14 minute read
Louder Than Words
LOUDER ORDS W
THAN
Leila Chabane’s art Instagram: @18603art Paul Richmond’s art Instagram: @paulyworld
music and art are powerful forms of protest for marginalized groups and draw attention to social issues otherwise difficult to confront.
Text by EUNICE CHO, FAITH CHOW, KIMI LILLIOS, DUNYA MOSTAGHIMI and SUKHMAN SAHOTA • Design by KIMI LILLIOS and SUKHMAN SAHOTA and • Illustrations by SUKHMAN SAHOTA • Artwork courtesty of LEILA CHABANE and PAUL RICHMOND
EDITORS’ NOTE: We want to recognize that this story was written prior to the recent Black Lives Matter protests. While we did our best to incorporate certain aspects of the movement, we came up against a print deadline and were not able to include as much as we wanted with regard to ongoing protests and marches. But, we did not want readers to think that we stopped there. That is why we invite you to explore more of our current coverage on the C Magazine website and social media. We know the story will continue to evolve.
The repeating silhouette of a female face spread across the page is boxed in geometric shapes. Repeating text reads ‘Which side of history do you want to be on?’ and ‘The only virus present is your racism,’ both demanding the attention of the viewer. The use of vibrant colors: orange, blue and aquamarine bring energy and movement to the art. Amidst this pandemic, injustices that plagued our society beforehand continue to prevail. Since the out“Which side of history do you want to be on?”
break of COVID-19, there has been a surge in reported xenophobic and racist incidents in the United States. These stories of harassment and abuse are more than a mere statistic
but can also act as a catalyst for the creation of artistically based protest which bring greater awareness to these social issues.
Leila Chabane is a Paly alum who uses her art to promote social change. While her traditional focuses generally include mental health, intersectional feminism, eco-feminism and queer rights, the current dynamics of the country motivated her to speak out about recent racial injustices.
Although she has not experienced these attacks herself, Chabane still wants to bring light to the situation through her art. “After hearing personal stories from friends and seeing Chella Man, an LGBTQ activist and social media influencer, speak about being treated as lesser than because of their race, I felt motivated to want to speak about this topic as an ally,” Chabane said. “Rather than recreating a story, I really wanted to share and bring attention to Chella Man’s story.”
However, Chabane also recognizes that racial inequality is not the only problem that has surged as a result of quarantine. “In addition to exploring “The only virus present is your racism.”
the way that coronavirus perpetuates racism, I also intend on creating an art piece about the idea of ‘safety’ because it’s incredibly close-minded to assume that everyone can remain safe while at home,” Chabane said. “In fact, since the lockdown, domestic abuse calls have gone up by 25%.”
The immediate relevance of a social issue is a common source of inspiration for protest artists. However, the core passions of the artist are more often developed over many years.
Finding inspiration
Chabane did not set out for her art career to be centered around protest, but instead naturally incorporated her opinions into her artwork, as her focus and style changed over the years.
Throughout middle school, whether it was in an art class or just small doodles in the corner of her notebooks, Chabane was always involved with art. But, it was not until the summer before her junior year of high school when she began her path to finding her true inspiration. “Early on, I started creating art because it was a fun thing to do when I was bored during class,” Chabane said. “That being said, I began creating art to speak about gender justice once I found how often gender would negatively impact my daily experience.” She took inspiration from the experiences she had with sexualization. “At the time, I had been followed home, catcalled, sexualized, and devalued for my gender,” Chabane said. “Rather than continuing to internalize these issues, I developed a platform that allowed me to express my authentic self.” In order to hone her artistic skills and better establish a platform to speak about social issues, Chabane attended the School of the Art Institute of Chicago (SAIC). In her first year of college, Chabane had an experience that would
expand her focus beyond advocacy. “After attending SAIC for a couple of weeks, I had been sexually assaulted and was told to stay silent. When attempting to cope, I found it incredibly challenging,” Chabane said. “Suddenly, I began using art as a form of therapy, something I never realized I could do.” As her perspective changed, so did her art. Chabane found motivation in the people looking to her art for comfort as it related to their own experiences. “I strive to paint and design to create safe spaces where individuals can think about and discuss taboo topics ranging from sexual assault to homophobia to loneliness to depression,” Chabane said. “Above all, I create art to spark hope, regardless of how hopeful I’m actually feeling.”
