rishwain Social Justice Entrepreneur Award for successfully designing and implementing a novel “impact claims” campaign strategy to demand recognition and calculate damages for lost subsistence use due to the BP oil drilling disaster. After Hurricane Katrina, Nguyen created culturally competent small business assistance programs and organized partnerships among diverse stakeholders to invest over $4 million in grants and low-interest loans for rebuilding neighborhood businesses in New Orleans east. She earned a JD from UCLA Law School with a specialization in Public Interest Law and Policy, a MA from Johns Hopkins University in International Economics and Southeast Asia Studies, and a BA from Amherst College in Political Science. Vietnamese (fluent); Spanish (proficient).
Michael Premo is an artist, journalist and filmmaker. He is co-founder and Executive Producer at Storyline, a production company building power with story and strategy. Michael has created original film, theater and radio work with numerous companies including Hip-Hop Theater Festival, The Foundry Theater, The Civilians, and the Peabody Award winning StoryCorps. Recent projects include the multi-platform project 28th Amendment: Housing is a Human Right, the participatory documentary Sandy Storyline, Veterans Coming Home, a multi-platform public media series for PBS, and the short film and exhibit Water Warriors. In 2017 he was an artist-in-residence at the National Resource Defense Council’s Energy Efficiency for All Campaign. He consults on participatory documentary processes, cultural organizing, and civic engagement through Storyline and the Interaction Institute for Social Change. Through IISC he is helping design and facilitate community engagement in the development of a pilot project to strengthen energy and flood resiliency in the Hunts Point section of the Bronx. The project is lead by the Mayor’s Office of Recovery and Resiliency, NYC Economic Development Corporation and The U.S. Department of Housing and Urban Development who have committed $45 million to build the pilot project. He is on the Board of Trustees of A Blade of Grass and The Center for Story-based Strategy.
Moose Jackson is a Detroit native and ex-military who found his way to New Orleans via squatting, direct activism and train-hopping. His poetry is rooted in ancient traditions and re-connects community to their sacred relationship with place. His environmental play LOUP GAROU won the Big Easy award for Best Original Work of 2009. His works, including CRY YOU ONE (2013-2018) have toured domestically and abroad at the cutting edge of ritual, poetic theater and activism. In 2008 he founded New Orleans’ only water-based and ecology-themed carnival parade crewe, with over 90 boats and hundreds of land participants engaging in ritual, repast and revelry each Mardi Gras. He performs regularly with New Orleans’ experimental jazz community as an improv poet while maintaining a full-time job as a licensed tour guide and mule-carriage driver in the French Quarter. Publications include: Loup Garou (Lavender Ink), and A Howling in the Wires (Gallatin Press).
Monique Harden, Esq.
Monique Harden is the Assistant Director of Law and Policy at the Deep South Center for Environmental Justice. Ms. Harden manages strategic litigation, community engagement, and public policy advocacy to defend and advance environmental justice in the Gulf Region of the United States. She also serves as the Community Engagement Program Manager. Ms. Harden has more than 20 years of achievements in the practice of law that have helped predominantly African American communities win significant environmental justice victories. She is the former co-director and attorney of Advocates for Environmental Human Rights, an innovative public interest law firm in New Orleans, Louisiana, that won an important international ruling on environmental racism in the United States as a violation of basic human rights. In the aftermaths of Hurricane Katrina and the BP oil drilling disaster, Monique Harden has spearheaded coalitions advocating for governmental adoption of human rights standards to ensure the recovery of people displaced by climate-induced disasters and harmed by industrial hazards. She has authored papers and lectured on the rights of people to live in a healthy environment and the duty of government to protect these rights vis-à-vis the U.S. Constitution, international human rights laws, Title VI of the Civil Rights Act, the Americans with Disability Act, and environmental laws. Ms. Harden received a BS from St. John’s College and a JD from The University of Texas School of Law.
Monique Verdin has been intimately documenting the complex interconnectedness of environment, economics, culture, climate and change in southeast Louisiana, for decades. Her indigenous Houma relatives and their lifeways at the ends of the bayous, enduring the realities of restoration and adaptation in the heart of America’s Mississippi River Delta has been the primary focus of her work. Monique is the subject/co-writer/co-producer of the award-winning documentary My Louisiana Love (2012). Her interdisciplinary work has been included in an assortment of environmentally inspired projects, including the multiplatform/performance/ecoexperience Cry You One (2012-2017) as well as the publication Unfathomable City : A New Orleans Atlas (2013). Monique is a member of the United Houma Nation Tribal Council and is director of The Land Memory Bank & Seed Exchange; an experiential project engaged in building a community record through cultural happenings, strategic installations and as a digital archive to share stories, native seeds and local knowledge. Currently, Monique is apart of the Another Gulf Is Possible Collaborative core leadership circle of brown (indigenous, latinx and desi) women from Texas to Florida working to envision just economies, vibrant communities and sustainable economies.
