Future Memory

Paul Farber: You are listening to Monument Lab Future Memory where we discuss the future of monuments and the state of public memory in the US and across the globe. You can support the work of Monument Lab by visiting monumentlab.com, following us on social @Monument_Lab, or subscribing to this podcast anywhere you listen to podcasts. Li Sumpter: Our guest today on Future Memory is artist, scholar, and composer, Nathan Young. Young is a member of the Delaware Tribe of Indians and a direct descendant of the Pawnee Nation and Kiowa Tribe, currently living in Tahlequah, Oklahoma. His work incorporates sound, video, documentary, animation, installation, socially-engaged art, and experimental and improvised music. Young is also a founding member of the artist collective, Postcommodity. He holds an MFA in Music/Sound from Bard College's Milton Avery School of the Arts and is currently pursuing a PhD in the University of Oklahoma's innovative Native American art history doctoral program. His scholarship focuses on Indigenous Sonic Agency. Today we discuss his art and practice and a recently opened public art project at Historic site Pennsbury Manor entitled nkwiluntàmën, funded by the Pew Center for Arts & Heritage and curated by Ryan Strand Greenberg and Theo Loftis. Let's listen. Welcome to another episode of Future Memory. I'm your co-host, Li Sumpter. Today my guest is Nathan Young. Welcome, Nathan. Nathan Young: Hello. Thank you. It's nice to be here with you today. Li: Future Memory is the name of Monument Lab's podcast. In the context of your own work, when you hear the words "future memory," what does that mean to you? Do any images or sounds come to mind? Nathan: They really do. There's one. It was a website of a sound artist, a writer, an educator, Jace Clayton, DJ/Rupture, had a mixed CD called "Gold Teeth Thief". I remember it was kind of a game changer in the late '90s. I got that mixed CD from a website called History of the Future. Li: That's very close. It was very close. Nathan: It's always stuck with me. I'm fortunate enough to be able to grapple with a lot of these kind of ideas. I'm not really quite sure how I feel about some of the history of the future because in some ways I work within many different archives so I am dealing with people's future or thinking about or reimagining or just imagining their future. But future monuments are something that I grapple with and deeply consider in my artwork. I think it's one of the more challenging subjects today in art. I think we see that with the taking down of monuments that were so controversial or are so controversial. But I find it fascinating the idea of finding new forms to make monuments to remember and the idea of working with different communities of memory. It's key to my work. It's just a lot of listening and a lot of pondering. Actually, it's a very productive space for me because it's a place to think about form. Also, it opens doors for me just to think about the future. I will say this, that one problem that often arises as a Lenape Delaware Pawnee Kiowa person is we're often talking about the past, and I really like to talk about the future and to work with organizations that are thinking about the future. Li: I can relate to that. Nathan: I think it's a misunderstanding. We always really are talking about the future. I've had the great fortune to be around some people. Actually, I grew up in the capital of the Cherokee Nation, Oklahoma. A lot of people know that Oklahoma is the home to 39 federally recognized tribes. I was fortunate enough to grow up in Tahlequah, which is the capital of the Cherokee Nation, and was able to be around a well-known and respected medicine man named Crosslin Smith, also an author. I remember being a part of an interview with Crosslin. I grew up, he was a family friend. He said, "I'm often asked about the old or ancient ways and the new ways." What Crosland said was, and I'll try my best to...

