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2014-15 Uncovering Apartheid Digital Exhibition

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The 7th and 8th years at the Montessori School of Raleigh completed an integrated, project-based exploration of South African apartheid. They used photography, free verse poetry, and mixed media visual art to create a product that answered the essential question, "What is the essence of apartheid?"

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2014-15 Uncovering Apartheid Digital Exhibition

  1. 1. Uncovering Apartheid
  2. 2. Am  I  ready  to  be  forgo/en?     Am  I  ready  to  leave  this  hateful  world?   “I  wanted  to  do  a  yin  yang  sign  because  I  think   that  it  shows  equality  and  mix  which  is   important  because  I  wanted  to  make  it  be  the   opposite  of  apartheid.”   Elizabeth  MacMillan  
  3. 3. A  line  in  my  poem  says:  ‘painCng  our  kitchen  red’  and  in  my  visual,  my  background   is  broken  black  and  white  Cle  with  red  peeking  out  behind  it.  My  photos  Ce  in  with   my  poem  because  I  displayed  photos  of  trauma  and  that  Ced  into  my  idea.   painCng  our  kitchen  red     her  black  eyes  no  longer  twinkled     she  no  longer  smelled  of  flowers   Pa/y  Delmedico  
  4. 4. dark.  light.   restricted.  free.   how  can  one  be  bare   while  the  other  is  full.   with  no  space.   “I  showed  the  difference  by  separaCng  the   field  and  the  woods  then  around  the  hope  I   showed  them  merged  together.  I  wanted  to   show  the  difference  I  described  in  poem  and   captured  in  my  photo,  but  I  also  wanted  to   show  how  during  apartheid  people  had  hope   even  though  the  differences.”   Lillie  Ammons  
  5. 5. Alone  in  the  city   No  one  with  me   I  was  different   no  one  around  me    “I  represented  the  segrega=on  by  having  the  one  orange  sphere  surrounded   by  blue  spheres  to  show  to  segrega=on  between  the  blacks  and  whites  and   how  the  blacks  would  be  discriminated  so  oBen.”   Dylan  Pham  
  6. 6. Katrina  Mangs   The  sweat  of  a  man  working  for  nothing.   Scars  from  old  burns  that  have  been  forgo/en.   “The  difference  is  the  color  of  the  skin,  but  we   are   all   the   same   on   the   inside.   And   by   spla/ering   the   black   paint   on   a   white   piece   of   paper   instead   of   spla/ering   white   paint   on   a   black   piece   of   paper   I   wanted   to   show   in   a   symbolic   way   of   how   the   white   men   used   to   think  of  the  black  men  as  mistakes  and  that  hey   we're   not   meant   to   be   how   they   weren't   educated  and  dirty  creatures.  I  cut  my  pictures   up   into   broken   glass   shards   to   represent   our   bong  in  humanity  being  broken  into  a  thousand   shards  falling  into  a  deep  hole,  fallen  from  the   wounded  heart  of  black  man.”  
  7. 7. Yelling  screaming  crying   day  in  day  out   same  pain  it  is  an  endless  cycle     the  ground  shaking   from  glass  breaking  on  the  ground    i  can  not  help  in  any  way   it  is  like  i  am  frozen   forced  to  watch  this  happen   Michael  Lorenz  
  8. 8. Why  it  wonders  why   must  people  suffer   because  the  are  of  a   different  pigment.   What  difference  does  it   make?  Is  it  worth  all  of   the  death  sadness   despair  pain  and   bloodshed.     Griffin  Misshula  
  9. 9. The  bread  controls  the  roast  beef.     I  press  the  sandwich  fla/er,   No  longer  is  it  appeCzing.     The  bread  does  not  prevail,   It  has  the  roast  beef  in  its  firm  grasp.   But  the  inevitable  happens.   Melissa  Schroder   “The  central  meaning  of  my   visual  product  is  oppression.  I   display  this  by  having  a  huge   piece  of  bread  and  two  smaller   pieces  of  bread  in  the  middle.”  
