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Cassandra Mayela Allen
WARD: Can you introduce yourself?
CASSANDRA: My name is Cassandra Mayela Allen. I am originally from Venezuela, and I’ve been in New York for the past 11 years. I work mostly with textiles, but I also work in a variety of mediums. I’m really interested in creating a practice that revolves around participatory and communal social work.
WARD: For Slow Forest, you’re sharing a piece of “BRAIDED PRAYER I” [2024], and you have a participatory performance guiding it through the piece. How do you think the setting of Slow Forest will change the context of that work?
CASSANDRA: Well, as you know, I’m currently at Skowhegan, and being here, I’m definitely in nature. When I first planned to come here, I packed a bunch of stuff thinking that I would be focusing on a certain kind of practice or projects, and I basically didn’t touch any of those things. I mainly focused on creating site-specific works, and I developed a net made out of these braids that’s going to be left out here. I recently learned very basic welding, so attaching the weavings could also be something fun. It truly depends on how or where we want to set it up. In a previous residency I did in Uruguay, I extended the thousand-foot-long braid along a path, which was special as a guide through a meditation path. But here, in contrast to those works, the forest “eats” the braid, if that makes sense. It’s thin and spread out, whereas in more compact compositions, there’s a dialogue between the work and the space that I think I’m more interested in exploring. Letting a space guide your work into creating something else has been fun.
You can’t be too precious or too methodical: A, when working with people in manual labor, because we all have different ways of making, and B, when installing in a site-specific space, especially outdoors, because the work is in conversation with the space. It’s been fun to see spiders building webs in the gaps of the net, or fabrics starting to sun-bleach because they’re out in the elements. That, in my opinion, adds to the work in an ephemeral way. It’s creating its own life.
WARD: One thing I love about your work is that it has a tangible use. You can feel it as a blanket or rope. I was looking at “Bodega Quilts” [2025] and could imagine covering myself with them. Even with braids, there’s so much historical context—as beauty, but also as utility. What drew you to work that is so rooted in craft?
CASSANDRA: I agree. I’m always trying to challenge notions of what can be utilitarian but also hold metaphor in that utility. It’s not just covering in a practical sense, but emotionally, feeling contained in community. Same with the net. You build the net to play, but we were trying to keep the ball in the air as long as possible, a way of holding or lifting each other up.
WARD: Your work is also tactile and ritualistic, expressing these elements through braiding, clothing, and tapestry. What are you accessing internally in your process, and how do you connect it to your history and surroundings?
CASSANDRA: For me, working with my hands is definitely an active meditation. It’s how I channel and process anxiety, calm down, and ground myself. That energy comes through my hands; it’s soothing. I’m more interested in the process of making than the conceptual part—not that there’s no concept, but I’m more excited about the making.
This connects to life in the city, carving space for yourself and connecting with others through making. A lot of artists in the Western understanding work alone in a studio, which can be isolating. I enjoy making by myself, but I’m flexible about what my studio can be. I can cut and braid fabric on the subway. I can work during a studio visit while chatting. It’s two streams of release and engagement, making the load easier because so much is repetitive and tedious at times.
I don’t work with fibers. I work with discarded clothing and fabric, material already here. I hate the concept of waste, which only exists in our modern human world. In nature, there’s no waste: leaves fall and compost, feeding the soil; metal rusts and returns nutrients to the earth. But humans put everything in garbage bags and hope for the best.
Growing up in Venezuela taught me that resources aren’t infinite. Even though larger powers could make big changes and don’t, my small protest is to reuse and repurpose. I’d rather work with materials considered waste than buy new canvas or fabric. As for ritual, society often frames ceremony as needing a temple, priest, or extraordinary setting. I believe there are many ways to tap into the ceremonial in the mundane. That communion when making with people feels sacred.
WARD: Earlier, you mentioned growing up in Venezuela and how it shaped your work and use of donated fabrics. Could you elaborate on how growing up affected your process and philosophy?
