DOCSLIB.ORG

November 1969 $'92 25~ Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
November 1969 $'92 25~ Vol IN THIS ISSUE -PRISON INTERVIEW WITH LOS SIETE -LIBERATION WOMEN'S UNION -IIC ACTION NOVEMBER 1969 $'92 25~ VOL. 5 NO. 10 -MUNIBLACKCAUCUS • THE MOVEMENT PRESS BULK FlATE 4.•. POSTAGE 330 Grove Street PAID Mr. & Mrs. Grant Cannon San Francisco, California 94102 Sail Franc:l_. Calif. 4907 Klatte Road P..-mlt No. Cincinnati,' Ohio 45244 TORTURE IN BRAZIL EDITORS NOTE: The following document was smug­ gled out of Brazil. The brother who sent it to us requested that we do "everything within our power to translate it and seek to have it pUblished broadly". OLEO STRUT IS RECRUITING Since he gave no address or suggestions on how we might help, we assume that we can best show our solidarity with our brothers and sisters struggling The Oleo strut is looking for new staff members. oppressive nature of the Army. against imperi.alism in Latin America by building The strut is a GI coffeehouse located in Killeen', The Oleo Strut staff is a collective. We live in one a front against imperialism inside the monster. Texas near Fort Hood. As well as the regular ac­ house and all work every day at the Strut. We have tivities of a GI coffee house, we hope to have a been working as a collective for 4 months and have been DOCUMENT NO, 1 radical bookstore, combination military law and varyingly successful. Within the collective is a wo­ radical books library in tIE near future. men's caucus. We discuss all problems and polit­ On (date, late 1969), two sisters ("A" and"B" , Killeen is a small town with a population of ical questions that arise. We discipline ourselves both respected educators) were arrested by the SS 35,000 people totally dependant on the Army for individually and from the collective we discipline agents of the Brazilian "X" Army at (hour), and its income. Fort Hood itself is a 39.000 man Armored ourselves as a group and criticize -each other for required to give the whereabouts of their brother Post staffed largely by Viet Nam returnees. There mistakes we make as staff members. ("C", a student leader). It is clear that they knew is no basic training, and almost everyone is just ­ We feel that our most important work is devel­ nothing, for they had not seen their brother in more waiting to get out. Because Fort Hood is a riot oping GI organizers who are laying the groundwork than twel Ve months. They were then taken to the head­ control center and discipline is threatened by Nam for a mass movement in the Army. One of the best quarters of the "X" Army, in (address); upon entering vets, the propaganda and coercion are heavy. A lot organizing tools that has been established at Fort a large room, they saw some 40 men torturing 5 or of guys seek escape in dope. In fact, a whole cult has Hood is the Fatigue Press which is put out by the 6 people. Fifteen or twenty of them (ofthe torturers ­ been developed around it. GIs. 5 to 8 for each prisoner) were visibly under the in­ For two reasons we have a firm understanding that In conclusion then, we are looking for people (mp.n, fluence of alchohol, - a Dantian scene very similar no one on the staff will use drugs in Killeen. The first women, or couples) who are willing to: to the GESTAPO, The two were mistreated, kicked and most obvious is that it is a bust - an easy one l)make a commitment of at least six months, hope­ and slapped. They were threatened with having their and one that will close the strut forever. The second fully starting in October or November, or as soon as clothing removed (one man, the most inebriated, is equally important and is the reason that we talk possible. called insistently for the "strip-tease" to begin ­ against drugs to the guys who come to the Strut'. 2) do shit work in the coffeehouse. indicating the frequency of this sort of treatment). , Use of drugs in the Army is as destructive as ghetto 3) learn about military law and counsel on court­ On the morning of the same day, "D" died when use of drugs. Guys are trying to escape the fact that martials and CO applications. when blown to bits by a bomb which he had been they are in the Army and spend all their time getting 4) learn and make changes according to the demands carrying. His roomate f' E" ...was taken to the same high instead of organizing. And of course the Army made by the working situation in Killeen and the Army. torture site; they wanted to know where his friend would