The Radical Act of Rest

‘Resting Our Eyes’ Exhibit at ICA SF Gallery

By Kim Christensen and Polina Smith

’Resting Our Eyes’ uplifts the practice of rest, beauty and adornment of Black women as radical acts of resistance, pleasure and power. Tahirah Rasheed and Autumn Breon co-curated this art exhibit, featuring over 20 multigenerational Black artists, to focus on the ‘liberation and celebration of Black women through the lens of leisure and physical adornment.’ A timely take on the personal is political maxim, Resting Our Eyes has drawn enthusiastic audiences to the new ICA gallery in San Francisco where it runs through June 25, 2023.

Curators Tahirah Rasheed and Autumn Breon celebrate ‘Resting Our Eyes’ exhibit at Institute of Contemporary Art San Francisco. Photography: Vikram Valluri. © BFA

“Collectively, these works invite us to see Black womxn as fully realized and free.”
— Exhibit co-curators Tahirah Rasheed and Autumn Breon

Installation view of ‘Resting Our Eyes’ exhibit at ICA San Francisco gallery in 2023.
Photo by R. Tsai for Seismic Sisters.

Self-care as a political strategy is a trending topic among feminist resisters on social media; but of course, it has been known and used by Black women going way back. The curators cite specifically as inspiration the Combahee River Collective – a group of Black lesbian feminist activists and intellectual thinkers who gathered regularly in the 1970s in Boston. They met up as an intentional sisterhood for years, carving out time to cook suppers together, discuss books, make art, dance, talk politics and culture, as well as wonder and envision what the world would look like – and society feel like – “If Black women were free”. 

Installation view of ‘Resting Our Eyes’ exhibit at ICA SF gallery in 2023.
Photo by R. Tsai for Seismic Sisters.

“If Black women were free, it would mean that everyone else would have to be free, since our freedom would necessitate the destruction of all systems of oppression.”
— from the Combahee River Collective Statement

In 1977 they were invited to write down their ideas for a book challenging capitalist patriarchy; known as the ‘Combahee River Collective Statement’, it has since become famous and studied by feminists worldwide. In it, the Collective came to assert a guiding philosophy, namely that the successes of any movement centering Black women would naturally bring rewards to the greater society. This concept is vitally relevant today. Creating a politics that centers Black women’s experience and needs - of the body, reproduction, family, relationships, jobs, infrastructure, education, community, health and safety - and that emphasizes joy and happiness - would likely improve conditions for other marginalized groups and the whole of society.

Artist Adana Tillman, “Wild Thoughts” quilted fabric, on display in ‘Resting Our Eyes’ exhibit at ICA SF gallery, 2023. Photo by R. Tsai for Seismic Sisters.

This exhibit confronts the legacy of subordination and colonization that Black women face daily. It challenges that subordination by celebrating the physical acts of rest and beautification, two acts that are as radical as they are ordinary. 

Artist LaKela Brown, “Doorknocker Earring Composition with Multiple Clusters and  Impressions” 2022, plaster and acrylic. Courtesy of the artist and Reyes | Finn. Photo by R. Tsai for Seismic Sisters.

The secondary theme of the exhibit – physical adornment – is captured through several thoughtful artistic media. Artist LaKela Brown’s “Composition With 35 Golden Doorknocker Impressions,” references the big, bold and gold door knocker-style earrings that many Black women wear as a fashion symbol of resistance and proud celebration of their cultural heritage.

The symbolic earrings are celebrated not only within this art exhibit space, but also by partnering with Sucré, a popular jewelry brand now selling this historically-inspired original merchandise.

Artist Genevieve Gaignard, “Look What We’ve Become” 2020 on display in ‘Resting Our Eyes’ exhibit at ICA SF gallery. Photo by R. Tsai for Seismic Sisters.

The advancement of the voices of Black women, in spheres both political and artistic, is not and has never been a zero-sum game. Curators Breon and Rasheed have created ‘Resting Our Eyes’ to reflect and reify this important axiom.

‘Resting Our Eyes’ has garnered the attention and enthusiastic praise of such media outlets as Vogue, The Cut, and Artnet. Such large-scale attention has delivered a powerful platform to these Bay Area connected artists and curators. ‘Resting our Eyes’ is a powerful, challenging and thought-provoking multimedia exhibit uplifting themes of rest, beauty and adornment all centered within the context of a radical politics. ‘Resting Our Eyes’ is showing at the ICA San Francisco gallery from January 21 to June 25, 2023. 

