final extended essay
TRANSCRIPT
Jactel 000582-0031
EXTENDED ESSAY
Taking into account the major impact of natural disasters on communities and the complex recovery
process, how can art help populations heal and begin anew? A study of Hurricane Sandy and the work of street
artist Swoon.
Name: Sophia JactelCandidate Session Number: 000582-0031School: Atlanta International SchoolSession: May 2015Subject: World Studies Supervisor: Mrs. StephensonWord Count: 3,490
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Table of Contents
ABSTRACT……………………………………………………………………………..p.3
INTRODUCTION………………………………………………………………………p.4
IMPACT OF NATURAL DISASTERS………………………………………………...p.5
EXAMPLE OF HURRICANE SANDY………………………………………………..p.8
RECOVERY AND RECONSTRUCTION……………………………………………p.11
ART AS PART OF THE HEALING PROCESS……………………………………...p.13
CONCLUSION………………………………………………………………………..p.22
WORKS CITED……………………………………………………………………….p.24
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Abstract
In this investigation, by combining the two disciplines of geography and art, the
research question, “Taking into account the major impact of natural disasters on
communities and the complex recovery process, how can art help populations heal and
begin anew?” is addressed, and ultimately, answered.
Natural disasters are happening more and more frequently. Their impact on
populations is devastating as an increasing number of people live in disaster-prone areas.
The destruction of the northeast United States left in Hurricane Sandy’s wake is a vivid
illustration of the dramatic effect of natural disasters on populations: 8.5 million people
left without power, more than 650,000 homes destroyed and the total cost of damages
reaching more than $19 billion. The recovery process is a slow, complicated and costly
effort to rebuild communities and the environment. Relief begins immediately after the
disaster and continues, sometimes for years, with rebuilding and reconstruction. In the
midst of this process, being able to deal with the psychological aftermath of such a
disaster is increasingly important. Individuals, families and entire communities need to
mend and regain emotional stability. Through its cathartic characteristics, art can play an
important role in helping the victims heal. In the aftermath of Hurricane Sandy, the
exhibit of the street artist Swoon at the Brooklyn Museum illustrates how, through
subjective expressionism and social activism, art can allow for a release of trauma and a
regaining of hope. Using the geographical methods of disaster assessment, combined
with artistic analysis, it is shown that natural disasters are devastating to communities but
artistic expression can help make significant and essential strides in the recovery process.
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Introduction
As natural disasters become more frequent and more devastating, it is important
to understand how communities and individuals can cope with the ensuing trauma to start
rebuilding their lives. The recovery process is a complex one, and combines measures for
both the short and long term. This recovery process is increasingly taking into account
the psychological health of the affected communities. In this context, art can play a vital
role in helping communities heal after the horrific onslaught of disaster. By allowing the
victims to externalize their trauma and purge their emotions, art can be an important
healing step towards renewal and restoration.
This essay will combine the subjects of geography and art to more globally
understand the impact of natural disasters on communities and how they can start the
rebuilding process, both physically and emotionally. Independently, the two subjects hold
limitations that prevent a holistic evaluation of Hurricane Sandy, which is why they must
be mended together to fortify this investigation. The research question “Taking into
account the major impact of natural disasters on communities and the complex recovery
process, how can art help populations heal and begin anew?” will be addressed through
the specific analysis of Hurricane Sandy and the aftermath exhibit of street artist Swoon
at the Brooklyn Museum.
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Impact of Natural Disasters
The massive impacts of natural disasters are being felt around the globe but also
locally as the example of Hurricane Sandy demonstrates the suffering of the individuals
and communities of the New York City area. A rise in the number of natural disasters in
the world has been observed, but the nature of this increase is currently under debate.
According to a recent report published by the New England Journal of Medicine, there
were three times as many natural disasters from 2000 through 2009 as there were from
1980 through 1989, mainly driven by an 80% increase in climate-related events (Leaning,
2013). The effect of these disasters has expanded in scale, resulting in increasingly severe
consequences. For some, climate change is the main culprit and for others, the better and
more accurate statistical reporting of theses catastrophic events is the reason for the
observed rise in their occurrences. According to the Intergovernmental Panel on Climate
Change, an increase of greenhouse gases in the atmosphere is a possible reason for the
boost in temperatures over most land surfaces (with regional variations) (see Figure 1).
