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Indybay Feature
Ferguson Photos By Jessie S.with Interview, both rejected by Slingshot
With some resistance from the Slingshot collective, [by some I mean normative,] the interview was seemingly accepted by the collective, yet Jessie S. was essentially rejected from a Slingshot collective meeting. I felt that some discrimination had occured, [Slingshot is horribly biased and secular, I wasn't sure at the time if this was prejudice.] This photography rejection was racist in nature. In the past myself and many others have been snubbed by Slingshot, all kinds of prejudiced feelings have been felt by myself and others to this regard. The photos were part of an elaborate editing process between Jessie S. and myself regarding her initial trip to Fergusson, Missouri.
{Something was fishy with this rejection from the get go, why would the interview be accepted and not any consensus process regarding the photography? Jessie S. visited the slingshot collective twice to no avail, or enthusism, which is a terrible shame considering the incredible photography work here. The following is the interview.}
Interview of Ferguson Photographer Jessie Sandoval by Darin
-Did I ever ask to interview you regarding your photography? I still would like to do that.
-So what motivated you to go to Ferguson?
Are we interviewing now?
-ya
-You have time now?
-In had a hunch the revolution was not gonna go off in the cities... Too many distractions here, in Oakland and SF. Same with NYC, even Detroit. (They shut off the water there, and still nothing) Too many activist and committee culture in the cities. No. It's gonna happen in the small towns. That's where it's gonna go off. Folks are pulling the rip chord there. This was confirmed for me in Ferguson. That's why I had to go. I've never done that before. Just take off on a hunch.
-Meant to say, I had a hunch... [i really hate touch screen key boards]
Can you describe the metaphysics or the instinctual feeling, the draw of Ferguson...?
Really, you wanna hear about the deep stuff? Cuz, sometimes I get the feeling that anarchist and lefties get squeamish when brown folks start talking about spiritual voodoo boodoo stuff. For me, the metaphysical and spiritual; it's the same... And, and yes. I felt this in my gut, on the spiritual level. I spoke to some of my brown comrades about how I felt Ferguson calling in my blood. The call of blood. Spilled blood. Thats what I felt.
-In science fiction reality Klingons often speak of feeling the fire of their ancestry in their blood before going into battle. Also our pal Running Wolf back in the day ran across the United States, networking against the color lines [his emphasis, the various grassroots civil rights agencies along his route,] and he ran in support of Abdul Jamal.
"through the color lines..."
-For him that was a metaphysical thing deeply related to his ancestry and his nationality. Athletic people who have used controlled substances have often related that good exercise is better than drugs. It seems like your epiphanology in Ferguson is similar.
-Did any of your comrades feel similarly? Did we speak appropriately enough of the metaphysics of your photography experience there? Like Andre Breton, you are in the decisive moment in your photographs, obviously, what is that like for you exactly? Is there a special process?
Wow. Yes, I spoke with my two comrades (who went with me to Ferguson) and they also experienced this, so we really tripped out about it. It was really beautiful to share this with them. (But I don't wish to involve them here, or put words in their mouths because they're very private and conscious about security culture.) When I was out there taking photos, then and now. It almost feels like I'm in a little chamber of quiet meditation, or trance. I know it sounds crazy becuz usually I'm photographing very loud, very fast moving masses of people, and physically dynamic individuals, who are in the midst of very emotionally charged spectacles of resistance. Like photographing volcanos. But, for some reason, I feel like a small little moth, fluttering around them, snapping photos. It's almost like I'm invisible. The camera allows me a certain detachment. Except, for the march on Ferguson, the big Saturday march. That was the first time I cried during a march, whole photographing. I think it was the rain. It forced me to get back in my body.
"Like photographing volcanos!" Like dat! Wrong metaphor from me then, live long and prosper!
[Smiley face.]
-Why did you get so emotional during the big Saturday march?
-Are any of the tiled photos from that event?
-I don't know, I think Klingons prolly live on some terribly inhospitable climes though....
-Any good photographer should know what you are referring to. If not they should get out more often.
