Speech by Carrie Mae Weems, “Contested Sites of Memory” – Essence

Carrie Mae WeemsThe distinguished artist, known for her deep exploration of identity, power and historical narratives, has once again pushed the boundaries of art with her latest work: Contested Sites of Memory: Performance with Artist Carrie Mae Weems. Held at the Institute of Contemporary Arts and produced by Shore Art Advisory, it masterfully combines live music, spoken word, and video works to reveal a nuanced dialogue around memorials, memory, and racial healing.

This project is part of a larger event organized by E Pluribus Unuman organization dedicated to promoting racial equality and building a more inclusive South. Weems’ alliance with EPU, which has long worked to heal divisions and combat systemic racism, creates the basis for a conversation that feels timely and timeless. “I’ve been working on the idea of ​​contested sites for several years now,” Weems explains. “The performance is an opportunity to bring artists together and explore the complex narratives surrounding monuments, especially in a place like Richmond.”

The importance of Richmond as the first location for this show cannot be underestimated. Once the heart of the Confederacy, this is the city where monuments sparked a national debate. Weems has long been fascinated by the symbolism of monuments, often questioning in her work how public spaces can reflect painful histories while also serving as places for healing. For Contested places of memorythe decommissioning of Confederate statues in Richmond becomes both a backdrop and a point of discussion.

At its core, the show is a multimedia experience designed to spark dialogue. Weems collaborated with local and national artists, each bringing their own interpretive perspective. Richmond’s Destiny One Choir provided a stunningly beautiful musical backdrop, and renowned musicians Nona Hendricks, Jawaad ​​Taylor and Craig Harris added layers of sound that enriched the performance. Harris, a renowned jazz trombonist known for addressing social injustice in his compositions, led the band with a score that was both reflective and charged with emotion. Spoken word by Carl Hancock Rooks and Esther Armagh offered powerful narratives that Weems skillfully combined with video installations.

“It gives the work a fuller dimension,” the artist says of the interdisciplinary approach. “We can express these ideas through music, visually, through poetry, and when you put them together, you create something completely different.” By combining these forms, Weems allowed viewers to experience the complexities of her art on multiple levels.

Jazz and spoken word create an immersive auditory experience that deepens audience engagement. “Our lives would be nothing without music,” Weems says. “Sound is the beat of the heart, the first word, and music forms the rhythm of our lives.” According to Weems, the use of sound in Contested places of memory was not just an artistic choice, but a fundamental part of conveying its emotional and intellectual weight. “Music gives pace and movement to the work, to the words,” she adds.

One of the central themes is the question of who should be remembered and how. Weems, always conscious of her family history, shares a personal account of her grandfather Frank Williams in the play. “What happens to a person who is somehow glorified, but no monument is erected in his honor?” she asks. This question, posed both to herself and to the public, becomes a larger exploration of the role of monuments in shaping collective memory.

Weems expanded the message beyond the stage through public art. For her Richmond debut, she designed four billboards that were placed throughout the city from September 23 to October 20. The billboards, which featured photographs of empty plinths and probing phrases, urged viewers to reconsider the purpose and impact of the monuments. “I don’t tell people what to think,” Weems explains. “Rather, I present a range of considerations that may be important to their thinking and values. This is a reason for dialogue.”

How Contested places of memory preparing to travel to New York and Washington in early 2025, Weems is open to developing the project. She plans to work with other musicians, such as pianist and composer EJ Eyre, to experiment with music while maintaining the original focus. “I know this version works,” said award-winning Creative says, “But I’m willing to take risks and experiment with different ways of interpreting these ideas.”

Ultimately, Weems views her role as both artist and provocateur. “I hope to promote dialogue even with those who disagree with me,” she says. Importance Contested places of memory is not to offer answers, but to ask questions about who we remember, how we remember them, and what values ​​we choose to embody in public spaces. This unforgettable and multifaceted performance invites us all to reconsider the conflicting stories that shape our present.