The second time I went to see Sinners, again it was fitting it in before going away somewhere else. But I knew I had to see it again.
A different cinema, and much fuller this time. I was sat between two black women out for one of theirs birthday’s and a white couple.
The black women introduced themselves to me. Something that has never happened before to me in the pictures. I thought it was a lovely gesture. It meant I could also tell them that they were in for a treat.
Again I got lost in the world of Sinners. Even thought I’d seen it before, I still jumped at the frightening bits. And I say frightening bits, the bits that are in there to make you jump. There’s blood but most of time the biting by the vampires is done off screen or you see it from behind and hear the noises.
I love this movie for so many reasons but I think the first thing is how Coogler plays with the genres and conventions and expectations. This is a mixture of genres ; horror, action, romance, musical etc. Coogler takes creative liberties with what’s gone before to create something rich, unique and full.
I love how this is a massive permission slip to any creative to go with their own flow. Bring in all the possibilities you want to express your point. It applies to the Creatrix in me because when the energy flows, when I’m in the zone and listening, the creations knows no boundaries or limits or rules. It just be.
Sinners is just that. And more. It’s layered , culturally and spiritually explorative and travels through time and space with music as the connection.
This second viewing of Sinners was important because for the first viewing, I had to rush off into try dark and catch a bus, therefore missing the multiple endings. So this time, I stayed put and also told those around who were fixing to leave, ‘there’s more.’
I’m not going to spoil the film for you by telling you what happens in the multiple endings but please don’t leave until the very end. Even if the lights come up, hang on in there to the very end. Even if they’re coming in to clean up after you, hang on in there to the very ends.
You know when you have to do something but you don’t want to do it?
That was me today. I had a meeting which I had to go to in order to keep receiving some money. And I just didn’t want to be there.
Before I got there I said to myself, do this and then you can go try that new coffee shop afterwards.
Do you do that? Bribe yourself into doing something? In getting things done even when you don’t want to do it?
But there I was and in the process of doing the thing I didn’t want to do and ended up enjoying it. It wasn’t as bad as I imagined it would be. It turned out to be an enjoyable meeting.
I sailed out of there with a smile on my face because in the scheme of things, I’m doing a good job. I’ve got my freedom, I’m my own boss and I’m doing something I enjoy.
Yes my bank balance is not busting a gut but I get by. And that’s all I want to do. I want to get by doing the things that bring me joy rather than be rolling in the green and be unhappy and unfulfilled.
So yeah I went to that coffee shop after the meeting I didn’t want to go to and enjoyed dreaming on paper afterwards.
i try to connect beauty using words as healers of possibilities from the state within, the voice, a teacher, a sage, where my poetry winters, where I can see the ‘I’ like a clearing through the trees, where imagination lingers inch wide mile deep, conjuring for change and connection. i try language, not to trick or demonstrate my intellect, but to spark simple, stretching blossoms into ‘we’ rather than ‘them and us’. from the state without, i’m a beast, caged and muzzled. swallowed. cornered and supposedly cowered, i come out writing, wading into dangerous waters, owning my imagination to practice potential futures.
*“An ars poetica poem is a poem examining the role of poets themselves as subjects, their relationships to the poem, and the act of writing.” —Poets.org
Laughter and fun, with trust and communication, honesty and commitment but not in a heavy sense but much love and affection and respect and joy, I spent a long time in a relationship that wasn’t joyful and really what’s the point, life’s too short to waste time and energy on people who don’t treat you right or who aren’t happy in themselves, I want to be with someone who makes time for me and us, just like I make time for them and us, hey I get it, people are busy, leading busy lives but I’m of the belief that if you want to be with someone you make time and effort to be/do just that.
For those of us who live at the shoreline… Audre Lorde
It will be 10 years this August that I started my visual journaling practice.
Then it was called Dreaming on Paper, as I completed the course of the same name by Lisa Sonora.
I needed a safe space to explore the tumult of my feelings and thoughts. I was going through a traumatic experience of escape really. Escape from the life I’d spent the past 12 years building up, that was took away in the flick of a Facebook post.
I ran away from the public, the writing community, my home as I travelled into the Scottish Highlands and Islands. To heal.
Visual journaling helped me heal. Helps me continue to heal.
Overtime, I’ve come to understand my visual journal practice as a fugitive practice. Within these paints, images and words, dreams of freedom are planned out and eventually come to fruition. Projects, happenings, events – all on my own terms.
I mean, the whole point about escape is that it’s an activity. It’s not an achievement. You don’t ever get escaped. – Fred Moten
Within these visual journal spreads, I work out how to escape, how to get outside white supremacy culture while still having to be living on the inside. Coming to terms with the thought of that the outside can only occur from the inside. Being here.
Visual journaling is me trying to create an opening, a break in the fabric in which to slip on through into the otherside/ outside, into the woods running between the trees with the dogs barking at my feet. Creating beauty, creating a beautiful space in which to linger in while the terror rages around me.
