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Photo by Tony Denim, Yellow Dog Productions, Inc. By Rachel Hagan In late July, the small ranching community of White Sulfur Springs, Montana hosted the fourth annual Red…
Road sign for Pittsburgh’s cultural district [Editor’s Note: This article is the continuation of a series we are calling “The State of the Rural Arts” — reflections, interviews,…
By Jessie Sims
Daughters of the Dust is a migration story centered on three generations of Gullah women, members of the Peazant family. Set in 1902, it follows the family on a single, fateful day — the eve of their journey North. The filmmaker, Julie Dash, was inspired by a moment in her own family history, when her ancestors left islands in the lowcountry South to begin a new life in the industrialized North.
Dash spent years researching to write the film, but she prioritizes aesthetic and emotional power over historical detail. Daughters isn’t an ethnographic documentary. It’s a poetic, mythic tale. And every aspect of it, including the narrative structure and the filmic style, is used to express a Gullah-rooted sensibility. We see that a crucial influence on this sensibility is the setting — isolated barrier islands off the coast of Georgia and South Carolina. On these islands, African traditions and rituals were carried on post-slavery. A unique culture and lifestyle formed.
The bulk of the film occurs on a Sunday, a day of no work. The Peazant women prepare a farewell meal of gumbo, okra, corn, and fresh-caught crab. The children play and dance on the beach, one last time. Under a canopy of Spanish moss, Nana Peazant, who will not leave the island, visits her husband’s grave. And two family members return from the mainland to be a part of the others’ decisive journey. These two women rediscover the place of their childhood. They struggle with what it means to them today.
In a conversation with Dash, the writer bell hooks said she believes “a lot of people were deeply moved by Daughters precisely because it addressed the agrarian experience of black folk.”* And it’s true that the award-winning cinematography, shot on seven of the Sea Islands, doesn’t just stun you but it also takes you to an America you’ve seldom seen on screen. In 2004, the Library of Congress added Daughters of the Dust to the National Film Registry, formally recognizing its contribution to the nation’s cultural history.
For more information on the film, visit the distributor’s page: http://www.kinolorber.com/video.php?id=78
*The full ‘Dialogue between Julie Dash and bell hooks’ is printed in Julie Dash, Daughters of the Dust: The Making of an African American Woman’s Film. (The New Press: New York City, 1992).
The FilmFocus trailer series is part of AoTR’s cinema project, SMALLSCREEN.
By Jessica Sims
Public screenings of documentaries, local productions, and international cinema are important as cultural and communal resources. They inform and inspire. They ignite conversation. They give global perspective and create common experience. This kind of screening is wildly popular in cities, where every library and coffee bar seems to have a film series, but it is still rare in small town America. Here, opportunities to gather in front of a screen are largely limited to Hollywood multiplexes and living rooms.
As of now, no nationwide arts organization has a robust program dedicated to independent, rural cinema. And, as far as I can tell, there isn’t an association of film societies in America that could promote the formation of small town clubs. These observations were seeds for SMALLSCREEN, an Art of the Rural project dedicated to mapping rural, alternative exhibition in all its forms.
In the early planning stages of this project, I began to question if it was possible for international, amateur, or documentary screenings to thrive in a small town, if a rural community could really support a non-Hollywood film culture. I assured myself, “Anywhere that has sparse evening entertainment and enough curious people, it’s probably possible.” Then, I actually began to discover flourishing small town film venues — places that prove independent cinema can have a role in small town life. Across rural America, dedicated exhibitors are expanding the range of cinema available in their communities, providing spaces for communal gathering, and creating film culture outside the city.
The LASCAUX MICRO-THEATER in Buckhannon, West Virginia — a town of 6,000 people — screens a new-release foreign film every Friday night and has been for more than ten years. After studying film at architecture school, Bryson and Gretchen VanNostrand launched LASCAUX in the basement of their downtown Buckhannon office. The VanNostrands’ Friday night screenings attract a regular audience and the couple sends a monthly newsletter to more than 150 of the cinema’s supporters.