The Natural History Museum
The Natural History Museum (NHM) is a traveling museum and museum transformation project. To expand the consensus for ecological and equitable development, and inspire a new generation of solutions and leaders, NHM is unleashing the power of museums. As a mobile exhibition and event producer NHM supports community-led land and water defense and spurs scientists and museums to respond to environmental challenges, including climate change and fossil fuel extraction.
NHM is a project of Not An Alternative, a non-profit collective that has worked at the intersection of art, activism, and theory since 2004. Not An Alternative was named in the NY Times and ArtNet’s “Best in Art in 2015” round-ups. The group’s work has been featured within Guggenheim, PS1/MOMA, Carnegie Museum of Natural History, Queens Museum, Brooklyn Museum, Tate Modern, Victoria & Albert Museum, MOCAD, and Museo del Arte Moderno, and in the public sphere, where they collaborate with community groups and activist mobilizations.
One Question Unity Scroll
One Question is art powered by participation, a community ritual of connection to the climate crisis. The 90 foot long, 6 inch high scroll depicts scenes of resistance to and injustices within the climate crisis: floods, gas leaks, health crises, militarization, droughts, mass protest, civil disobedience, community education, rebuilding post-disaster. Each miniature scene recreates a real-world instance that happened in the USA and Canada between 1992-2012, but suggests a vast number of other scenarios past, present and future.
Pippin Frisbie-Calder’s background includes a MFA in printmaking from Tulane University, a BFA with honors in printmaking from the Rhode Island School of Design, a residency in Providence (RI),study of large scale woodcuts abroad in Indonesia, a residency at Big Cypress National Preserve (FL), a residency and teaching position in Haiti, A solo show at the Contemporary Art Center of New Orleans and the Urban Institute of Contemporary Art in Grand Rapids MI, and special showings at a number of galleries, including in New Orleans, Florida, Denver, Providence (RI), and Yogyakarta (Indonesia).
Quintron and Miss Pussycat
Quintron and Miss Pussycat have been making genre-defying noise and hard rocking dance music in New Orleans for over fifteen years. The majority of their 14 full-length albums have the psychedelic soul of traditional New Orleans party music filtered through a tough distorted Hammond B-3 and a cache of self-made electronic instruments. The Quintron / Miss Pussycat experience is one of barely controlled electronic chaos, “Swamp-Tech” dance beats, small explosions, incredible clothes, and entertaining puppet stories. You can see them perform regularly at the Spellcaster Lodge in New Orleans, Louisiana or on one of their many tours around the world. This act somehow has equal relevance in sleazy nightclubs, pizza restaurants, and university lecture halls.
MISS PUSSYCAT plays maracas and sings, as well as entertaining all age groups with her highly amusing technicolor puppet shows. Hers are complex puppet shows beautifully crafted for success in intimate venues of late night drinking and dancing: tactile, idiosyncratic characters, pithy dialogue, electronically pixilated soundtracks, and trippy black light effects create a visual and engaging overture/finale to Quintron and Miss Pussycat’s music sets. Quintron aids in puppet manipulation and voicing. Miss Pussycat, in turn, sings lead and back-up and plays maracas during Quintron’s performances.
Quintron has released strange soundscapes based on inner-city field recordings of frogs and neighborhood ambiance as well as holing himself up in THE NEW ORLEANS MUSEUM OF ART for three months to create the epic “Sucre Du Sauvage” (Goner, 2011). In addition to his own recordings, Quintron has played organ on a number of other records, most notably THE OBLIVIONS “9 Songs” and STEVE RILEY AND THE MAMOU PLAYBOYS “Grand Isle” which was nominated for a Grammy in 2012 and featured the Quintron penned song “Chatterbox”.
Rachel Schragis is a visual artist and cultural organizer born and raised in NYC. Rachel is honored to participate as an artist/organizer in movements for climate, economic and racial justice, including fossil fuel divestment movements, the fight for $15, Occupy Wall Street, and the Domestic Worker Justice Movement. As a queer, white, 4th generation american Ashkenazi Jew, Rachel sees herself as living forward the dreams of her ancestors by working to dismantle white supremacy. Rachel was the arts team coordinator for the 2014 and 2017 Peoples Climate Marches, and is currently collaborating with Puerto Rican artist-activist collective AgitArte on new arts-based political education tools about Hurricane Maria and the history of US-Puerto Rican colonial relationship.