CASSANDRA: Growing up in a failing state as I became an adult shaped how I think—not just in art, but in life. In the U.S., many take certain things for granted because they’ve never seen the end of them. Experiencing state failure and lacking access to basics like water and electricity makes you resourceful. Crisis teaches you to see things differently and make something out of nothing.
I also come from a very fragmented society. This made me conscious of the need to focus on what people have in common rather than the differences. In my practice, I initially wanted to bring the Venezuelan diaspora together through a tapestry of stories, a physical space for healing and communication. But I learned that migration often means parting radically with roots, and some aren’t ready to revisit them. Non-participation became the most common form of participation. So, I shifted my focus to a broader immigrant community, and also to parallels in movement and adaptation that exist even within one’s own country or city.
Longing for home and belonging is universal, and if my work can create empathy rather than displacement, that’s my goal— establishing conversations between people who might otherwise never talk. Even if you come to one of these gatherings and sit next to someone you don’t think you have anything in common with—or don’t agree with—the space itself opens an opportunity for a conversation you wouldn’t normally have. That’s the spark you need to maybe contemplate certain things in your life.
WARD: You’ve also lived in New York for 11 years now. How do you think New York City has changed your practice compared to growing up in Venezuela?
CASSANDRA: New York has given me and taken so much. It’s a city that can embrace you, squeeze you so hard, spit you out, and then take you back again—it’s such a moody girl. It’s been an amazing place to understand what an expansive community can be. A lot of like-minded people navigate here, and things can happen spontaneously if you’re open to them. It’s tall, it’s challenging, and at this point, almost offensive to live in, but it has exposed me to so many backgrounds I never would have met in Venezuela. One of my best friends is from Cambodia; I’ve learned about weaving traditions in the Philippines that are similar to those in South America. New York shows the human part of what life can be, and I’m grateful for that.
WARD: We met in New York years ago.
CASSANDRA: Yes, and that’s a beautiful thing. You meet people in passing, connect, then life gets busy, and later you reconnect. There’s a rhythm to it, like breathing within the city with everyone else. I also love how anonymous it can be—like Where’s Waldo?—and then on a Wednesday in Astoria, you’ll run into someone and think, “I really live in New York.”
WARD: Let’s go back to your fabric use. You work with donated and reworked fabric. Do you feel there’s energetic memory in the clothing?
CASSANDRA: Definitely. When working with clothes people intentionally bring, they’re charged with energy. In gatherings, I ask people to bring something tied to their migratory story, something seen as joy, resistance, or something they want to let go of. This space offers a cathartic outlet, a way to honor and transform it. Even without telling the audience every story, the work holds those layers. You can feel that presence without knowing the details.
WARD: Could you talk about your work “Maps of Displacement” [2021-] and how shipping memory contributes to it? Do you envision an end to the project?
CASSANDRA: I’d love to return to and expand that body of work, but right now it feels precarious given the current persecution of immigrants. When I started “Maps of Displacement” [2021-], I noticed an increase in Venezuelans in New York. Venezuela’s migration is young—only in the past 20 years—and recognized as a crisis internationally for just the past decade. Compared to older diasporas like Mexican, Puerto Rican, Bangladeshi, or Filipino communities, it’s very new. I became curious about why people were choosing New York, which seems hostile if you don’t know the language. The media offered little. Right-wing narratives frame Venezuela as a communist hellhole; left-wing ones romanticize it because it’s a leftist government. Neither side holds it accountable as a dictatorship.
So I started asking Venezuelans to share something from their migratory process, regardless of why they left. I received everything from a childhood stuffed animal to the outfit worn on the day they traveled, to a favorite pair of pants that no longer fit. I kept the request flexible so people could go deep if they wanted, or keep the process internal. I’d love to continue the work, but I’d need more resources and a safer way to do it, given current immigration policing.
WARD: Back to “Braided Prayers I” [2024]—you’ve activated it in different NYC contexts, like Tambao and with Artists and Mothers. How do these contexts affect the work?