LASCAUX screenings are a rare opportunity in central West Virginia. They are what the VanNostrand’s aim for — “a window out to the world through international film.” And unlike large commercial multiplexes, the microcinema is able to screen local work. “Although we mostly feature foreign film,” Bryson says, “we do occasionally have the chance to feature a local filmmaker. Our audience always responds well to locally produced films.”
LASCAUX is an exemplar of the rising microcinema movement, a movement fueled by people’s desire for small, specialized cinemas and enabled by increasingly cheaper technology. Microcinema operators want to screen what they believe needs to be seen or what they know cannot be seen elsewhere. The VanNostrands, true to microcinema spirit, advise all prospective microcinema operators to keep costs as low as possible, so you can “maintain your freedom to select the films that should be screened but may not be the most profitable for the venue.”
In a 2007 article on microcinemas, titled “Cinemas of the Future,” Rebecca Alvin writes that the DIY nature of the microcinema movement is particularly exciting for smaller places. Alvin is a filmmaker and the curator of Cape Cod’s film society. In her article, she says that through low-budget cinemas like LASCAUX, “the sense of community that is essential to the theatergoing experience, distinguishing it from home entertainment, has been wonderfully rearticulated,” and “the glory of cinephilia is extended to smaller suburban and rural communities.”
Film societies, like the one Alvin curates on Cape Cod, offer another low-budget model for rural exhibition. They foster community around cinema and can screen in public building, businesses, or private homes. One of the most celebrated film societies in U.S. history is Amos and Marcia Vogel’s Cinema 16. The club ran in New York City from 1947 to 1963 and is often credited with introducing foreign films to the American public. At its peak, the club’s membership swelled to 7,000. Today, at least in part due to the Vogels’ efforts, there are thousands of people in the rural United States interested in alternative viewing.
SMALLSCREEN is a multimedia project dedicated to mapping all forms of rural independent cinema exhibition — from microcinemas and film societies to festivals and museum programs. The project also serves as a place to highlight rural productions, place-based documentaries, and filmmakers. See SMALLSCREEN’s homepage on the digital mapping platform, PlaceStories, to view the venues and projects we’ve found so far.
We hope you’ll aid us in the discovery process, in order to create a truly nationwide map of cinema outside the city. In addition to the mapping on Art of the Rural’s Atlas of Rural Arts and Culture, SMALLSCREEN aims to:
– Create materials, including an annual Rural Independent Cinema Listing and an online Field Guide to Cinema in Rural America, which will feature relevant film trailers, filmmaker spotlights, and resource links
– Form an online community that will
“Make visible what, without you, might perhaps never have been seen.”
– Robert Bresson
To contribute your own stories to SMALLSCREEN, create a PlaceStories profile or send them to firstname.lastname@example.org. I will map any emailed stories through my own PlaceStories account.
How to create a PlaceStories profile:
1. Visit www.placestories.com.
2. Once there, click “JOIN”. Fill in the user information.
3. Once you’ve gone on to the next page, click on “Join Some Communities” and select “Atlas of Rural Arts and Culture”
4. The navigation icon at the top left will guide your use of Placestories.
5. By clicking on “My Projects”, you’ll be able to add a project. Select the project “SMALLSCREEN.” Once you’ve done that, you’ll be able to add stories.
How to create a story in the SMALLSCREEN project:
For each story, you’ll need an image, sound, or video, and 100-500 words of text about the venue, society, film, or filmmaker. You’ll also want to list the location, and/or the location of the project.
Here are some tips:
1) Image – Landscape shaped images (wider than high) generally work better in the postcard template than portrait shaped images.
2) Text– the postcard template displays around 100 words. If you would like to include more text than fits on the postcard it will display in full on the story web page.
3) Audio and Video- this is an extra option. Any filmmakers who want to share a trailer or reel, here is the place.
4) Location – every story must be given a location. The place name you type in appears on the front of the postcard. It can be as specific as a street address.
