A Conversation with Terry Marshall (Intelligent Mischief, Wakanda Dream Lab)
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A Conversation with Terry Marshall
Intelligent Mischief, Wakanda Dream Lab)
Terry Marshall has been involved in social justice movements for over 20 years and founded Intelligent Mischief in 2013. Terry's work has spanned a range of intersecting creative and social justice endeavors including cultural organizing, creative production, curation, writing, cultural research, dance, event production, design, and political strategy. Terry is interested in traveling and developing an international network of creatives that share a vision of transforming the world through communications and making their beliefs real. Prior to Intelligent Mischief, he founded Streets is Watching and the Hip Hop Media Lab. He is an affiliate trainer and consultant for the Center for Story-based Strategy (CSS), a Beautiful Trouble trainer, co-founder of The BlackOut Collective and sits on the board for the Center for Artistic Activism.
Paromita
Hi Terry. Thank you so much for doing this with me.
Terry
No problem. Thank you as well.
Paromita
Let me begin by introducing myself. I’m a fourth year PhD student at the University of Southern California, and a member of the Civic Paths Research Group run by Henry Jenkins. This spring, the Civic Paths group is trying to run a series on participatory politics, reaching out to activists and practitioners who work with new media, and trying to start a dialogue between the people who are actually doing this kind of work on the ground and those of us studying your methods. On a more personal front, I’m writing my dissertation on humor and political discourse, trying to understand how people use humor and laughter to talk about serious political issues. Last spring, I was writing a paper on the use of humor in Black Lives Matter, and I came across the “Black Body Survival Guide” on Intelligent Mischief, which became a great resource for my paper. Later that same year, I signed up for the Fan Activist Town Hall on Google Hangouts where I found out about the Wakanda Dream Lab, and I realized that your name was coming up over and over again in all of these organizations and endeavors that I was so interested in, and I knew that I wanted to reach out to you and talk more.
Terry
Cool. Yes, thank you.
Paromita
To start, could you tell me a little bit about your background as an activist, and the idea behind an organization like Intelligent Mischief.
Terry
The origin story! I’ve been doing organizing stuff since I was about 17. I was fortunate enough to go to a private Muslim school called Sister Clara Muhammad School in Boston, and they instilled a lot of social justice sensibility in me. We used to watch the Eyes on the Prize civil rights documentary every year, and a lot of Black pride as well as school social justice. From ’95 I got involved with youth organizing, community organizing and labor organizing. Then about 2013, I started what became Intelligent Mischief. I always involved arts and culture in the traditional organizing stuff that I did, no matter where I did it. I was talking to other cultural activists/organizers, and we realized that every time we had off-the-beaten-path ideas and creative projects that involved arts, pop culture and local culture, they would always get shot down by supervisors above them who couldn’t understand their ideas. So I decided that I need to create a space that allows for experimentation and movement building involving arts and culture. And that was the inception of Intelligent Mischief, which we describe as a creative lab for injecting creativity and arts and culture, and realigning action logic among movement organizations. Over the years, due to some activations and experiments, we’ve been moving more, but we still keep ourselves as a lab – a room for experimentation. But we’re moving more to a directly producing culture ourselves, and create an overall culture shift through multimedia interventions.
Paromita
You use satire and humor in Intelligent Mischief as a way to talk about serious issues like police violence, and you tap into the Black Panther fandom in the Wakanda Dream Lab to describe a vision of social change. Could you describe your approach to media in these organizations? Do you see media amplifying or helping your own political vision?
Terry
It’s funny because it just feels so intuitive to me. I come from a particular generation that’s really been steeped in media, we’ve been bombarded with media since we were born, and it seems like that’s the language, that’s the way. If we want to reach a massive number of people, particularly in the US, but also all over the world, you have to use different forms of media in some shape or fashion. That’s the main tool of change. A friend of mine used to say, “We’re not going to door knock our way to the revolution.” Community organizations are where you are doing that door knocking work…one workshop at a time, one talk at a time. Those are key to building relationships. You don’t eliminate those things, but living in a country that has 305 million people, we can see that we need to reach the scale quickly, and we need to involve the new media tools that are around. I think that’s something that’s implicit in activist strategies. Media and pop culture are essential to achieve culture shift right now.
Paromita
I’m particularly fascinated by the “Black Body Survival Guide” created by Intelligent Mischief, where you crowdsourced tips and created a satirical guide for an African-American person to survive this political climate of police brutality. The one that resonated with me the most showed people of color always having their hands up no matter what they were doing. It’s so funny, but also not funny, because you realize what absurd extents people have to go to just to survive. Why do you think humor is an appropriate vehicle to talk about these serious issues?
