Essay 3 outline

Thesis- While Damali Ayo was successful in bringing attention to the issue of racism and injustice, her approach only contributed to increased tension amongst the two races and in no way, shape or form did anything to better society.

Paragraph 1- Was dressing like a bum really a necessary measure in order to ensure that her voice would be heard regarding the issues of slavery and racism? A more civic and intellectual approach would have been more influential seeing that the whole point of the project was to try to make whites respect blacks.

Paragraph 2- Other than generate frustration, what would taking money from white people that have nothing to do with slavery three generations ago do to help the issue?

Paragraph 3- As evidence to the video, reactions of anger and aggravation outweighed any hope of potential understanding or acceptance due to the fact that Ayo’s methods were not well thought-out.

Paragraph 4- Through examples of previous movements for civil rights and anti-slavery such as Martin Luther King’s rally and Rosa Park’s act on the bus, it is clear that in order to make changes, a problem needs to still persist. While it is true that there are still many racists, slavery ended long ago and recently blacks have been moving up in society.

Conclusion- Everywhere you hear Damali Ayo’s name, words like advocate and anti-racism appear. Although she supports a good cause, this demonstration in particular did nothing positive for equal rights awareness

Quote 1- “She’s written a book called "How to Rent a Negro" and created a satirical Web site, www.rent-a-negro.com. But damali ayo insists she is not a racist and is not making fun of white people” (ABC News).

Quote 2- “proponents of new public art of new genre public art explicitly position themselves in opposition to such exclusionary tendencies” (Kwon, 115).

Quote 3- “Social movements succeed when multiple channels are involved.” (Damali Ayo).

Quote 4- “to engage consciously with these and related issues can liberate on to listen to and undestand this art form of black, working-class culture” (Piper 133)