As a student, I have never been intrigued of deciphering the symbolism within a poem. On the other hand as a singer, I have always been amazed at how a song can move people and how much it can influence people. I tried applying the Lederach readings to my own personal search for a unique voice and began to see the symbolism of the haiku of the dragonfly. It teaches to give life to ones poetry. Because like Lederach most of us write during our most stressful times in life (complexity).
One line that really stuck out to me was the line “he who writes three to five haiku poems in a lifetime is a haiku poet” (simplicity). Also I think music is poetry in song and dance is poetry in motion, which I believe is why I am naturally drawn to poetry. One component of the haiku which i believe is important for all forms of art is to that a “haiku must capture in a few words the complex fullness of a moment, setting or as the poets themselves are fond of saying, an experience” (Lederach, 67) This all leads to the thought “how do we determine the complexity of a all situations and then solve those problems” I think Roland said it best that we should “focus on finding the most elegant solution”
In this weeks reading by Della Pollack I was intrigued on the ideas of oral history performances cultivating “theories of the flesh”. “the root metaphors and ideas about the world that both emerge from and “bridge the contradictions” of experience” (Pollack , 4) The call for an aesthetic of detachment and contact was also refreshing. I also like the idea that the politics of oral history represent the politics of the near claiming a purpose.
This reminds me of a song that erykah Badu did called Window seat. http://www.youtube.com/watch?v=9hVp47f5YZg
Our group picked the Queen City because most of us where from NC
statement: “Fuck the Police”
emancipation and control: The police force is a mechanism for social control
reason: Scott Olsen being attacked in occupy Oakland
While reading Organizing for Social Change I thought the four categories of dialectic tension for the process of social change were enlightening and thoughtful. The four categories listed that were control and emancipation, oppression and empowerment, dissemination and dialogue, and fragmentation and unity. Control and emancipation really captured my attention by laying out the grounds on a social structure. It started when the author stated that “control systems make emancipation possible” or even available. Oppression and Empowerment also mentions the idea that “a person may act in a way that is empowering in one context but simultaneously oppressing in another.
The Oppression and Empowerment dialectic really motivated me to look at the things that i stood up for in life whether it was my religious beliefs, my interest in music, or my work/career. The question definitely helps guide a person to what they are trying to achieve in life and how they plan to execute things. On the other hand like the the meta dialectic of change and stability wheel, the fact the that four dialects intersect one another really show the complexity of 8 things that need to be harmoniously working together in order for social change to exist.
For my performance, I will be doing the “voices” stanza. I will start with “from the farms in Carolina”
I was really inspired by the readings this week on Paulo Friere, but to tell you the truth it took a second glance to actually understand what he was saying because he’ll go off on an example and its reading that builds on itself. Long story short I was able to hear the reading as if Paulo were giving a speech and realized this guy goes deep and sometimes you have to pause a lot in the reading. I think he went a little crazy because his idea kept looping because to not to be the oppressed is to be the oppressor to him in the end.
“in order to understand the others I discover I have to create in myself , a certain virtue, virtue of tolerance”
The most important reason in both the “pedagogy of the oppressed” and the “health theatre in a Hmong refugee camp” is that to engage in dialogue is to preserve culture and produce ideas. Through the teaching/learning lens both the director and the Hmong people were dual, in the idea that at one point they were teacher and at another point student. For instance when the Director receives the feedback that traditional Hmong clothes, traditional Hmong music, and traditional speech patterns should be used during the plays to preserve the culture he is the student, but when it comes to engaging the people to come together with ideas he is the teacher.
In the “Pedagogy of the Oppressed” reading the quote that stood out the most was “Discourses of dignity must end the separation of viewing us versus them. “ Also the formula for the way the discourses were addressed was by centering an essential struggle to promote social change. To achieve this the first step was to view fragmentation and unity as “units of measure in social change”. Secondly, the “vitality of the dialogue was crucial and lastly Practitioners (people) needed to provide a safe and comfortable way facilitate the dialogue. This makes me think about how I view art and how I should try to produce songs in the future. Maybe if every song I made from this point on had a positive message or message in general or a purpose it could help facilitate dialogue through song.
Also the dualism in Dialectics this week stood out for me trying to find dualism in every aspect of life and trying to capture that on film was interesting. i believe dualism in dialectics is important because it is just one more way we can all find a way to relate as humans.