An interview about my exhibition "Acting in Numbers" with a Danish online art journal: En queer kunstners call to arms
3/15/2018

Mary Cobles udstilling Acting in Numbers sætter fokus på social uretfærdighed og protesten som en livsbekræftende, kreativ og nødvendig kraft. Ud fra sin egen position som anerkendt queer kunstner undersøger Coble spændingsfeltet mellem kunst og politisk aktion, performance og fotografi, den personlige erfaring og det at udtrykke den kunstnerisk. Det er både en tændt megafon lige i øret og en stille opfordring til at lege med.

Den usikre kommunikation
Jeg er lidt nervøs, da jeg skal møde Mary Coble en torsdag sidst på eftermiddagen. Selvom jeg som humanist og moderne blød mand kan tilskrive mig de fleste feministiske målsætninger, kan jeg som hvid mand alligevel ikke undgå at være en smule nervøs for, at kunstneren, hvis performances indeholder blækløs tatovering (Timeline of Disruption (2016) og Blood Script (2008)) og gaffatape på huden (Binding Ritual (2005)), ser rødt i mødet med intervieweren, fordi han ved sin blotte mandighed repræsenterer patriarkiet.
Sådan er Mary Coble heldigvis ikke, og mine egne fordomsfuldheder er måske et fint udtryk for, hvorfor Cobles udstilling er vigtig. Hendes målsætning er langt fra at skælde ud eller løfte pegefingre, men derimod at invitere alle ind til en kunstnerisk oplevelse, der udspringer af en queer erfaring og henter inspiration i forskellige protestformer. Om udstillingen hos Galleri Image siger Coble:
“Der skal både være noget, der trækker, og noget, der skubber. Noget, der får dig til at træde et skridt tilbage, men ikke får dig til at løbe helt ud af døren. Jeg vil gerne skubbe på, men jeg vil også gerne fastholde dig, fordi jeg har noget, jeg vil kommunikere videre, noget, som jeg vil have en dialog omkring. Jeg vil ikke skrige ad dig og få dig til at løbe væk.”

Mary Coble: Timeline of Disruption, 2016. Foto: Louise Wolthers
Kunstnerisk stræber Mary Coble efter det uforudsigelige, det mislykkede og det rodede, fordi disse begreber for hende udtrykker en queer erfaring. En erfaring, som udfoldes i performances som Performing Defiance (2015), hvor Coble med en løftet næve hoppede for at banke til et stort sejl fyldt med glitter, og Timeline of Disruption, hvor kunstneres blod via bestemte bevægelser på papir formede en ikke-lineær, queer tidslinje, der også kan ses på udstillingen.
I sin performances PULSE (2016) og PULSING (2018) undersøger Coble en fejlbarlig kommunikation med morsekoder, der på samme tid er en let tilgængelig kommunikationsform og umiddelbart uforståelig for de fleste.
“Jeg kan godt lide det rum eller det øjeblik, hvor det er muligt at kommunikere, men hvor fejlkommunikation og fiasko også er en mulighed.”
Mary Coble siger selv, at tiltrækningen til morsekoden kommer af “at tænke igennem en queer-feministisk linse, hvor tingene godt må være lidt ved siden af, men stadigvæk fungerer. Det må godt være anderledes. Og så kan jeg godt lide ideen om, at morsekoden kan være en lyd, eller den kan være visuel. Der er mange muligheder i det – hvis du har nøglen til at forstå det.”

Mary Coble: PULSE, 2016. Foto: Henry Chan
Bevæggrunden for PULSE var masseskyderiet i Orlando i 2016, hvor 50 mennesker blev dræbt og endnu flere såret på Pulse – en natklub for homoseksuelle. Coble valgte at lade en enkelt projektør pulsere slagord i form af morsekoder ud til deltagerne, som herefter blinkede dem videre ud i samfundet. Performancen er et godt eksempel på, hvordan Cobles værker starter som en reaktion på eller imod noget og gennem performance og billeder finder vej ind i galleriet.
Om at komprimere tid
Og der er langt fra den forlystelsespark i Toronto, hvor Cobles performance PULSE fandt sted, til et galleri i Vestergade i Aarhus. Det tætteste, man som publikum kommer på at opleve performancen, er installationen PULSING, der blinker kodede slagord ud til det aarhusianske gadeliv – ellers må vi nøjes med fotografier. Men for Coble er fotografierne i udstillingen mere end bare dokumentation for overståede performances.

