Dreaming the Present
Time, Aesthetics, and the Black Cooperative Movement
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This is a story of art and movement building at the limits of imagination. In their darkest hours, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, but forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces "cooperatives," local challenges to global capital, where people pooled all they had to meet their needs. By reading their activism as an artistic practice, Irvin Hunt argues that their primary need was to free their ...
This is a story of art and movement building at the limits of imagination. In their darkest hours, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, but forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces "cooperatives," local challenges to global capital, where people pooled all they had to meet their needs. By reading their activism as an artistic practice, Irvin Hunt argues that their primary need was to free their movement from the logic of progress. From a remarkably diverse archive, Hunt extrapolates three new ways to describe the time of a movement: a continual beginning, a deliberate falling apart, and a simultaneity, a kind of all-at-once-ness. These temporalities reflect how a people maneuvered the law, reappropriated property, built autonomous communities, and fundamentally reimagined what a movement can be. Their movement was not the dream of a brighter day; it was the making of today out of the stuff of dreams. Hunt offers both an original account of Black mutual aid and, in a world of diminishing futures, a moving meditation on the possibilities of the present.
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