Insult to Independence

This Independence Day is an insult, y’all — for realz!

So, you got a day off. In the system of wage labor we live in, here in the USA, a day without what we call work, is reason enough to celebrate. I get it’s a traditional day of outdoor gathering and food binging. With so many of my friends—including one who is a neuroscientist—experiencing food insecurity, the gluttony of yet another holiday is ever more triggering. It feels like exaggerating until I open my own refrigerator and see that it is not. Like many Americans, I’ll be choosing from among expenses for travel, family, food, healthcare, utilities and housing costs. Not all of those will be paid.

I don’t feel free. I feel engaged in a struggle for freedom. I think about the State attacks on my body—direct attacks veiled as protecting people. I imagine the various political teams huddled like the high school football team, congratulating themselves on having flexed their political muscle. I don’t imagine the specifics of these wins matter at all to them. I don’t back these teams I am losing patience with those who back these teams and oppose others as if any of this garbage is meaningful.

This July 4th, I am going to reflect on my experience as a US citizen who has been the target of violence in, and by my own country. Under that consistency of violent action, I’ve been advised that the best way to change the system is to participate. Those bits of wisdom land on me like [TRIGGER WARNING] as if I were a rape victim, under the attack, screaming for assistance. and being told I have to follow the process. The idea of stopping my attacker never seems to rate as the right way to protest.

We Americans (US citizens) must be a contemptible bunch of people that we are held in such low regard by our trusted servants. That’s the real conversation. How have we earned the contempt that makes our well-being so low a priority, and what is being prioritized instead? I’ve lost track of what any of this being part of a society, being part of a nation, is even about. I need a crash course im what The United States of America stands for. I need a reset.

I know I’m not free. I know I am in danger. My Blackness placed my liberty in question. Being trans limits my freedom. I won’t curse America, or judge those who choose to celebrate the country today. I won’t join you. I won’t wave flags. I will be silent for the parade. I may harness that gathering spirit and host friends. It will be more of a wake. I’m waiting for requiems to the day that will resonate. You will not see flesh on my grill. I hope I find some peace today. I’m all out of patriotism.

—Notorious Pink

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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