This, in turn, can lead to an augmented risk of drought and escalation in the intensity of
storms, including tropical cyclones with higher wind speeds, a wetter Asian monsoon,
and, perhaps, more intense mid-latitude storms (Stocker, 2013). Research explains that
the combined result of higher temperatures over land, decreased equator-versus-pole
temperature differences as well as increased humidity could lead to gradually more
intense cycles of droughts and floods as more of a region’s precipitation falls in a single
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large storm rather than a series of small ones (Riebeek, 2005).
Figure 1: “Increase in Average Temperature” (Riebeek, 2005)
Therefore, not only has the number of these events increase, but their intensity and effects
have expanded in scale, resulting in severe consequences.
The absolute number of victims of natural disasters is growing. Since 1990,
natural disasters have affected about 217 million people and have killed approximately
100,000 people every year (Leaning, 2013). China, the United States, Indonesia, the
Philippines and India are among the countries in the world most frequently affected by
natural disasters over the past decade. A large majority of mortality is linked to storms
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and floods, brought on by hurricanes such as Sandy (Guha-Sapir, 2013). But adjusted to
the world population, the relative number of casualties is now in a downward trend,
mainly thanks to better early-warning systems for tsunamis, better public information
about evacuation plans, and tougher building codes in quake-prone areas (“Counting the
Cost of Calamities”). Nevertheless, a hurricane such as Sandy was still able to wreak
havoc on New York City and the communities it is made up of. Furthermore, economic
costs of these disasters are rising, mainly because a growing share of the world's
population and economic activity is being concentrated in disaster-prone places: on
tropical coasts and river deltas, near forests and along earthquake fault lines. A 2006
World Bank study addressing specific hazards in places such as Sri Lanka, Kenya and
Venezuela, shows that the number of people living in areas vulnerable to flooding due to
storm surges could increase 50% during the period of 1990 to 2020, reaching close to 300
million (Arnold, 2006). With the use of data from the International Disaster Database at
the Center for Research on the Epidemiology of Disasters, University of Louvain, Figure
2 below illustrates this upward trend in not only the frequency of disasters but also their
skyrocketing economic damage (Leaning, 2013).
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Example of Hurricane Sandy
The impact of natural disasters on a community can be presented in a more
specific manner through the example of Hurricane Sandy, which hit the northeast United
States on October 29th, 2012. In its wake, Hurricane Sandy left utter destruction. It also
set the path for a long, arduous and rigorous reconstruction not only of infrastructure, but
of the local communities it tore apart. The coastal mid-Atlantic region of the United
States (New York, Pennsylvania, New Jersey, Delaware and Maryland) is a densely
populated area, harboring a multitude of large urban cities. While it measures only an
estimated 17% of the total United States, its inhabitants make up about half of the
nation’s total population (Rice, 2014). Out of the 25 most densely populated US
counties, 21 of these are located in the northeast United States, where the storm hit.
Heavy damages in the New York City area are explained by the strength of the
storm compounded by the geographic and human vulnerability of the region. According
to a study conducted by Shivangi Prasad at Florida Atlantic University which created a
specific hurricane vulnerability index for the mid-Atlantic region of the United States,
New York City was the most vulnerable due to its dense population and location on the
coast (Prasad, 2013). Located in the lowlands, at the foothills of the Appalachian
Mountains, the majority of the land is flat, at a significantly low elevation. The city, in
most places only less than 5 meters above sea level, is made up of a complex network of
rivers, waterways and islands (Blake, 2013). This puts it at a higher risk for flooding
which is exactly what happened when the immense storm surges, defined as “the
abnormal rise of water generated by storm, over and above the predicted astronomical
tide, and is expressed in terms of height above normal tide levels,” (Blake, 2013),
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overwhelmed the city as can be seen in Image 1 below.
Image 1 (above): Hurricane Sandy’s storm surge pushes seawater into New York City’s Carey Tunnel (Burton, 2012)
Storm surges were accompanied by strong winds that generated massive waves. The
wave action caused the destruction of protective landforms, such as sand dunes, allowing
water to seep into the coastal lowlands. This can be seen in Image 2, which shows a
beach on Fire Island, which is part of Long Island, New York, where the sand dunes were
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completely washed away.
