tactics of resistance Dancers for a free Palestine: that artists understand
A s the horrors of the ongoing U.S. funded Israeli genocide in Pal- estine pour into our social media feeds from Gaza over the last six months, it has become more clear to me how FLACC’s seemingly small, yet, pub- lic “platform” has more influence and power on a political and cultural stage than I realized. Not because we have a million followers, but because you don’t have to be that big in order for the algorithms to sti- fle you on Facebook and Instagram. The recent congressional efforts to ban TikTok, the Twitter files report by Matt Taibbi last year, the removals and demonetizing of peo- ple-funded YouTube accounts, the ongoing silencing and firing of schol- ars and journalists across the coun- try is evidence that our knowledge challenges the political narrative of which they are no longer in control. Our government and its donors are worried about dissenting voices of artists, educators and regular peo- ple exercising our 1st Amendment rights to freedom of speech—which includes sharing the raw footage of the bloody crimes against humanity in Gaza. By Liz Duran Boubion
Flacc censored by meta
Festival of Latin American Contem- porary Choreographers (FLACC) had under 2,000 followers on Instagram when the Meta Corporation perma- nently deleted the @flaccdanza Insta- gram page and by extension disabled access to all three of my Facebook pages connected to my name. It hap- pened on my birthday, October 19, days after I attended a pro-Palestine march in San Francisco which I posted
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In Dance | May 2014 | dancersgroup.org
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