Darby Strong

Playing point. Delivering the rock.

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Aiken for Bluegrass


The old shutters from inside our Hotel Aiken room

Saturday morning, David and I travelled through small town South Carolina on our way to Aiken, where their 2nd annual bluegrass festival was underway. As we climbed from the Lowcountry into the hills, we witnessed the depressed backdrops of southern small town America. While listening to John Prine, his famous line, “there’s a hole in daddy’s arm where all the money goes” took on a whole new meaning while I watched the bleak and forgotten places roll by.

Interestingly enough, between Aiken and Allendale lay the Savannah River Site, which we discovered is government owned land and a hotbed of plutonium production. I keep wondering if there was ever big industry here, but it is hard to tell and looks as if it packed its bags generations ago.

Aiken, on the other hand, is an historically rich and thriving town. The festival attracted some big-time musicians and the town was a buzz, especially outside the Aiken Brewing Company. Their handcrafted beer was a treat, and Aiken definitely caters to beer lovers. To sleep it off, Hotel Aiken boasts a recent total renovation. While it still needs some polishing, the high ceilings, old-school original elevator, shuttered windows, and Peter Rowan wandering the halls in his pajamas, guitar in hand, all added to the charm.

The town is known for its equestrian roots, which were kindly brought to it by northerners who preferred the warm climate in the winter. They liked it so much, they eventually brought their horses and are the source of the equestrian presence there today.

Ethnography or Exploitation?

An elusive and blurry line has thumped itself down in documentary work, probably since we humans began to document our lives and tell our stories. (I can see it now: the Anasazi pictographer being ostracized for her version of “the hunting and gathering.”) While watching The True Meaning of Pictures: Shelby Lee Adams’ Appalachia, the question persists; at which point does one cross the line from documentation to exploitation?

Shelby Lee Adams has been taking pictures of the Appalachian people of Kentucky for thirty years now. Born in Hazard, Kentucky, Adams comes across as sincere while explaining that the people of Appalachia, or “holler dwellers”, are his people and his friends. The subjects of his photographs, whom he has known for decades, reiterate this sentiment. It seems that Shelby Lee’s detractors come in the form of native, local Kentuckians, embarrassed by a part of their past and present, and art critics looking for new and ready subjects to discuss.

And who can blame them? The line here is blurred, and becomes even more hazy as Shelby Lee’s Kentucky drawl becomes more and more, well, noticeable. (Not to say that my Laawng Islaand doesn’t emerge the closer to the L.I.E. that I get, but I digress.) No one can ever know the true intention of another, and even worse, we are hard pressed to understand our own motives at times. It seems that Shelby Lee Adams thinks that his intentions are pure and documentary in nature. It also seems that he will do anything to preserve his relationship with this community; whether to ease his guilt of having a classist father, protect his cash cow, or truly to celebrate the lives of these people and retain their dignity, I can not say.

I can say that, to me, the images Adams’ creates do not provide dignity to these people, but rather, perpetuate the Deliverance stereotype we have all grown up with. Because the deeper in the holler one goes, the more isolated and poverty stricken the families become. Because images of families of eight in a one room house with no shoes for the kids but satellite TV’s and dead pigs and sinister, inbred smiles DO NOT provide dignity. (I have to say, the serpent handling rituals are fascinating, but still…) And perhaps my own classist reaction is shining through more than Adams’ portrayal of the Appalachian way of life. If, however, I am to transcend the stereotype of a particular social group, you must give me more than magnified visions of the same.

Alice in Mexico

There is a bargain bookstore close to my house, and that is indeed a good thing. I had some time to kill yesterday and found myself perusing its shelves. On my way to the counter with a David Sedaris book, half hidden behind a sign was a book of poems by Alice Walker. Her first in 10 years. She told her friends she “would probably not be writing anything more.” When they asked what she would do, she replied, “I would like to become a wandering inspiration.”

Alice and her daughter were living in their house on the central coast in Mexico during 9/11. This collection of poems poured out of her shortly therafter, dismayed that “once again whatever questions had been raised were to be answered by war.”

Alice has spent time studying the herbs of the Earth and their properties, including partaking in many Ayuascha ceremonies and eating magic mushrooms. She explains that until about 500 years ago, all peoples used the Earths herbs to commmune with the spirit world.

If you are into poetry, I highly recommend Absolute Trust in the Goodness of the Earth. Alice is a true heroine to me and an immensely gifted writer and teacher.

Here is one of my favorite poems from the collection.

The Breath of the Feminine

Smoking
In boardrooms
Eating
Carrion
At thirty thousand
Feet

Still
Remember
Before foulness
Becomes
Inseparable
From air:

The breath
Of the Feminine
Is sweet.

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