Image 2 (above): “Some Fire Island residents fear facing a big storm without the protection of sand dunes, which saved the bulk of the island’s homes but were washed away by Hurricane Sandy.” (Bengiveno, 2012)
The water damage was especially detrimental to poorly built shelters and homes located
in the floodplains. On Long Island, approximately 100,000 homes were destroyed, while
2,000 were deemed uninhabitable. Over half a billion dollars in damage was created in
the 13 towns on the island (Blake, 2013). Specifically, the Rockaways, an area on the
southern edge of the boroughs of Brooklyn and Queens, suffered severe destruction.
Almost every home incurred damages in Belle Harbor and Rockaway Park and 900,000
people lost power (Chandrasekhar, 2014).
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Recovery and Reconstruction
In the immediate aftermath of a disaster, the authorities and the community focus
on short-term assistance, followed by long-term reconstruction. After Hurricane Sandy
made landfall, the recovery process began with more than 11,000 National Guard
personnel being sent to the affected states. President Obama declared a state of
emergency for New York, making federal assistance available to those impacted. At the
peak of the response and initial recovery effort, more than 17,000 Federal employees,
including more than 7,500 Federal Emergency Management Agency (FEMA) staff, were
deployed (“Hurricane Sandy FEMA After-Action Report”). FEMA was a key asset in
providing immediate relief by its varied types of aid. Within the first 72 hours after the
storm, FEMA was sending out first responders with appropriate support to save lives,
maintain safety, restore power and stabilize communities (“Hurricane Sandy FEMA
After-Action Report”). To recover housing, the STEP program (Sheltering and
Temporary Essential Power program) was initiated, allowing emergency residential
repairs and completing more than 18, 700 of them as of February19th, 2013. By
November 11th 2012, FEMA had shipped 20 million liters of water, 16 million meals, 1.7
million blankets, 79,000 cots, 138,000 tarps, and 105 infant and toddler kits to families in
need in the affected areas (“Hurricane Sandy FEMA After-Action Report”).
Very soon after the storm hit, the damaged communities started to engage in mid
and long-term reconstruction. The revival began with the implementation of new
regulations. Congress passed the Disaster Relief Appropriations Act in 2013, which
consisted of $50.5 billion in disaster assistance. This act also provided supplemental
funding, including $10.9 billion for the Public Transportation Emergency Relief Program
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and $11.5 billion for the Disaster Relief Fund. The Hurricane Sandy Rebuilding Task
Force, established through an Executive Order, published the Hurricane Sandy
Rebuilding Strategy (HSRS) (“Hurricane Sandy Rebuilding Strategy”). These new
programs for reconstruction show an evolution of policies from looking not only at
sustainable reconstruction but also at the necessity of resilience. The damages caused by
Sandy exemplify the difference between the two: the harm caused to lower Manhattan by
Sandy was mostly because it was sustainable but not resilient. After the attack on the
World Trade Center on September 11th, 2001, Manhattan contained the largest collection
of Leadership in Energy and Environmental Design (LEED) certified green buildings in
the world, but these buildings were not designed to respond to forces of the environment
(Zolli, 2012). This awareness and move towards increased resilience and sustainability
was an important change in the way professionals and governmental officials thought
about long-term solutions for reconstruction post Hurricane Sandy, and for other natural
disasters around the world.
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Art as Part of the Healing Process
More and more often, the recovery after a natural disaster like Hurricane Sandy
also takes into account the psychological impact of the disaster on the community. This is
where art, with its cathartic power, can be an integral part of the healing process. Mental
and psychological issues are the most common side effects of natural disasters and can
have long-lasting impacts on individuals and entire communities. The American
Psychology Association (APA), with the contribution of Dr. Kevin Rowell and
psychologist Rebecca Thomley, recognizes that disasters such as hurricanes or
earthquakes are unexpected, sudden and overwhelming events. It is common for those
who have experienced disaster to have strong emotional reactions such as post-traumatic
stress disorder and depression. It is in this psychological dimension where art can play a
major role in allowing individuals and communities to visualize their collective emotions
and to externalize their trauma (“Recovering Emotionally From Disaster”).
With this is mind, it can be argued that the New York City based street artist,
Caledonia Curry, also known as Swoon, participated in the healing process of the New
York area community after the passage of Hurricane Sandy. Through her creations she
encompasses the descriptive force of expressionism and the social engagement of street
painting activism. Swoon drew inspiration from Sandy and its survivors to create an
installation at the Brooklyn Museum (April 11 to August 24th, 2014). The effects of the
storm are infused both psychologically and conceptually into her art. Expressionistically,
Swoon used her artistic skills to draw powerful imagery of the destruction caused by
Hurricane Sandy. Her exhibit is highly subjective and very personal, mixing the effects
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of Sandy as a natural disaster with the reminiscence of her own mother’s passing. She
emphasizes three main elements in this work that are emblematic, for her, of the
destruction caused by the hurricane: chaos, shattered individual lives and displacement.
