The Rhythm of Freedom: Improv Quilting and Antiracism

FlowMendNourish

Jul 9

Written By

Rosie Lee Tompkins, quilt detail

I entered the main gallery at the Ackland Museum of Art at UNC-Chapel Hill, in the early 90’s, to the sound of Grammy nominated jazz musician, Nnenna Freelon singing, and felt awe as I encountered for the first time the quilts of Rosie Lee Tompkins (Effie Mae Howard), Arbie Williams, Lavern Brackens and other African-American quilters in the exhibition Who’d A Thought It. The quilts spoke truth. They were a witness, a presence, inviting me to be free. The role and goal of my work as a maker and artist, since that encounter, has been to share the liberating practice of improv through patchwork, and all that entails…

collaborating through listening and responding, affirming and building
dissolving perfectionism by embracing mistakes and pattern variation
honoring process over outcome, discovery over efficiency, and being present over keeping busy
harnessing emotional energy to speak truth, rather than focusing on technical mastery or originality.
paying attention to preferences, habits and limits (unlearning)
nurturing flexibility and radical acceptance (yes and)
awakening personal agency and responsibility
sitting with discomfort and staying curious on the edge of the unknown
welcoming diversity and surprise (disruption) into the quilt story

It’s important to note that black quiltmakers speak their truth and share their stories in a variety of quilting styles and technique, beyond improv. Concurrently, improv is a process inherent to all human beings. Improv encourages us to truly see, hear, and value others, which strengthens relationships and communities and encourages risk-taking, innovation and change.

As I learn more about white supremacy culture and how I’ve been privileged and racialized, I’m discovering that antiracist ideas and actions are actually fundamental to improvisational process. To be an antiracist is to be a person who acts to liberate others and self by opposing racist ideas and policies. As I continue to actively unlearn racism, and realign my thoughts and actions with antiracism, the way I teach and hold space in my improv workshops, as well as the curriculum, will speak more directly to the connections between improv and antiracist practice and action. To my students and fellow improvisors do not be afraid to join this journey of hope and transformation!

The good news is that racist and antiracist are not fixed identities. We can be a racist one minute and an antiracist the next. What we say about race, what we do about race, in each moment determines what—not who—we are. —Ibrham X. Kendi, from How To Be An Antiracist