A Year After Astroworld Disaster, Victim’s Family Launches Nonprofit to Prevent Festival Tragedies
Nov. 28, 2022
Family and friends of Madison Dubiski founded the Pink Bows Foundation in her memory, calling for better protocols and safe spaces at large events, such as this one.
IN EARLY NOVEMBER, the city marked a terrible anniversary, one year since the Travis Scott Astroworld music festival tragedy at which 10 young lives were lost, and numerous others were injured both physically and mentally. In a year’s time, sadly, little has been done by the city to make changes in security policies or responsibilities. The one exception might be the formation of the Pink Bows Foundation, developed by the parents of beautiful Madison Dubiski, one of the victims.
It began organically. In the wake of the disaster, people around Houston started displaying “Pink Bows for Madison.” The grassroots movement spread, and people across the country and around the world began wearing pink shirts, adorning their homes and businesses with pink decor, and using the #pinkbowsformadison hashtag.
But the Dubiskis realized that the movement was special, and that all victims from that day should be honored, their passing not in vain. So on May 1, 2022, which would have been Madison’s 24th birthday, the Pink Bows Foundation was formed to advocate safety and security reform at live events, to prevent a similar tragedy from happening in the future. Fundraising has been robust, with the likes of Christian Louboutin and Saks Fifth Avenue supporting with donations and in-store events. There’s a “Bingo and Bubbles” event planned for February at Minute Maid Park.
Safety and security are the first priority of the Pink Bows Foundation. The organization, of which I’m proud to serve as president, believes that things do not end up wrong. They start off wrong. And if all safety protocols are not followed, the consequences could be devasting.
Pink Bows Foundation mission is to promote stronger safety protocols … consistently implemented at entertainment venues, while providing safe spaces and protecting attendees to prevent avoidable injuries or death.
The first priority is to heighten the awareness of safety measures at large venues. Having better trained security personnel, enough exits, wider aisles for traffic, and an independent firm with the authority to halt an event should crowd control become unruly is vital. Additionally, the envisioned Pink Bows Safe Space would create a place within a festival or live concert venue where attendees can go when they feel overwhelmed or if they become uncomfortable with event safety and security.
At large events, attendees can feel scared, helpless and voiceless when they have concerns about their safety. Often, event staff and security personnel lack the training to identify and mitigate dangerous crowd dynamics. Moreover, promoters and venue managers can be slow to make safety decisions that could adversely impact the profits. The Pink Bows Safe Space will serve as a sanctuary for people who are overwhelmed at a venue, offering a seat for those who need a break, water for those who are dehydrated, someone to talk to and more.
Pink Bows strives to cooperate with promoters and venues as a valued safety and security partner. We hope the Pink Bows Safe Place will become a visible symbol of safety and security for attendees.
Madison Dubiski
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In Lisa B Woods’ ‘Re)cognition,’ landscape-like images are projected on a paper, geodesic masque, modeled after the face of a young Black woman.
SHE COULD BE your grandmother, this elderly Black woman, sitting quietly on the couch, keeping her thoughts to herself. Her head is kept warm by a black knit cap, and her feet, also warm in thick slippers, are propped up for comfort. This photo by Houston’s Jamie Robertson, one of five artists in the group show Black Love Now, on view through Jan. 21 at Nicole Longnecker Gallery, is one of many works that provides a space for contemplation and healing; the show also includes pieces by Texas-based Madelyn Sneed-Grays Lanecia Rouse Tinsley, Lisa B Woods and Ann Johnson.
“It’s a directive to the audience to love Black people now,” says curator Scarlett Wieliczki of the show’s title, which she feels is very much “on the nose.” “I feel like when we become elusive with meanings and we’re not direct, then our intentions … become lost.”
Wieliczki, a Black woman born and raised in Houston, describes the exhibit as her form of protest, inspired by the Black Lives Matter marches. Loss and renewal are its “core conceptual pillars,” and the attention artists pay to what Wieliczki describes as “ancestral informants” may be the key to a better future. “So much of Robertson’s work is about remembrance,” explains Wieliczki, pointing out the attention to detail in Robertson’s photos that “connects you to a past that you never really articulated or expressed to anyone else before.”
Anchoring time while making it clear the future is now is Austin-based light and sculpture artist Lisa B Woods’ “Re)cognition,” a kaleidoscopic face surrounded by several feet of tightly weaved curls of black paracord.
As a curator, Wieliczki strives to support new forms of contemporary artistic practice, but with Black Love Now, she is after something that transcends the typical gallery experience. “The grief part of this show is really loud,” says Wieliczki, who becomes very emotional when discussing the art and artists she has gathered for Black Love Now and alludes to personal losses she herself experienced during the production of the exhibition. “We’ve consumed so much death, I feel we need a time and a space to process and come to terms with that as a community.”
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