Mary Coble: PULSING, 2018, i Galleri Image på Vestergade i Aarhus. Foto: Mary Coble
“I en performance kan jeg reflektere over modstand og protester og handlinger, der måske kan vare flere år. Jeg reflekterer over eller gennemgår de år i halvanden time. Så der er referencer til en tidshorisont, der går langt ud over det enkelte værk. På den måde er performancen en komprimeret tidslig oplevelse. Og fotografiet gør på en måde det samme. Det viser et bestemt øjeblik, men kan på samme tid referere til noget, der strækker sig langt ud over øjeblikket.“
Samtidig med, at det både komprimerer tiden og strækker den ud, er fotografiet en æstetisering af den rodethed og uforudsigelighed, der er en integreret del af Cobles performances.
Protesten fortsætter i galleriet
Selvom fotografier kan synes ufarlige i forhold til en performance, arbejder Coble med, hvordan følelsen af rodethed og energien fra protesten kan penetrere gallerirummet og stadig bibeholde kunst og protest som to forskellige sfærer.
“Det er måske her, der kan opstå komplikationer. Altså når man æstetiserer protesten for eksempel, eller når man tager noget, der i virkeligheden er mest potent, når det finder sted på gaden, og rykker ind i galleriet – så kan det blive problematisk. Og det er en af farerne, jeg reflekterer over, som jeg er bekymret over, men som jeg også forsøger at lege med.”

Mary Coble: We are here, 2017, i Galleri Image. Foto: Ask Hastrup
For Mary Coble er protesten en særpræget og unik måde at tænke og udtrykke en queer erfaring. En erfaring, som omvendt også fordrer protest og modstand, og som åbner op for at tænke udenom konventionelle baner. I galleriet ses det ukonventionelle bl.a. i serien We are here (2017), hvor Coble opfordrer besøgende til at flytte rundt med billederne af protestskilte. For Coble er roden til det ukonventionelle tydelig.
“Jeg tror, det kommer ud af en queer erfaring af nødvendigheden af at tænke anderledes eller det at være anderledes. Det åbner nye muligheder, men nogle gange gennemtvinger det også nye muligheder, fordi man ikke kan passe ind og er nødt til at prøve på en anden måde.”
Coble tøver ikke med at sige, at udstillingen er politisk, men insisterer på, at der sker en transformation af protesten, når den bearbejdes kunstnerisk. Det er protest i kunstnerisk form fra en queer position, rodet og uforudsigeligt, og selvom det foregår på et galleri er det med Cobles ord “en opfordring til handling.”
På udstillingen Acting in Numbers præsenterer Coble fem serier: Performing Defiance, PULSETimeline of DisruptionOne Movementog We are here foruden installationen PULSING.
Mary Coble er opvokset i North Carolina, USA. Hun er uddannet fra The George Washington University i Washington, DC.
Coble har undervist på forskellige kunstneriske institutioner i USA, bl.a. på The George Washington University og Maryland Institute College of Arts i Baltimore, Maryland.
Mellem 2011-2014 arbejdede Coble som underviser ved Det Fynske Kunstakademi. I dag bor hun i Göteborg og arbejder ved Valand Academy of Art, Göteborg Universitet.

New Collaborative Performance
1/26/2018


Over the past week I have been teaching a workshop "Performance as Political Assembly" at the Jutland Art Academy. Together, with the workshop participants -Sara Arenfeldt (from the Funen Art Academy), Jakob Niedziela (from the Umeå Academy of Fine Arts), Nicolai Nielsen (from the Bergen Academy of Art and Design) and Timo Viialainen (from the University of the Arts Helsinki) we have developed a performance that we will test out at the opening of the seminar I've organized "Acting in Numbers:  Performance, Photography and Activism".

We've worked super hard together, had great conversations and look forward to sharing this with a live audience! 