That’s something I’m still exploring. Tambao is a Latin American design store; their clientele is warm and festive. That activation felt casual and celebratory. People braided with wine, came with friends, chatted, and moved on to dinner.
CASSANDRA: With Artists and Mothers, the group was all artist-mothers, and the activity took place around Mother’s Day. The braids became reflections on motherhood and art-making—more contained; more intimate. I’ve done family braiding sessions where kids, parents, and grandparents braid together. Every variation adds something; it never subtracts.
WARD: Do you think there’s a greater narrative uniting all these activations?
CASSANDRA: Yes. Unlike “Maps of Displacement” [2021-], which focused on a specific group and experience, the braided activities invite everyone in. That creates space for people from very different backgrounds—some thinking about migration, some not—to see themselves in one another. Braiding itself is universal. It exists in every culture, whether in hair, rope, or textiles. It’s safe, accessible, and easy to learn. That universality allows participation without appropriation. It belongs to everyone.
WARD: When did you realize you wanted to be an artist, and when did you realize you were an artist?
CASSANDRA: I think I realized I was an artist as a child. I’ve always been ingenious and creative, more inclined to making than to science. But coming from a conservative, traditional family in Venezuela, I put it aside for stability. In New York, trying to live a “normal” life made me miserable. I realized there was no other option; this is the only way I can make sense of my life.
WARD: Where did you go to school and what did you study?
CASSANDRA: I studied journalism in Venezuela but dropped out. I later graduated in graphic design. In art, I’m self-taught. No formal art school, though I count Skowhegan as education.
WARD: So much of your work is about memory. Braiding itself is ancient, passed down for thousands of years. Can you tell me your first memory of braiding or being braided?
CASSANDRA: I grew up in Margarita, an island in Venezuela on the Caribbean, and wore braids in my hair— very Caribbean girl. I created tiny braids, transforming my own clothes, and making things unique so they didn’t look like everyone else’s. I went to a bilingual school and befriended braiders at the beach. They wanted more tourist customers but only had signs in Spanish. One day, I brought them a little cardboard sign in English saying “We Make Braids” so they could reach foreigners. They glued it alongside the Spanish one and used both.
{
"article":
{
"title" : "Cassandra Mayela Allen",
"author" : "Cassandra Mayela Allen, Gabrielle Richardson",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/heirlooms-cassandra-mayela-allen",
"date" : "2025-09-08 10:09:00 -0400",
"img" : "https://everythingispolitical.com/uploads/78556_CFA_Cassandra_003_09.jpg",
"excerpt" : "WARD: Can you introduce yourself?",
"content" : "WARD: Can you introduce yourself?CASSANDRA: My name is Cassandra Mayela Allen. I am originally from Venezuela, and I’ve been in New York for the past 11 years. I work mostly with textiles, but I also work in a variety of mediums. I’m really interested in creating a practice that revolves around participatory and communal social work.WARD: For Slow Forest, you’re sharing a piece of “BRAIDED PRAYER I” [2024], and you have a participatory performance guiding it through the piece. How do you think the setting of Slow Forest will change the context of that work?CASSANDRA: Well, as you know, I’m currently at Skowhegan, and being here, I’m definitely in nature. When I first planned to come here, I packed a bunch of stuff thinking that I would be focusing on a certain kind of practice or projects, and I basically didn’t touch any of those things. I mainly focused on creating site-specific works, and I developed a net made out of these braids that’s going to be left out here. I recently learned very basic welding, so attaching the weavings could also be something fun. It truly depends on how or where we want to set it up. In a previous residency I did in Uruguay, I extended the thousand-foot-long braid along a path, which was special as a guide through a meditation path. But here, in contrast to those works, the forest “eats” the braid, if that makes sense. It’s thin and spread out, whereas in more compact compositions, there’s a dialogue between the work and the space that I think I’m more interested in exploring. Letting a space guide your work into creating something else has been fun.You can’t be too precious or too methodical: A, when working with people in manual labor, because we all have different ways of making, and B, when installing in a site-specific space, especially outdoors, because the work is in conversation with the space. It’s been fun to see spiders building webs in the gaps of the net, or fabrics starting to sun-bleach because they’re out in the elements. That, in my opinion, adds to the work in an ephemeral way. It’s creating its own life.WARD: One thing I love about your work is that it