Li: Welcome Jon Kaufman and El Sawyer to Future Memory. Jon: Thank you for having us. El: Thank you, cool name. Li: So what's your origin story? How did Jon and El become Ming Media? Jon: It's an interesting story and there's not really one particular magical spark, but it definitely was an organic process from my perspective, right? El his own journey and perspective with it, but I never really considered filmmaking as a career at all when I was younger, I never wanted to be like a Hollywood person, never wanted to direct or anything like that, but I was always interested in storytelling and especially advocacy and just trying to combat the narratives that I knew were false. I didn't know how to do that. And then it wasn't until I went to Temple and took a class, which was, I forget the name of, it's something around community media, which was a film class. I wasn't a film major at all, didn't study a film at Temple, but this class took me to the Village of Arts and Humanities in North Philly where El was teaching video production to neighborhood youth. And that was my first real exposure to filmmaking was this model that was completely outside of the traditional structure of what we consider to be like mass media and filmmaking in Hollywood storytelling, and just kind of fell in love with it. The idea that it was probably 2007 and cameras were just starting to get a little more accessible. Editing software was just starting to get a little bit more accessible to people. And so it was really this moment where I felt like, "Oh wow, this is something I could do." And I saw the power of it with what El was doing with kids in the neighborhood and just to be able to tell their own stories. Then I graduated Temple, El hired me to take over his position, actually The Village as the video instructor there and started teaching there, and I taught there for many, many years. And then we started doing our different projects together. At the time, I was just hustling music videos and whatever I could do to pay the bills with video. And I think our work really kind of solidified around 2010 or so when we started working with the Department of Justice in the US Attorney's office here in Philly to make Pull of Gravity. And that's what really kind of solidified our work and sort of joined us as a partnership and took our work to the next level. And we started Ming shortly after that. But that's a short version of it, and El has a different story for sure of how he got to The Village. Li: Right? There's always two sides to first encounter. El: There's three sides actually. Yeah, that's a good rendition. I think from that perspective, from my perspective, as you would see in "Pull of Gravity", I was introduced to film while I was in prison, and I had never wanted to be a filmmaker either. I was stabbed while I was in prison, and I didn't think I was going to go home. And there was an internal video crew inside the institution, and my plan was to kind of work my way onto the video crew in an event I didn't go home to basically make videos to send home to my son at the time. Not to be dramatic about it, but just like- Li: Like the archive of, yeah. El: ... or a suicide note. I mean, it could be a lot of different things that way in event that I wasn't going to be there, it was something I would leave to him and I would sneak it out of the prison. And I did. I did about 10 videos. In that process, I was on the video crew just to get access to the cameras, and I had a chance meeting with Glenn Holsten, who was a Philadelphia filmmaker that came into the institution. And at no point, like I said, I was only on the video crew for that access to the cameras. And then he was accompanying Lily Yeh, who's the founder of the Village of Arts and Humanities into the institution, and he was documenting her work. She started a program at Graterford Prison, and in that he was allowed to come document her and her work there,...

​​Li Sumpter: So welcome back to another episode of Future Memory. My guest today is Jesse Hagopian. He is a Seattle-based educator and the author of the upcoming Teach Truth: The Attack on Critical Race Theory and the Struggle for Antiracist Education. Hagopian is an organizer with the Zinn Education Project and co-editor of the books Black Lives Matter at School: An Uprising for Educational Justice and Teaching for Black Lives. Welcome, Jesse. Jesse Hagopian: Oh, thanks so much for having me. Good to be with you. Li: Thank you for joining us. Well, I want to get started with some questions about your own education and how you got started. I was curious about what your own early education and high school experiences were like. As a youth, what ways did you relate to or even resist to your own classroom curricula? Jesse: I was very alienated from school growing up. I felt like it didn't really speak to me. I didn't feel like I was intelligent. I can remember very clearly a parent-teacher conference in third grade where the teacher brought us out into the hallway with me and my mom, and she took out my standardized testing scores and there was a blue line that ran through the middle that was the average, and then there was the dot far below that line that represented my reading scores. And I knew from that day forward until about halfway through college, I knew that I was not smart, and I had the test scores to prove it to you. And school just felt like a place that reinforced over and over again that I was not worthy, that I was not intelligent. And there was very little that we studied that was about helping me understand myself, my identity, my place in the world as a Black, mixed-race kid. And really, it was just a fraught experience, and I took quite a bit to get over that. I was sure I was going to fail out of college, that I wasn't smart enough to go to college. And I think that it was finally the experience of a couple of professors in college that showed that education could be more than just eliminating wrong answer choices at faster rates than other children, that it could be about understanding the problems in our world and how we can collectively solve those problems. And then I realized I did have something to contribute. Then I realized that I did have some perspectives on what oppression looks like and how it feels and what we might need to do to get out of it, and I was hungry to learn about the systems that are set up in our society to reproduce inequality. And that was a real change for me. But growing up, my mom would tell me, "You're good with kids. I think you're going to be a teacher." And I said, "That's the last thing I'm going to be." Li: Oh, really? Jesse: School is just so arduous, and why would I want to come back? And then she was right. I came back to my own high school. I came back to Garfield High School, where I graduated, and I taught there for over a decade now. Li: I think that's an amazing story, coming full circle to teach back where you got your first experiences in the classroom. And going back to that, I was wondering if you had any standout memories, like I did, with the actual content. You were saying you didn't relate to it so much, but I remember very clearly a moment with my mother coming to the school when I had a moment in the classroom around Tom Sawyer, Huckleberry Finn, things like that. Do you have any standout memories of content that really either made you feel excluded or exploited or any of these things that really stuck with you? Jesse: For sure. I mean, there are many experiences that I think shaped my approach to education throughout the years. I mean, one of my firsts is from kindergarten. I remember very clearly one of the boys called me the N-word. And I didn't really know what it meant, but I knew it was directed at me and not the other kids. So I went and told the teacher, but there was parent-teacher conferences going on and parents...