No. Not in the tiled pics. There was a little boy, about 7 years old. I photographed him during the torrential rain. Our bones got soaked. He was marching with a walker. He had physical disabilities, but would not give up. He was the last person I photographed, before I had to put my camera away, and wait for the sun to come out. My camera was getting seriously soaked, and I was afraid it would get ruined. I've photographed emotionally charged events before; mothers recounting the death and violent attacks on their black sons, etc., but there was something about this little boy, and the rain, and the climate, so identical to Nicaragua's weather; oppressively hot and disgustingly humid. It was the perfect storm for me, emotionally. I think I identified with him, when I was five years old, living in. Nica, and having to flee under dangerous circumstances, right before the war broke out in the late 70's (another story for another time) Anyway, I really think the rain pouring down, the visceral tactile experience, it seemed to release a lot of pain in my body that I had been keeping inside, since I had started the trip to Ferguson, from CA. But I have so much pride. I tried very hard to hide the crying. I didn't want to distract from what was happening around me. I was so embarrassed. Trying to soldier up, but the tears just kept coming. A volcano.
-The work that you and I have done, are doing. We know that we are pushing boundaries somehow. It isn't really important how though. What was really important to me was reaching out through independent media so that my peers would be able to see the photography for themselves. I was obsessed with that during Occupy Oakland, and I pissed some people off along the way, but I was like, "Be useful to the revolution or get the fuck out of the way!" Although I tried to be polite about it. Does anything in this 'bubble resonate with you?
-People would do good to look on wikipedia to understand why there are so many immigrant Hispanic families in California actually. ACTUALLY it has a lot to do with the CIA....
Oh, yes….
Do you have time to expand on that?
CIA involvement in Latin America?
8]
-No...
-You photographed at the [Port of Oakland Israeli Freighter…] Zim blockade right?
-So did our mutual photographer friend...
-How does port blockade resistance photography compare to that of civil rights photography in Ferguson?
You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
P.S I don't feel hardcore, in any way. So funny to hear this I’m just a girl with a flowery skirt and red boots, sometimes, snake skin boots.
Snakeskin is pretty hardcore...
They annoy a lot of nature environmental hippies!
Why don't you take advantage of indybay media? You could reach out to a larger demographic?
I've never been really good at reaching out to folks like this. Seems like you have to be in a certain social artsy clique. Could never quite fit in. I dunno. I will think about it...
-It isn't at all about that. Start with your favorite twenty photos from one event, then go from there, you get to decide how the content looks or whatever, if there is any technical problem they contact you.
-Back to the blockade and your photography, would you consider what you do cop watch?
Yes. Cop watch, especially now more than ever. But I'm still learning. One of my comrades is teaching me more about this. Eventually, I would like to begin live streaming, like my comrade. Livestreaming; that's real hardcore cop watching. But I love the stills. Photography, for some reason seems timeless to me. In time, but also outside of time, over the years these photos evolve in a way that film does not.
Definitely, you are so awesome! Did I miss anything? I'm emailing you the transcript.
-Okay. Thank you!
-Will look for transcript
-P.S Your interviewing skills are pretty awesome too! Thank you for making this fun, intellectually stimulating and painless!
You to!
{If only it could have been. Something is wrong with our sub-cultural community if we are always looking over our shoulders about prejudice. After editing nine photos were favored by Jessie S. and I and the following file was submitted to Slingshot for the purpose of being the center piece fold art page.}
Interview of Ferguson Photographer Jessie Sandoval by Darin
-Did I ever ask to interview you regarding your photography? I still would like to do that.
-So what motivated you to go to Ferguson?
Are we interviewing now?
-ya
-You have time now?
-In had a hunch the revolution was not gonna go off in the cities... Too many distractions here, in Oakland and SF. Same with NYC, even Detroit. (They shut off the water there, and still nothing) Too many activist and committee culture in the cities. No. It's gonna happen in the small towns. That's where it's gonna go off. Folks are pulling the rip chord there. This was confirmed for me in Ferguson. That's why I had to go. I've never done that before. Just take off on a hunch.
