Marching during the pandemic

Watching the largely peaceful and increasingly good-spirited protests and marches by black, brown and white young people since the terrible death of George Floyd, I have been tempted to imagine that the pandemic had given way to the long-standing challenge of police brutality. But then, seeing a group of masked protesters, my illusion quickly ended, as it becomes clear that the marchers have come together both despite and because of the virus. Many of these marchers are probably unemployed or out of school because of the coronavirus, and their anger at police violence — as well as their kind and good spirited wish to be useful — arises out of this unique period of uncertainty, worry and enforced leisure. Most of these marchers know someone who has been struck by COVID-19, or has even died of the virus. If they aren’t wearing masks, it’s because of a youthful bravado I still remember: there’s a kind of thrill in taking the risk, even as they relish the illusion that they are too young and their lungs too healthy to get ill. 

It must have been abundantly clear to both young and older black Americans that their families were becoming ill and dying from the pandemic at significantly higher rates than whites, even as they were suffering higher rates of unemployment during the lockdown. Then came the fateful evening when I along with nearly every American watched the last breath squeezed out of George Floyd by the knee of a Minneapolis policeman pressed down on his neck for eight minutes and 46 seconds. That this last assault came on top of the others has made the resilience and optimism of black marchers walking alongside whites a thing of awe, reminding me of the tradition of forgiveness I have witnessed over and over in black churches. It has brought tears to my eyes to hear some black marchers say how grateful they are that they are no longer marching “alone,” as they were in Ferguson or the many other demonstrations following police violence in their black communities, but have finally been joined by their white peers. 

In fact, they are sadly right: it will make a difference (if anything will) that white youth in great numbers have joined the demonstrations in behalf of imagining a system of justice that is actually just for all Americans.  

We human beings are a complicated species, easily aroused to be better than we thought we could be, if only the opportunity arises. Who would have thought a month ago that, amidst this relentless pandemic, the opportunity would arise for black and brown youth to fight for a system of justice that did not lean on their necks, and for white youth to join in their behalf? 

Remembering my own early participation in civil rights demonstrations in the 1960s, I know how life-changing it is to take a stand on this critical issue — how suddenly you see yourself and others differently. The young people marching these days will feel strengthened for the rest of their lives by having reached beyond their private lives to make a difference to both blacks and whites in their frayed nation. Gathering together and marching with others — thousands of others in countless cities and towns across the U.S. and abroad — they are physically giving their bodies, masked or not, to an idea that daily becomes more concrete of policing that is protective, rather than violent, and that is executed with the same care for human life, whether the life is that of a poor person or someone who is well-heeled, and whether that life is black, brown or white.   

 

Carol Ascher, who lives in Sharon, has published seven books of fiction and nonfiction, as well as many essays and stories.  She is trained as a spiritual director.

Latest News

Juneteenth and Mumbet’s legacy
Sheffield resident, singer Wanda Houston will play Mumbet in "1781" on June 19 at 7 p.m. at The Center on Main, Falls Village.
Jeffery Serratt

In August of 1781, after spending thirty years as an enslaved woman in the household of Colonel John Ashley in Sheffield, Massachusetts, Elizabeth Freeman, also known as Mumbet, was the first enslaved person to sue for her freedom in court. At the time of her trial there were 5,000 enslaved people in the state. MumBet’s legal victory set a precedent for the abolition of slavery in Massachusetts in 1790, the first in the nation. She took the name Elizabeth Freeman.

Local playwrights Lonnie Anderson and Linda Rossi will tell her story in a staged reading of “1781” to celebrate Juneteenth, ay 7 p.m. at The Center on Main in Falls Village, Connecticut.Singer Wanda Houston will play MumBet, joined by actors Chantell McCulloch, Tarik Shah, Kim Canning, Sherie Berk, Howard Platt, Gloria Parker and Ruby Cameron Miller. Musical composer Donald Sosin added, “MumBet is an American hero whose story deserves to be known much more widely.”

Keep ReadingShow less
A sweet collaboration with students in Torrington

The new mural painted by students at Saint John Paul The Great Academy in Torrington, Connecticut.

Photo by Kristy Barto, owner of The Nutmeg Fudge Company

Thanks to a unique collaboration between The Nutmeg Fudge Company, local artist Gerald Incandela, and Saint John Paul The Great Academy in Torrington, Connecticut a mural — designed and painted entirely by students — now graces the interior of the fudge company.

The Nutmeg Fudge Company owner Kristy Barto was looking to brighten her party space with a mural that celebrated both old and new Torrington. She worked with school board member Susan Cook and Incandela to reach out to the Academy’s art teacher, Rachael Martinelli.

Keep ReadingShow less
In the company of artists

Curator Henry Klimowicz, left, with artists Brigitta Varadi and Amy Podmore at The Re Institute

Aida Laleian

For anyone who wants a deeper glimpse into how art comes about, an on-site artist talk is a rich experience worth the trip.On Saturday, June 14, Henry Klimowicz’s cavernous Re Institute — a vast, converted 1960’s barn north of Millerton — hosted Amy Podmore and Brigitta Varadi, who elucidated their process to a small but engaged crowd amid the installation of sculptures and two remarkable videos.

Though they were all there at different times, a common thread among Klimowicz, Podmore and Varadi is their experience of New Hampshire’s famed MacDowell Colony. The silence, the safety of being able to walk in the woods at night, and the camaraderie of other working artists are precious goads to hardworking creativity. For his part, for fifteen years, Klimowicz has promoted community among thousands of participating artists, in the hope that the pairs or groups he shows together will always be linked. “To be an artist,” he stressed, “is to be among other artists.”

Keep ReadingShow less