Street view of new ICA San Francisco art gallery, 2023. Photo by R. Tsai for Seismic Sisters.

About the authors:  Kim Christensen is the founder and executive editor of Seismic Sisters; Polina Smith is a staff culture writer at Seismic Sisters.

And the Oscar should go to...

By Ariel Neidermeier

From strong female leads to female directors who centered the stories of women, with the 95th Academy Awards just around the corner, we’re rounding up the movies from 2022 that made us think about the triumphs and trials of the female experience. 

Disregarding categories specifically reserved for women (e.g. “Best Actress”, “Best Supporting Actress”), only 27% of Oscar nominees in non-acting categories at the 2022 Academy Awards were female according to data from the Women’s Media Center. This represents a decrease in representation from 2020 and 2021, when the share of women nominated was 30% and 32%, respectively. Furthermore, this ongoing lack of representation has continued into this year’s Academy Awards, with female directors shut out from the director category entirely. 

Instead, the nominees for the best director of 2022 were strictly male, including Martin McDonagh (The Banshees of Inisherin), Daniel Kwan and Daniel Scheinert (Everything Everywhere All At Once), Steven Spielberg (The Fabelmans), Todd Field (Tár) and Ruben Östlund (Triangle of Sadness).

Who didn’t make the 2022 Best Director nominees list… and should have? Female directors like Gina Prince-Bythewood (The Woman King), Sarah Polley (Women Talking), Chinonye Chukwu  (Till), Maria Schrader (She Said) and Charlotte Wells (Aftersun).

Some of the films that follow have been recognized by major awards organizations, many of them have not. Regardless, it's movies like these we want to see more of on the silver screen. 

AFTERSUN

Aftersun is a delicate and universal portrait of grief, memory and perception. Told through the eyes of a daughter remembering a final interaction with her father, the memory takes place as she reaches the beginnings of puberty, a tender time when a young woman is waking up to her own sexuality — and noticing others noticing it too. Weaving camcorder footage, memories and subconscious strikes of imagination, writer and director Charlotte Wells seems to channel a memory rather than retell a story. The result is a loving and heartfelt depiction of a father-daughter relationship. Vacationing in Turkey, they tour a mud bath, swim in the sea and sit at all-inclusive buffet dinners. Their relationship is poignant and realistic. Sometimes they squabble, sometimes they laugh, oftentimes they sit in an intimate yet fretful silence. It’s not a story of unique tragedy, but a story that is common to all humans: the experience of loss. There comes a time when all of us will do what’s portrayed in Aftersun: sort through old footage and relive memories of the ones we’ve loved and lost.


ENOLA HOLMES II

A rollicking ride through Victorian-era London through the eyes of an extraordinarily clever young detective, Enola Holmes 2 is for a night when you want to escape into a world where all mysteries — and misogynistic tyrannies — can be solved. This is the second in a series of films that gives a feminist twist on the classic tale of Sherlock Holmes (Enola, played by Millie Bobby Brown, is his younger sister). Enola’s mystery to solve: Find a missing girl and amplify the labor rights of mistreated female workers in the process. Flashbacks to Enola’s unorthodox childhood with her mother played by Helena Bonham Carter grounds this film in an independent quirkiness that makes the high stakes of female empowerment at the turn of the century feel lighthearted — if not downright fun. Buoyant, daring and touching on the importance of human rights and collectivism, this quick-witted film (series) is one to watch.

EVERYTHING EVERYWHERE ALL AT ONCE

Surreal, twisting and full of surprises, Everything Everywhere All at Once manages to blend fantastical plot twists and the mundane scapes of the human experience (the majority of the film takes place in an IRS government building) to tackle tender topics like intergenerational trauma, the immigrant experience and complicated family relationships. Part kung fu action film, part sci-fi thriller, the locus of activity in Everything Everywhere All at Once revolves around a fraught mother-daughter relationship between the exasperated Evelyn (Michelle Yeoh) and her dispirited daughter (Stephanie Hsu). The fantastical interpretation of their discontented relationship in the dream world conjured by the movie’s creators (Daniel Kwan and Daniel Scheinert) is somehow both exhilarating and relatable. In this multiverse, every choice leads to an unending web of paths not picked, and possible lives never lived. Characters can use “jumping pads” — random, improbable acts — to access skills from these unlived lives, tapping into singing talents, martial arts mastery and more to take down their enemies. Another benefit of this set-up is the unending array of possibilities to forgive, love and heal. The feeling one gets after watching this film is one all moviegoers yearn for: hope that anything, anywhere, all at once — is possible.