Chabane found her true voice and inspiration through several events that have occurred in her life. She was able to find the influence that art has on the world and on oneself. “To me, artistic activism is the perfect way of addressing intersectional feminism since it allows us to communicate social justice issues, while at the same time, nurturing our mental health through using art therapy,” Chabane said. Leila has had a long journey to find her true passions in protest art and even though she creates her art on a relatively small scale, she is still able to connect with others in ways like never before.
LE ILA CHA BANE
“I love sharing [my artwork] with people and connecting with everyone, but I keep those two worlds separate so that I can stay true to my own vision without being influenced by what I think other people’s expectations of me are.” Paul Richmond
In the spotlight
Being exposed to the concept of protest art at a young age allowed visual artist Paul Richmond to find his artistic voice early on. This jump-started Richmond’s career and landed him a household name in the genre of protest art. “[In art class] I first learned that art can be more than just a pretty picture on a wall,” Richmond said. “It can actually be a way of communicating.” Art was first a source of expression where he could exhibit his feelings about the bullying he suffered growing up. As the bullying ended, Richmond started using the power of his art to help others. “When someone close to our family was sick or going through a difficult time, my parents would often suggest that I make art for them,” Richmond said. “It helped me realize that I could create something with my imagination that might help make others feel better.” Once he saw the power in art, he expanded the topics of his protest art to LGBTQ+ rights, animal abuse, mistreatment of immigrants, and other politically charged topics. As Richmond continued to expand his views, he started to attract an audience. Richmond was put in blogs and invited to have his art displayed in different galleries. One show that he was invited to focused on animal abuse in circuses. “Each artist made a painting… and they
were all linked together in the gallery to look like a circus train,” Richmond said. “My painting showed an elephant on a tiny pedestal with an ominous ringmaster in the background wielding a large whip.” Richmond was creating these socially charged art pieces in a time where the topics were often taboo to the average person. Thus, as his popularity grew, so did the criticism. “[People] said I was a terrible painter, I didn’t have any technical skills, my anatomy was wrong, they hated my use of color, etc,” Richmond said. “It broke my heart because I was insecure and wanted everyone to like everything I did.” Being in the spotlight, at first, was challenging for Richmond. But he continued on his path, passionate about the art he created, and learned to see the positive impact his art could have. “One of the biggest accomplishments of my life is hearing from so many young queer artists who tell me that my work was some of the first artwork they saw that they could connect with and that it inspired them to want to be artists too,” Richmond said. Richmond has learned a lot from being in the spotlight. He has implemented different methods and worked to create unique pieces under his name, while never conforming to the style of his critics or losing his passion for art.
Stick and stones of systematic injustices in the world, Looking more closely at the song
Artists around the world are conthrough the lyrics and tone of the mu“Alright” from Kendrick Lamar’s alstantly channeling their opinions sic. Since then, African Americans’ probum “To Pimp a Butterfly,” publicly acthrough their art, just like Chabane and test music has grown into a tool that not claimed as the modern Black national Richmond. But utilizing artistic expresonly highlights social ills but demands anthem after its release in 2015, arose sion to incite social change is not a resocial and political reform. during a time where police brutalicent development and can be seen datOne modern civil rights movement ty against Black people in the United ing as far back as the Antebellum years. that has prompted musical artists to call States was at the forefront of the coun
From the time of their enslavement, for social change is the Black Lives Mattry’s focus. African Americans have been using ter movement. The lyrics of the song incorporate music as a cathartic release of pain In 2013, the Black Lives Matter religious imagery and historical allufrom the injustices they have endured project was created as an immediate resions which is why it is hailed as such an throughout history. William Anderson, sponse to the acquittal of George Ziminfluential artistic piece. “The song ema contributor to Pitchfork, an online merman, who fatally shot the unarmed bodies the pain, struggle and injustice music magazine, explains how protest African American teenager, Trayvon African Americans face while simultamusic in the African American populaMartin. The movement has since exneously being an upbeat and hopeful tion originated from the times of slavpanded their efforts to combat a wider track that casts a positive light on the fuery. “Someone could argue that singing range of anti-Black issues. ture for Black Americans,” Obrien said. field songs during slavery was a form In conjunction with the movement, Another song centered around proof protest because it was one way that Black musicians have created albums test is Childish Gambino’s “This is Black people maintained [their culture] about Black empowerment and self-love America,” which has an accompanying despite deplorable, unfathomable conduring a time when systemic racism is gruesome music video that targets white ditions,” Anderson said. prominent in society. “Kendrick Lasupremacy. Through the use of sym
