Occupy as Form: Gina Acebo

February 10, 2012

Occupy the Hood — We are the 99% | As the Occupy Wall Street (OWS) movement mushroomed city by city in states across the country, the need to make room to expand a vision of racial equity through the participation and leadership of communities of color came to the fore. In early October, OWS participant New Yorker Malik Rahsaan launched Occupy the Hood in order to involve more people of color in the OWS movement. Later joined by Ife Johari Uhuru of Detroit to coordinate outreach, Occupy the Hood leveraged social media tools like Facebook and Twitter to amass more than 7,000 followers in its early inception. Comprised of individuals and organizations, their mission states “From Occupation to Liberation, De-Colonize, Empower The Hood”,  “People of Color, and in particular Black, Brown and Native/Indigenous People, have been disproportionately affected by the issues that the Occupy Movement has recently raised. Unemployment rates double nationwide, disproportionate incarceration rates, wealth gap, subprime mortgages/foreclosures.”

A stylized illustration of a person with protest signs in the background, featuring texts about economic injustice and the 99%.  Protest poster showing a family holding a sign, large text reads "We are the 99%" and "United for justice not divided by racism". 

Moving from a frame of solely diversifying the Occupy movement is a central task. In The Nation, Rinku Sen, Executive Director of the Applied Research Center and Publisher of Colorlines.com argues that the movement must “occupy racial equity”: 
“How can a racial analysis, and its consequent agenda, be woven into the fabric of the movement? We need to interrogate not just the symptoms of inequality, but, more fundamentally, the systems of inequality, considering how and why corporations create and exploit hierarchies of race, gender and national status to enrich themselves and consolidate their power.”
The need to center a racial analysis within the narrative of the Occupy movement is not merely an intellectual exercise, but is actively explored through grassroots organizing efforts taking place across the country. These efforts utilize posters, theater, storytelling and other artistic forms. Examples include:
In this historic moment, Occupy the Hood offers artists/makers an opportunity to explore the role and use of site, narrative, and framing while informing our own vision and artistic practice.

The Arts Research Center at UC Berkeley is sponsoring the working session “Occupy as Form” on February 10, 2012. Participants have been invited to post some brief thoughts on the topic in advance of the event. This guest posting is by Gina Acebo, a first-year MFA candidate focusing on Social Practice at California College of the Arts.