MRS. HARRIS GOES TO PARIS

From humble beginnings to the height of high fashion, Mrs. Harris Goes to Paris follows the delightful journey of a woman finding her way after tragedy. Lesley Manville plays Mrs. Harris, a disheartened widow toiling in post WWII London. What does Mrs. Harris do when all is lost and there’s nothing left to hope for? She saves up the money to fly to Paris and buy herself a haute couture Dior gown. What follows is a dashing story of love, friendship and the reminder that it’s never too late to have an adventure and discover joy in your life. Mrs. Harris might be a humble housemaid, but she deserves a beautiful dress to make her feel special like we all do. This Cinderella-esque story is whimsical, dreamy and for one hour and 56 minutes, makes the world a much brighter, magical, well-dressed place.

SHE SAID

Based on the nonfiction book of the same name, She Said is a quietly thrilling recounting of the investigation of Jodi Kantor and Megan Twohey, The New York Times journalists who broke the Harvey Weinstein sexual abuse story in 2017. It was this historic investigation that would catapult the #MeToo movement as well as several indictments against Weinstein for sexual abuse and rape. Like a fact-checked, clearly-reported article, the film clearly retells what happened, without grandstanding or extraneous detail. It also sheds light on the methodical precision it takes to build trust with sexual abuse victims in order to break news stories of this nature. The journalistic work of Jodi Kantor and Megan Twohey is masterfully depicted by actresses Zoe Kazan and Carey Mulligan. While the film casts itself in the mold of other depictions of groundbreaking investigative reporting (All the President’s Men, Spotlight) director Maria Schrader tells the story through a distinctly female gaze. You see how Kantor and Twohey’s personal lives are affected by their work and vice versa, with the film tackling the challenges of postpartum depression and the day-to-day balance of work, motherhood and marriage. What the viewer is left with is an elegant and realistic portrait of professional women doing great work.

She Said should be viewed with a trigger warning to those sensitive to material suggesting or depicting sexual harassment and abuse. 

THE WOMAN KING

The Woman King is a triumphant film. Directed by Gina Prince-Bythewood and led by a spectacular performance by Viola Davis, The Woman King tells the true story of an army of women warriors in the precolonial West African Kingdom of Dahomey. From nail-biting battle scenes to inspiring montages of young warriors learning to fight, this movie showcases the dynamic strength of Black women. It’s particularly riveting to see a film that forgoes superhero strengths and magical gifts to imbue women with skills that are realistic and human. These warriors can twirl javelins, spin ropes and throw swords with exquisite skill. War scenes are balanced with a healthy dose of cultural celebration, including African dancing, singing and joy. The Woman King is also grounded in a tender depiction of sisterhood, chosen family and mother-daughter dynamics. It’s films like these that feel like a much-needed victory in today’s constantly bleak news landscape. And, it’s films like these that remind us that throughout human history, lurking in the shadow of every story of suffering is a story of transcendence too. 

The Woman King should be viewed with a heavy trigger warning to those sensitive to material suggesting or depicting sexual violence.

THE SWIMMERS

The valiant and true story of the Mudini sisters provides viewers with a good cry and a healthy helping of hope. Focusing on the tale of two Syrian sisters trained in competitive swimming, younger sister Yusra’s (Nathalie Issa) aspirations to compete in the Olympics might be the connecting thread in this film but what belies it is an important story of the refugee experience. Yusra and Sara travel from Syria to Turkey, swim for their lives during a harrowing boat ride from Turkey to Greece and continue their dangerous trek across the Hungarian border. Making it to Berlin, they’re left to wait in an interminable limbo of refugee camp life and paperwork while also hoping to see if they can bring their remaining mother, father and young sister to safety from Damascus. In its twists and turns, The Swimmers is like a modern-day odyssey but one that is far from myth. Almost exactly 12 years since the start of the Syrian Civil War, it’s a stark reminder of the millions of refugees (half of whom are under the age of 18) who continue to risk their lives (and lose them) to find safety, freedom and hope in lands far from home — an ongoing global crisis that would do all of us good to remember.