Visual journaling is a safe space, is a nurturing space, is a free space.
I’ve got a chapter to write and it’s going nowhere fast.
I hate it when I think I have all the time in the world to complete a writing task and then I procrastinate.
I know I procrastinate because it’s important to me. Very important to me and I don’t want to get it wrong. So I do nothing instead.
Well not really nothing. This is my bedroom wall, where I’ve started to put up post-it notes to help me with the chapter on fugitivity.
This makes me feel as if I’m doing something. Seeing this everyday also, I hope, makes something go into my creative brain subconsciously. I’m hoping that living with it makes the wheels start turning and connections being made.
What I’m learning with fugitivity is that is’s not linear. Not a straight line from captivity to freedom, from unfreedom to freedom. It is argued that fugitivity performs freedom ‘as a constant struggle’ ( R. Slavitt cited in Davis, 2016).
This I hold close as I attempt ( struggle!) to write this chapter around fugitivity as this is not going to be a linear chapter from A to B to C etc. This chapter with its content and structure and form will be dancing with unfreedom and freedom, constantly struggling to convey meaning around fugitivity at the same time as remaining free from the academic frameworks and restricts and expectations.
In order to write about fugitivity I need to take on board fugitive methods and practices.
I’m spiralling and circling back and forth in a good way, in an honest way and hopefully the chapter will be the result.
This short piece is a mash up of a certain clip from Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy and music from Insight Timer, called You.
Seen recently in Barcelona at CCCB, Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy is an audiovisual installation that recovers the story of Joaquina, a young woman enslaved on a plantation in Brazil, and her escape.
“A work about archived, forgotten, and silenced voices in the history of slavery and colonialism. This audiovisual installation brings to life the act of “unarchiving” an event recorded in colonial history as an escape. A 15-year-old enslaved girl fled the plantation where she lived, and her owner, after an unsuccessful search, placed an ad in the newspaper offering a reward to whoever found her. The archive reveals nothing more about this incident: it merely collects it as a piece of data. This piece challenges the oblivion, archiving, and silencing of this character. To unarchive, in this context, becomes an artistic and political act that brings Joaquina de Angola out of the shadows of the document, removing her gag and chains so that she can tell her own story. This act not only questions the record but also raises questions and delves into its details. It is an inquiry that brings Joaquina back to life and acknowledges her as a cimarrona, calling upon ancestral memory as well as imagination, intuition, and spirituality. Since the beginning of colonization in Brazil, alliances and exchanges of extraordinary significance have taken place between Indigenous peoples and enslaved Africans, but these have also been silenced. The presence of entities known as caboclos (Indigenous spirits) in all Afro-Brazilian religions is perhaps the most consistent and profound evidence of this. Amazonian peoples, Indigenous peoples from across Brazil, and quilombola communities—formed by Afro-descendant peoples—have shared ancestral struggles for the defense of their territories and against colonization and exploitation. The installation speculates on these possible Afro-Indigenous alliances in Joaquina de Angola’s journey toward freedom.”
This extracted masheup with music created above by myself, hence a found poetry film, is my take at a beginning of exploring fugitivity. I’ve been living, breathing, talking, practicing fugitivity for a few years now. I’ve mentioned it before, and it was Dal Kular who first introduced the term of me via her then newsletter, Field Notes. Dal said at the beginning of Jan 2023,
“Whatever the out-there-in-the-world fuckery is going on in 2023, I declare myself a CREATIVE FUGITIVE. A way of living in this world but not of it.”
Her take on creative fugitivity has stuck with me. I’ve gone on to read more around fugitivity. I’m even writing a chapter, at the moment, around black mothering and fugitivity. Fugitivity is taking over my life. And again I’m creating a project here in my portfolio to collect my wanderings and wonderings around this concept and way of being.
For me in a nutshell, fugitivity is the act of flight. It is the withdrawing of my labour and consent in the current system of white supremacy culture, capitalism, imperialism, colonialism. Fugivitiy is refusal and resistance. Divesting from the current way things are playing out as the few hoard the wealth of the world at the expense of the many.
Originally the fugitive was the runaway, the escapee. Hence why the audio-visual installation and consequent fugitive poetry film was created. I’m starting from the origins of the escaping enslaved. Running, fleeing captivity towards freedom. Freedom being the end point, the destination but in the process of escaping, there is the in-between space between what they were fleeing from and fleeing to. And here in this liminal space is where fugitivity is ripe.
There/ here is the lingering in the midst of flight, where I choose to SLOW down and be. To linger with nature. To seek my joy and pleasure in the world around me on my own terms. Fred Moten in conversation with Saidiya Hartman, both of whom we will be exploring further, said,
“I often use – and I always think of it in relation to Fannie Lou Hamer, because it’s just me giving a theoretical spin on a formulation she made in practice: to refuse that which has been refused to you. And that’s what I’m interested in.”
That is fugitivity as a method, kin-making and place-making, as a practice that I intend to explore within this project archive.
Living Wild Studios 