5) Publishing and Tags- your postcard will be published straight into the SMALLSCREEN project. SMALLSCREEN is part of the Atlas of Rural Arts and Culture Community. If you would like any other tags associated with your postcard, please list them in your response. Tags are a great way to expand connection.
Alvin, Rebecca. “Cinemas of the Future.” Cineaste, Vol. 32 No.3. Summer 2007. Web. 1 Sept. 2014.
Forinash, Danny. “Couple Brings Art to Buckhannon.” The State Journal. [Charleston, WV] 22 July 2005: Print.
Macdonald, Scott. Cinema 16: Documents Toward History of Film Society. Temple University Press. Philadelphia, PA. 2002.
Wrenn, Deanna. “Now Playing: The LASCAUX MICRO-THEATRE presents The Small Screen.” The Charleston Daily Mail. [Charleston, WV] 28 July 2003: Print.
By Kenyon Gradert
Since its founding, Art of the Rural has espoused a vision of art that’s entwined with social practice. Health, in particular, has always been on our mind, whether of individual bodies kept healthy with good foods or on social bodies kept healthy with good communities. Our own Rachel Reynolds Luster’s work with the Oregon County Food Producers and Artisans Coop is a prime example, as is the creative work of Appalshop in the Appalachian region and M12 on the High Plains, to name but a few. America’s rural artists have long contributed to the overall health of their communities.
Now, we’re seeking your stories and your creative work to spotlight the health of individual rural American bodies.
There’s a reason that this topic is on our mind. Art of the Rural’s home of Missouri is one of the few Midwestern states that continues to deny the need for expanding Medicaid, leaving 260,000 Missouri workers without health insurance. 700 of them are projected to die each year because of these gaps. Strong grassroots organizations such as Missouri Healthcare for All and the Missouri Medicaid Coalition have been raising the issue with legislators for two years, but have been met with a common retort: Medicaid is an urban issue, and won’t affect our rural constituents.
However, research suggests that Medicaid expansion would reduce the number of uninsured rural Missourians by 30%, and would stop the current wave of closures among Missouri’s rural hospitals. Artists are often among these ranks, and a recent Washington Post article focused on two goat farming artists from West Plains, MO whose lives changed when they signed up for insurance under the Affordable Care Act. Many rural Missourians can’t afford this coverage, but make just a little too much to qualify for Medicaid.*
Folks from the legal community and grassroots organizations continue to speak to this issue and present legislators with the data necessary to understand this rural dynamic. To lend clarity and context to this conversation, Art of the Rural is seeking further stories of rural Missourians who live and work without healthcare — stories of all sorts: poems, sculptures, paintings, interviews, videos, songs, exhibitions, and more.
We aim to honor and elevate the intrinsic nature of arts and culture within our many senses of the “health” of rural communities. If you are a rural artist with something to say about the art of rural health, if you know someone in your rural community who is uninsured or recently insured, or if you have stories to tell, please contact us. You need not be from Missouri. Most of our neighboring states in which we’ve built treasured relationships have chosen to expand Medicaid to the benefit of their rural citizens; we value those stories as much as stories of trial from Missouri, and we are seeking commentary and information as we work to better understand the artistic, social, and legislative intersections of rural arts and health.
If you have stories or ideas, please email them to me, Kenyon Gradert. We’ll brainstorm together, in conversation with key leaders from Missouri Health Care for All, Missouri Medicaid Coalition, Missouri Health Matters, St. Louis Chapter of Volunteer Lawyers and Accountants for the Arts (VLAA)
*For more information on Missouri’s Medicaid gaps, visit Missouri Health Care For All (and their handy fact sheet) or the Missouri Medicaid Coalition. For stats on how this specifically affects rural residents, check out this fact sheet put out by Missouri Health Matters.
Kenyon Gradert is a member of Art of the Rural as well as a doctoral student in English at Washington University in St. Louis. He was raised on a third-generation grain and cattle farm in northwest Iowa, where his immediate and extended family continue to live, mostly as mechanics and farmers.