-Meant to say, I had a hunch... [i really hate touch screen key boards]
Can you describe the metaphysics or the instinctual feeling, the draw of Ferguson...?
Really, you wanna hear about the deep stuff? Cuz, sometimes I get the feeling that anarchist and lefties get squeamish when brown folks start talking about spiritual voodoo boodoo stuff. For me, the metaphysical and spiritual; it's the same... And, and yes. I felt this in my gut, on the spiritual level. I spoke to some of my brown comrades about how I felt Ferguson calling in my blood. The call of blood. Spilled blood. Thats what I felt.
-In science fiction reality Klingons often speak of feeling the fire of their ancestry in their blood before going into battle. Also our pal Running Wolf back in the day ran across the United States, networking against the color lines [his emphasis, the various grassroots civil rights agencies along his route,] and he ran in support of Abdul Jamal.
"through the color lines..."
-For him that was a metaphysical thing deeply related to his ancestry and his nationality. Athletic people who have used controlled substances have often related that good exercise is better than drugs. It seems like your epiphanology in Ferguson is similar.
-Did any of your comrades feel similarly? Did we speak appropriately enough of the metaphysics of your photography experience there? Like Andre Breton, you are in the decisive moment in your photographs, obviously, what is that like for you exactly? Is there a special process?
Wow. Yes, I spoke with my two comrades (who went with me to Ferguson) and they also experienced this, so we really tripped out about it. It was really beautiful to share this with them. (But I don't wish to involve them here, or put words in their mouths because they're very private and conscious about security culture.) When I was out there taking photos, then and now. It almost feels like I'm in a little chamber of quiet meditation, or trance. I know it sounds crazy becuz usually I'm photographing very loud, very fast moving masses of people, and physically dynamic individuals, who are in the midst of very emotionally charged spectacles of resistance. Like photographing volcanos. But, for some reason, I feel like a small little moth, fluttering around them, snapping photos. It's almost like I'm invisible. The camera allows me a certain detachment. Except, for the march on Ferguson, the big Saturday march. That was the first time I cried during a march, whole photographing. I think it was the rain. It forced me to get back in my body.
"Like photographing volcanos!" Like dat! Wrong metaphor from me then, live long and prosper!
[Smiley face.]
-Why did you get so emotional during the big Saturday march?
-Are any of the tiled photos from that event?
-I don't know, I think Klingons prolly live on some terribly inhospitable climes though....
-Any good photographer should know what you are referring to. If not they should get out more often.
No. Not in the tiled pics. There was a little boy, about 7 years old. I photographed him during the torrential rain. Our bones got soaked. He was marching with a walker. He had physical disabilities, but would not give up. He was the last person I photographed, before I had to put my camera away, and wait for the sun to come out. My camera was getting seriously soaked, and I was afraid it would get ruined. I've photographed emotionally charged events before; mothers recounting the death and violent attacks on their black sons, etc., but there was something about this little boy, and the rain, and the climate, so identical to Nicaragua's weather; oppressively hot and disgustingly humid. It was the perfect storm for me, emotionally. I think I identified with him, when I was five years old, living in. Nica, and having to flee under dangerous circumstances, right before the war broke out in the late 70's (another story for another time) Anyway, I really think the rain pouring down, the visceral tactile experience, it seemed to release a lot of pain in my body that I had been keeping inside, since I had started the trip to Ferguson, from CA. But I have so much pride. I tried very hard to hide the crying. I didn't want to distract from what was happening around me. I was so embarrassed. Trying to soldier up, but the tears just kept coming. A volcano.
-The work that you and I have done, are doing. We know that we are pushing boundaries somehow. It isn't really important how though. What was really important to me was reaching out through independent media so that my peers would be able to see the photography for themselves. I was obsessed with that during Occupy Oakland, and I pissed some people off along the way, but I was like, "Be useful to the revolution or get the fuck out of the way!" Although I tried to be polite about it. Does anything in this 'bubble resonate with you?
-People would do good to look on wikipedia to understand why there are so many immigrant Hispanic families in California actually. ACTUALLY it has a lot to do with the CIA....
Oh, yes….
