{"id":6480,"date":"2022-04-13T17:06:00","date_gmt":"2022-04-13T21:06:00","guid":{"rendered":"https:\/\/virginiakeybeachpark.net\/?p=6480"},"modified":"2024-09-15T17:18:24","modified_gmt":"2024-09-15T21:18:24","slug":"april-feature-in-biscayne-times-perception-vs-portrayal","status":"publish","type":"post","link":"https:\/\/virginiakeybeachpark.net\/hat\/april-feature-in-biscayne-times-perception-vs-portrayal\/","title":{"rendered":"April Feature in Biscayne Times: Perception vs Portrayal"},"content":{"rendered":"
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Trinidad native and Miami artist Johanne Rahaman pays tender, determined witness to what she calls \u201cthe normal that blackness is not ever given.\u201d In that effort, she says, \u201cI\u2019m obsessed with Florida.\u201d<\/p>\n\n\n\n

That\u2019s why she\u2019s driven some 100,000 miles up and down the state of Florida since 2014 for her BlackFlorida project. So far she\u2019s shot 50,000 photographs and recorded hours upon hours of conversations with residents of black communities. Grants from the Economic Hardship Reporting Project, Ford Foundation, Knight Foundation, Oolite Arts, and others support this work. She posts on Instagram at BlackFlorida.<\/p>\n\n\n\n

Rahaman is on a journey to upend the state\u2019s glamorous, exclusionary, and market-friendly story. Illuminating what\u2019s often been obscured, she generally traces the path of the Florida East Coast Railroad. \u201cThe entire east coast of Florida was developed through prison labor on the backs of black bodies,\u201d she says. \u201cBlack communities have always been vital organs of the state and kept the railroad and industry functioning, from Jacksonville to Key West when it did go to Key West.\u201d<\/p>\n\n\n\n

Sacred Feminine Ceremony at Historic Virginia Key Beach, Historic Virginia Key Beach, June 2018.
Kwanzaa at the African Heritage Cultural Arts Center, Liberty City, December 2015.
She portrays places like Bahama Village in Key West, whose names have changed as their black population declined, as gentrification erases much of their history. \u201cBahama Village is now just a few people holding on to their homes,\u201d she explains. \u201cMy project is about embracing and uplifting contributions of the African diaspora in Florida, but especially it\u2019s an homage to black Americans. The African American community made vibrant contributions to Florida before migrations from the Caribbean and Latin America.\u201d<\/p>\n\n\n\n

Her work has garnered attention in The New Yorker, Huffington Post, Vogue, and other publications. At the U.S. Embassy of Rwanda, her works are part of a group show dedicated to women photographers of the African diaspora, spanning 27 countries.<\/p>\n\n\n\n

Through October 11, HistoryMiami Museum presents 173 of Rahaman\u2019s photographs, as well as audio and video recordings, in \u201cEmbracing the Lens: The BlackFlorida Project.\u201d Portraits, street scenes, and landscapes highlight people, places, and events, such as Overtown\u2019s Music and Arts Festival.
Brother Gerald Muhammad at the Overtown Music and Arts Festival, Historic Overtown, July 2015.
The exhibit\u2019s guest curator is Jeffreen Hayes, an art historian and curator of the acclaimed exhibit \u201cAFRICOBRA,\u201d presented at MOCA in North Miami before heading to the 2019 Venice Biennale. Executive director of Chicago\u2019s Three Walls, Hayes leads a diverse, itinerant, contemporary arts organization committed to engaging with various Chicago neighborhoods. She urged Rahaman to describe this project as not merely an archive, but a living archive.<\/p>\n\n\n\n

\u201cWhat really stood out to me is that this not static,\u201d says Hayes. \u201cIt feels very much like a living organism. There are stories that go along with the photographs, whether they are written or audio.\u201d<\/p>\n\n\n\n

A self-taught photographer praised for her artist\u2019s sense of beauty, Rahaman, age 51, says the project progresses slowly, partly because she works full time as an office administrator on South Beach. On weekends she doesn\u2019t simply travel to a place, photograph, get the story, and leave.
Saturday afternoon in Collier City, Pompano Beach, November 2016.
\u201cI always say it\u2019s 90 percent conversation and connection, and ten percent photography. I don\u2019t just show up and start photographing people,\u201d she explains. \u201cI have to get to know them. They have to get to know me and trust me.\u201d Her process is unobtrusive, unencumbered by high-powered equipment. Although she often uses a Nikon camera, she sometimes shoots video and photographs on her phone, attaching a microphone to it for audio.<\/p>\n\n\n\n

