Q: Part of the effort is to devise and create “880 creative actions,” one for each act of sexual violence every day in the United States. How is that going to stop assaults?
A: We are trying to change the culture that makes possible the conditions in which assault takes place. This is not about pulling out the harmful weeds, it is about fundamentally changing the soil. Artists can help victims tell their stories. Artists can imagine a future free of sexual intimidation through song, film, theatre and images. Artists, through words and symbols, can change what it means to be a victim or how we see perpetrators or even where we look for the root causes of this problem. Artists can find new ways to communicate about resources to support victims and their allies. Artists can create safe zones to discuss difficult and complex issues — places where we can bring play and creativity even to the most painful conversations. Artists can create the platforms and shared symbols that turn individual pain and isolation into a collective movement. We understand AIDS differently because of the work of artists (the red ribbon) and filmmakers (“Philadelphia”) and playwrights (“Angels in America”). Artists have already powerfully responded to the challenges of sexual violence — whether through the songs of Lady Gaga or the paintings of Frida Kahlo or the images of Suzanne Lacy. We are extending this work beyond celebrities to the everyday creativity of students, staff and faculty. I deeply believe that all of these creative actions will have long and lasting impact on our campus and community, and that they have the potential to contribute in a meaningful way far beyond our immediate environment. Art helps us see differently — and once seen, we can’t “unsee” the problem, the trauma and, importantly, the pathways of possibility.
Q: Are there any concerns that the art itself could be difficult to consume? That someone who has survived a sexual assault may take issue with its representation in art?
A: Importantly, experts in health, psychology, trauma and education are key allies in this work. When we staged the “With Each Other” performance for freshmen as part of Welcome Week activities last August, we had people onsite with the experience to work with students and victims who might have been moved by what they saw or heard. People can always disagree with an artistic image or idea, and we expect many differing opinions in this work. But, we will work hard to ensure that exposure to ideas and artistic content is voluntary and that there are many, many channels for those who find they need additional support. We are working with two nationally prominent artists in residence who are co-facilitating the initiative, Nik Zaleski and Elizabeth Johnson. Both artists are trained in social practice art — which is an approach that grounds the work in the voices and experiences of the community and holds high standards of ethical engagement and practice. Between their expertise and the great expertise already on campus to support the emotional, psychological and physical needs of our students, we feel confident that CounterAct will achieve the needed balance of creative expression and respectful and ethically grounded dialogue.
