Museum of Resistance and Resilience Main MenuPraxis #1: Curation and Annotation (Group Project)details of Praxis #1 assignmentPraxis #1.1 War, Memory, And Identity: Beyond Victims and Voice Museum of Resistance and ResilienceProfessor Marjory Wentworth Honor's Class at College of CharlestonPraxis #2 Media Intervention, Multimedia Essay (Individual Project)Entry 2 in our Museum of Resistance and ResiliencePraxis #3 Manifesto of Future Resistance and ResilienceMedia Intervention/Media PostsFinal Course Reflection - A Letter to the FutureDue November 18Vicki Callahanf68c37bed83f129872c0216fae5c9d063d9e11baLisa Müller-Tredecc71af55f5122020f2b95396300e25feb73b6995
John Carlos
12020-09-22T20:07:44-07:00Abigale Chenc32fc8a69c6a67d01e53a5f7675a76daf88cec07377842plain2020-09-22T20:08:02-07:00Abigale Chenc32fc8a69c6a67d01e53a5f7675a76daf88cec07John Carlos unzipped his jacket to represent his solidarity with all the blue-collar workers in America and wore a necklace of beads to represent the lynching of innocent black men and women in the south. Carlos later quoted Strange Fruit by Billie Holiday that “[he] fingered [his] beads and thought about the pictures [he’d] seen of the ‘strange fruit’ swinging from the poplar trees of the South” (Blackmore).
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1media/tommie smith and john carlos _thumb.jpg2020-09-22T20:06:26-07:00Abigale Chenc32fc8a69c6a67d01e53a5f7675a76daf88cec07Tommie Smith and John Carlos1media/tommie smith and john carlos .jpgplain2020-09-22T20:06:26-07:00Abigale Chenc32fc8a69c6a67d01e53a5f7675a76daf88cec07