Appalshop: An Inquiry — Excerpts from the Field

By Freshmen Tisch Scholars, New York University

Over Spring Break 2004, 18 Freshmen Tisch Scholars from New York University accompanied their director David Stirk, Chair of Photography and Imagining Lorie Novak, and Associate Professor of Drama Jan Cohen-Cruz to Appalshop, an arts and education center in the heart of the Appalachian coal fields. What follows are student reflections on aspects of that trip, which was set up as an inquiry into a region where art and activism are necessarily intertwined. A fuller account of the trip edited by Sarah Carbenier and Marcos Luevanos will appear at www.community.tisch.nyu.edu

Social Justice Photography

By Blaine Davis

Appalshop was founded in 1969 as an attempt by rural Appalachians to represent themselves, their culture, music and social issues through artistic expression that they could call their own. Many Appalachians felt misrepresented by the news media and other strangers with cameras. These strangers were recording images that fueled unsavory stereotypes. During my stay at Appalshop, one event in particular triggered a shift in thought for me.

Kevin Pentz, who works with Kentuckians for the Commonwealth, led a group of us to Knox County, Kentucky, to speak to Eugene Mullens. Eugene had contacted Kevin because a strip-mining company had appropriated all of the land around the hollow where he, his wife and three children currently live. Our job was to gather audio from an interview with him and photograph the horrible effects of the strip mining and constant blasting on the land he grew up on, as well as to depict illegal mine practices there that are contaminating the Mullens’ water supply. From these images and sound recordings, we created a public service announcement that was used in a public hearing two weeks later.

Roadside Theater Performance

By Lela Scott MacNeil

Roadside Theater was founded in 1975 to create a body of drama derived from the history and lives of the people of Appalachia. Company member Ron Short treated us to a selection from "Betsy," the current Roadside collaboration with jazz pianist Beejee Adair from Nashville. The piece follows Ron on his search for the grave and life story of his ancestor Betsy. Using the musical traditions of Appalachia, Nashville, and Native America, Ron weaves a new American mythology that includes the irrepressible spirit of the oppressed and the intermingling of ethnic groups. His performance was soulful and domineering, with its honest expression of human emotion. Afterwards he stated that he feels art has a responsibility to express the truth that runs deeper than fact.

Story Circle Training

By Mackenzie Fegan

In story-circle training, a facilitator leads a group through the process of sharing stories acquired from actual events from their lives that are related to a specific theme or topic. Gathering stories about local culture and history are primary sources for creating Roadside’s performances in an attempt to rediscover the traditions that make this area unique. While each story circle has its own distinct purpose and theme, general principles include arranging chairs that are comfortable, but not overtly so, in such a way that everyone can be seen by everyone else. It is impossible to solely observe in a story circle; everyone must participate. Interrupting another person while they are speaking is prohibited; listening is far more important than telling. A person may choose to either tell a story or pass when it is his or her turn, and then will be offered another chance to share. Arguments, comments or debates are not allowed, as they disrupt the organic flow of storytelling. Story circles must not be recorded unless all participants give their consent.

Holler to the 'Hood

By Michael Misslin

There are 14 prisons in the areas surrounding Whitesburg, Kentucky, and two are maximum security. Most inmates are African Americans from nearby cities. With the increasing automation of the coal industry, the prisons are the biggest economic growth industry in Kentucky; local citizens work in their infirmaries, kitchens and guard towers. Although desperately needed, the new jobs did not come without a price. A volatile racial dynamic exists within these prison walls, as thick metal bars divide black skin from white skin. As one guard said, “I wasn’t a racist before I got this job, but I am now.”

In order to combat the racist attitudes that started to surface, Appalshop began the Holler to the 'Hood project. Past projects include the production of a documentary film exploring the prison industry within the United States, and the repercussions that result from transporting inner-city offenders to distant rural prisons. Holler to the 'Hood is also responsible for creating the “Hick-Hop Mixer,” a media program that allows for the local country music of the area to be mixed with hip-hop music, creating a new genre combining both styles. The goal of the Holler to the 'Hood is to teach inmates that mountain folk are more than just oppressive guards, and to educate Kentuckians that “black” does not mean “criminal.”

Driving Tour

By Erin Keskeny

Herb Smith, who has lived in the area of Whitesburg, Kentucky, his entire life, was one of the very first individuals to make a film at Appalshop. He graciously led our entire group on a driving tour of the area and provided a fascinating history lesson along the way. He described the boom and bust of the local mining industry, personalizing the tale with stories of his own family. The mines provided thousands of jobs, and many people were happy to have them, despite the hazards involved. Herb’s father, both of his grandfathers and both of his brothers worked in the mines. His father liked the great sense of camaraderie between the miners underground. He worked the “hoot-owl shift,” from midnight to 8 a.m., would come home by 10 a.m. and have “breakfast,” then sleep until about 7 p.m., and leave for work again by 10 p.m.

While the mines provided work for scores of people, the paternalistic companies soon owned everything. Many miners did not even receive paychecks, but rather credit for the company store, and would often end up in debt to the company. The companies essentially constructed whole communities, over which they wielded a lot of power. The company that created Jenkins, for example, kept it a dry town, even after prohibition ended, because they did not want their workers to drink. Miners had little choice but to always do what the company asked or face being fired and kicked out of their company home.

AMI Lab

By Sarah Carbenier

The Appalachian Media Institute is an Appalshop workshop that provides young people with the tools and the skills to tell their own stories and speak out about issues in their community through the use of photography, sound and video. One program offered by AMI is the afternoon media lab, a four-month program each semester of the school year. Students in this program begin by creating small “campaigns” within Appalshop itself, such as posters urging others to keep the small kitchen on the top floor clean. They then apply these skills to larger campaigns in the community addressing a variety of social issues, from the lack of activities for teenagers to domestic abuse, to the underestimated dangers of all-terrain vehicles. With regards to this last issue, two of the students created an audio piece based on interviews with young people who lost loved ones to all-terrain vehicle accidents. In the summer programs, students create longer documentary pieces. On such video is “Struggling to Survive,” an amazing and informative documentary which relates how the minimum wage is far below the livable wage. AMI Lab puts cameras in the hands of young people in Eastern Kentucky and teaches them to appreciate their culture and address their community’s issues through its lens.

The Inquiry Circle

By Tim Young

Every evening, to reflect upon the events of the day, Appalshop staff and artists and NYU guests came together to share their opinions and perspectives. One topic was the relationship between the artist and the subject, specifically dealing with the creation process of art detailing the experiences of other people. The group delved into questions concerning representation and the responsibility of artists towards their subject and the greater community. The group struggled with the very difficult question of how to fairly document and celebrate a culture, while avoiding condescension. Another complicated issue we addressed was the difference between artists that are insiders and those that are outsiders. Specifically, ethics in documentary film were questioned and challenged. Is it the responsibility of the artist to show the point of view that they believe to be correct, or should they make an attempt to present an unbiased account? How possible is it to be unbiased?  Though we reached no actual conclusions in the inquiry circle, I believe that the search for a truth ultimately makes a more compelling work of art.

This trip was facilitated by NYU's Office of Community Connections. Visit the Web site of NYU's Tisch School of the Arts for more information about that office and about the Tisch Scholars program. For more information about Appalshop, visit its Web site.