Interview in the Danish Culture Magazine Fine Spind: QUEER, FEMINISME OG SOCIAL RETFÆRDIGHED: KUNSTNER MARY COBLE
1/20/2018


I talked with the folks from Fine Spind about "Acting in Numbers", my exhibition at Galleri Image. Check it out and check them out...good stuff happening there!

http://finespind.dk/index.php/artikler-og-billedserier/815-queer-feminisme-og-social-retfaerdighed-kunstner-mary-coble-i-galleri-image-interview

SEMINAR: ACTING IN NUMBERS: LINKING PHOTOGRAPHY, PERFORMANCE AND ACTIVISM: January 27, 2018 , 13-18:00, Jutland Art Academy, Aarhus, DK
1/20/2018


During the exhibition period of Acting in Numbers at Galleri Image, the complex relations between art and activism as well as photography and performance will further be explored in a public seminar with other practitioners. The seminar will include Mary Coble who will present a live work and facilitate a panel discussion. Annika Lundgren will be presenting extracts from Winter is Coming - an investigation in progress, inquiring into the relationship between spiritualist practices and the new species of right wing populism that has been emerging in the political landscape over the last 15 years. The project belongs to Lundgren's work series State of Affairs which takes its starting point in various current phenomena and operates with the associative linking of ideas and theories to create new political perspectives. Artist Stense Andrea Lind-Valdan and Art Historian and critic Rune Gade will participate with a performative dialogue about their current collaborative project Fountain. This - in progress dialogue - will connect performance and photography as well as art history, artistic research, and artistic practice into a productive, personal, and intimate dialogue. The artist Nanna Gro Henningsen will be presenting abstracts from A European Afternoon - a cycle of songs for unequal voices and a video montage presenting a historical and mythical take on the politics and humanitarian crisis of contemporary Europe. The metofology and historiography of the work is that of montage from art and literature to news media and refers to the dialectical image of Walter Benjamin's esthetic thinking. Moderator of the seminar is Judith Schwarzbart, rector of Jutland Art Academi. The seminar is in english. 

Annika Lundgren is an artist, currently based in Gothenburg and presently Deputy Artistic Director at Skogen. She has been employing imagery and gestures of marginalized forms of knowledge production in her previous work such as the performance series Strategies of Magic, using them as tools to locate the political in different contemporary contexts. Please visit her website at: http://www.annikalundgren.net 

Andrea Lind-Valdan is a Copenhagen, Denmark based artist who works with painting in the extended field. Her work is based on a painterly, formal, and autobiographical approach expanding into photography, performance, and written poetry, dealing primarily with issues such as motherhood, love, violence, and desire. Please visit her blogs here:  http://stenseandrealindvaldan.blogspot.sehttp://youshouldpopstuff.blogspot.se 


Rune Gade is a Copenhagen, Denmark based Art Historian and critic as well as an Associate Professor in the Department of Arts and Cultural Studies at the University of Copenhagen. He specializes in Danish and International contemporary photography's history and theory, performance, gender theory, and feminism, picture pornography, museology and exhibition analysis and art criticism. 

Nanna Gro Henningsen is a Copenhagen, Denmark based artist who works with instillation, text, photography and video. Her method is to implement the fragment as a grammatical element in spacial, linguistic or iconographic montages. In order to create new readings or breaks in conventional cultural, political or historical imaginations, challenging the concept of history. 


For more info visit:  http://galleriimage.dk/index.php/en/component/rseventspro/event/223

PULSING
1/20/2018


I made a new work PULSING that needs your help to be activated! Go to http://pulsinginaarhus.tumblr.com

PULSING is a site-specific LED light installation that uses Morse Code as a method of visually transmitting textual messages into a series of light signals.
On this website people are invited to write a civil rights chant, a lyric from a protest song or a verse from a poem of resistance or any other calls for action that they are empowered by. See examples under the ‘Chants’ section. These verses will be translated in real time into a Morse Code light pulsing from the window of Galleri Image onto the streets of Aarhus, Denmark from 10-20:00 each day of the exhibition. 
PULSING is a project initiated by artist and activist Mary Coble that has been developed in collaboration with nuclear engineer, energy activist and programmer Nick Touran. He has blogged about our whole process here: https://partofthething.com/…/helping-an-artist-with-a-mors…/
http://pulsinginaarhus.tumblr.com

Solo Exhibition: Acting in Numbers, Opening Jan 12, 2018
12/9/2017


January 12th marks the opening of the first exhibition of 2018 at Galleri Image which will be Acting in Numbers by American artist Mary Coble.

The opening will take place Friday January 12th from 4 pm to 6 pm. There will be served refreshments and the artist will be present.

Saturday January 13th at 2pm Mary Coble holds an artist talk at Galleri Image.