Do you have time to expand on that?
CIA involvement in Latin America?
8]
-No...
-You photographed at the [Port of Oakland Israeli Freighter…] Zim blockade right?
-So did our mutual photographer friend...
-How does port blockade resistance photography compare to that of civil rights photography in Ferguson?
You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
P.S I don't feel hardcore, in any way. So funny to hear this I’m just a girl with a flowery skirt and red boots, sometimes, snake skin boots.
Snakeskin is pretty hardcore...
They annoy a lot of nature environmental hippies!
Why don't you take advantage of indybay media? You could reach out to a larger demographic?
I've never been really good at reaching out to folks like this. Seems like you have to be in a certain social artsy clique. Could never quite fit in. I dunno. I will think about it...
-It isn't at all about that. Start with your favorite twenty photos from one event, then go from there, you get to decide how the content looks or whatever, if there is any technical problem they contact you.
-Back to the blockade and your photography, would you consider what you do cop watch?
Yes. Cop watch, especially now more than ever. But I'm still learning. One of my comrades is teaching me more about this. Eventually, I would like to begin live streaming, like my comrade. Livestreaming; that's real hardcore cop watching. But I love the stills. Photography, for some reason seems timeless to me. In time, but also outside of time, over the years these photos evolve in a way that film does not.
Definitely, you are so awesome! Did I miss anything? I'm emailing you the transcript.
-Okay. Thank you!
-Will look for transcript
-P.S Your interviewing skills are pretty awesome too! Thank you for making this fun, intellectually stimulating and painless!
You to!
{If only it could have been. Something is wrong with our sub-cultural community if we are always looking over our shoulders about prejudice. After editing nine photos were favored by Jessie S. and I and the following file was submitted to Slingshot for the purpose of being the center piece fold art page.}
For more information:
http://n/a
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I don't understand. So the interview was accepted with some reservations, and than the photos were rejected altogether? The interview is, altogether, very disorienting, confusing, and at times absolutely stupid. As for Slingshot being "racist in nature" you don't really elaborate on why that may, or may not be the case, other than saying that because Slingshot did not want to use these particular photos than they must be racist. What are the specifics here? Without clarification we're left with only the usual melody of having to take matters as a given, and take your word for it.
I am tired of accusations Darin. I remember you at People's park laughing with your friends about women's "jugs", and you wonder why women in the Slingshot collective feel uncomfortable? Actually, you don't wonder about it, you just dismiss it and attribute it to others prejudice: because they don't accept you being a self centered patriarch they're not "truly revolutionary and need to get the fuck out of the way." And although you find yourself funny when talking about "the Klingon's" the rest of us are rolling our eyes and wondering when you're going to shut the fuck up. As for the photographs spoken about in this post, they're pretty good, but the interview is very mediocre and boring, going on and on about how a person likes to do photography at demonstrations. That's fine, but discussion about REAL PEOPLE'S LIVES is what matters regarding Ferguson, and yes, some of these photos bring this out, but that's precisely what the accompanying interview should bring out as well, yet nowhere in the interview is there even a mention about Michael Brown, or about the severe oppression felt by African Americans in the Ferguson area, which is just an extreme of that oppression everywhere in the US. The militarization of the police in Ferguson and the US, and the issue of police killing people of color isn't really a concern here, it's about how spiritual, and touching it is to be taking photos of those resisting it. I want to emphasize, photo journalism is a very important and essential task that helps us to better grasp, and understand the actual circumstances involved in particular situations, but glorifying oneself is another matter entirely.
getting rejected is part of doing media work. writers and artists get rejected all the time.
In this article I wanted to tackle the issue of making photographers in the field feel comfortable that folks at home, that is to say independent media, will support people doing field work regarding serious issues, and that from an internal and very personal level that integrity should always be somehow supported. This interview concerns real people’s lives, and many of the people Jesse S has worked with have expressed their appreciation for what she is doing. Her work thoroughly engages very relevant political issues, while sub-cultural photographers are usually seen and not comprehended beyond representational aesthetics. Her concerns, passions and obvious affiliations with the locals in Missouri contextualize this. The rest of your comments are otherwise well below board.
