This morning I sit with the work of Paul Rucker, who manifests the realities behind terminology, and the coercive, body destroying violence that is a part of the legacy of white supremacy. His strategic use of sound and image in a multi-disciplinary performance reanimates imagery to memorialize the nearly 4800 African Americans lynched between 1882-1968. While people from different ethnicities were also lynched, African Americans were disproportionately targeted.
The video begins with his electronic score for revealing the rate of prison building in America, to one a day. Lights begin to appear, color coded to time periods in which areas rapidly spread and merge. This is a parasitic system on the body politic, something that continues to suck lifeblood as the system of penalties keeps removing access to education, housing, food out of reach while providing a captive labor force with wages under $2 an hour. This violence is slow moving, constraining millions of people from the ability to define themselves, their families and their lives. It’s enshrined in the 13th Amendment.
Yet many are unable to grasp just how high the social cost of imprisonment actually is, and that the US holds over 2.1 million people in prison, a disproportionately black population that continues to grow.
As genealogists & family historians, this growth means that working with records of incarceration will become a requirement as we close towards a present where generations are being shaped more by incarceration and deportation than schools, families and communities. And last week, we saw the plans for indefinite incarceration of brown people escaping violence and seeking asylum, and this weekend, people march against the policy, with over 750 locations across the country. That sinking feeling returns, yet knowing we are witnessing another round of the 1870s and 1890s gives me hope that this country can do better than inspire last century’s racist vision of purity. We have been here before.
There’s a close connection to the economy and the logic of targeting the poor as the reason, rather than the structural inequality of wealth produced in the US . The Great Depression was not caused by Americans living in poverty. That the GDP for Puerto Rico is half that of Mississippi, the poorest state in the country, was not caused by the people of Puerto Rico. Let us turn further back.
For hundreds of years, slavery removed or hampered access to equality for millions of people. Colorism (which is with us in myriad forms) then refined that access further. Both are legacies that need to be grappled with in the building of family trees and the acceptance of DNA results. The legal structures that made those issues possible are still present today, and continue to shape inequality. How to tell those stories differs, and different formats help to convey different facets of experience. I want to share the work of artists who communicate a complex story visually, to provide a visceral understanding for difficult historical and contemporary moments.
Rucker’s work transforms the news of lynching into dangling figures that remind us of the human toll, a legacy that cannot be denied or forgotten. Numbers serve to abstract realities , and when humans are represented by numbers, their lives can sink into definitions that render them unremarkable and disposable. We write against this tide.
This ongoing work of restoring humanity to our ancestors continues. QEPD, May they Rest In Peace, may we realize a long term vision for a world with restorative justice. To seek an end to inequality, racial terror and trauma is the task of every generation, just as it is urgently ours today.
Report on Racial Terror & Lynching: https://lynchinginamerica.eji.org/report/
Interview with filmmaker Ava DuVernay on her film, 13th (2016):