Concluding the Plot of Land series, we look at the work being done across the United States to repair our relationship with the land, from the Tongva conservancy in Los Angeles to the Sea Islands of South Carolina. What will it take to imagine a radically different future? With the stakes rising along with the temperature, what is the scale of change we need to shift power and build a more just world? @NDNrights

We return to Louisiana and the Joneses, where in recent decades family members have moved away for work and to escape the increasingly toxic air and water leaking from the neighboring chemical plants of Cancer Alley. As stronger hurricanes and vanishing wetlands reconfigure Louisiana’s topography, new industries continue old patterns of environmental harm. What will this mean for the future of Jonesland? What can their story on the front-lines of climate change teach us as the nation faces the dire consequences of extractive economies?

We learn the incredible story of Sedonia Dennis, a woman once enslaved in Louisiana, who came to own a piece of the plantation that had once claimed ownership of her family. And we explore how, over time, the plantation economy gave way to the petrochemical industry. Join us as we spend time with Sedonia Dennis’s descendant, Jazzy Miller who is documenting her family’s fight to exist at the intersection of each of these forms of extraction.

We’re looking at what happened after subsidized affordable housing programs expired in the 2000s on New York’s Roosevelt Island. Some residents managed to buy in, build equity and stability. Others experienced precarious tenancy or displacement while an ongoing influx of wealthier residents is changing the face of the island. We ask the question, can Roosevelt Island’s past guide state and federal investments in multi-racial, multi-income neighborhoods for the future?

New York’s Roosevelt Island was imagined as an idyllic, multi-racial, multi-income community, developed as part of the social housing movement in the 60s and 70s. But by the 1980s, socially-minded investments in housing were overtaken by neoliberal policy. We talk to current-day and displaced residents to see how this change affected them, while looking back from the point of divergence to find the decisions that created and dismantled housing as a human right.

What happens when the place we call home, the communities we form around it, and our sense of safety, is at the mercy of forces far outside of our control? We visit Long Beach, in Los Angeles, where oil and gas pipelines have jeopardized people’s homes and security. @COMBATmusic

Have you ever seen billboards on the highway offering cash for houses? Has a stranger called you offering money for your home sight unseen? In Plot of Land’s second episode, we wade into the world of housing speculation, considering how private equity markets and real estate investment trusts have transformed the places we literally call home. How did housing become such a profitable market? And so volatile that it could lead to the largest financial crisis since the Great Depression?

Plot of Land dives into the history of land ownership through the emerging future: real estate in the Metaverse. In creating virtual land, we could make literally anything true, from universal public space to zero gravity, so why have people chosen to replicate real-world patterns of land use when we know they are highly inequitable, exploitative, and unjust? In this first episode, we meet the Plot of Land team of producers and go deep into the ways land, housing, and memory intertwine.

Plot of Land is a podcast mini-series by Monument Lab that explores how land ownership and housing in the United States have been shaped by power, public memory, and privatization. Over the last year, we have assembled a team of storytellers and reporters to explore the invisible forces that shape both the land and story of this country. The podcast breaks down how race, class, land, and power have been used to create unfair systems that harm nearly everyone today. We believe that to build...