has a tangible use. You can feel it as a blanket or rope. I was looking at “Bodega Quilts” [2025] and could imagine covering myself with them. Even with braids, there’s so much historical context—as beauty, but also as utility. What drew you to work that is so rooted in craft?CASSANDRA: I agree. I’m always trying to challenge notions of what can be utilitarian but also hold metaphor in that utility. It’s not just covering in a practical sense, but emotionally, feeling contained in community. Same with the net. You build the net to play, but we were trying to keep the ball in the air as long as possible, a way of holding or lifting each other up.WARD: Your work is also tactile and ritualistic, expressing these elements through braiding, clothing, and tapestry. What are you accessing internally in your process, and how do you connect it to your history and surroundings?CASSANDRA: For me, working with my hands is definitely an active meditation. It’s how I channel and process anxiety, calm down, and ground myself. That energy comes through my hands; it’s soothing. I’m more interested in the process of making than the conceptual part—not that there’s no concept, but I’m more excited about the making.This connects to life in the city, carving space for yourself and connecting with others through making. A lot of artists in the Western understanding work alone in a studio, which can be isolating. I enjoy making by myself, but I’m flexible about what my studio can be. I can cut and braid fabric on the subway. I can work during a studio visit while chatting. It’s two streams of release and engagement, making the load easier because so much is repetitive and tedious at times.I don’t work with fibers. I work with discarded clothing and fabric, material already here. I hate the concept of waste, which only exists in our modern human world. In nature, there’s no waste: leaves fall and compost, feeding the soil; metal rusts and returns nutrients to the earth. But humans put everything in garbage bags and hope for the best.Growing up in Venezuela taught me that resources aren’t infinite. Even though larger powers could make big changes and don’t, my small protest is to reuse and repurpose. I’d rather work with materials considered waste than buy new canvas or fabric. As for ritual, society often frames ceremony as needing a temple, priest, or extraordinary setting. I believe there are many ways to tap into the ceremonial in the mundane. That communion when making with people feels sacred.WARD: Earlier, you mentioned growing up in Venezuela and how it shaped your work and use of donated fabrics. Could you elaborate on how growing up affected your process and philosophy?CASSANDRA: Growing up in a failing state as I became an adult shaped how I think—not just in art, but in life. In the U.S., many take certain things for granted because they’ve never seen the end of them. Experiencing state failure and lacking access to basics like water and electricity makes you resourceful. Crisis teaches you to see things differently and make something out of nothing.I also come from a very fragmented society. This made me conscious of the need to focus on what people have in common rather than the differences. In my practice, I initially wanted to bring the Venezuelan diaspora together through a tapestry of stories, a physical space for healing and communication. But I learned that migration often means parting radically with roots, and some aren’t ready to revisit them. Non-participation became the most common form of participation. So, I shifted my focus to a broader immigrant community, and also to parallels in movement and adaptation that exist even within one’s own country or city.Longing for home and belonging is universal, and if my work can create empathy rather than displacement, that’s my goal— establishing conversations between people who might otherwise never talk. Even if you come to one of these gatherings and sit next to someone you don’t think you have anything in common with—or don’t agree with—the space itself opens an opportunity for a conversation you wouldn’t normally have. That’s the spark you need to maybe contemplate certain things in your life.WARD: You’ve also lived in New York for 11 years now. How do you think New York City has changed your practice compared to growing up in Venezuela?CASSANDRA: New York has given me and taken so much. It’s a city that can embrace you, squeeze you so hard, spit you out, and then take you back again—it’s such a moody girl. It’s been an amazing place to understand what an expansive community can be. A lot of like-minded people navigate here, and things can happen spontaneously if you’re open to them. It’s tall, it’s challenging, and at this point, almost offensive to live in, but it has exposed me to so many backgrounds I never would have met in Venezuela. One of my best friends is from Cambodia; I’ve learned about weaving traditions in the Philippines that are similar to those in South America. New York shows the human part of what life can be, and I’m grateful for that.WARD: We met in New York years ago.CASSANDRA: Yes, and that’s a beautiful thing. You meet people in passing, connect, then life gets busy, and later you reconnect. There’s a rhythm to it, like breathing within the city with everyone else. I also love how anonymous it can be—like Where’s Waldo?