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A Lowcountry Preacher, His Church, and His People
True Places is an emotionally charged photographic documentary of the lives of evangelical pastor Floyd Knowlin and his close-knit African American congregations who live, work, and worship in a rural stretch of coastal South Carolina. For more than a decade photographer Stanley F. Lanzano has immersed himself in the daily practices of this community in Williamsburg and Georgetown counties, befriending Reverend Knowlin and becoming a welcomed part of his extended church family. The respectful relationship that Lanzano has forged with his subjects and the trust that they have extended to him shines through in the eighty-three black-and-white and eight color photographs included here, illustrating a vibrant coastal subculture rarely witnessed by outsiders. Many of Lanzano's photographs document services and church revivals, conveying the great joy, sorrow, and fervor of these meetings while highlighting Knowlin's captivating persona. Lanzano also grants us glimpses into baptisms in the murky, still waters of lowcountry South Carolina rivers. Beyond the church he takes us into the private homes and lives of Knowlin's flock, many of whom are of Gullah descent and keep elements of this heritage alive in their daily practices. Collectively these images show a society in transition, where pain and grief are juxtaposed with redemption and bliss. Lanzano's narrative of his meeting Reverend Knowlin and his continuing relationship with Knowlin's community is a tale of self-discovery. It is also a testament to the power of faith in the lives of often forgotten South Carolinians. It is a rarity for a photographer to be granted such unlimited access into these communities. Through these images Lanzano creates with the utmost reverence and respect a powerful record of the hardships and hopes he witnessed among Knowlin's congregations to preserve their legacy and to share their inspirational attitude toward life in these true places.
Community Arts and Popular Education in the Americas
Compelling case studies of groups in Panama, Nicaragua, Mexico, the United States, and Canada using the arts for education, community development, and social movement building. This compelling collection of inspiring case studies from community arts projects in five countries will inform and inspire students, artists, and activists. ¡Viva! is the product of a five-year transnational research project that integrates place, politics, passion, and praxis. Framed by postcolonial theories of decolonization, the pedagogy of the oppressed articulated by Brazilian educator Paulo Freire, and the burgeoning field of community arts, this collection not only analyzes the dynamic integration of the critical and the creative in social justice movements, it embodies such a praxis. Learn from Central America: Kuna children’s art workshops, a community television station in Nicaragua, a cultural marketplace in Guadalajara, Mexico, community mural production in Chiapas; and from North America: arts education in Los Angeles inner-city schools, theatre probing ancestral memory, community plays with over one hundred participants, and training programs for young artists in Canada. These practices offer critical hope for movements hungry for new ways of knowing and expressing histories, identities, and aspirations, as well as mobilizing communities for social transformation. Beautifully illustrated with more than one hundred color photographs, the book also includes a DVD with videos that bring the projects to life.
War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.TEST XYZ
Discovering Where We Live