Defending the Year 2020

I'm about to stand up for 2020, y'all — for realz!

This might be the one that loses me a lot of readers, but I gotta go in on the folks who keep hating on 2020. I appreciate that COVID-19 blind-sided everybody. Who expected a pandemic, right? But when you think about it, things could have been a lot worse. If you ask me, we got off damn easy. That the planet can still sustain life at all is damn near a miracle.

We know we've been overtaxing the planet for a long time. Many have been waiting for the government to intervene on our behalf like the good mommies and daddies we think they are. Anyone who's been paying attention, however, has been expecting some kind of disaster. We’ve been climate crisis mode for at least the past ten years wondering how we’ve managed to avoid catastrophe. Still, many have buried their heads in the sand like the darkness will make it less painful.

I don't want to diminish the suffering that people have gone through due to COVID-19. A lot of our family and friends aren't here due to the virus. When we highlight 2020 as a particularly bad year though, we ignore that there have been conditions around the globe that have made every year a bad year. There are people getting bombs dropped on their heads on the daily. People forced to watch their kids perish from hunger and easily curable (or at least preventable) illnesses.

Certainly, in the United States, where I imagine most of you reading this are living, the last four years have been a nightmare. People at the border have been detained in cages for the past four years. Communities have been increasingly under siege. George Floyd tips the iceberg for Black Lives Matter—a movement ignited almost 10 years ago with the death of Trayvon Martin in Sanford, Florida, in February 2012, and exploded in 2014 after the police killings of two unarmed Black men, Eric Garner and Michael Brown (let me name Sandra Bland, Philando Castile, Freddie Gray, Laquan McDonald, Tamir Rice, Walter Scott, Alton Sterling, and Breonna Taylor). It took until 2020 for most White people to get on the bandwagon. For Black Americans in particular, the last four-hundred years have certainly been no picnic.

So, no, I'm not gonna hate on 2020. For me 2020 was a time of course correction that we needed. The last four days have revealed to the entire world, what has been only too clear to a lot of us. America, the whole world, has been gaslighting oppressed populations pretending nothing was wrong and telling us to “Get over it!” Now, we all know: the lights were actually dimming, Paula. You aren't crazy after all.

Pink Flowers

Pink Flowers is a Black trans artist, peacemaker, educator, and pleasure activist whose work lives at the intersection of embodiment, governance, and cultural transformation. Trained in Theater of the Oppressed, Art of Hosting, and Navajo-informed Peacemaking practices, Pink designs spaces where conflict can be addressed, power can be examined, and joy can be reclaimed.

Her artistic and pedagogical practice draws from African trickster cosmology, Brazilian Joker traditions, shamanic ritual, and cooperative economics. She is the founder of the award-winning Falconworks Theater Company (2005–2021), which used popular theater to build civic capacity and participatory leadership in historically marginalized communities.

Pink served for over five years as a trained Peacemaker in the Red Hook Community Justice Center in Brooklyn, facilitating restorative processes within the New York City court system. From 2015–2018, she worked in cooperative business development with the Center for Family Life, supporting worker-owned enterprises in immigrant communities.

She currently serves as Director of Education and Training for the Inter-Cooperative Council in Ann Arbor, where she leads leadership development and conflict engagement initiatives. Her work has been presented nationally and internationally, including at the Stretch Festival in Berlin and the Pedagogy and Theatre of the Oppressed Conference.

Across ritual, performance, mediation, and institutional design, Pink’s work asks a central question:

What becomes possible when we refuse shame and choose conscious power instead?

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