For more information:
http://n/a
As an editor, I must say the interview text provided does not have much content that I could work with. The following is a gem, and I will be publishing it alongside the photo spread on our FM radio news page for the week of December 4th, broadcast at 89.5FM in the northeast San Pablo bay area communities (Vallejo, Fairfield, Benicia, Hercules and North Richmond).
"The revolution was not gonna go off in the cities... Too many distractions here, in Oakland and SF. Same with NYC, even Detroit. (They shut off the water there, and still nothing) Too many activist and committee culture in the cities. No. It's gonna happen in the small towns. That's where it's gonna go off. Folks are pulling the rip chord there. This was confirmed for me in Ferguson. That's why I had to go. I've never done that before. "
"The revolution was not gonna go off in the cities... Too many distractions here, in Oakland and SF. Same with NYC, even Detroit. (They shut off the water there, and still nothing) Too many activist and committee culture in the cities. No. It's gonna happen in the small towns. That's where it's gonna go off. Folks are pulling the rip chord there. This was confirmed for me in Ferguson. That's why I had to go. I've never done that before. "
For more information:
http://NorthbayMDS.blogspot.com
The following will be added to our FM radio news page for December 4th:
---
You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
---
You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
For more information:
http://NorthbayMDS.blogspot.com
When I realized that the raw text had more than a few gems, I worked with it to have it published on our website. Here's the raw edit of the interview. Further editing may be done, but its all there.
---
Interview of Ferguson Photographer Jessie Sandoval by Darin:
Darin: Can you describe the metaphysics or the instinctual feeling, the draw of Ferguson...?
Jesse: I felt this in my gut, on the spiritual level. I spoke to some of my brown comrades about how I felt Ferguson calling in my blood. The call of blood. Spilled blood. Thats what I felt. In science fiction, the Klingons often speak of feeling the fire of their ancestry in their blood before going into battle. Also, our pal Running Wolf (back in the day) ran across the United States, networking through the color lines...
Darin: With various grassroots groups along his route, and he ran in support of Mumia Abu Jamal! For him, that was a metaphysical thing deeply related to his ancestry and his nationality (as an Indigenous warrior). Athletic people who have used controlled substances have often related that good exercise is better than drugs. It seems like your epiphanology in Ferguson is similar.
Jesse: Wow. Yes, I spoke with my two comrades (who went with me to Ferguson) and they also experienced this, so we really tripped out about it. It was really beautiful to share this with them. But I don't wish to involve them here, or put words in their mouths because they're very private and conscious about security culture. When I was out there taking photos, then and now, it almost feels like I'm in a little chamber of quiet meditation, or trance. I know it sounds crazy becuz, usually, I'm photographing very loud, very fast moving masses of people, and physically dynamic individuals, who are in the midst of very emotionally charged spectacles of resistance. Like photographing volcanos. But, for some reason, I feel like a small little moth, fluttering around them, snapping photos. It's almost like I'm invisible. The camera allows me a certain detachment. Except, for the march on Ferguson, the big Saturday march. That was the first time I cried during a march, whole way photographing. I think it was the rain. It forced me to get back in my body.
Darin: Why did you get so emotional during the big Saturday march?
Jesse: There was a little boy, about 7 years old. I photographed him during the torrential rain. Our bones got soaked. He was marching with a walker. He had physical disabilities, but would not give up. He was the last person I photographed, before I had to put my camera away, and wait for the sun to come out. My camera was getting seriously soaked, and I was afraid it would get ruined. I've photographed emotionally charged events before; mothers recounting the death and violent attacks on their black sons, etc., but there was something about this little boy, and the rain, and the climate, so identical to Nicaragua's weather; oppressively hot and disgustingly humid. It was the perfect storm for me, emotionally. I think I identified with him, when I was five years old, living in. Nica, and having to flee under dangerous circumstances, right before the war broke out in the late 70's (another story for another time) Anyway, I really think the rain pouring down, the visceral tactile experience, it seemed to release a lot of pain in my body that I had been keeping inside, since I had started the trip to Ferguson, from CA. But I have so much pride. I tried very hard to hide the crying. I didn't want to distract from what was happening around me. I was so embarrassed. Trying to soldier up, but the tears just kept coming. A volcano.