Rebecca Snedeker is the James H. Clark Executive Director of the New Orleans Center for the Gulf South at Tulane University. Prior to this position, she cultivated a body of narrative work that supports human rights, creative expression, and care for place in her native city, New Orleans. Works include Unfathomable City: A New Orleans Atlas (co-authored with Rebecca Solnit, University of California Press, 2013) and several feature documentary films, including Land of Opportunity (producer, ARTE, 2010), Witness: Katrina (producer, National Geographic Channel, 2010), and By Invitation Only (producer/director, PBS, 2007). Snedeker has served on the Steering Committee of New Day Films and the boards of the New Orleans Film Society and Patois: The New Orleans International Human Rights Film Festival. She graduated from Wesleyan University and is the recipient of an Emmy Award and grants from the National Endowment for the Arts and the National Endowment for the Humanities.
In 2008, I started taking fotos of the Louisiana Wetlands from a 12’ kayak with a digital camera. This strange and mythic world of alligators and bald cypress trees quickly fascinated me. To slowly paddle a small craft on these calm and coffee brown waters is a great and never failing pleasure. Some places I paddle to are serene and pleasant while some are deeply sad and tragic. Where it’s healthy, the wetlands teem with life: in the trees, on the banks and in the water. It’s an almost boundless fertility. Where it’s deeply burdened with ignorance, plunder, and neglect, it’s static and it’s fetid. A man-made predicament, it’s disappearing at the rate of one acre every hour. They say, ‘Every place is either sacred or desecrated’: here in Louisiana it’s surely both.
My intention is to photograph both the healthy and the dying places in a manner both realistic and expressive- not solely reportage and not solely an attempt at making art. Something that is both documentary and personal. (It’s an age-old debate, objectivity vs. subjectivity, and I’m not trying to argue it. I’m just not sure it’s always practical to keep the two completely divorced.) That these fotos reach for both ecological and aesthetic concerns is without doubt. It’s my aim, knowing full well how much I can miss, to merge the ‘objective’ and the ‘personal’ into an informed affection. If they do anything at all, I hope these fotos express a proper reverence for the place in Louisiana where I found them.
Rory Danger and the Danger Dangers
New Orleans’ Preeminent Rockabilly Band, Rory Danger and the Danger Dangers, makes up one of the finest concept driven rock bands to emerge from the underbelly since the French colonization of Louisiana. With an epic premier show at Chazfest 2010, (quickly followed by a legendary farewell show and a heroic Reunion show) the Danger Dangers quickly overtook the New Orleans Rockabilly scene and have been dominating ever since. They were nominated for Best Emerging Artists and Best Album in 2015 (OffBeat Magazine and the Gambit), and have played sold out shows to crowds all across New Orleans and Southeastern Louisiana. www.rorydanger.com.
Sacramento Knoxx, a hardworking interdisciplinary artist with strong Detroit roots, has built community concerts and workshops that engaged many audiences in public spaces all around the city. Currently he travels nationally and internationally sharing interactive music performances, blending captured moments in life & creative imagery through large projection motion graphics. Building from raw experience and grit his works send vibrations to help assemble the worlds we want to live in. In addition to creating these dynamic storytelling installations, he creates documentary film and music video encapsulating the experience of struggle and celebration of diverse layers of communities.
Sage Crump is a culture strategist who seeks to expand and deepen the work of artists, cultural workers, and arts organizations in social justice organizing. Based in New Orleans but working nationally, she believes in leveraging art, creative practice, and the cultural sector to transform systemic oppressions. Her work with artists such as Detroit-based Complex Movements highlights the way intentional shifts in practice create new strategies that intersect artistic practice and movement building. Sage is currently Program Specialist for Leveraging a Network for Equity at NPN/VAN and a board member for the Center for Media Justice, and Art2Action, and a member of Alternate ROOTS. Sage’s work incorporates complex sciences, emergent strategy and creative practice to imagine and transform in which we live.
Shana M. griffin
Shana M. griffin is a feminist activist, independent researcher, applied sociologist, artist, and mother. Shana’s work is interdisciplinary and undisciplinary, centering black feminist practices that attend to the lived experiences of the black Diaspora. Whether serving on a board, a member of a collective, conducting research, collaborating on an art project, documenting social movements, organizing a conference, or establishing a new initiative or organization, her work is expansive and exists in multiple social justice formations, contexts, and capacities. Shana’s activism and research centers the experiences of black women most vulnerable to the violence of poverty, carcerality, polluted environments, reproductive legislation, economic exploitation, and housing discrimination. Her work challenges neoliberal ideas of choice, gender and racial assumptions about climate impacts, carceral frameworks of safety, and spatial narratives that value white social identity.
