I was honored to be selected to present at the #EverydayHumanitarianism: Ethics, Affects and Practices conference. The convening was coordinated by the research network on celebrity and North-South relations (see their excellent new book here) and took place on the LSE campus this spring.
Our panel was part of the track on ‘Commodification — The Humanitarian Marketplace’, exploring issues in Philanthropy, Brand Aid, Celebrity Endorsement, Micro-Finance, Entrepreneurship and Corporate Social Responsibility (CSR).
Jon Emmett who runs the Sustainability Blog at The London School of Economics and Political Science asked if I would write a piece for the LSE environmental community about the work and mission of Grow Dat Youth Farm, and I was happy to oblige.
‘At Grow Dat Youth Farm, we use chemical-free farming methods to build a resilient sustainable agricultural system. To us that means producing food by supporting natural ecological systems and stewarding natural and human resources for the future. Located on a former golf course, we do not use chemical-based pesticides or fertilisers. Instead, we utilise techniques such as cover cropping, composting, companion planting, farmscaping and crop rotation to stimulate micro-biological activity and soil health.’
Read more here.
Youth Crew Members inspect a crop of lettuces in the field at Grow Dat in New Orleans, Louisiana
I had the honor to work with artist Anna Henson for her on-going project ‘Icons: Women Workers’. An interactive digital portrait places me at sunset in front of the hoop house at Grow Dat Youth Farm in New Orleans, Louisiana.
I am proud to stand alongside Courtney Harvey, Sister Alison McCrary, Malliron Hodge and Claire Graves – all incredible women.
About the project
Icons : Women Workers is an ongoing series of interactive video portraits aiming to create a gesture-based movement dialogue between a viewer and digital portrait, while investigating a new iconography of women in the workplace. A hybrid of documentary and staged imagery, with symbolism drawn from varied religious and spiritual sources, the work blurs performativity with the reality of the women’s working lives. The objects shown below the portraits, significant to each woman’s working life, as well as the hand positions (mudras), were chosen in collaboration with each portrait subject. More here.