  10. 10. The  ebony  and  pale,  sliced  with  strict  corners.     Black  then  white  black  then  white  lines,     Only  touching  their  color  through  corners.   Sides  sit  in  silence,  stained  wood  sCll  like  walls.   UnCl  the  ghostly  knights  charge.   Reece  Brind’Amour   “My  free  verse  poem   describes  a  chess  match.  I   showed  how  the  white   races  held  the  power  over   others.  It  shows  how   dominaCon  took  place   during  apartheid.”  
  11. 11. The  forest  is  dark.   A  thick  canopy  blocks  the   sun  from  peeking  through.     It  is  lost.   But  not  disregarded.   Something  roams  the   woods.     Searching.     The  trees  will  watch  you.   Hungrily.   Pleadingly.   The  great  thwack  of  an  axe,  revol=ng.   Emily  Holmes  
  12. 12. “The  central  meaning  of  my  visual   product  is  misery.  This  misery  is  one   that  results  from  both  separaCon   and  segregaCon.  I  created  meaning   by  using  a  contrasCng  and   mulCcolored  color  scheme  and  by   using  unambiguous  representaCon   of  the  subject  ma/er.  I  used  my   color  scheme  to  show  pain  in  most   areas  by  using  a  blood-­‐like  red  and   only  used  green,  indicaCng  a  healthy   society  or  relaConship,  in   moderaCon.”   Ivan  Petropoulos   …I  could  savor  once  crisp     and  cold  and  clear  water  and     I  could  adore   Our  differences.  
  13. 13. Ma/hew  Ng   “My  goal  in  creaCng  my  product  was  to  show  that,  although  terrible  things  were   happening,  normal  life  went  on  for  other  people.  I  showcased  that  with   headlines  and  ads  that  were  not  apartheid  related.”     Indifference  tries  to  trip  me   But  I  walk  past  it   I  pick  up  my  pace   The  spilled  blood  fuels  me   I  raise  my  fist  high   Today  I  am  strong   Today  I  keep  on  figh=ng  
  14. 14. John  Russo   “To  create  the  meaning  of  segregaCon  I  found  a   ro/ed  brown  leaf  and  placed  it  on  one  side  of  the   sidewalk  and  then  I  took  a  bright  green  leaf  that   was  very  lively  and  placed  it  on  the  other  side  of   the  line  in  the  sidewalk.”  
  15. 15. two  races  separated  with  hate     and  laws  keeping  them  apart     protesters  gathered  in  the  streets   giving  calls  of  jus=ce   geVng  voices  heard   Alex  Rangnow  
  16. 16. one  day   peace  is  going  to  occur  in  this  world   where  nobody  has  to  use  violence  for  freedom   or  one  race  has  control  of  many  others   Harrison  Kielb  
  17. 17. Black.   Brown.   Yellow.   White.   Combined,  they  are  beau=ful.   Like  a  Picture,   A  Picture  of  the  world.   But  even  so,   ABer:   Giving.   Sharing.   Teaching.   Some  refuse  to  accept  the   Picture.   They  are  not  Colours.   They  are  Erasers.   Slowly,  ea=ng  away;   at  the  once  beau=ful  Picture.   Crea=ng  a  muddy  canvas.   …And  when  the  Erasing  is  done,   and  the  Colours  are  dead,   the  Erasers  realize  what  they  have  become.   And  see  the  Picture,   Erased,   in  blood  red.   Mehtab  Singh  
  18. 18. Nicole  Schroder   “The  central  meaning  of  my  visual  product  is  freedom.  I  again  used  the  tree  to  symbolize,  ‘inches  bearing  me  close  to   freedom.’  […].  On  my  poster  you  can  see  that  the  posiCon  of  the  tree  shows  that  the  green  tree  is  not  the  enCre  tree.  This   creates  meaning  because  it  shows  that  the  tree  could  have  extended  further,  and  there  was  sCll  more  to  see,  higher  to  go.”   I  grabbed  a  tree  branch  that  slammed  hard  into  my  hand.     Pulling  my  burning  muscles  up  higher  and  higher   I  started  climbing   I  wanted  to  see  more   Every  inch  bearing  me  closer  to  more  freedom   I  kept  climbing   Un=l  all  at  once,  I  was  struck  miles  down.    