—and then on a Wednesday in Astoria, you’ll run into someone and think, “I really live in New York.”WARD: Let’s go back to your fabric use. You work with donated and reworked fabric. Do you feel there’s energetic memory in the clothing?CASSANDRA: Definitely. When working with clothes people intentionally bring, they’re charged with energy. In gatherings, I ask people to bring something tied to their migratory story, something seen as joy, resistance, or something they want to let go of. This space offers a cathartic outlet, a way to honor and transform it. Even without telling the audience every story, the work holds those layers. You can feel that presence without knowing the details.WARD: Could you talk about your work “Maps of Displacement” [2021-] and how shipping memory contributes to it? Do you envision an end to the project?CASSANDRA: I’d love to return to and expand that body of work, but right now it feels precarious given the current persecution of immigrants. When I started “Maps of Displacement” [2021-], I noticed an increase in Venezuelans in New York. Venezuela’s migration is young—only in the past 20 years—and recognized as a crisis internationally for just the past decade. Compared to older diasporas like Mexican, Puerto Rican, Bangladeshi, or Filipino communities, it’s very new. I became curious about why people were choosing New York, which seems hostile if you don’t know the language. The media offered little. Right-wing narratives frame Venezuela as a communist hellhole; left-wing ones romanticize it because it’s a leftist government. Neither side holds it accountable as a dictatorship.So I started asking Venezuelans to share something from their migratory process, regardless of why they left. I received everything from a childhood stuffed animal to the outfit worn on the day they traveled, to a favorite pair of pants that no longer fit. I kept the request flexible so people could go deep if they wanted, or keep the process internal. I’d love to continue the work, but I’d need more resources and a safer way to do it, given current immigration policing.WARD: Back to “Braided Prayers I” [2024]—you’ve activated it in different NYC contexts, like Tambao and with Artists and Mothers. How do these contexts affect the work?That’s something I’m still exploring. Tambao is a Latin American design store; their clientele is warm and festive. That activation felt casual and celebratory. People braided with wine, came with friends, chatted, and moved on to dinner.CASSANDRA: With Artists and Mothers, the group was all artist-mothers, and the activity took place around Mother’s Day. The braids became reflections on motherhood and art-making—more contained; more intimate. I’ve done family braiding sessions where kids, parents, and grandparents braid together. Every variation adds something; it never subtracts.WARD: Do you think there’s a greater narrative uniting all these activations?CASSANDRA: Yes. Unlike “Maps of Displacement” [2021-], which focused on a specific group and experience, the braided activities invite everyone in. That creates space for people from very different backgrounds—some thinking about migration, some not—to see themselves in one another. Braiding itself is universal. It exists in every culture, whether in hair, rope, or textiles. It’s safe, accessible, and easy to learn. That universality allows participation without appropriation. It belongs to everyone.WARD: When did you realize you wanted to be an artist, and when did you realize you were an artist?CASSANDRA: I think I realized I was an artist as a child. I’ve always been ingenious and creative, more inclined to making than to science. But coming from a conservative, traditional family in Venezuela, I put it aside for stability. In New York, trying to live a “normal” life made me miserable. I realized there was no other option; this is the only way I can make sense of my life.WARD: Where did you go to school and what did you study?CASSANDRA: I studied journalism in Venezuela but dropped out. I later graduated in graphic design. In art, I’m self-taught. No formal art school, though I count Skowhegan as education.WARD: So much of your work is about memory. Braiding itself is ancient, passed down for thousands of years. Can you tell me your first memory of braiding or being braided?CASSANDRA: I grew up in Margarita, an island in Venezuela on the Caribbean, and wore braids in my hair— very Caribbean girl. I created tiny braids, transforming my own clothes, and making things unique so they didn’t look like everyone else’s. I went to a bilingual school and befriended braiders at the beach. They wanted more tourist customers but only had signs in Spanish. One day, I brought them a little cardboard sign in English saying “We Make Braids” so they could reach foreigners. They glued it alongside the Spanish one and used both."
