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Mt. Stem by Digba Coker, 2022. Image courtesy of Digba Coker.
Perspectives (Peer Review)

The Summit of STEM: Navigating the Uneven Terrain

Endless hours writing and analyzing samples in the lab was not the most difficult part of graduate school, however. It was walking into a class and seeing that, yet again, no one else looks like me. It was walking into a room and knowing I must fight twice as hard to disprove any underlying biases people might have of me. It was when comments were made that weren’t necessarily targeted at me, but that impacted me because I was the only black woman in the room, lecture hall, or meeting.

In Bangladesh, Rohingya women in refugee camps share stories of loss and hopes of recovery. (CC BY-NC-ND 2.0) UN Women/Allison Joyce.
Perspectives

Water as Weapon: Gender and WASH

The association between WASH services and gendered vulnerability to violence in rural locales and urban slums in developing countries has received the most study, but women everywhere are vulnerable when they lack access to, or are accessing, WASH services. All of which leaves one asking why global leaders focus on the possibility of future water-related conflict rather than respond to the very real crisis conditions in which women and girls exist now?

Kenyan women carry water buckets filled with water on their heads during World Water Day after fetching the water at one of the illegal freshwater points in Mathare slums in Nairobi, Kenya, 22 March 2019. International World Water Day is held annually on 22 March as a means of highlighting the importance of freshwater and its management. The theme for the World Water Day In 2019 is 'Leaving no one behind', highlighting whoever you are, wherever you are, water is your human right. EPA-EFE/Daniel Irungu.
Primary Sources

Time and Trauma

Through interviews, surveys and focus group discussions with 258 households in Mathare during 2016 and 2017, I found that women faced huge challenges and trauma in collecting water. Besides the woes of finding a running tap and wasting valuable time waiting in queues, procuring water entails physical hardship that often leads to mental agony that sometimes even threatens the women’s safety.

Mississippi River Fugues, collage of video stills, Margaret Cogswell, 2008. Image courtesy of Ed West.
Feature

RIVER FUGUES

What is it to “know” rivers? As an artist I have been asking myself this question for over twenty years. Ever since an artist residency in Cleveland, Ohio led to my encountering the burning river history of the Cuyahoga River, I realized that all rivers have stories, and to learn of their histories was to explore and listen. In this essay, I will focus on my research on different rivers, sharing the meandering paths which have led me to explore these rivers and my creative responses to them in the form of mixed-media art installations that seek to reflect the complex relationships between land, water, and peoples. To contextualize the impetus for what developed into an ongoing series of River Fugues projects, I will offer some personal history. Although I was born in the United States (in Memphis, Tennessee along the Mississippi River), I went to Japan with my parents when I was 18 months old and lived there until I was 13 years old…

Fig. 1, The Kākā Reserve reflected in the Awataha Stream. Video still from ‘Re-Generation’ 2019. Image courtesy of Laura Donkers.
Feature

(Re)connecting Community to the Awataha Stream

Our modern ways of living have created an environmental crisis that threatens the very survival of humans and many other species. Yet awareness of this situation, though it may create an urgent sense of responsibility and even guilt, does not necessarily translate into action to change our ways. A narrative of “ecological disaster” can alert the public to the need for action, but the scale of the crisis and lack of wisdom to act can be overwhelming.[2] So how can communities become motivated to respond?…

'TWEED: Border Ballads' courtesy of Tania Kovats
Feature

TWEED

The River Tweed speaks instantly of borders, of unity and division, but also of warp and weft, telling us much about its shapeshifting character. This living marker of national meanings and historical boundaries flows eastwards 97 miles from the Lowther Hills to Berwick-upon-Tweed, descending 1,440 feet over that length. Its source rises 40 miles north of Scotland’s westernmost border with England. The river enters the sea two miles south of the border’s easternmost point. There is a ring of geological predestination to this bordering identity. It’s as if the Tweed exists as a sturdy trace of the ocean that separated Scotland and England 520 million years ago…

The Twelve Jing Xiakou, a real scene, Taishan Shigandang. Image courtesy of Jiao Xingtao.
Feature

Professor Jiao Xingtao and The Yangdeng Art Cooperative Project

The Yangdeng Art Cooperatives, with a cumulative total of more than 37 artists and students, worked each year in collaboration with local villagers in the small rural village of the same name as the river, Yangdeng, in a remote rural area of Tongzi County in Guizhou Province. Organized and led by Professor Jiao Xingtao, this project, over many years, was begun to “reconstruct the continuity between art and life” through an emphasis on “artistic negotiation.” As such, it constitutes a socially engaged art initiative, locating this remote rural village sited on a river as the experimental art locus for approaching an independent but profoundly collaborative working method…