Paly alum Ellis Obrien, who studied mar’s ‘To Pimp a Butterfly,’ D’Angelo’s bolism, viewers are directed towards, African American “the pattern Studies at Bates College, considers “The very fact that Black people made in America of people caring slave hymns to be one of the origi[any] music in the midst of anti-Black for their guns more than nal forms of protest music. “Slave state violence is truly a protest itself.” those who are innocenthymns were a way ly killed at of building unity within a commuWilliam Anderson the hands of gun violence nity or congregaand racism,” tion, but the hymns also were a way of ‘Black Messiah’ and Janelle Monáe’s Obrien said. testifying before God and witnessing to ‘Hell You Talmbout’ are some musical The graphic shock factor of the vidothers the atrocities most enslaved peoexamples of a rejuvenated Black moveeo reminds Americans that their culture ple experienced,” Obrien said. ment in music,” Andersen said. “[Muhas not yet fundamentally changed to
Following hymns, the development sic calling for social change] happens combat racism in an effective manner, of country, blues, jazz, soul and rock across the board. It’s not one genre or which songs and music videos can bring genres all incorporated the critique group or artist. It’s everywhere.” awareness to.
While embedded frustration can often erupt in violent matters, music can be a powerful tool to fight injustices through capturing attention, changing perspectives and inciting action.
For centuries, Black people in America simply used music as a refuge from the inner turmoil of their frustrations with society. Or, if they were verbalizing their pains with the status quo, artists had no intention of sparking a revolution.
Regardless of whether the music was created to address the struggles in the Black community, Anderson says that all African American-produced music is protest music. “The very fact that Black people made [any] music in the midst of anti-Black state violence is truly a protest itself,” Anderson said.
Sadly, it appears as if full social equality is a far-off ideal, with unbashful hate groups still actively fighting against the inauguration of Black people fully into American culture. But what establishes itself as an insurmountable obstacle to most Americans, Black people see as a chance to utilize songs to shake a public of listeners to fight for equality. Furthermore, Anderson doesn’t believe that rallying cries of protest music will fade in influence or go away any time soon. “Black people have used our culture to overcome white supremacy for a very long time,” Anderson said. “We have used every piece and every cultural resource we have at our disposal to be effective in our resistance.”
Music has become a combative tool to highlight the oppressive nature of American society against nonwhite groups. “Music and art were especially important for Black Americans since many of their other avenues for protest were violently suppressed,” Obrien said.
From the banning of large gatherings to other preventative measures, art created in the spirit of protest has become a necessary outlet for the Afto be holding onto the last straw of emotional tolerance is, “Art touches the human heart and opens minds— music, perhaps, more than any other form of expression. Combining music with powerful, poetic lyrics creates community and solidarity, and the hope and inspiration for the future that deep bonds of community and solidar
Ellis obrien
rican American community and has been used across different genres and historical eras.
“The journey for Black Americans has had a potent musical score: from the African beats enslaved peoples carried with them from their homelands in the hulls of slave ships to … the rap and hip hop that speaks to their agency and their fight for freedom from brutality and injustice,” Obrien said.
Whether we admit it or not, the current racially divided climate exists and won’t be going away while Americans remain indifferent and apathetic to the scarily normalized atrocities committed against African Americans.
What should not remain forgotten in a time where entire cultures appear ity bring,” Obrien said. Let the battle for equality continue, but let’s not fight with sticks and stones, but instead with songs. With these tools, people are able to advocate for their rights and speak to those who cannot relate to their words.
Members of different movements have struggled to find their voice, but with art and music, they can build their unique path of campaigning. Art and music give people the chance to be completely transparent with their feelings, beliefs and understanding of any types of movements. In recent years, artistic expression has been at the forefront in advocating for any type of movement because art and music have the ability to put words in places where actual words are not found.
unbounded love
Amidst these times of uncertainty and isolation, it is more important than ever that we maintain our emotional connections with those around us.