TILL

Retelling the true story of Emmett Till through the eyes of his mother, Mamie Till-Mobley, Till reminds us of what it takes to open the eyes of a nation. In a heartbreaking scene depicting Emmett’s funeral, at which Mamie insists to show his body in an open casket, her crying aunt chokes “I can’t look at him,” to which Mamie responds: “We have to.” In the same way, Till asks us to look at the human consequences of our nation’s chronic violence against Black people. It is inconceivable to murder a 14 year-old boy for whistling, just as it is inconceivable for us to look at his brutalized body in the film. A stunning performance by Danielle Deadwyler paints a vivid portrait of a woman whose grief and strength transforms history. It’s because of Mamie Till-Mobley that we continue to hold Emmett Till’s story in our hearts with anguish. It is because of Mamie Till-Mobley that the names of so many unjustly taken bright souls are still shouted and remembered. The solitary suffering and eternal conviction of mothers like Mamie Till-Mobley galvanized the Civil Rights movement, the Black Lives Matter movement and beyond, a fact that Till masterfully brings our attention to.

WOMEN TALKING

Women Talking is a one hour and 44 minute film that showcases exactly that: a group of Mennonite women talking about what to do after suffering unspeakable violence. Their options: forgive, stay and fight, or leave. Based on a true story, the film begins with the words “what follows is an act of female imagination.” These words set the stage for a sequence of events that feel dream-like, the way abuse can feel dream-like when individuals are gaslighted into disbelieving their own suffering. In a welcome respite from the fetishization of female pain and sexual violence often depicted on the silver screen, director Sarah Polley skillfully invokes the abuse that took place without ever actually depicting it. Instead, the conversations of the women processing their experiences are centered —- as they should be in the aftermath of abuse. Balancing the horror of the events recounted is a beautiful depiction of strength and sisterhood. It’s inspiring to watch a group of women who have never been taught to read or to think independently conjure the magical thinking required to believe they can assert their freedom. It makes one believe that the simple act of a group of women talking could very possibly change the world.

Women Talking should be viewed with a heavy trigger warning to those sensitive to material suggesting or depicting sexual violence.

Official movie posters sources: Aftersun by A24 Films, Enola Holmes 2 by Netflix, Everything Everywhere All At Once by A24 Films, Mrs. Harris Goes to Paris by Focus Features and Universal Pictures, She Said by Universal Pictures, The Woman King by Sony Pictures Entertainment, The Swimmers by Netflix, Till by United Artists Releasing and Universal Pictures, Women Talking by United Artists Releasing.

About the Author - Ariel Neidermeier (she/her) is a first generation Filipina-American writer educated in journalism at Emerson College and international relations at the University of California, San Diego. She lives in the San Francisco Bay Area.

An Interview with Amber Julian and George “WuKong” Cheng from the Bay Area’s Legendary Embodiment Project

By Polina Smith

Embodiment Project is a San Francisco-based street dance theater company that “intersects hip hop, documentary theater, live song and choreo-poetry to illuminate narratives silenced by inequities and inspire critical conversations and healing.” But what happens when a thriving performing arts season suddenly comes to a halt? How do you pivot to using video conferencing and social media to communicate what is at your dance company’s very core? It has been challenging, make no mistake, but like with their art, Embodiment Project is handling it with resilience, creativity and grit. I caught up with dance company members Amber Julian and George “WuKong” Cheng to get their thoughts on the current situation for artists and what role art can play during the COVID-19 pandemic. 

Embodiment Project company members Dre Devis, Amber Julian, Nicole Klaymoon, Keisha Turner, Sammay Dizon, courtesy of Yerba Buena Center for the Arts.

Embodiment Project company members Dre Devis, Amber Julian, Nicole Klaymoon, Keisha Turner, Sammay Dizon, courtesy of Yerba Buena Center for the Arts.

Polina: What was Embodiment Project (EP) up to before the virus hit?

George: I think it was literally the night before the Bay Area called shelter-in-place, Amber, myself and Nicole were all together and EP was supposed to go to Akron, Ohio, for a one-week residency. We were in the lab working on our Yerba Buena Center for the Arts premiere of X RATED PLANET. We were pretty busy gearing up for that and in a really heavy rehearsal flow.