Terry
It felt like it was the only way to actually truly break through, completely break through. I think humor relaxes people’s defenses. Across the board, no matter what end of the political spectrum you are, humor always relentlessly brings people’s walls down. That’s number one. I think humor is also a way where we could use character archetypes like the jester. And a jester is the only one that could tell the truth to the king, because he’s using humor. The point of humor is to lift the veil, to get to the core of things, right? And that’s the reason why humor and jokes connect with people. A joke to be successful has to connect with the audience; it can’t only connect with the person telling the joke. So humor automatically has to deal with some type of truth, or something that everyone can relate to, in order for people to get the joke. We started the “Black Body Survival Guide” because of the murder of Trayvon Martin. Watching the trial, and then seeing George Zimmerman get off…what is humorous is that when black people are killed – even when they’re unarmed – they’ll find any little thing to discredit this human being who’s done nothing wrong against a paramilitary force. Trayvon tragically is almost the perfect victim. Even when we’re presented with someone who’s so innocent, you could discredit them. There’s no other way to go but to be absurdist. The reality that we’re living in is absurdist when it comes to Black people’s lives. When reality gets absurd, it’s time to get surreal. And we just turned to Afro-Surrealism – which is just really redundant, because Surrealism is just African – to combat this.
Paromita
Afro-futurism and The Black Imagination seem like such strong influences on your political vision
Terry
Yes, the imagination. Trayvon was killed largely because of what we call imagination battle. The White Imagination of someone like George Zimmerman tends to imagine innocent black people just having deadly bodies. That’s a threat to whiteness, a threat to property, and Trayvon is killed because of this man’s imagination. Based on all evidence, it’s simply his imagination. To combat the White Imagination, we rewrite the narrative of the deadly black body in the “Black Body Survival Guide”, using surrealism and humor to rewrite the narrative of black bodies being dangerous. The pop culture reference we went with was the “Zombie Survival Guide”, and we equated that with Trayvon. We were like, “What are the bodies so dangerous that you would kill whether it was actually doing something to you or not?” Zombies could be minding their business, and you have to kill the zombie because it’s a zombie. If you listen to Zimmerman’s defense arguments, they’re literally saying, “Trayvon didn’t do anything, but there was the possibility.” So he’s just collateral damage. If reality is this absurd when it comes to black people’s lives, there’s no other way to combat it but with absurdism and surrealism, which we had turned into humor. That’s when we started coming with the idea of there being rules, a guide that black people need to follow. Just follow the logic of what the police say: it’s always the innocent black person’s fault no matter what. So we thought it would be helpful to place some rules so people don’t get shot and killed anymore. And obviously satirical.
Paromita
And you said that this was a multimedia project? You’re trying to use media in a variety of ways to get your message across to people?
Terry
Yes the first thing we did was a pop-up art exhibit at Boston University, where we created a store where we could buy the tools from the book. On the other side of the store, we created this secret agency with a whole backstory of how agents from a free black nation actually wrote the book, and sent agents to free black people in other countries. They were supposed to have set up an office behind the store, and it had maps and everything, and books they were reading. We created cards, videos, we created tools and things to be come real. Right now, we’re talking about creating a clothing line that has the messages from the book. So it’s a far-reaching multimedia project,
Paromita
That sounds like a completely immersive imaginative experience! I love the idea of a clothing line, because hoodies have become so closely associated with police violence against black bodies ever since Trayvon Martin’s death. I remember watching the Key and Peele episode titled “Hoodie” where a black man is walking down the street wearing a hoodie, and a white police officer pulls up next to him, looking suspicious. So as a protective measure, he flips up the hood, and there is a white face painted on the side. And the police officer immediately relaxes and smiles and drives away. That episode resonates so strongly with what you said about the absurdity of these lived experiences. Less than a year ago, Stephon Clark was shot for using an iPhone in his grandmother’s backyard, and the police officers that shot him got away with it. So in this political climate, what strikes you as being some of the biggest challenges to the kind of work that you’re doing.
Terry
It’s actually gotten more surreal with the election of Donald Trump. Trump used so many similar tactics to get elected – using media, using humor, using satire. But I also think the media itself has significantly changed. There’s more independent media outlets and different social media tools that people have been using to help get messages across. A lot of the Movement for Black Lives could not have spread as quickly as it did without the use of social media. There are some more overtly liberal media channels like MSNBC, independent channels like The Young Turks who show more in-depth interviews with movement leaders than networks like NBC or CBS. Our use of media as a tool includes looking at different ways of what we consider media: considering clothing as media messages, developing our online videos. We’re dwelling more into developing our own thought pieces as well. I think we’re really expanding our understanding of what multimedia can do for activism.