}
,
"relatedposts": [
{
"title" : "Dignity Before Stadiums:: Morocco’s Digital Uprising",
"author" : "Cheb Gado",
"category" : "",
"url" : "https://everythingispolitical.com/readings/dignity-before-stadiums",
"date" : "2025-10-02 09:08:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Morocco_GenZ.jpg",
"excerpt" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.",
"content" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.One of the sharpest contradictions fueling the protests was the billions poured into World Cup-related preparations, while ordinary citizens remained marginalized when it came to healthcare and education.This awareness quickly turned into chants and slogans echoing through the streets: “Dignity begins with schools and hospitals, not with putting on a show for the world.”What set this movement apart was not only its presence on the streets, but also the way it reinvented protest itself:Live filming: Phone cameras revealed events moment by moment, exposing abuses instantly.Memes and satire: A powerful weapon to dismantle authority’s aura, turning complex political discourse into viral, shareable content.Decentralized networks: No leader, no party, just small, fast-moving groups connected online, able to appear and disappear with agility.This generation doesn’t believe in grand speeches or delayed promises. They demand change here and now. Moving seamlessly between the physical and digital realms, they turn the street into a stage of revolt, and Instagram Live into an alternative media outlet.What’s happening in Morocco strongly recalls the Arab Spring of 2011, when young people flooded the streets with the same passion and spontaneity, armed only with belief in their power to spark change. But Gen Z added their own twist, digital tools, meme culture, and the pace of a hyper-connected world.Morocco’s Gen Z uprising is not just another protest, but a living experiment in how a digital generation can redefine politics itself. The spark may fade, but the mark it leaves on young people’s collective consciousness cannot be erased.Photo credits: Mosa’ab Elshamy, Zacaria Garcia, Abdel Majid Bizouat, Marouane Beslem"
}
,
{
"title" : "A Shutdown Exposes How Fragile U.S. Governance Really Is",
"author" : "EIP Editors",
"category" : "",
"url" : "https://everythingispolitical.com/readings/a-shutdown-exposes-how-fragile-us-governance-really-is",
"date" : "2025-10-01 22:13:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Gov_ShutDown.jpg",
"excerpt" : "Each time the federal government shutters its doors, we hear the same reassurances: essential services will continue, Social Security checks will still arrive, planes won’t fall from the sky. This isn’t the first Governmental shutdown, they’ve happened 22 times since 1976, and their toll is real.",
"content" : "Each time the federal government shutters its doors, we hear the same reassurances: essential services will continue, Social Security checks will still arrive, planes won’t fall from the sky. This isn’t the first Governmental shutdown, they’ve happened 22 times since 1976, and their toll is real.Shutdowns don’t mean the government stops functioning. They mean millions of federal workers are asked to keep the system running without pay. Air traffic controllers, border patrol agents, food inspectors — people whose jobs underpin both public safety and economic life — are told their labor matters, but their livelihoods don’t. People have to pay the price of bad bureaucracy in the world’s most powerful country, if governance is stalled, workers must pay with their salaries and their groceries.In 1995 and 1996, clashes between President Bill Clinton and House Speaker Newt Gingrich triggered two shutdowns totaling 27 days. In 2013, a 16-day standoff over the Affordable Care Act furloughed 850,000 workers. And in 2018–2019, the longest shutdown in U.S. history stretched 35 days, as President Trump refused to reopen the government without funding for a border wall. That impasse left 800,000 federal employees without paychecks and cost the U.S. economy an estimated $11 billion — $3 billion of it permanently lost.More troubling is what happens when crises strike during shutdowns. The United States is living in an age of accelerating climate disasters: historic floods in Vermont, wildfire smoke choking New York, hurricanes pounding Florida. These emergencies do not pause while Congress fights over budgets. Yet a shutdown means furloughed NOAA meteorologists, suspended EPA enforcement, and delayed FEMA programs. In the most climate-vulnerable decade of our