Darin: You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
Jesse: For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
Darin: Would you consider what you do cop watch?
Jesse: Yes. Cop watch, especially now more than ever. But I'm still learning. One of my comrades is teaching me more about this. Eventually, I would like to begin live streaming, like my comrade. Livestreaming; that's real hardcore cop watching. But I love the stills. Photography, for some reason seems timeless to me. In time, but also outside of time, over the years these photos evolve in a way that film does not.
[click on the link to visit the page for this interview, with photo spread]
---
Interview of Ferguson Photographer Jessie Sandoval by Darin:
Darin: Can you describe the metaphysics or the instinctual feeling, the draw of Ferguson...?
Jesse: I felt this in my gut, on the spiritual level. I spoke to some of my brown comrades about how I felt Ferguson calling in my blood. The call of blood. Spilled blood. Thats what I felt. In science fiction, the Klingons often speak of feeling the fire of their ancestry in their blood before going into battle. Also, our pal Running Wolf (back in the day) ran across the United States, networking through the color lines...
Darin: With various grassroots groups along his route, and he ran in support of Mumia Abu Jamal! For him, that was a metaphysical thing deeply related to his ancestry and his nationality (as an Indigenous warrior). Athletic people who have used controlled substances have often related that good exercise is better than drugs. It seems like your epiphanology in Ferguson is similar.
Jesse: Wow. Yes, I spoke with my two comrades (who went with me to Ferguson) and they also experienced this, so we really tripped out about it. It was really beautiful to share this with them. But I don't wish to involve them here, or put words in their mouths because they're very private and conscious about security culture. When I was out there taking photos, then and now, it almost feels like I'm in a little chamber of quiet meditation, or trance. I know it sounds crazy becuz, usually, I'm photographing very loud, very fast moving masses of people, and physically dynamic individuals, who are in the midst of very emotionally charged spectacles of resistance. Like photographing volcanos. But, for some reason, I feel like a small little moth, fluttering around them, snapping photos. It's almost like I'm invisible. The camera allows me a certain detachment. Except, for the march on Ferguson, the big Saturday march. That was the first time I cried during a march, whole way photographing. I think it was the rain. It forced me to get back in my body.
Darin: Why did you get so emotional during the big Saturday march?
Jesse: There was a little boy, about 7 years old. I photographed him during the torrential rain. Our bones got soaked. He was marching with a walker. He had physical disabilities, but would not give up. He was the last person I photographed, before I had to put my camera away, and wait for the sun to come out. My camera was getting seriously soaked, and I was afraid it would get ruined. I've photographed emotionally charged events before; mothers recounting the death and violent attacks on their black sons, etc., but there was something about this little boy, and the rain, and the climate, so identical to Nicaragua's weather; oppressively hot and disgustingly humid. It was the perfect storm for me, emotionally. I think I identified with him, when I was five years old, living in. Nica, and having to flee under dangerous circumstances, right before the war broke out in the late 70's (another story for another time) Anyway, I really think the rain pouring down, the visceral tactile experience, it seemed to release a lot of pain in my body that I had been keeping inside, since I had started the trip to Ferguson, from CA. But I have so much pride. I tried very hard to hide the crying. I didn't want to distract from what was happening around me. I was so embarrassed. Trying to soldier up, but the tears just kept coming. A volcano.
Darin: You do a lot of photography, documenting activism in your community. You are one of several really hardcore photographers I know. How has your work changed your perception of image making, and also revolutionary behavior?