Amber, myself, and Poko teach at ODC in San Francisco. We work with the youth hip hop company, and we were also gearing up for their end of the year performances. So, we definitely had a good amount of things going on. Then overnight everything just changed.

Polina: I am curious what’s happening with the new show. Do you have a date rescheduled, are you waiting to see when it all ends or how it plays out?

Amber: It’s been postponed, which is good that it’s not completely cancelled. I think it’s just a matter of scheduling and seeing if everyone else is available and really how long this shelter is going to be happening. It’s supposed to be happening hopefully at some point either late summer or fall probably.

Polina: How else are you adjusting and adapting to this time?

Amber: It is very jarring for artists who’s crafts are so built on and around community. We are dancing at home and stay physically active however and whenever possible.

Embodiment Project company members Amber Julian and Keisha Turner. Photo by Alexa Treviño, courtesy of Yerba Buena Center for the Arts.

Embodiment Project company members Amber Julian and Keisha Turner. Photo by Alexa Treviño, courtesy of Yerba Buena Center for the Arts.

Polina: Are you rehearsing for the new show? What does an EP rehearsal over Zoom look like?

George: We are meeting once a week, and we see it really as a time to figure out what we can continue doing, what we can continue creating, and how we can apply our creativity to what’s going on right now and adapt in those ways. It could be rehearsing lines or just coming up with what our youth program will look like moving forward.

It’s a lot of behind-the-scenes type of work compared to what we normally do - being on the stage and things like that. Some folks in the company are still teaching once a week via online classes.

Polina: Is developing the youth portion of EP something you are putting more attention into now because you have this extra time, or was that always in the works at this level?

Amber: We are trying to see what’s possible with it now that it’s online, but outside of that there have been talks about how we can expand that program. I do anticipate that once things lift, it will probably be expanded in some ways.

Polina: I am curious if you could talk about the biggest challenges - as individual artists and as a company - that you are facing at this time?

Amber: The community aspect is very challenging. I think in some ways I have gotten closer to some community folks, conversing more, reaching out more, and connecting in that way. As far as going to events or battle and taking classes, it’s come to a screeching halt. 

Having that structure of meeting 3 days a week and rehearsing 3 days a week. To not have that structure - there are pluses and minuses to that. It allows our bodies to rest a little bit more. It allows us to be creative and find our own ways of navigating structure and being consistent with movement as that is our passion. 

George: I think some of the more obvious challenges are the income. Amber has already taught an online class with our youth company. Some other folks in the company have also done work online. Dance is a communally driven spirit - when you are with people face-to-face it really is a whole other type of experience.

Polina: What is the fundraising campaign you are doing?

Amber: We were getting paid for rehearsals, so that is a big financial hit. The youth program got cut significantly, so a lot of the things we anticipated financially, energetically, and emotionally have all slowed down or stopped. 

Our campaign is to help us financially in those ways. We also work with collaborators who are going to be in the show. We had our Ohio Tech residency that got cancelled, which would have been a significant financial help.

Polina: What do you think the role of art and the artist is in this time?

George: It’s interesting to see how art is really a reflection of the times, and really to remind people what’s going on. It’s helping us to connect, to be human and feel our emotions - especially at a time like this when there can be so many mixed emotions.

It can really help us to find our equilibrium within ourselves - that grounded place. It helps us really be able to acknowledge what might be going on outside or what is alive inside of us, and to be able to keep moving forward.

The really important thing is to help us maintain our humanity at this time when there is so much going on. At the same time I also think that art can really serve as our meaning to be that stand of resilience and celebration. 

We need to be able to tap into that creative spirit and let that energize ourselves and be filled with joy at times - even though society as a whole is really going through it right now. And just remembering to share that joy as well through art.

Amber: I think about my mom, because she always told me it’s so important to have a passion. I really feel that is so essential right now - to have something to look forward to that gives you life and sparks that fire in you. It helps to have art as an outlet and to look forward to doing something that makes you feel good. To have that outlet is like medicine.

Embodiment Project Company Member George "WuKong" Cheng, photo by Alexa Treviño. Courtesy of Yerba Buena Center for the Arts.