lifetimes, we are choosing paralysis over preparedness.This vulnerability didn’t emerge overnight. For decades, the American state has been hollowed out under the logic of austerity and privatization, while military spending has remained sacrosanct. That imbalance is why budgets collapse under the weight of endless resources for war abroad, too few for resilience at home.Shutdowns send a dangerous message. They normalize instability. They tell workers they are disposable. They make clear that in our system, climate resilience and public health aren’t pillars of our democracy but rather insignificant in the face of power and greed. And each time the government closes, it becomes easier to imagine a future where this isn’t the exception but the rule.The United States cannot afford to keep running on shutdown politics. The climate crisis, economic inequality, and the challenges of sustaining democracy itself demand continuity, not collapse. We need a politics that treats stability and resilience not as partisan victories, but as basic commitments to one another. Otherwise, the real shutdown isn’t just of the government — it’s of democracy itself."
}
,
{
"title" : "There Was, There Was Not: Cinema as Collective Memory",
"author" : "Emily Mkrtichian",
"category" : "",
"url" : "https://everythingispolitical.com/readings/this-essay-was-written-on-the-eve-of-the-five-year-anniversary-of-the-first-day-of-the-2020-artsakh-war",
"date" : "2025-10-01 16:06:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_10_1_There_Was_Film.jpg",
"excerpt" : "",
"content" : "Join us for the New York Screening:7:00pm: Screening Begins8:30-9:00pm: Q&A with Celine and Emily9:15-11:30: Party at DCTV with small bites and DJEIP members 20% OFF CODE: Get your tickets hereCinema holds a singular place in our imagination, opening a shared space of possibility in both our individual and collective consciousness. At first, this might seem less true for nonfiction cinema, yet over nearly a decade of making my first feature, I’ve come to believe it has the power to cast a spell on how we experience reality and remember the past.In making There Was, There Was Not, I lived through a historical moment that became a fundamental rupture and trauma for my people - and now I can’t help but think about the archive obsessively. Its multitude of shortcomings but also its infinite potential and pivotal importance. My grandmothers and aunts were my personal archive - they taught me about the history of my family, which was also the history of our people. When your past is defined by movement and displacement, your lineage becomes a cultural encyclopedia, an embodied record of larger geopolitical events. The personal is political in every way.When I began making the film in 2016 it was originally meant to be a celebration of women like my grandmothers and aunts. These women are the stubborn, tender keepers of history and makers of a better future that I met and became close with during my time in the Republic of Artsakh - an ethnically Armenian autonomous region that fell into dispute after the fall of the Soviet Union. Artsakh was functioning as a de facto state for nearly three decades, and for Armenians, it is a symbol of self-determination, resistance, and the need to hold onto lands that have been systematically taken from us through violent means for more than a century. The formation of the republic of Artsakh was full of tales of freedom fighters, heroes and martyrs (mostly men), who gave their life so that our connection to our lands would remain unbroken. I envied this tenuous yet determined connection to place. My grandparents fled their village in Turkey during the 1915 genocide, and relocated several times before settling in Iran. So as someone who had been disconnected from land and history for two generations, I wanted to document women’s connection to it and fight for it. For all these reasons, I started filming with four women who were all fighting in their own way - fighting for Artsakh to be the place they dreamed and believed it could be.I have so many vivid memories of my time in Artsakh. It’s hard to describe the beauty of that place, but let me try. I know that remembering the joy I experienced there is some kind of conjuring.In Artsakh, it felt as if you were always surrounded by mountains. Everywhere you turned, there were thousand-year-old stone churches, ice-cold rushing rivers, lush wet forests, and sharp cliff lines threatening to drop out a thousand feet onto a green valley floor. The people were completely unhinged in their love for their