rather court-martial a guy for dope than pol­ 5) view their work as long-range, and not look for had held his meetings. He was nude and was placed itics. regular victories. This is organizing, not activism and in "pau-de-arara" (tied hands and feet, arms around In an attempt to break down the barriers between takes patience. ' his knees in a sitting position, and then hung from the GIs and the civilians, we have learned that short 6) talk politics with guys in the Army and keep the ceiling by a pole passed under the knees - in this hair and a «straight appearance" have increased the studying and learning new ways to build a movement. , case he apparently was mishandled in a sitting po­ ability of the GIs to talk and relate to us on an equal If you feel that this is the kind of work you want sition on the floor); in this position, they forced basis. Our insistence on combatting the drug culture to do, please write us immediately, so that we can his chest so far back that it lacerated - the boy here does not mean that we feel that people in the begin discussions about joining the staff. Tell us about cried and screamed. After having been made to watch cities should have reached the same conclusions. yourself and what you have been doing, and we will this scene, "A" and" B" were again questioned about Rather, we are looking for people willing to change describe in greater detail the work that goes on in the the whereabouts of "C", They did not know. the surface of their life style to fit a small town and the Strut. Write to: OLEO STRUT, 101 Avenue D Then they were shown the canvas sack which Killeen, Texas 76541 contained the pieces of "D". One of the soldiers doing the beating jumped on top of the sack saying, "He ;doesn't deserve respect, communists ought to be treat­ 'ed like this. He opened the sack, and seeing that '" A" was the most impressionable, he left the boy's remains at her feet and threatened to cook a piece of his body and force her to eat it if she did not THE MOVEMENT 1s publlsbed ammtbly by THE MOVEMENT PRESS, 330 talk. Grove -street, san Francisco, California 94102--(415) 626-45'7'7 Seeing that with physical and psychological torture SUbscriptions -- $2.50 per year; $3.00 foreign (no Canadian posta.l money they were not getting any information, they tried order Please.) something else, they tortured one sister in front of the other. They put "B" in an electric chair, placed Joseph A. Blum and Arlene Elsen Bergman, EdItors her little fingers in electric sockets and began,to give her shcoks. "B" intuited that" A" was going to Staff:' L~coln Bergman, Renee Blum, Gary Grimshaw, Frank CleCiorka, cry and began to take the shocks passively, For­ Jerry Densch, ComalaDa smith, Terry Cannon. POW: Jeff segal tunately for them, the case of "E" was more serious, and it was decided to free them and to send for" E' s" ,Chleaco Staff: Room 204, 162 N. cUnton, Cblcaco, Wlnols 60606--(312) 32'7- girlfriend to be tortured in his presenCe. ThUS, without 3681~ , having their presence, their declarations or protests registered, they left, their treatment having been interrupted. 'Los Angeles staff: Ken Cloke, Bob Niemann, Mike DaviS, Judy Davis. 165'7 Federal Avenue, Los Angeles, California 90025 -- (213) 478-9509 . ,Detroit Staff: NOC, Box 9571 North End Station, Detroit; Michigan 48202. THIS ISSUE IS DEDICATED TO THE SISTERS AND Bulk orders at special rates available at all offices. , BROTt-fERS WHO STRUGGLE'D IN CHICAGO TO BRING THE WAR HOME JOHN SINCLAIR WRITES FROM PRISON Dear Brothers and Sisters, through proper methods of thinking and 'you don't do anyone' any good except the because we don't accept their authority. -~ My transfer to Marquette has been methods of work. As Che, Guevera said, State; , I never used to be "political" eIther, postponed at least a few weeks, but they "In Revolution one wins or dies" - Mao The time for shucking and jivJ.Dg is but the pigs still attacked, beat, ar­ are determined to send me there as soon won! So did Fidel. As we know, Fidel over. Those' people who care about their' rested and jailed me because I like to as they can. A plgfromtthe Corrections started with 83 men, lost all but 12, brothers and sisters in their hip com­ get high, go to dances, fuck and have a Dept. in Lansing came here to talk to and took those 12 men Into the moun­ munities are going to have to ,starf or­ good time. I was in the House of Cor~ me last Friday and told me how much I tains to get it together.