Embodiment Project Company Member George "WuKong" Cheng, photo by Alexa Treviño. Courtesy of Yerba Buena Center for the Arts.

Polina: During this time your role is to make a way out of no way. Art has such potential. What do you think, is the virus here to teach us something? What can we learn from it? Do you hold a spiritual perspective on this time?

George: It’s definitely the physical, the spiritual, the mental, and the emotional. Those are all connected. For those of us that have time and space to even be able to think about these things, because there are a lot of people who don’t have that space and that opportunity right now, this is really a good time to think about what is important and what’s not working in our system.

Thinking about things like that and the planet and nature. We are seeing all these animals come back, pollution is clearing, and you can see stars in the sky. I think that is a very total and obvious result of everything being put on pause. I definitely think that it is a really good opportunity for us to reflect on what's working and what’s not. How do we want to move forward coming out of all of this? 

Amber: Just having this extra spaciousness in time has really allowed more space to go introspective a little bit more. It’s like all the things are coming up because there is so much time, and my mind has so much more space that I can actually dive deeper into things. That’s definitely a thing.

Also I’m really counting my blessings. We’re just very blessed to have a roof over our heads, food, and music in our lives and to have able bodies to still dance. I’m holding a lot of compassion for those who may not have that access at this moment.

I actually have a lot of relatives and friends that are working in the medical industry, and they are on different lines. I am holding a lot of love and tenderness for them and wanting to take back responsibility personally to really do the sheltering and stay home. I want to be responsible in those ways, and to really hold those that are a little more at risk in our hearts and minds.

Polina:  What gives you hope during this time? 

George: Acknowledging that it’s such a difficult situation for a lot of people right now, and at the same time this type of situation can really bring out the best and the worst of people, so to speak. In terms of the acts of kindness and the way people are supporting one another, I think it is a touching thing to see. 

Mentioning looking to those elders and spiritual figures and communities all around, and just listening to what they have to say. And art - art gives me hope. My community. One thing is definitely seeing social media and the type of discussions happening and the amount of people that are acknowledging that some things are really not working anymore. It just feels like there is so much potential and momentum around people wanting something different. I think that’s one of the big things for me personally.

Amber: I do feel closer to a lot of folks at the same time. I am reconnecting with friends I haven’t spoken to so often and just making it a point to reach out to people more and check in with people. That in itself is a reminder that we are all in it together and that we are all around the globe in this together.

Also, nature. Seeing all these birds that I haven’t seen before. It’s so beautiful. The flowers are blooming. Those things make me feel really hopeful. Life is happening and these beautiful things are going to bloom from this.

Polina:  As a last question, I am wondering what message you would give to artists, especially to young artists, right now.

Amber: My message is just to remind them that we are all in this together, we are all learning. I don’t want to say, “Keep creating, keep dancing.” Some people might not be in that space, but I will say that art is so very healing. I know that it has saved my life many times. If there is any tiny bit of hope towards that, I’d say to really take that seed, to nurture it, and to see it grow. 

Whatever art can do for you - if you are feeling that spark, follow that spark. It doesn’t have to look like anybody else’s ways of doing it, but to know that it is always there, it’s always accessible in any way.

George: Even if you are having challenges, really try and push through and keep creating from that really raw place within yourself. Whether you want to express that joy and celebration for what you are grateful for, or whether you want to express that grief and that sadness and that anger and despair. Either way, as long as you are creating from that authentic place inside and to be able to share that and be felt. I think that’s the healing process for the individual and for the collective. I think that’s what we really need right now to get us through this time. 

Polina:  Thank you both so much. May beautiful seeds be planted during this time, even if we don’t know what their fruits are.

Help the Embodiment Project Artists thrive during this time, support their relief fund at http://tinyurl.com/epartistrelief

Embodiment Project is a San Francisco-based street dance theater company that intersects hip hop, documentary theater, live song and choreo-poetry to illuminate narratives silenced by inequities and inspire critical conversations and healing.

Help support Embodiment Project artists during this time: http://tinyurl.com/epartistrelief 

Polina Smith is the Executive Director of Crescent Moon Theater Productions creating original, thought provoking new work that spans across the disciplines of theater, dance, music and circus. She holds a Master of Fine Arts in Creative Inquiry from the California Institute of Integral Studies. Smith is an art event producer for Bioneers and Seismic Sisters.