\u201cAny camera is a camera,\u201d she says. \u201cIt helps people understand that they can replicate what I am doing.\u201d For her, this is a collaborative project with the people she photographs and records.<\/p>\n\n\n\n

Rahaman moved to Miami in 1996 from Laventille Hills, a troubled ward in Trinidad, where she was raised and is proud to call home. Although she left Trinidad because she found the island stifling, feelings of homesickness spurred her to shoot street photographs of Liberty City in 2014. Liberty City, she recalls, \u201creminded me of the streets where I grew up, walking to school and going to market. I saw the same kind of scenes. People were hanging out on the corner, talking to each other. Someone would ride by on a bicycle and call out to everyone. It just felt like Trinidad.\u201d
Johanne Rahaman: \u201cThe entire east coast of Florida was developed through prison labor on the backs of black bodies.\u201d Photo by Maggie Steber
Those Liberty City street photographs grew into her remarkable Florida archive. Reflecting on why the project began, she says, \u201cI\u2019m the last of eight children. Then the grandchildren started coming. I was always looking for space,\u201d she admits with a laugh. \u201cI was always a wanderer. I would go hiking, sometimes with friends, through the hills, to the mountains, and to the beach. Then I would go back by myself and do the same hike. I was always curious about exploring on my own,\u201d she remembers. \u201cI came to America wanting something else. You know, the grass is always greener. But if I didn\u2019t leave Trinidad, I don\u2019t think I would ever have done what I am doing now.\u201d<\/p>\n\n\n\n

A pervasive disconnect with what many people consider the best parts of Miami compelled her to explore black communities. \u201cWhen I go west of I-95, I feel at home,\u201d she says. \u201cI feel more grounded and rooted in spaces where I see people who look like me and are just regular, everyday people. They are not driving fancy cars.\u201d<\/p>\n\n\n\n

There, she sees people who resemble her family members, hardworking people on a tight budget. Some are doing what she considers most important. They are, she says, \u201csending children to school, making sure they get educated, and creating new pathways for them. I see a lot of that in my work. The black everyday is not what you see in the news.\u201d<\/p>\n\n\n\n

Initially, Rahaman had asked Hayes to recommend a curator for her exhibit, never thinking that Hayes would do it herself, but recalls being \u201cabsolutely blown away\u201d when Hayes agreed to curate. For her part, Hayes disdains how the commercial art market dictates who is valued in terms of art history and museum exhibitions. By contrast, Hayes admires \u201cartists whose work has deep intention, deep impact, and their values are all about the craft.\u201d<\/p>\n\n\n\n

That\u2019s why Hayes became involved with Rahaman\u2019s \u201cEmbracing the Lens.\u201d As Hayes explains, \u201cWhile she considers herself a documentary photographer, I see her as an artist.\u201d<\/p>\n\n\n\n

Hayes finds her photos of the Sacred Feminine Ceremony at Virginia Key Beach intimate and majestic, particularly one with a woman depicted in a movement with her arms up in the air, her right leg extended behind her, almost like she is taking flight. \u201cIt\u2019s a beautiful moment,\u201d Hayes says.<\/p>\n\n\n\n

Addressing the scope of this archive, she adds, \u201cIt\u2019s rare to work with an artist who really does know how to bridge art and community without exploiting black communities.\u201d In Rahaman\u2019s project, \u201cwe really get at the soul of blackness.\u201d<\/p>\n\n\n\n

Feedback: letters@biscaynetimes.com<\/p>\n\n\n\n

The design firm LORD Cultural Resources was also in attendance to hear the views from all stakeholders. Stay tuned for upcoming workshops.<\/p>\n\n\n\n

<\/div>","protected":false},"excerpt":{"rendered":"

Trinidadian artist Johanne Rahaman’s BlackFlorida project documents the often-overlooked Black communities of Florida. Through photography, audio recordings, and video, Rahaman captures the essence of these places and their people. Her work aims to challenge the stereotypical image of Florida and showcase the vibrant Black culture that has always been a part of the state’s history.<\/p>","protected":false},"author":6,"featured_media":6481,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[199],"class_list":["post-6480","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-blackfloridaproject"],"yoast_head":"\nApril Feature in Biscayne Times: Perception vs Portrayal - Historic Virginia Key Beach Park<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/virginiakeybeachpark.net\/hat\/april-feature-in-biscayne-times-perception-vs-portrayal\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"April Feature in Biscayne Times: Perception vs Portrayal - Historic Virginia Key Beach Park\" \/>\n<meta property=\"og:description\" content=\"Trinidadian artist Johanne Rahaman's BlackFlorida project documents the often-overlooked Black communities of Florida. 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