homeland and their absolute existence in the present. I’ve never made so many toasts, ate so much fresh tonir bread, sat in cars with unknown destinations awaiting me, and cracked as many walnut shells in my hands as when I was in Artsakh.As I describe this ethereal, joyous existence, I can feel myself becoming wary and anxious about the next part of my story. I felt this way for years while I was making the film. One of the of women, Sose, expressed it perfectly in 2021 when I asked her, “Do you remember the first day the war started?” and she responded, “Yeah, but let me stay in this life.” She meant the life before. The life that exists in her memory and in mine. The life that overflowed with joy, abundance and freedom – however precarious.On the morning of September 27th in 2020, in the middle of COVID and 4 years into making my film, Artsakh was attacked along its borders and in its civilian cities.This is the day I became aware that my body is an archive.Over the next 45 days, I lived mostly in a bomb shelter and held desperately onto a camera like it was a lifeline that could convince the world - out there, looming, ignoring us - that this injustice must end. As it turns out, a camera is not capable of this. Or, the world is not capable of being truly moved to collective action by way of images alone. What the camera did do, though, was tether my life to the lives of the four women in wildly intimate and unexpected ways. Together, we learned the names of all major long and short-range missiles, drones, and rockets - and the specific sounds they made. We did everything in our power to help the thousands of people around us who were suffering. We fled in fear and returned in desperate need of proximity to each other and this place. We were not safe but felt that together somehow we could summon the strength to remain on that land and stay alive for as long as possible.As I watched and filmed, I felt something in my own body wake up. It guided me via intuition and care, and forms of knowledge I have never been able to put into words. It was everything my great grandmothers and grandmothers witnessed in their lifetimes, imprinted in my DNA, becoming available to me as an archive in my own body. I drew on that knowledge and strength and intuitive force constantly, and I know that it kept me alive.And I captured every moment I could, holding it in frames to keep it from disappearing, to grant it power and authority.And we watched as a place we loved deeply began to disappear in front of our eyes.In 2023, after nine months of being blockaded and deprived of food, fuel, and freedom of movement, Artsakh was ethnically cleansed of its remaining 120,000 Armenian residents, marking the end of thousands of years of our presence on that land.That is where my film ends.But for me, and for the women I filmed, and for the people of Artsakh, the story did not.Our witnessing and our memories became an archive for future resistance. As women, we pass on this knowledge in intimate ways—by creating lives imprinted with our experiences and by caring for, teaching and being in service to those around us.Ultimately, this work became a collaborative archive of relationships between women and our connection to a place that we no longer have access to. The act of watching the film together allows us to summon this land and the life lived on it through our collective imagination and psyche. In this way, cinema becomes an extension of the archive our bodies hold as witnesses—transforming into a tool to conjure Artsakh, bringing it back into existence and, as Sose said, allowing us to stay in that life and let it live into the future.There Was, There Was Not, titled after the Armenian version of “Once Upon a Time,” – the phrase that opened the stories I was raised on—is my way of honoring this evolving understanding of the archive and of cinema’s power to open new imaginative possibilities on the present, past and future. It is also a beginning, a foundation for future projects like Cartographies of Memories, a somatic, multimedia archive of Artsakh that continues this work of remembrance.Every image I captured became a finite archive, and now my work is to add to it.Cinematic work can be a subversion of erasure, transforming the archival act into something living, relational, and generative. It does not only preserve but imagines, offering a way to resist forgetting and to dream into a future where what was lost can still be carried forward.Let cinema be an act of creative resistance."
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