Load more

Recommended publications
  • DOCUMENT RESUME Chicano Studies Bibliography
    DOCUMENT RESUME ED 119 923 ric 009 066 AUTHOR Marquez, Benjamin, Ed. TITLE Chicano Studies Bibliography: A Guide to the Resources of the Library at the University of Texas at El Paso, Fourth Edition. INSTITUTION Texas Univ., El Paso. PUB DATE 75 NOTE 138p.; For related document, see ED 081 524 AVAILABLE PROM Chicano Library Services, University of Texas at El Paso, El Paso, Texas 79902 ($3.00; 25% discount on 5 or more copies) EDRS PRICE MF-$0.83 HC-$7.35 Plus Postage DESCRIPTORS Audiovisual Aids; *Bibliographies; Books; Films; *library Collections; *Mexican Americans; Periodicals; *Reference Materials; *University Libraries IDENTIFIERS Chicanos; *University of Texas El Paso ABSTRACT Intended as a guide to select items, this bibliography cites approximately 668 books and periodical articles published between 1925 and 1975. Compiled to facilitate research in the field of Chicano Studies, the entries are part of the Chicano Materials Collection at the University of Texas at El Paso. Arranged alphabetically by the author's or editor's last name or by title when no author or editor is available, the entries include general bibliographic information and the call number for books and volume number and date for periodicals. Some entries also include a short abstract. Subject and title indices are provided. The bibliography also cites 14 Chicano magazines and newspapers, 27 audiovisual materials, 56 tape holdings, 10 researc°1 aids and services, and 22 Chicano bibliographies. (NQ) ******************************************14*************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available.
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • Los Siete De La Raza; Goodbye Mr
    Marc1i1971 .,~ --c"'.- . Weatherman: Revised Forecast; Kopkind on Reich; Los Siete de la Raza; Goodbye Mr. Gomulka; Hollywood Capers 75c " .."1\ , -..,\ ~ .;' it,,'; ";~";~'f:',;~ ';C! -!!I . I j," ,!:;1 " ,;, I ": c . ~ . .aza T HE UPRISINGIN EASTLOS ANGELES last August, dur- B RODNIKWAS THE JUNIORin the plainclothes "Mis- ing which a cop killed journalist Ruben Salazar, sion Eleven" team. He and McGoran, his partner called national attention to the anger of chicanos of three years, reduced daylight burglaries in a in urban barrios. While the police riot and the death middle-class area near the Mission District by ask- of Salazar were making front pages, a less-publicized murder ing housewives to report all "suspicious persons" to police. trial in San Francisco was dramatizing the same chicano Known among their peers for "dedication," Brodnik and militancy and police brutality which clashed so violently in McGoran piled up over 400 burglary arrests and two dozen Los Angeles. bravery medals. The trial of Los Siete de la Raza-the young men who Like much of the Irish Catholic brass in the San Francisco became known as "the seven of the latin people"-was tak- Police Department, the two men had grown up in the Mis- ing place because for once the tables had been turned: in- sion District in the 1930s and '40s, when it contained pri- stead of cops gunning down brown people, as in Los An- marily Irish, Italian and German immigrants, most of them geles,a cop himself had been killed. As the defense attorneys unquestioning believers in the American myths of free enter- for Los Siete would point out, had the roles been reversed prise and social mobility.