  19. 19. “The  brown  spots  sca/ered  along  the  edges  are  the  homelands  of  the  black   South  Africans  and  they  represent  the  separaCon  that  was  created  during   apartheid,  despite  being  one  country.”     tears     well  up   in  my  eyes   and  they  fall   to  the  grimy  floor   the  unpalatable   truth   of  my  imprisonment   is  yet     to  be   discovered   Aastha  Dubal  
  20. 20. Darkness  darkness  is  approaching  there  is  no  light  peeking  in  from  window  cracks   It  is  ready  to  pounce  on  you  like  a  cat  a/acking  a  mouse   Approaching  in  all  direcCons  from  the  leZ  right  above  behind   Now  you  are  hidden  beneath  the  shadows     It  will  take  you  away  from  the  exhilaraCon  delight  humor  of  life     It  seems  as  if  it  is  a  never  ending  depression  conCnuing  for  years  and  years   That  foul  taste  in  your  mouth  is  the  fear     “[I]  made  some  of   [my  poem]  lines   long  to  make  the   reader  lose  their   breath  like  the   black  South   Africans  were   running  out  of   breath.”   Isabel  McGowan  
  21. 21. When  I  want  to  get  away  from  it  all   I  go  to  my  happy  place   The  place  where  I  am  free   I  can  run  and  play  with  no  worries   I  smell  everything  beauCful  in  nature   The  truth  is  I  can  never  have  this.   Dreams  are  dreams.   Claire  Steffens   “This  poem  represents  how  people  have  dreams  but  they  know  they   are  not  ever  going  to  be  reality.  She  says,  “I  truly  wish  my  dreams   became  reality.”  She  says  this  because  she  has  all  these  ideas  but   when  she  sees  all  of  the  figh=ng  she  knows  they  were  just  dreams.”  
  22. 22. “I  cut  the  photo  that  shows  injus=ce  in  half  and   put  the  side  with  the  three    boys  having  a  good   =me  on  one  side  of  the  wall,  while  the  one  boy  is   huddled  on  the  other  side  to  maximize  the  impact   the  photo  shows.  Also,  the  one  side  is  much   larger  and  is  meant  to  symbolize  the  larger   African  popula=on  of  South  Africa,  while  the   other  side  represents  the  white  minori=es  of   South  Africa.”   Crumbling  roads  imita=ng     the  unjust  hardship  of  most,   and  when  the  oppressed  speak  up     in  opposi=on  to  these  atroci=es,     the  oppressors  retaliate  with  guns  blazing.     In  the  name  of  a  state  of  emergency,   in  absolute  control  quenching  the  protest.   Thomas  Macaulay  
  23. 23. “My  visual  is  a  grave  for  apartheid.  But  unlike  most  graves  this  one  is  covered  with  cobwebs  and  blood  that   should  not  have  been  shed.  A  photo  torn  into  two  shows  the  different  spliVng  sides.”   people,  of  the  same  earth,    like  moses  parCng  red  sea.   they  don't  share  anything,    only  air,    against  their  own  will.     will  things  ever  be  the  same?     wind  howling  through  the  skies,    replicas  of  cries  from  distressed  souls.   confidence  and  sympathy  replaced  by  fear  and  hatred,     will  things  ever  be  the  same?   Shayleigh  Larsen  
  24. 24. Books  co-­‐exist  in  the  hot  rays  of  a  solar  orb,     one  is  favorable  than  the  other.     one  loved  so  darling,  so  close,     another  sits  out  just  to  boast.     Polished  maybe  everyday     just  to  be  set  out  and  put  away.     Jackson  Hughens  
  25. 25. shoved  aside,  without  a  use   they  are  inferior,  we  say   lacking  any  meaning,  treated  poorly   we  keep  them  distant  from  us   for  they  are  a  hazard   and  a  toxin   to  us,  the  superiors   this  is  apartheid   this  is  segrega=on   Daniel  Jiroutek  
