In the first of her series comparing news coverage of urban marginalization, Kali Villarosa introduces us to two cities on opposite sides of the world that share important patterns in how marginalized communities are represented: Buffalo (NY) and Ahmedabad (India).
After appearing on Tucker Carlson Tonight to defend a Black Lives Matter event, Lisa Durden was met with a wave of online harassment and subsequently fired by Essex County College. However, Durden’s side of the story, revealing the lack of due process and communication from the college, indicates deeper problems faced by adjuncts, people of color and women that regularly contribute to similar incidents to her firing, which she described as a “public lynching.”
The chances of being falsely accused of rape are similar to being struck by lightning-- one in a million. So why is the Department of Education meeting with men’s rights activists who perpetuate the myth of false accusations?
In this installment of our Interweaving project, I speak with two of the founders of Tribeworthy, a new media startup based in northern California. I met Jared Fesler and Chase Palmieri at the 2016 Media Freedom Summit and subsequently integrated the beta version of the Tribeworthy platform into one of my undergraduate classes. They recently launched a new version of the platform.
This is the second installment of Attack on Academia, a series of interviews with academics who have endured sustained campaigns of threats and harassment from the alt-right. The first installment, an interview with Heidi Czerwiec, can be found here.
As a contributor to the Weaving the Streets project, I have been looking into the issue of collective memory and the reconstruction of identities in post-dictatorship Spain. My first two blog posts focused on Lavapiés, a multicultural neighborhood in Madrid, using street art as a medium for juxtaposing modern-day activities with the history of the Franco dictatorship. This third post focuses on Santander, a city where the present and the past exist simultaneously.
In the final installment of her three-part profile of migrant farm worker Juan Garcia, Weave News reporter Julianne DeGuardi details Juan’s differing experiences with accessing health care in New York and Vermont. Read Part I and Part II.
In her latest post for our Weaving the Streets project, Savannah Crowley reflects on her experience of traveling to Culiacan, Sinaloa (Mexico), to “learn from activists and community leaders on the ground who are building peace in the heart of the Drug War” in the aftermath of the assassination of renowned journalist Javier Valdez.
In the second installment of her three-part profile of migrant farm worker Juan Garcia, Weave News reporter Julianne DeGuardi details Juan’s story of moving among a number of different work opportunities in New York, Vermont, and Kentucky. Read Part I.
As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo reveals his final act of artistic resistance. As the conclusion for this "Dissecting Boston" series, Tzintzun created a public installation on the beach of Plum Island, Massachusetts. This installation, "Forest of Watchers," embodies the subaltern gaze. It destabilizes the colonial borderlines of history; borderlines we are all complicit in constructing.
In the Madrid neighborhood of Lavapiés, groups such as Mujeres Libres (Free Women) join anonymous street artists in expressing defiant resistance to the structures of patriarchy and the gendered violence that it generates. As part of our Weaving the Streets project, reporter Ajok Deng describes what she has been seeing on the walls, and in the streets, of Lavapiés.
As part of her continuing coverage of the issue of migrant farm workers in the North Country, Julianne DeGuardi begins a three-part profile of one worker whose journey has taken him from Chiapas, Mexico, to northern New York and Vermont.
As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo contextualizes his acts of artistic resistance/vandalism. To accomplish this task, Tzintzun revels his previous intrusions within the border walls of the museum. From the Metropolitan Museum of Art in New York City to the Institute of Contemporary Art/Boston, Tzintzun employed art/activism to re-politicize the white walls of censured history.