Aja Monet and phillip agnew: A love story about the power of art as organizing | TED

37,400 views ・ 2019-03-05

TED


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00:13
Aja Monet: Our story begins like all great, young love stories.
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Phillip Agnew: She slid in my DMs ...
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AM: He liked about 50 of my photos,
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back-to-back, in the middle of the night --
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PA: What I saw was an artist committed to truth and justice --
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and she's beautiful, but I digress.
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AM: Our story actually begins across many worlds,
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over maqluba and red wine in Palestine.
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But how did we get there?
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PA: Well, I was born in Chicago,
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the son of a preacher and a teacher.
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My ears first rung with church songs sung by my mother on Saturday mornings.
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My father's South Side sermons summoned me.
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My first words were more notes than quotes.
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It was music that molded me.
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Later on, it was Florida A&M University that first introduced me to organizing.
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In 2012, a young black male named Trayvon Martin was murdered,
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and it changed my life and millions of others'.
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We were a ragtag group of college kids and not-quite adults
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who had decided enough was enough.
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Art and organizing became our answer to anger and anxiety.
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We built a movement and it traveled around the world
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and to Palestine, in 2015.
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AM: I was born to a single mother
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in the Pink House projects of Brooklyn, New York.
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Maddened by survival,
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I gravitated inwards towards books, poems and my brother's hand-me-down Walkman.
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I saw train-station theater,
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subwoofing streets and hood murals.
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In high school, I found a community of metaphor magicians
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and truth-telling poets
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in an organization called Urban Word NYC.
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Adopted by the Black Arts movement,
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I won the legendary Nuyorican Poets Cafe Grand Slam title.
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(Applause and cheers)
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At Sarah Lawrence College, I worked with artists
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to respond to Hurricane Katrina and the earthquake;
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I discovered the impact of poetry
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and the ability to not just articulate our feelings,
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but to get us to work towards changing things
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and doing something about it,
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when a friend, Maytha Alhassen, invited me to Palestine ...
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PA: We were a delegation of artists and organizers,
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and we immersed ourselves in Palestinian culture,
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music, their stories.
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Late into the night,
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we would have discussions about the role of art in politics
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and the role of politics in art.
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Aja and I disagree.
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AM: Oh, we disagree.
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PA: But we quite quickly and unsurprisingly fell in love.
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Exhibit A:
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me working my magic.
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(Laughter)
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AM: Obvious, isn't it?
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Four months later, this artist --
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PA: and this organizer --
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AM: moved into a little home with a big backyard, in Miami.
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PA: (Sighs)
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Listen, five months before this ever happened,
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I predicted it all.
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I'm going to tell you --
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a friend sat me down and said,
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"You've done so much for organizing,
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when are you going to settle down?"
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I looked him straight in the face
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and I said, "The only way that it would ever happen
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is if it is a collision.
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This woman would have to knock me completely off course."
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I didn't know how right I was.
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(Laughter)
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Our first few months were like any between young lovers:
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filled with hot, passionate, all-night ...
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AM: nonstop ...
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PA: discussions.
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(Laughter)
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PA: Aja challenged everything I knew and understood about the world.
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She forced me --
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AM: lovingly --
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PA: to see our organizing work with new eyes.
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She helped me see the unseen things
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and how artists illuminate our interior worlds.
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AM: There were many days I did not want to get up out of bed
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and face the exterior world.
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I was discouraged.
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There was so much loss and death
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and artists were being used to numb, lull and exploit.
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While winning awards, accolades and grants soothed so many egos,
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people were still dying
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and I was seeking community.
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Meeting Phillip brought so much joy, love, truth into my life,
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and it pulled me out of isolation.
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He showed me that community and relationships
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wasn't just about building great movements.
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It was integral in creating powerful, meaningful art,
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and neither could be done in solitude.
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PA: Yeah, we realized many of our artist and organizer friends were also lost
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in these cycles of sadness,
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and we were in movements that often found themselves at funerals.
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We asked ourselves
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what becomes of a generation all too familiar
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with the untimely ends of lives streamed daily on our Timelines?
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It was during one of our late-night discussions
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that we saw beyond art and organizing
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and began to see that art was organizing.
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AM: The idea was set:
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art was an anchor, not an accessory to movement.
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Our home was a home of radical imagination;
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an instrument of our nurturing hearts;
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a place of risk where were dared to laugh, love, cry, debate.
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Art, books, records and all this stuff decorated our walls,
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and there was lizards --
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walls of palm trees that guided our guests into our backyard,
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where our neighbors would come and feel right at home.
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The wind --
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the wind was an affirmation for the people who walked into the space.
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And we learned that in a world --
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a bewildering world of so much distraction --
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we were able to cultivate a space where people could come and be present,
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and artists and organizers could find refuge.
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PA: This became Smoke Signals Studio.
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AM: As we struggle to clothe, house, feed and educate our communities;
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our spirits hunger for connection, joy and purpose;
