“Bird, why do you sing?
Fate has clipped your wings.”
Read Gaelynn on keeping inner demons at bay.
Thank you Derek Davey for introducing me to this artist.
“What might begin as a space whose protest action aims to form humanising culture where Black disabled, trans, queer, and womxn’s bodies are safe and heard, is very quickly appropriated by the anti-blackness of up high – a force that polarises the complexity of oppression and attempts to direct and contain action into the physically violent (inherently colonialist) form that it understands best. In this sense, the state functions to direct the protest politik into the Afropessimistic voice, one that we know disinherits those who do not immediately come to mind when we say the word “black” (ie: black disabled, trans, queer, and womxn’s bodies) and one that abandons the pursuit of humanity, in favour of unhealthy martyrdom and recklessness.
“So apart from the predictability of state-sanctioned physical violence in the form of stun grenades, teargas, rubber bullets, arrest and jail time, it is important to understand this state provocation as incredibly strategic in the way it seeks to awaken retaliation in the same form. It begs us for physical retaliation – the kind that re-confirms black people as bodies, the kind that forces the “you can’t kill us all” mantra – basically the kind of protest that black able-bodied cis-heterosexual men happen to be good at leading and controlling, the kind that does not challenge structural power, but fulfils the fantasy of Fanon’s black man in replacing his white master.”
“No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee.”
– John “I’m done” Donne. Meditation 17, from Devotions Upon Emergent Occasions, 1624
Cut together wonderfully with footage from Nosferatu, eine Symphonie des Grauens (1922).