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FREMONT SOLSTICE, NOW WITH SHELL-BASHING
June 22nd, 2015 by Clark Humphrey

evil oil well 1

 

Another bright mid-June day, another Fremont Solstice Parade.

As usual, it featured wordless performances expressing “political” notions of Good vs. Evil.

Shell’s arctic platform and its noble “kayaktivist” opponents were among the principal tableaux of this type.

corporate person float

But there were others as well. Legendary local artist Carl Smool created a kinetic statement about big-money politics and the notion of “corporate personhood.”

school prison pipeline banner

A banner decried the “school to prison pipeline.”

spirit of mandatory testing

A schoolmarm tied up in ropes signified dreary, “to the test” education.

black boy coffin with white pall bearers

It’s hard to tell from this angle, but these pall bearers are carrying a coffin adorned with the faces of black children and flags of African countries.

giant puppets 2

But also as usual, there were plenty of other spectacles depicting an affirmation-of-life spirit.

starry night costume

orange flag dancers 3

panties and white pasties

This includes the parade’s famous nudes, on and off of bicycles.

tiger skin nudes

blotchy paint nudes 2

orange nudes 2

The body, revealed but still adorned, in a non-sexualized “family” context, is the ultimate example of the “Good” half of the parade’s dichotomy.

Many people, including myself and my half-namesake Kenneth Clark, have pontificated on the meaning of the unhidden human body in modern societies. For now, let’s simply say it symbolizes aspects of the Solstice Parade community’s ideals for life: “natural,” free-flowing, post- (or pre-) industrial, un-commercialized, un-stigmatized, un-pressured.

And impracticable for modern urban environs, except on special occasions and in special circumstances.

 

 


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