Plot of Land is a podcast mini-series by Monument Lab that explores how land ownership and housing in the United States have been shaped by power, public memory, and privatization. Over the last year, we have assembled a team of storytellers and reporters to explore the invisible forces that shape both the land and story of this country. The podcast breaks down how race, class, land, and power have been used to create unfair systems that harm nearly everyone today. We believe that to build the future we deserve, there must be a radical change in our approaches to policy and practice. Join us to remap and rethink land ownership. Major support for Plot of Land has been provided by the Ford Foundation.

This episode, co-host Li Sumpter, caught up with multidisciplinary artist, Tatyana Fazlalizadeh at the onset of her mural project, Flight. Tatyana sees flying as a metaphor for liberation, escape, and transformation. She informs and illuminates this vision through the experiences, hopes, and dreams of everyday people who dare to look up. Li and Tatyana dig into the layered meaning of flying and share some of the literary and pop culture inspirations for Flight. From Toni Morrison to Kendrick Lamar, this conversation connects the souls of black folx and airborne archetypes across history, myth, and the radical black imagination that knows no bounds.

In this episode, co-host Li Sumpter turns the mic to Future Memory co-host and Monument Lab Director, Paul Farber, to go behind-the-scenes on the production of his new podcast project The Statue from WHYY digital studios and the NPR podcast network. The series investigates one of Philly’s most monumental destinations visited by millions from around the world each year --- the Rocky Statue. Li and Paul discuss some of the local and global stories that make the history of the statue as epic as the legend of the under-dog boxer turned worldwide hero. Tune in for Paul’s take on the hope and controversy the statue stirs up and why Rocky – "the greatest Philadelphian who never lived" – continues to have a firm grip on our collective memory.

For this episode, we take a trip to the Brooklyn Museum with Future Memory co-host Paul Farber where he moderated a program for the popular discussion series Brooklyn Talks. How can we memorialize and visualize the extraordinary loss of life caused by COVID-19? Farber explores this question in a dynamic exchange between Rafael Lozano-Hemmer and Sekou Cooke – two powerful practitioners working in separate but intersecting fields. Rafael Lozano-Hemmer is a media artist working at the crossroads of architecture and performance art. ⁠Sekou Cooke is an architect, researcher, and founding member of the Black Reconstruction Collective. Monument Lab: Future Memory was a part of documentation of Rafael Lozano-Hemmer’s A Crack in the Hourglass, An Ongoing COVID-19 Memorial – an participatory exhibition and “anti-monument” installation previously on view at the Brooklyn Museum and the inspiration for this public conversation. Lozano-Hemmer's project demonstrates the power and possibility of re-imagining the existence of monuments in physical and digital space. On this night at the Museum in May 2022, marking a somber milestone of one million COVID deaths in the US, Farber, Cooke and Lozano-Hemmer discuss the role public art plays in remembrance, collective mourning and healing communities.

This episode, co-host Paul Farber speaks to multidisciplinary artist Lava Thomas. They catch up about a major project a long time in the making – a monument honoring Dr. Maya Angelou – prolific poet, Civil Rights activist, and American memoirist. The monument is slated for installation outside of San Francisco’s main public library in the near future. Lava’s monumental journey begins with bike tours with her family in Washington D.C. and makes a sharp turn in when she learned monuments had the power to embody ideology and ignite a movement.

We kickoff a new season of the Monument Lab podcast Future Memory with Yolanda Wisher and Trapeta B. Mayson, two renowned former poet laureates of Philadelphia. Wisher and Mayson are the creators of ConsenSIS, a project that summons “sisterly history” to preserve the past and present literary legacy of Black women and femme poets in Philadelphia. ConsenSIS is a part of Monument Lab’s nationwide Re:Generation project, supported by the Mellon Foundation’s Monuments Project. ​​Co-host Li Sumpter speaks to Wisher and Mayson about ConsenSIS, their upcoming event, The Clearing (inspired by Toni Morrison), and the meaningful historic images and authors that guide their project’s vision.