Seminar Saturday January 27th 2018 

*****

The works in the exhibition Acting in Numbers by Mary Coble share a focus on resistance and activism through the examination of iconic symbols, bodily gestures, chants, and signals. Coble uses both performance and photography in order to investigate and 'queer' our understanding of places, actions, bodies, and history.  

The photo series Performing Defiance, which was commissioned by the Danish Arts Council for the series Performance photographs (2015), are moments from a durational performance involving a pink latex triangle and an abundance of glitter. Here, the artist repeated the act of raising a clenched fist in protest for an exaggerated period of time, which opened for unpredictability, messiness, and potentially failure.  

Whereas photography is drawing with light, the artist has also used drawing with blood as a consistent method for over a decade. Timeline of Disruption (2016) is the photographic documentation and physical imprint of a performance by the same title, where the artist had a number of lines drawn on her body as inkless tattoos. Coble transferred the thin line of blood that formed on the skin onto a roll of paper laying on the floor by embodying the positions of defiance used in various protests.  

Light is both the source and the main medium in PULSE (2016). The photo series is the result of a ten-day performance, where the artist climbed the Cinesphere of an abandoned amusement park each night to repurpose it as a beacon of protest. A series of Morse Code messages were transmitted from the structure to collaborators on the ground positioned throughout Ontario Place Park who then relayed the message on using their own light source. The morsed messages were composed of statements and chants used in recent and current protests and fights for civil rights, and they can now be transmitted again through the photographs.  

The most recent photographic series, We are here (2017) and One Movement (2017), are based on traces of the marches and protests against Donald Trump’s inauguration in Washington, DC January 2017. Both reflect Coble’s meticulous, on foot, documentation of the fences surrounding the White House.  

The exhibition is created specifically for Galleri Image and makes full use of its space to display the serial character of Coble’s photographic and performance works and to explore notions of time, repetition, and sequencing in photography and performance in general. 

Photo credit: Henry Chan, from the performance of PULSE by Mary Coble (2016)

Seminar Saturday January 27th 2018 

During the exhibition period, the complex relations between art and activism as well as photography and performance will further be explored in a public seminar with other practitioners. The seminar will include Mary Coble who will present a live work and facilitate a panel discussion. Annika Lundgren will be presenting extracts from Winter is Coming - an investigation in progress, inquiring into the relationship between spiritualist practices and the new species of right wing populism that has been emerging in the political landscape over the last 15 years. The project belongs to Lundgrens work series State of Affairs which takes its starting point in various current phenomena and operates with the associative linking of ideas and theories to create new political perspectives. Artist Stense Andrea Lind-Valdan and Art Historian and critic Rune Gade will participate with a performative dialogue about their current collaborative project Fountain. This-in progress dialogue-will connect performance and photography as well as art history, artistic research and artistic practice into a productive, personal, and intimate dialogue.

------------
Annika Lundgren is an artist, currently based in Gothenburg and presently deputy artistic director at Skogen. She has been employing imagery and gestures of marginalized forms of knowledge production in her previous work –such as the performance series Strategies of Magic–, using them as tools to locate the political in different contemporary contexts.
Please visit her website at: http://www.annikalundgren.net/

Andrea Lind-Valdan is a Copenhagen, Denmark based artist who works with painting in the extended field. Her work is based on a painterly, formal and autobiographical approach expanding into photography, performance and written poetry, dealing primarily with issues such as motherhood, love, violence and desire. 
Please visit her blogs here:  http://stenseandrealindvaldan.blogspot.se/http://youshouldpopstuff.blogspot.se/

Rune Gade is a Copenhagen, Denmark based art historian and critic as well as an Associate Professor in the Department of Arts and Cultural Studies at the University of Copenhagen. He specializes in Danish and international contemporary photography's history and theory, performance, gender theory and feminism, picture pornography, museology and exhibition analysis and art criticism.

The exhibition will be on display until February 27th. Tursday-Sunday from 1 pm to 5 pm. 

Read more about Mary Coble here: http://www.marycoble.com/

VOICES: PERFORMANCE WEEKEND 8-10 SEPT, BERGEN, Norway
8/28/2017

In connection with this year’s parliamentary election, KODE invites you to the performance weekend "Voices" 8-10 September, at KODE 1.

Download the extended program here, with more information about the artists.
 