    [Show full text]
  • Hombres Y Mujeres Muralistas on a Mission: Painting Latino Identities in 1970S San Francisco
    HOMBRES Y MUJERES MURALISTAS ON A MISSION: PAINTING LATINO IDENTITIES IN 1970S SAN FRANCISCO Cary Cordova American Studies, Dickinson College, Carlisle, PA Abstract This article argues for the importance of murals as cultural texts, consciously formed to entertain, influence, and solidify local and transnational communities. In 1974, two teams of artists painted two legendary murals in San Francisco’s Mission District: In ‘‘Homage to Siqueı´ros,’’ the trio of male muralists presented themselves as heirs to famed Mexican muralists in order to solidify their indictment of conditions in the Americas and counter the participatory role of their patron, the Bank of America. In ‘‘Latino America,’’ the female muralists rejected the Chicano Movement’s emphasis on Mexican masters and declared a new feminist, collaborative iconography. Although the murals were dissimilar in terms of gender, approach, and aesthetics, the muralists were joined in their desire to unite the local Latino community through their depictions of a shared homeland, or an imagined Latin America. This article highlights the aesthetic, cultural, political, gendered, and regional dimensions of Latino identities through the lens of mural creation. Keywords community murals; pan-Latino identity; iconography; Mission District ‘‘An explosion of human colors’’: Murals in ascendance Since the late 1960s, cultural workers in San Francisco’s predominantly Latino Mission District have produced an impressive body of literary and artistic work. Their creative milieu was important in helping to mobilize the Chicano movement and spurring a Latino cultural renaissance of local and Latino Studies 2006, 4, (356–380) c 2006 Palgrave Macmillan Ltd 1476-3435/06 $30.00 www.palgrave-journals.com/lst Hombres y Mujeres Muralistas on a Mission ------------------------------------------------------------------------------------------------------ Cary Cordova 357 national significance.
    [Show full text]
  • November 1969 $'92 25~ Vol
    IN THIS ISSUE -PRISON INTERVIEW WITH LOS SIETE -LIBERATION WOMEN'S UNION -IIC ACTION NOVEMBER 1969 $'92 25~ VOL. 5 NO. 10 -MUNIBLACKCAUCUS • THE MOVEMENT PRESS BULK FlATE 4.•. POSTAGE 330 Grove Street PAID Mr. & Mrs. Grant Cannon San Francisco, California 94102 Sail Franc:l_. Calif. 4907 Klatte Road P..-mlt No. Cincinnati,' Ohio 45244 TORTURE IN BRAZIL EDITORS NOTE: The following document was smug­ gled out of Brazil. The brother who sent it to us requested that we do "everything within our power to translate it and seek to have it pUblished broadly". OLEO STRUT IS RECRUITING Since he gave no address or suggestions on how we might help, we assume that we can best show our solidarity with our brothers and sisters struggling The Oleo strut is looking for new staff members. oppressive nature of the Army. against imperi.alism in Latin America by building The strut is a GI coffeehouse located in Killeen', The Oleo Strut staff is a collective. We live in one a front against imperialism inside the monster. Texas near Fort Hood. As well as the regular ac­ house and all work every day at the Strut. We have tivities of a GI coffee house, we hope to have a been working as a collective for 4 months and have been DOCUMENT NO, 1 radical bookstore, combination military law and varyingly successful. Within the collective is a wo­ radical books library in tIE near future. men's caucus. We discuss all problems and polit­ On (date, late 1969), two sisters ("A" and"B" , Killeen is a small town with a population of ical questions that arise.