In Swoon’s eyes, the most prominent characteristic of a natural disaster is chaos,
and this is the focal point of the exhibit. In order to make this representation of chaos
visible and tangible, Swoon utilizes a plethora of materials that are mixed together and
strewn around the installation space in an uncoordinated fashion. The way she organizes,
or rather, disorganizes her installation, forces people to experience her vision of chaos
firsthand. Swoon creates a freedom that spreads outside of the space with wall pastes and
designs flowing out of the room, through the doorways, up on the walls and crawling on
the floor, all of which can be interpreted as mimicking Sandy’s uncontrollable flooding
(see Image 3).
Image 3 (above): Detail of paper flowing out of the canoe (Guzman, 2014)
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Swoon suggests her image of chaos and the power of water by figuratively
submerging the viewer and removing any sort of identified path through her work. In
addition to the materials that act as vessels to deliver the message of disarray, Swoon’s
actual artistic methods, such as using a fire extinguisher to paint the walls of her
installation, imply sporadic processes and effects and are reminiscent of waves and
floods. In this way, Swoon weaves the idea of chaos and water together to reflect the
consequences of water’s wrath.
In addition to the expression of nature’s fury as seen through the destruction of
material infrastructure, Swoon’s exhibit also provides a catharsis to the community by
focusing on vivid descriptions of individual suffering and the shattering of lives. Integral
elements in Swoon’s installation are portraits of young girls, mothers, babies and old
men, all affected by the hurricane (Image 4). They are recognition of the individuality of
each survivor, telling real stories about real people. “The drawings I have included
actually have stories of people and places…who are struggling to keep their indigenous
places and their own homelands,” Swoon explains (Silver, 2014). The viewer, therefore,
is able to access the inner turmoil of those displaced by Sandy, opening a window by
which to see the depth of pain these people suffered.
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Image 4 (above): Portrait (Sabillon, 2014)
As she presents individual lives through portraits, Swoon also conveys the
dramatic displacement experienced by the victims and approximately 375,000 evacuees
of Hurricane Sandy after they lost shelter (Rice, 2014). She depicts the havoc left in
Sandy’s wake, represented in part by the rafts in the exhibit made out of materials found
scattered all over the globe. These convey the idea of dislocation after destruction,
similar to the scattered debris found in Sandy’s aftermath, and play a key role in
representing this part of the devastation. Having been built by Swoon and sailed on
multiple bodies of water around the globe, the rafts vividly illustrate the displacement of
hundreds of thousands of evacuees (see Image 5).
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Image 5 (above): Raft
details (Sabillon, 2014)
In Swoon’s own words, they represent “seeds blown away from a mother tree,” (Shute,
2014) like a city “breaking off into a million pieces,” (McVey, 2014). These so-called
“seeds,” present two different notions: one, somewhat distressing, that the seed can be
blown away by the wind or transported by the water, mimics displacement and the loss of
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a safe haven while the other, more optimistically, that the seed finds new ground and
takes root to begin a new life. The complex composition and configuration of her work
echoes that of communities affected by disaster. As such, she vividly achieves her goal of
presenting the precarious and heart-wrenching situation of the survivors and her work
acts as a healing experience for the community.
However expressionist in style Swoon’s exhibit is, it is equally strong in the
activist stance it takes about reconstruction. As a woman and daughter, she highlights the
importance of safety immediately in the aftermath of the natural disaster. And as a
militant street artist, she is a clear proponent of sustainable development and a
reconstruction process that preserves the relationship between communities and their
environment (Ryzik, 2014). High on Swoon’s list of the motivations that drive her work
is “an impulse to build a safe space in the world for myself and my community,” (Rojo,
2014). Following her mother’s passing which occurred during the process of
constructing the installation, Swoon wanted to show the importance of immediate
protection from personal or external catastrophe. She took on the installation as a sort of
maternal act, to fill in the gap for her own loss, but also to provide comfort for the
victims. In part of the installation, there is an arch-like structure one can pass under. A
soft light, warm in tone, illuminates it. At the top of the arch is an image of a woman
breastfeeding her baby (Image 6).