Jesse: For the block the boat action, I was mostly trying to make sure that the cops knew we were on them, that we were either streaming, or reporting everything directly to social media, as it was unfolding. (Unlike Ferguson, and other people of color actions, it was less about "humanizing" the "protestors" to the community at large) Toward the last few days of the boat block, there were only a few of us out there, literally, 20-30 bodies (the scraggly hard core varsity team, as I like to affectionately call them), so safety becomes more of an issue; safety from cop abuse, and arrests. We were more vulnerable. When I first started photographing protests, I felt like a civilian, coming into another world I was trying to explore (knew nothing about security culture) it's completely different now. My priority is to make sure the cops know we're watching. That the world is watching. I'm very protective of our people. I'm documenting our effort and our work, and trying to give victim families of police brutality visibility. It's difficult though, because I have to be very careful, not to impose myself too much, putting myself between the folks I'm photographing, and the public; whoever sees my photos. So far, so good though. I love it when folks use my pics as their profile pics on FB. It happens a lot. It's the best feedback.
Darin: Would you consider what you do cop watch?
Jesse: Yes. Cop watch, especially now more than ever. But I'm still learning. One of my comrades is teaching me more about this. Eventually, I would like to begin live streaming, like my comrade. Livestreaming; that's real hardcore cop watching. But I love the stills. Photography, for some reason seems timeless to me. In time, but also outside of time, over the years these photos evolve in a way that film does not.
[click on the link to visit the page for this interview, with photo spread]
For more information:
http://northbaymds.blogspot.com/2014/12/fe...
After "That's what I felt." The following is my own comment about Klingons. I often consider trans-xeno phenomenology in contextual circumstances.
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You may try to contact her via Facebook. Also inform us specifically when you expect this broadcast to air. I have no preconceived notion of what her response to your enthusiasm will be. I imagine if you straight out mention KPFA or something, that that might be enough, you guys do good work. I can not say for certain however, and I need to stress that. I don't think its up to me frankly. I expect you will honor her decision ultimately. I haven't checked the Zucker yet, perhaps you have contacted her already. I have to imagine that no one else is realistically permitted to contact her.
For more information:
http://n/a
You have to mention her fund me fund for her photographing expenses in Ferguson... She is in DIRE need.
For more information:
http://www.gofundme.com/Slenderbutter
I will include Jesse's fundraiser link at both the interview's posting at our Northbay MDS website, and on this week's FM radio news script. To clarify, we are NOT with KPFA, we are with KZCT, a community station broadcast only in the Northbay (you can't hear us in the Eastbay, sorry!), centered in the majority POC city of Vallejo! We offer a variety of radio programs, mostly music, including Rock, Rap and Reggae, and some news programs...
http://www.OzCatRadio.com
http://www.OzCatRadio.com
For more information:
http://NorthbayMDS.blogspot.com
Your attempt at solving a problem of what you say is a common discomfort experienced by photographers working with independent media, isn't approached in any particular way, other than to claim that the Slingshot collective is somehow prejudiced and racist because they did not accept publishing particular photos, and an interview you conducted. That's a pretty harsh accusation, and a baseless one, and that was what I was referring to being tired of, not about anything you wrote, or said about me. In my previous, initial response I tried to give other, reasonable explanations as to why the interview, and photos were rejected, in contrast to your claim that it was Slingshot's discrimination, something which you give no other real explanation of. That Slingshot chose, in this instance, not to use this material in their paper does not support your claim that they are "racist in nature", one of the most obvious reasons being that the paper has published literally hundreds, and hundreds of other photos showing people protesting racism, a fact revealed by anyone willing to look at their archive of past issues. If there is indeed a widespread problem of discrimination among radical media as you allege, the solution to tackling this problem should first start with actual evidence as to why this is the case instead of empty assertions directed at a singular project you have issues with. I say this not because problems of prejudice don't exist in the radical community, but that dealing with them means actual focus, attention, and analysis.
I think the photos are very good, although so are many others. I don't see why it makes Slingshot racist for not publishing these photos. Now, I don't really know what the interactions between Darin, Jesse and the Slingshot collective were like because I wasn't there. It's good that MDS is posting this interview, and it's too bad Jesse S. doesn't feel welcomed by many radicals. As for "why would the interview be accepted and not any consensus process regarding the photography?" I don't know why you think that's fishy. Sounds like they changed there mind about the interview (maybe at first people were just being nice, and made it seem like they thought the interview was alright and might get published) and subsequently didn't want anything (the photos) to go along with it. If that's the case (and I am just speculating) than it makes sense I guess.