    [Show full text]
  • Serials Collection
    Latino Periodicals Collection List Microfilmed and Uncataloged Newspapers, Newsletters and Magazines ABC (Newsletter, Madrid, Spain) Affiliation: Prensa Española, S.A. Paper: Jan. 18, 1973; Feb. 1, 1973 W, Ceased, Spanish Call No: Uncat. LA ACTUALIDAD (Newspaper, Huntington Park, CA) Microfilm: Vol. 1, no.7, Sep., 30, 1971 Bi-W, Ceased, Spanish Call No: E 184 M5 C296 1980 ADELANTE (Newspaper, San Jose, CA) Affiliation: Mexican American Community Services Agency, Inc. Microfilm: Vol.1, no.1, Apr., 1965; Vol.1, no.3, Apr., 1968 Irreg., Ceased, Bilingual Call No: E 184 M5 C296 1980 ADELANTE (Newspaper, Riverside, CA) Affiliation: Movimiento Estudiantil Chicano de Aztlán, University of California at Riverside Microfilm: Vol.1, no.1, Oct., 14, 1969 Irreg., Ceased, English Call No: E 184 M5 C296 1980 ADELANTE (Newspaper, Topeka, KA) Affiliation: Centro de Servicios Para Mexicanos Microfilm: Vol.1, no.1-3,7,12, 1972-Vol.5, no.24, Jun., 1977 (incomplete) Bi-M , Ceased, Bilingual Call No: E 184 M5 C296 1980 ADELANTE RAZA (Newspaper, Appleton, WI) Paper: Oct., 1973; Dec., 1975-Mar., 1976, Jun., 1976 M, Ceased, Bilingual Call No: E 184 M5 A63 ADOBE (Newspaper, San Luis, CO) Affiliation: San Luis High School Microfilm: Vol.1, no.1-2, 1975; Vol.1, no.3, 1976; Vol.1, no.4, 1976-77 Q, Ceased, Bilingual Call No: E 184 M5 C296 1980 AGENDA (Magazine, Washington, D.C.) Affiliation: National Council of La Raza Microfilm: Copy 1: Vol.1, 1972-Vol.5, no.11, 1975 (incomplete); Vol.6, no.1, Jan., 1976-Vol.6, no.10, Dec., 1976 Copy 2: no.1, Summer, 1973-1976 Paper: 1975-1976 Q, Superseded, Bilingual Call No: E 184 M5 C296 1980; Paper: E 184 S75 A56 AGENDA (Newsletter, Washington, D.C.) Affiliation: National Council of La Raza Microfilm: Vol.7, 1977-Vol.10, 1980 Paper: Vol.5, no.3, 1975-Vol.11, no.10, 1981 M, Superseded, Bilingual Call No: E 184 S75 A58 EL AGRICULTOR MODERNO (Newspaper, Barnillo, NM) Microfilm: Vol.2, no.4, Mar.
    [Show full text]
  • A Finding Aid to the Tomás Ybarra- Frausto Research Material on Chicano Art, 1965-2004, in the Archives of American Art
    A Finding Aid to the Tomás Ybarra- Frausto Research Material on Chicano Art, 1965-2004, in the Archives of American Art Gabriela H. Lambert, Rosa Fernández and Lucile Smith 1998, 2006 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Autobiographical Note...................................................................................................... 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Subject Files, 1965-2004.......................................................................... 5 Tomás Ybarra-Frausto research material AAA.ybartoma Collection Overview Repository: Archives of American Art Title: Tomás Ybarra-Frausto research material Identifier: AAA.ybartoma Date: 1965-2004 Creator:
    [Show full text]
  • The Mission District – a History of Resistance for the Mission Anti-Displacement Coalition Draft: Fernando Martí, December 2006
    The Mission District – A History of Resistance for the Mission Anti-Displacement Coalition Draft: Fernando Martí, December 2006 AsianNeighborhoodDesign The Mission District – A History of Resistance Aquí Estamos y No Nos Vamos! 230 Years of Resistencia en la Misión The First Displacements The first recorded eviction in what is now called the Mission District occurred in 1776. The Spanish arrival forced the Ohlone, who had lived in the region for at least 5,000 years, to flee across the Bay. Those who remained were forced into labor on the new Mission Dolores. The first Mission “anti- displacement movement” occurred soon after, with an Indian uprising on Mission lands that same year. Within thirty years, most wildlife was gone, and the freshwater streams had been contaminated by animal and human waste. The Ohlone were gradually decimated by disease, famine, and exhaustion. After Mexico’s Independence in 1821, those who survived became serfs on the new ranchos. By 1832, the Ohlone population had been reduced from a high of over 10,000 in 1770 to less than 2,000. In the Mission itself, records from 1833 and 1841 indicate that the Native American population decreased from 400 to only 50. Depictions of the indigenous Ohlone by the colonizers A Neighborhood of Immigrants and Working Class Families This first wave of gentrifiers were, in due time, displaced themselves. “Manifest Destiny” and the 1849 Gold Rush conspired to bring the first Yankee gold-diggers to the Mission. After the Mexican-American War and the Treaty of Guadalupe-Hidalgo, the new U.S. government that took control of San Francisco from Mexico passed laws allowing Anglo squatters to take possession of the Mexican land-grant ranchos in the Mission.