As the parliamentary elections approach in Norway, great political changes are taking place in the world around us. Established systems are under pressure, and new struggelse about what is true and what is false is being fought. What responsibilities must we commit ourselves to as individuals living in a democracy? Who is being heard? Do we understand what other people expect of us? What kind of encounters do we seek, and what kind of confrontations do we seek to avoid? 

This weekend we have invited a number of Norwegian and international performance artists to comment on the significance of free elections, allowing complete freedom to express political views and beliefs. 
Performance is a direct encounter between the artist and the public that generates vulnerability, intimacy, curiosity, experiences and insight. Listen. Use your voice. 
Artists
Ali Al-Fatlawi and Wathiq Al-Ameri (IQ)
Alicia Framis (ES / NL)
Ann Liv Young (US)
Eivind Reierstad and A-project (N)
Gitte Sætre & The Green Hijab Movement (N)
Hungry Hearts (N)
James King (UK)
Kate Pendry (UK /N)
Kiyoshi Yamamoto (JP/BR)
Lilibeth Cuenca Rasmussen (DK)
Marit Tunestveit Dyre (N)
Mary Coble (US)
Pavana Reid (N/UK/TH)
 
Program 
Friday 8 September
18:00: Opening, KODE 1
18:00–: Lilibeth Cuenca Rasmussen, KODE 1
18:15–19:45: The Rafto Foundation: "Democracy cake" board game, KODE 1
20:00–24:00: Program curated by Performance Art Bergen (PAB), KODE 1
- Marit Tunestveit Dyre
- Pavana Reid
- Kiyoshi Yamamoto
- Gitte Sætre & The Green Hijab Movement
- Ali Al-Fatlawi and Wathiq Al-Ameri
Saturday 9 September 
13:00–14:30: Mary Coble, Byparken (Park outside KODE 1)
15:00–16:30: Kate Pendry, KODE 1
17:00–21:00: Ann Liv Young, Byparken (Park outside KODE 1)
21:00–22:00: Hungry Hearts, KODE 1
22:15–: Party Party, You are all invited, let's party! KODE 1
Sunday 10 September
12:00–15:00: Eivind Reierstad and the A-project, KODE 1
12:00–16:00: Alicia Framis, KODE 1
16:00: James King, KODE 1
From 16:30–: Discussion about performance and politics, KODE 1
Tickets
Free admission on Friday (Part of the Cultur night in Bergen 2017).
Saturday and Sunday: Adults: NOK 100, Students*: NOK 50, Children Free admission (tickets valid for 2 days)
*Free admission for all Bergen students from 15 August-15 September at KODE.
The performance weekend “Voices” will take place at KODE 1 Friday, 8 September to Sunday 10 September, and is curated by KODE and Performance Art Bergen (PAB). "Voices" is also organised in collaboration with Raftosenteret. See also the performances arranged during the same weekend by BIT Teatergarasjen.

Red Rover, New Performance September 9, 2017 at 13:00, Bergen Norway; Voices (or Stemmer in Norwegian) KODE – Art Museums of Bergen have organized a weekend of performances.
8/23/2017


The perfomrance Red Rover will be the result of a 5 workshop in Bergen, Norway with local and international artists currently studying in art schools. 

The children’s schoolyard game Red Rover, containing elements of both play and violence, forms the basis for the score of this live work. The game points to issues such as battle, barriers and social control as two opposing teams, standing arms linked, try to break through and consume the ‘enemy’ side.  The performance is a collaboration generated in part from a week-long workshop prior to the live work. The workshop group will develop choreographed and improvised actions, inspired by the game’s foundational but complex elements of assembly, election and strategy.
 
 

Performance as Political Assembly Workshop followed by new collaborative performance "Red Rover", Bergen, Norway September 4-10, 2017
8/23/2017

Workshop Description:

This workshop is initiated by Mary Coble upon the invitation by KODE-Art Museums of Bergan to participate in Voices that will be held at KODE on September 8th, 9th and 10th. Numerous artists have been commissioned to develop and perform live works that respond to the current state of political elections- which is expanded upon in their curatorial statement*. The Norwegian government elections are on the following Monday September 11.
The workshop will be five days in totally and will include a live performance on the final day that will be included in the Voices performance program 

The workshop will include three main elements:
1. Thematic discussions, seminars, presentations
2. Performance preparation
3. Live performance 

