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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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Friswell, Richard. "Brooklyn Museum Features Swoon: ‘Submerged Motherlands’."

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museum_b_5115253.html>.

- - -. "'Swoon: Submerged Motherlands' Detail of the top of the tree." Huffington Post.

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museum_b_5115253.html>.

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Sabillon, Alejandra. Rising figure. Hi-Fructose. Shreiking Tree, 11 Apr. 2014. Web. 23

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brooklyn-museum-interview>.

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