    [Show full text]
  • Rupert Garcia and Sammi Madison Garcia Collection CEMA 101
    http://oac.cdlib.org/findaid/ark:/13030/c8q52q5f No online items Guide to the Rupert Garcia and Sammi Madison Garcia Collection CEMA 101 Finding aid prepared by Callie Bowdish and CEMA staff University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Santa Barbara, California, 93106-9010 (805) 893-8563 [email protected] Guide to the Rupert Garcia and CEMA 101 1 Sammi Madison Garcia Collection CEMA 101 Title: Rupert Garcia and Sammi Madison Garcia Collection Identifier/Call Number: CEMA 101 Contributing Institution: University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Language of Material: English Physical Description: 35.0 boxes 26 document boxes and 9 oversized flat boxes, and 556 posters Date (bulk): Bulk, 1967-1987 Date (inclusive): 1959-2000 Abstract: This collection contains materials assembled by Rupert Garcia and document his passion for civil rights and activist art. Garcia was a student at San Francisco State where some of the earliest protests against racism in higher education institutions took place. This collection has material on that event in 1968 and 1969. The bulk of the nearly 600 posters span from the late 1960s through the 1980s. These posters include protest art, civil rights demonstrations and marches, Vietnam War-era protests and rallies, as well as United Farm Workers (UFW)-related events. Additionally, there are writings, publications, teaching papers and other informative materials that Garcia gathered as part of his research and teaching in Chicano Arts and the Chicano Movement, ranging from 1967 to 2000s.
    [Show full text]
  • La Identidad Chicana a Través De Las Artes Plásticas, 1965-1990
    CENTRO DE INVESTIGACIÓN Y DOCENCIA ECONÓMICAS, A.C. LA IDENTIDAD CHICANA A TRAVÉS DE LAS ARTES PLÁSTICAS, 1965-1990 T E S I N A PARA OBTENER EL TÍTULO DE: LICENCIADA EN CIENCIA POLITICA Y RELACIONES INTERNACIONALES P R E S E N T A : MARIMAR SUÁREZ PEÑALVA DIRECTOR DE TESINA: DR. RAFAEL ROJAS MÉXICO, D.F. MAYO, 2005 Introducción Actualmente es de gran importancia hacer una evaluación de la forma en que se producen y reproducen las identidades de grupo, pues se han vuelto definitorias del status que las distintas comunidades adquieren dentro de las sociedades de las que forman parte. Las discusiones sobre el trato jurídico (diferenciado o igualitario) que debe darse a los grupos que se definen como minoritarios -en función de su identidad étnica, nacionalista, de género, de preferencia sexual, etc.- están en el centro del debate tanto entre teóricos, como entre legisladores y líderes políticos. De ahí se desprenden distintos planteamientos que cuestionan, en mayor o menor medida, las bases de los estados democráticos y de la tradición liberal. Es entonces fundamental para dichos países estudiar el proceso de construcción de las identidades que dan forma a la lucha política de los grupos minoritarios. La era posmoderna se caracteriza, entre otras cosas, por el surgimiento de múltiples identidades que comienzan a diferenciarse, aunque no del todo, de la identidad hasta ahora hegemónica: la del estado-nación. Dicha identidad sirvió a los estados nacionales como fuente de legitimación y unidad durante sus procesos de construcción y consolidación. El estado-nación ha sido el paradigma rector de la ciencia política desde su surgimiento, un objeto clave de estudio y sobre el cual se han concentrado gran parte de las discusiones académicas en la disciplina.