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Image 6 (above): Detail of arch and portrait of mother (Guzman, 2014)
This structure is deeply maternal, establishing a sense of vigilance and reassurance while
also being reminiscent of a mother’s womb. Swoon plays on this idea of maternal
protection in the way she decorates the arch itself. The whimsical and delicate paper-cut
designs in the shapes of plants, leaves and flowers, as well as the honeycomb and wasp-
nest like patterns inside the arch can be interpreted as portraying nature’s womb.
Swoon’s expression of motherhood, combined with the immensity of the tree at the
center of the installation whose branches fan out like a protecting cocoon around the
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viewers, juxtaposes humanity with nature. And it is not an accidental juxtaposition.
Maternal protection follows an expected cycle of life and death, where eventually,
everyone’s mother will pass away. But protection from nature can be deceiving, as
Swoon subtly shows with her use of light, and the fragility of her designs.
On a more assertive note, Swoon’s exhibition addresses the ideas of
resilience and sustainability in the reconstruction process. The tree in her installation
illustrates the notion of resilience (Image 7): its sheer height (over 60 feet) and its trunk,
made up of strips of dyed fabric that seem to weigh it down and plant it firmly into the
ground are a testament to the great durability of nature.
Image 7 (above): Swoon: Submerged Motherlands details of the top of the tree (Rojo,
2014)
Swoon’s work not only depicts the environment around us, it illustrates the ever-urgent
need for us to conserve it. Sustainability is central to her aesthetic vision. This can be
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seen in the rafts, made with recycled materials: they are compiled of found objects and
trash, including scrap wood, foam blocks, bed sheets, old car parts, metal scraps, rope,
old bicycles and plastic pipes. Swoon expects to eventually take apart the installation and
return the pieces to the earth where they came from (Friswell, 2014). This idea of “re-
seeding” and renewed life mirrors the community of New York City and its evolution
from ultimate destruction to reconstruction.
Swoon’s exhibit can be seen as an important element in helping the community
heal from Hurricane Sandy, but it can also be regarded as the beginning of the recovery
process. By visualizing the emotions felt by the population in displaying the subjective
view of the artist, the exhibit allows the victims to externalize their trauma, often viewed
as the first step towards psychological recovery (“Recovering Emotionally from
Disaster”). And, by including Swoon in the conversation about sustainable
reconstruction, she can participate, as an artist and native New Yorker, in the debate
about the best way to rebuild the community she knows so well.
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Conclusion
As natural disasters are becoming more and more frequent, they threaten
livelihoods as well as global efforts to create resilient communities. They tend to impact
fast growing populations, which congregate on low shores and river deltas because of the
easy access to water sources. When Hurricane Sandy demolished the northeast coast of
the United States on October 29th, 2012, it offered a vivid example of the complexity and
the scope of its impact on local communities. Not only were lives lost, but infrastructure
was destroyed and the economy halted in its growth. Although difficult to measure, the
emotional toll on victims, families and the entire community was real and long lasting.
Reconstruction efforts are commensurate to the scope of the destruction: it is a long and
difficult road that focuses immediately on emergency medical aid, economic support and
long term infrastructure reconstruction. As those types of aid are put into place, the
emotional health and psychological problems of the population, victims or witnesses, are
considered. This is where art can help heal those who have experienced trauma by
mirroring the dramatic impact of the natural disaster and emotionally connecting with the
victims. Through subjective expressionism, art can allow for cathartic release and
renewed hope. Swoon’s exhibit in the Brooklyn Museum can be seen as a vehicle for
beginning to mend the emotional pain of the victims and a basis from which to start the
conversation of renewal. Swoon shows her strong emotional connection to an entire
community through her work as an activist street artist.
This investigation can generate a multitude of questions for further study: “How
does art help the recovery process differently depending on the type of disaster? What is
the difference in the effects of disaster and artistic therapy on varied population
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demographics such as race, age, socioeconomic background or political standing?” It is
important to consider the shortcomings of an investigation such as this one that lacks
primary data such as interviews and self-acquired statistics. However, by combining the
geographical methods of damage reports through the study of recovery, rehabilitation and
reconstruction, with artistic analysis, it has opened avenues through which to newly think
about natural disasters and the methods that are being developed and adopted to aid in the
recovery process.
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