Paromita
Just to add to that…how do you see fandom and popular culture affect the changing nature of activism? You run the Wakanda Dream Lab, which uses the affective connections that fans have with Black Panther, and uses the narrative to segue into Black Lives Matter. I remember the WakandaCon poster featuring Shuri using the Wakanda salute to create a shield that provides protection from bullets and police violence. It reminded me of Luke Cage in a way, because the Netflix version of Luke Cage came out right in the middle of Black Lives Matter. It was so fitting but also ironic that a black superhero’s most useful superpower was the ability to deflect bullets. At Civic Paths, we have researched fan activism around other pop culture texts, like Harry Potter and Superman, and we try to understand how fans take themes and concepts from the texts themselves, and apply them to real-world social and political issues. Do you see pop culture as being a helpful resource in the imagination battle.
Terry
With the release of Black Panther, Jordan Peele’s Get Out and Us, and Atlanta, Insecure – these kinds of black representations have greatly helped with addressing social justice issues and developing fanbases of people who, at the core, are attracted to social justice issues. I mean, everything you said is perfect, is what we saw in it. When we developed the backstory for the “Black Body Survival Guide”, that was our beginning into storytelling and world building, which is the core of fandom. When we first started getting involved in the early days, we didn’t know that there were whole fields of study around this. We were looking at Afropunk and festivals and seeing the fandom of Afropunk was so intertwined with social justice. Afropunk tipped us off to know all the possibility with Black Panther and other pop culture fandom that could lead to civic action. No one could have predicted the hype around the Black Panther movie, but as soon as I saw that Marvel was making a Black Panther movie, I thought, “People are going to lose their minds if they could see this on the screen”. A futuristic African nation and a black superhero with that. We actually get to a place where people could imagine beyond surviving and thriving and living. And we saw, particularly Afro-futurism, there was hope in that. Black Panther coming out was really like a gift. After the “Black Body Survival Guide” we were already looking for a way to go beyond just survival, and into renaissance and thriving and the future. And we saw Black Panther and we said, “This is perfect.” We created a Facebook group to help people self-organize all-black movie goings and gatherings, and we created a movie guide to help people connect some issues in the movies to social justice issues. We produced an anthology with different activists and fans. We’re taking the issue of immigration and applying that to Wakanda and having people imagine stories just to envision, “Hey, well, we did have a nation without borders. What would that look like?” And use Wakanda as the example. We put out a second anthology with the same premise, using Wakanda as the world, but talking about transgender women. We’re planning to do an immersive Wakanda-con in Oakland at the end of this year. People are really fans of the world of Wakanda. And people keep going to the movies because they want to live in that world, and right now, that’s the only way they can do that. And so now, we’re using the project of Wakanda Dream Lab to recreate experiences for folks to live in Wakanda, but also to make Wakanda real, by going to the experiences, and what does that mean to make Wakanda real? What issues do we have to address? What solutions do we have to come up with?
Paromita
It is so amazing to hear you say that, because it aligns so closely with what Henry calls the “civic imagination”. It’s basically the idea that before we can go out and change the world, we need to collectively imagine what a better world looks like. In your case, if you could imagine yourself and this group 20 years from now, what are some of the things that you would have liked to accomplish? How would you imagine a better world?
Terry
We would like to see how social justice movements operate reimagined, and operating in liberatory spaces, using all our resources for imaginations. And not holding back on anything, making anything possible. I think we would like to see people saying they came together at Wakanda-con and came up with solutions to various problems, through their fandom. It’s almost like I can imagine people asking, “How are we going to really defend our communities and completely shut down police violence towards those communities?” Or how can we have self-governance? How can we reimagine the government? How can we reimagine the government that actually loves Black and indigenous people? Can we see this in the worlds we’ve built? In the world of Wakanda, we see that. In the worlds that we imagine and the stories that we build and follow, we see those things. Then if we could imagine it, we could make it real. So yes, being able to shift culture, shift policies and government structures and work structures in daily practice. Uniting imagination and reality in a way that makes people think: if I can imagine this, I can also do this. I don’t know if that sounds too vague.
Paromita
It sounds really incisive, actually. A social movement is always working towards something, but your work is premised on being able to imagine something that you’re working towards. I would also argue that it’s always better to start out from vague, because you can always add details as you move along. Making it vague makes it easier for other people to tweak things to suit their own social justice issues, and makes these ideas so much more accessible to wider communities.
Terry
Totally agree.
Paromita
Thank you so much for your thoughts on this, Terry. This is really useful for my research, because I’m coming at it from such a theoretical perspective, but I’m not a practitioner, I’m not an activist. I’m not the person on the streets who’s actually campaigning to make this happen. It’s so great to actually be able to talk to someone who has that knowledge and experience. I would love to stay updated as you move forward with this project, and talk more at a later date.
Terry
Thank you. Thanks for doing this work. We’ll keep you updated.