1.Thematic discussions
Coble’s artistic research project for a number of years has resulted in multiple performances that explore the relationship between queer performance and activism including gestures of defiance such as the raised fist or protests where groups of people link arms and assemble together or times where single bodies defy structures of power. Humorous acts of glitter bombing and pieing as more non-traditional forms of resistance are also included in this research.
This workshop will incorporate Coble’s current artistic research as well as that of other invited performance artists, researchers and thinker such as Frans Jacobi, Professor Timebased Art / Performance, Institute of Art Faculty of art, music & design, University of Bergen and a member of the Voices organizing group.
Discussions of the importance of bodies gathering in protests would be informed by selected readings of for example Judith Butler’s Notes Towards a Performative Theory of Assembly. The workshop will also include a look at the recent Presidential elections in the United States and the Trump administration’s rhetoric in relationship to the Scandinavian and European political climate.
The workshop will work around the political concepts that could be distilled specifically through the children’s schoolyard game Red Rover** –which the live performance will be based on-such as contemporary urgencies of boundaries, barriers, fences and border control as well as the lines between play and violence and social control.

2. Performance preparation
Based on the discussions described above the workshop will serve to prepare the participants for a live performance based loosely on the game Red Rover.
The participants will work to learn a set of choreographed moves-that Coble will have created in advance of the workshop- but that then will be combined, modified or further developed together as a group. The workshop participants will work collaboratively to create a set of strategies that will give allow for control during the performance of the Red Rover game but would also allow for chance and spontaneity.

3. The live performance
The live performance is scheduled for Saturday 9th from 13:00-14:30 at KODE – Art Museums of Bergen.
The proposition of the performance has its foundation in the common schoolyard game Red Rover. The workshop group will be performing according to a set of prepared, choreographed moves, which point to the game’s basic but complex elements of assembly, battle, election and strategy. The workshop will prepare the group conceptually, mentally and physically for this performance.
This workshop and performance will be physically demanding. However people of all abilities and fitness levels are encouraged to attend. The workshop will be formulated to accommodate any need. If there are any questions or concerns about this in advance, please feel free to email Mary Coble at mary.coble@akademinvaland.gu.se
This workshop will be in English.
This workshop will be lead by Mary Coble, artist and Senior Lecturer at Valand Academy with additional supporting guests. Embracing unpredictability, messiness and failure Coble has worked with performance art for over 17 years, through this time aiming to manifest problems of bodily, societal and symbolic navigation particularly focusing on issues of injustice and normative boundaries. Recurrent themes in Coble’s work revolve around queer politics and poetics often working site-specifically, research-based and – from time to time collectively/participatory. Engagement in artistic practices and interventions within and outside of established institutions and the use of activist strategies are integral to Coble’s work.

++++++++++++++++++++++++++

*The following is the curatorial statement from the KODE-Art Museums of Bergan Voices organizing group:
“In connection with the Norwegian government elections on September 11 this year, KODE – Art Museums of Bergen, has invited a group of performance artists. They have been asked to comment on the impact of free elections and election results for the individual and society as a whole. The artists are free to express political standpoints and opinions on ethical issues.
During the last couple of years, elections and election results in the western world have received increased attention. There is an increase in political polarization in the public discourse and a combat on who is projecting truthful, objective information. Fundamental political alliances are changing. What values are at stake? What does the individuals opinion, engagement, and democratic involvement, mean in 2017?”

**Red Rover played in the United States and elsewhere under various names such as Forcing the City Gates Octopus Tag and Send, O King, A Soldier.
There are two teams (team A and team B). The members of team A line up side by side-holding hands or linking arms. They stand opposite of and facing team B who is in the same configuration and is 15-20 meters away.
Team A elects a player from team B and together they yell ‘red rover, red rover send Mary (or someone’s name from the other team) right over’. This person then has to leave team B, running or moving towards team A trying to break through their linked arms and clasped hands. If this person successfully bursts through then they get to take one of the members of team A back with them to team B. If this person is stopped from breaking through then this person must join team A-adding to their team size.
This routine continues until one team completely consumes the opposing team leaving a single mass of ‘the winning team’ verses two opposing sides. To note- Red Rover has been banned in many US schools today because of the violence and bullying that some think it promotes; others support the game citing the teamwork and strategic thinking that’s needed.


9/19/2016

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