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and as our bodies are out on the front lines,
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our souls still need to be fed,
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or else we succumb to despair and depression.
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Our art possesses rhythmic communication,
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coded emotional cues,
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improvised feelings of critical thought.
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Our social movements should be like jazz:
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encouraging active participation,
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listening,
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spontaneity and freedom.
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What people see as a party ...
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PA: is actually a movement meeting.
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See, we aren't all protest and pain.
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Here's a place to be loved,
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to be felt, to be heard,
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and where we prepare for the most pressing political issues
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in our neighborhoods.
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See, laws never change culture,
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but culture always changes laws.
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Art --
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(Applause)
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Art as organizing is even changing and opening doors
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in places seen as the opposite of freedom.
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Our weekly poetry series
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is transforming the lives of men incarcerated at Dade Correctional,
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and we're so excited to bring you all the published work of one of those men,
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Echo Martinez.
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In the intro, he says ...
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AM: "Poetry for the people is a sick pen's penicillin.
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It's a cuff key to a prisoner's dreams.
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The Molotov in the ink.
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It is knowledge, it is overstanding,
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it is tasting ingredients in everything you've been force-fed,
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but most of all, it's a reminder that we all have voices,
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we all can be heard even if we have to scream."
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In 2018, we created our first annual Maroon Poetry Festival
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at the TACOLCY Center in Liberty City.
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There, the Last Poets, Sonia Sanchez, Emory Douglas
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and the late, great Ntozake Shange,
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performed and met with local artists and organizers.
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We were able to honor them
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for their commitment to radical truth-telling.
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And in addition to that,
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we transformed a public park
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into the physical manifestation of the world we are organizing for.
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Everything that we put into poetry,
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we put into the art, into the creativity,
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into the curated kids' games
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and into the stunning stage design.
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PA: Our work is in a long line of cultural organizers
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that understood to use art to animate a radical future.
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Artists like June Jordan,
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Emory Douglas
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and Nina Simone.
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They understood what many of us are just now realizing --
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that to get people to build the ship,
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you've got to get them to long for the sea;
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that data rarely moves people, but great art always does.
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This understanding --
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(Applause)
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This understanding informed the thinking
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behind the Dream Defenders' "Freedom Papers,"
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a radical political vision for the future of Florida
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that talked about people over profits.
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Now, we could have done a policy paper.
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Instead, artists and organizers came together in their poetry
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to create incredible murals
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and did the video that we see behind us.
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We joined the political precision of the Black Panther Party
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and the beautiful poetry of Puerto Rican poet Martín Espada
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to bring our political vision to life.
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AM: Now thousands of Floridians across age, race, gender and class
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see the "Freedom Papers" as a vision for the future of their lives.
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For decades, our artists and our art has been used to exploit,
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lull, numb,
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sell things to us
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and to displace our communities,
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but we believe that the personal is political
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and the heart is measured by what is done,
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not what one feels.
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And so art as organizing is not just concerned with artists' intentions,
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but their actual impact.
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Great art is not a monologue.
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Great art is a dialogue between the artist and the people.
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PA: Four years ago, this artist ...
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AM: and this organizer ...
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PA: found that we were not just a match.
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AM: We were a mirror.
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PA: Our worlds truly did collide,
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and in many ways ...
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AM: they combined.
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PA: We learned so much about movement,
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about love and about art at its most impactful:
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when it articulates the impossible and when it erodes individualism,
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when it plays into the gray places of our black and white worlds,
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when it does what our democracy does not,
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when it reminds us that we are not islands,
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when it adorns every street but Wall Street and Madison Avenue,
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when it reminds us that we are not islands
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and refuses to succumb to the numbness,
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when it indicts empire
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and inspires each and every one of us to love,
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tell the truth
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and make revolution irresistible.
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AM: For the wizards --
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(Applause)
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AM: For the wizards and ways of our defiance,
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love-riot visions of our rising, risen, raised selves.
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The overcoming grace --
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fires, bitter tongues,
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wise as rickety rocking chairs,
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suffering salt and sand skies.
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Memories unshackled and shining stitches
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on a stretch-marked heart.
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For the flowers that bloom in midnight scars.
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How we suffered and sought a North Star.
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When there was no light, we glowed.
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We sparked this rejoice,
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this righteous delight.
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We have a cause to take joy in.
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How we weathered and persisted,
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tenacious,
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no stone unturned.
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How we witnessed the horror of mankind
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and did not become that which horrified us.
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PA: Thank you.
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AM: Thank you.
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(Applause)
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