    [Show full text]
  • Printing the Revolution Exhibition Wall Text (English) | Smithsonian American Art Museum
    During the 1960s and 1970s, Mexican Americans adopted the name “Chicano” as a sign of their new political and cultural identity. Inspired by the labor activism of César Chávez, Dolores Huerta, and the United Farm Workers, Chicanos exposed racism, fought for equal rights, asserted their unique cultural identity, and challenged their invisibility in American society. Printmakers active during these formative years of the Chicano civil rights movement, or El Movimiento, played a pivotal role in projecting this revolutionary new way of being Mexican American in the United States. This exhibition explores how Chicano artists and their cross-cultural collaborators initiated an enduring, influential, and innovative graphic arts movement attuned to social justice and cultural expression. The term “graphics” captures a wide range of artistic practices. While screenprinting remains prevalent, the artists on view also produce installations and public interventions; several embrace computer graphics and augmented reality (AR). Whether print or digital, each method offers ease of duplication and distribution, key characteristics that allow artists to directly engage people near and far. Using these expansive approaches and projecting defiance, these artists delve into domestic and global politics and history, feminism, immigrant and LGBTQ+ rights, and other topics. They have also consistently used their art to debate the shifting meanings of Chicano, most recently demonstrated by the rising use of Chicanx, a gender-neutral and nonbinary alternative to Chicano. ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now Page 1 of 44 Smithsonian American Art Museum | 12/16/2020 – RM ¡Printing the Revolution! features about one-fifth of the Smithsonian American Art Museum’s extensive collection of Chicanx graphics, the largest museum collection of its kind on the East Coast.
    [Show full text]
  • Printing the Revolution Exhibition Wall Text (Spanish) | Smithsonian
    ¡Imprimir la revolución! Auge e impacto de las obras gráficas chicanas, desde 1965 hasta hoy En las décadas de los años sesenta y setenta, los artistas mexicoamericanos adoptaron el nombre “chicano” como signo de su nueva identidad cultural y política. Inspirados por el activismo laboral de César Chávez, Dolores Huerta y la Unión de Campesinos, los chicanos arrojaron luz sobre el racismo, lucharon por la igualdad de derechos, afirmaron su singular identidad cultural y cuestionaron su invisibilidad dentro de la sociedad estadounidense. Los artistas del grabado que se mantuvieron activos durante estos años formativos del movimiento chicano en pro de los derechos civiles, conocido como “El Movimiento”, desempeñaron un papel decisivo para proyectar esta nueva y revolucionaria manera de ser mexicoamericano en los Estados Unidos. En esta exposición se analizan las maneras en que los artistas chicanos y sus colaboradores de diversas culturas iniciaron un movimiento de artes gráficas perdurable, influyente e innovador, sensible a la justicia social y a la expresión cultural. El término “artes gráficas” abarca una amplia gama de disciplinas artísticas. Si bien la serigrafía sigue predominando, los artistas presentados en esta exposición también son autores de montajes e intervenciones públicas; varios de ellos adoptaron la infografía de computadora y la realidad aumentada. Independientemente de que se trate de obras impresas o digitales, cada método simplifica la reproducción y la distribución, característica clave que sirve para que los artistas atraigan el interés de la gente, sin importar si ellas se encuentran cerca o lejos. Por medio de estas estrategias y la expresión de su cuestionamiento, estos artistas ahondan en la política y la historia del país y del mundo, en el feminismo, en los derechos de los inmigrantes y las personas LGBTQ+, entre otros temas.
    [Show full text]