  26. 26. As  we  get  closer  to  the  front  of  the  line  the  smell  of  fear  and  tear  gas  fills  the  air  with  sorrow.   We  hear  the  guards  yell  but  we  can't  understand  them,  voices  get  louder  as  we  get  closer.     The  papers  start  to  come  out,  we  are  split  into  two  lines.   As  we  get  closer  there  was  a  enormous  yellow  sign  saying:     “RESTRICTED  AREA  FOR  NON-­‐WHITE  PERSONNEL,  MUST  HAVE  PASS  LAW  DOCUMENTS  WITH   YOU  AT  ALL  TIMES.”   “The  meaning  of  my  free   verse  poem  was  to  show   how  pass  laws  took  over   people’s  lives  back  then.”   Hannah  Massey  
  27. 27. “The  meaning   of  my  poem   was  about  the   protest  during   the  apartheid   and  how  the   police  would   some=mes  use   force  to  stop   the  protesters.  I   wanted  to   write  the  poem   from  a  person   standing  as  a   protester’s   perspec=ve.”   The  yelling  was  so  loud.     Then  “BOOM”  silence.      A  gunshot  and  silence.     I  stood  there.     I  watched.     Jessica  Emanuel  
  28. 28. I  sca/ered  the  pictures  and  Clted  them  a  bit  in  order  to  bring  out  how  messy  and  careless  Apartheid  was.  My  poetry  is  wri/en  in  sharpie  in  order   for  it  to  be  seen,  and  is  in  a  messy  fashion  for  the  same  reason  the  pictures  are.  Over  top  of  everything  are  pastelled  words  such  as  ‘violence’  and   ‘why.’  These  words  are  in  a  variety  of  different  colors  and  look  like  graffiC,  which  brings  out  the  confusion  and  despair.  In  the  center  of  the  poster   in  pastel  is  South  Africa’s  flag,  with  arrows  of  every  different  color  poinCng  to  it.  This  represents  that  to  ma/er  what  color  you  are,  we  need  to   unite,  bring  peace,  and  put  violence  to  rest.   Dylan  Peverall  
  29. 29. “The  central  meaning  of   my  visual  product  is  how   you  are  bound  by   apartheid.  To  create  this   meaning  I  made  the   biggest  piece  a  picture  of   shackles.  Also  I  put  my   pictures  up  there  with   chains  around  them   showing  that  they  were   being  bound  by   apartheid.  “   Sadness  in  the  air   Violence  in  the  streets   Death  and  destrucCon  all  around   Laws  that  do  not  allow  people  to  depart  without  passes   Families  gedng  detached  from  one  another   Rubble  where  houses  used  to  be   The  sound  of  gunshots  and  explosives  everywhere   Only  11  bathrooms  for  7000  people   Racial  segregaCon  everywhere  you  can  see   Josh  Deming  
  30. 30. Devin  Clark   We  were  protesCng   protesCng  for  our  freedom   against  the  passes   without  having  our  passes  we  were  arrested     together  my  friend  and  I  were  protesCng  in  the  town  square   the  square  was  crowded  with  people   my  friend  and  I  were  holding  a  signs,  like  many   his  sign  said  FREE  SOUTH  AFRICA     and  my  sign  said  MANDELA  FOR  FREEDOM   others  had  signs  but  I  could  not  read  them     People  were  chanCng,  yelling,  shouCng  
  31. 31. Crackling.   Air  staCc  with  tension.   Glares  fighCng  their  way  through  the  endless  chains.   Chains  pulled  by  a  puppetmaster.     Pale  hands  pulling  strings   Overused  wooden  handles  clu/ering  together   Splinters  worming  their  way  into  white  skin   “Like  my  poem,   the  Theatre  of   Injus=ce  mainly   demonstrates   control  and   injus=ce  by  taking   my  poem’s   analogy  of   puppets  and   building  on  it.  It   replicates  an  old,   poorly  taken  care   of  puppet  theatre.   I  used  watered   paint  and  old   cloth  to  compare   it  to  a  homeland   and  how  they   were  not  taken   care  of.  The   puppets  are   painted  the  same   as  the  background   to  show  how  they   weren’t   considered  real   people,  and  were   made  faceless.”   Paige  Stevenson  

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