I thought the collective was being sexist or classist, or both or something initially. Again, there is no purpose to accept the interview without the photography or put a lead onto Facebook, and really one or a few photos would have sufficed, although in the spirit of the anti-repression movement I felt a center piece was a good idea. I was informed that they behaved in a racist fashion. I'm going with what I was told, although shocking as it was to experience her being blown off, the thought did cross my mind that racism could have been involved. Fred please put this to rest.
For more information:
http://n/a
jessie, your photos are beautiful and thank you so much for sharing them with us!
for anyone who doesn't know darin, he is a loud entitled privileged cis-het white man who takes up a lot of space and says a lot of creepy things to women and talks over them. you may know him as one of the many guys yelling at everyone and telling them what to do at protests. he has submitted pieces to slingshot that members of the collective have thought were racist, sexist, or just nonsensical. he talks about racism and classism here but he is a white man who is "working on his thesis." it's a bummer that instead of just posting this person's work [if that is what she wanted him to do] he has turned the attention towards slingshot. i have problems with slingshot too, but i have more problems with darin. i mean he was one of my problems with slingshot.
for anyone who doesn't know darin, he is a loud entitled privileged cis-het white man who takes up a lot of space and says a lot of creepy things to women and talks over them. you may know him as one of the many guys yelling at everyone and telling them what to do at protests. he has submitted pieces to slingshot that members of the collective have thought were racist, sexist, or just nonsensical. he talks about racism and classism here but he is a white man who is "working on his thesis." it's a bummer that instead of just posting this person's work [if that is what she wanted him to do] he has turned the attention towards slingshot. i have problems with slingshot too, but i have more problems with darin. i mean he was one of my problems with slingshot.
The 1st Amendment Distro., an underground and community distribution service for the Vallejo area, is a majority POC collective, and we distribute the Slingshot newspaper and publications.
In an unanimous decision, we hereby affirm that the Slingshot Collective is neither racist, nor is it sexist or classist. Members of the Slingshot Collective are known to be remarkable allies in honoring, and defending, the New African community, and all oppressed people and genders. The Slingshot Collective also refrains from sectarianism, and this alongside what has been mentioned, shows that they remain valued comrades in our radical networks. Although the openness of their meetings can lead to personal conflicts developing, it is up to the esteem of the individual to concede when personal dislike overrides the process for unity.
Therefore, We call upon all radicals to look beyond cultural references, and to consider that our experiences, whether Lumpenproletariat, or of a self-identity historically antagonistic to another, can and will act as a point of disunity, and to reaffirm our will to be united and to rise above reaction, and to have patience, and perseverance.
In an unanimous decision, we hereby affirm that the Slingshot Collective is neither racist, nor is it sexist or classist. Members of the Slingshot Collective are known to be remarkable allies in honoring, and defending, the New African community, and all oppressed people and genders. The Slingshot Collective also refrains from sectarianism, and this alongside what has been mentioned, shows that they remain valued comrades in our radical networks. Although the openness of their meetings can lead to personal conflicts developing, it is up to the esteem of the individual to concede when personal dislike overrides the process for unity.
Therefore, We call upon all radicals to look beyond cultural references, and to consider that our experiences, whether Lumpenproletariat, or of a self-identity historically antagonistic to another, can and will act as a point of disunity, and to reaffirm our will to be united and to rise above reaction, and to have patience, and perseverance.
There is plenty of female white priviledge at the slingshot also Lydia, I'm sure you were one of my problems at the slingshot also. My MA thesis is done, I'm working on my Phd now, thanks, you've been such a doll. As far as 'yelling at protests,' I do bike bloc and I'm often concerned about police kettling and arrests, I'm not sure what specific contribution that you make at protests, although I cannot imagine much. In the past I've also photographed extensively for local activism and my photographs in the past have been used in police brutality cases, both of which were eventually concluded with sided winnings towards the protesters, although if there have been others I am unaware of that.
For more information:
http://n/a
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