Shana’s current project DISPLACED chronicles the institutionalization of spatial residential segregation, discriminatory housing practices, property-led development, and the violence of displacement in New Orleans. PUNCTUATE, her latest initiative supported in part through her Weaver’s Fellowship seeks to provoke the use of black feminist discourses, organizing strategies, and geographic positioning to address intersecting forms of violence experienced by black women and their communities. To learn about Shana, visit www.shanamgriffin.com.
Spirit & Sparrow
Spirit & Sparrow is a sweet Non-Binary mashup of Black magick, soul & folk, delicate lyrics, powerful harmonies, engaging musicianship, and dynamic chemistry. [SPIRIT] Spirit McIntyre (pronouns: Spirit/They/Them) a Gender Expansive Cellist, Vocalist, Lyricist, Sound Healer, and Reiki Practitioner, who promotes empowerment and healing by any medium necessary AND [SPARROW] kei slaughter [pronouns: they/them], a Soul-Folk Sonic Storyteller, Vocalist, Flutist, Multi-Instrumentalist, Composer, and Music Therapist conjuring bokou magik from deep New Orleans roots. Learn more about these amazing artists at: monicamcintyre.bandcamp.com and keislaughter.com.
Armed with an engaging story, voice, and presence, New Orleans native and visionary, Sunni Patterson, has been the featured performer at many of the Nation’s premier spoken word venues, including HBO’s Def Poetry Jam and BET’s Lyric Cafe. She has also shared her work on the Arsenio Hall Show, TEDWomen (Momentum 2015), and on several international stages. Inspired by her words, Beats by Dre commissioned Sunni to provide the soundscape for tennis great, Serena Williams’, workout (wireless beats) commercial, and the congratulatory piece for Williams’ third US Open win (Congratulations Serena ft. Sunni Patterson). As a highly sought after lecturer, workshop facilitator, and performer, she deliberately uses art as a tool to recognize, address, and eliminate all forms of oppression. She has trained under great scholars, allowing her to become a Certified Professional Life Coach (CPC), a certified instructor of Chi Kung (Qi Gong) and Tai Chi for Health, and a diligent student in the healing and spiritual arts. Sunni’s mission is to aid in the awakening, the revival, and the remembrance of our gifts and voices.
Suzanne Dhaliwal is an advocate provocateur, interdisciplinary artist, lecturer and environmental justice and anti-oppression trainer. Since 2009 she has been the co-founder and director of the UK Tar Sands Network, which has challenged BP and Shell investments in the Canadian Tar Sands in solidarity with frontline indigenous communities, which spurred the internationalisation of the divestment movement. Suzanne has led campaigns and artistic interventions to challenge investment in the Arctic, Nigeria that violate the rights of indigenous people and those seeking justice in the wake of the BP Gulf of Mexico disaster. Her corporate and financial campaigning most recently challenged the insurance industry on their underwriting of highly polluting coal projects. Suzanne has worked as a media consultant to support the Indigenous Environmental Network to secure international media during the COP21 and COP23 climate negotiations and continues to work as a media consultant to various non-profits. Suzanne worked alongside the Ogoni People and British-Nigerian artist Sokari Douglas-Camp to send a life-size bus sculpture to Nigeria for the 20th anniversary of the execution of the Ogoni 9 and Ken Saro-Wiwa with Platform. She was a part of the Art Not Oil coalition for 6 years challenging BP and Shell’s corporate sponsorship in the arts and then went on to complete a Masters of Art in Social Sculpture in Oxford to address the lack of representation and on-going white supremacy in the UK climate justice movement. She has written multiple articles on the subject, most notably in the Guardian. She has lectured at Oxford University on white supremacy in environmentalism and has offered creative strategy workshops to decolonise activism and to find pathways to recentre indigenous, black, POC and frontline voices and strategies in the movement for a decade. She is currently working as an interdisciplinary artist in Amsterdam, Netherlands, continuing to explore creative strategies and practices to bring together artists and frontline climate justice activists.
Yudith Nieto is a queer Mexican-American artist and organizer originally based in Houston, Texas, enjoying spending time in the bayous of Louisiana working on projects like CRY YOU ONE. She’s worked with frontline communities across the country to create, develop and amplify community-led media around just transition stories, artbuilds across the country in solidarity with intersectional movements for a decolonized direct action approach. She has collaborated on initiatives that focus to create youth leadership and art in activism trainings to teach people about environmental issues that affect their communities through arts, media and cultural organizing. She is part of the core leadership circle for Another Gulf Is Possible antiracist, decolonized, abolitionist frame and a youth organizer with Los Jardines Institute. For many years, Yudith has been fighting for the rights of her fenceline community in Manchester, Houston in collaboration with Texas Environmental Justice Advocacy Services (t.e.j.a.s).