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CULTURESTRIKE: in the HEART of ARIZONA by Elizabeth Mendez Berry

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CULTURESTRIKE: in the HEART of ARIZONA by Elizabeth Mendez Berry CULTURESTRIKE: IN THE HEART OF ARIZONA by Elizabeth Mendez Berry 22 WRITERS, 16 VISUAL ARTISTS, 2 MUSICIANS, 7 THEATER MAKERS, 2 FILMMAKERS, & 3 COMEDIANS VISIT ARIZONA ON A PRO-MIGRANT ARTIST DELEGATION INVESTING IN ARTISTS TO LEAD AND CREATE CHANGE Acknowledgements This report was made possible in part by a grant from the Surdna Foundation and Unbound Philanthropy. The report was authored by Rinku Sen of Applied Research Center. Additional assistance was provided by Erin Potts, Jeff Chang, Ken Chen, Gan Golan, and Favianna Rodriguez. The report’s author greatly benefited from conversations with artists, writers and cultural workers of the CultureStrike. This project was coordinated by Favianna Rodriguez for The Cul- ture Group and CultureStrike. We are very grateful to the interviewees for their time and will- ingness to share their views and opinions. About the Organizations who made this possible: Founded in 1991, the Asian American Writers’ Workshop is a home for Asian American stories The Culture Group (TCG), a collaboration of social change and the thrilling ideas that comprise Asian Ameri- experts and creative producers, joined together to advance can alternative culture. We’re a 21st century arts progressive change through expansive, strategic and values- space: a literary events curator, an anti-racist intervention, driven cultural organizing. TCG identifies, studies and deploys and an editorial platform building the future of Asian Ameri- effective models for increasing the creative industries’ and in- can intellectual conversation. We are interpreters of the great dividuals’ participation in the progressive movement. Culture tradition of American letters and world literature, brokers is the realm of ideas, images, and stories; it is where people between immigrant comunities and the cultural mainstream, make sense of the world, where they find meaning and forge translators of the vibrant economies and cultures comprising community. History shows that when the culture changes, more than half the world.We want every American, no mat- politics follows. TGC believes that the culture can and must ter the color of their skin, to understand how Asian America be shifted to build public will for progressive values, ideas, forms a central chapter of the American story. and policies. Air Traffic Control (ATC) exists to help musi- cians play an effective, unique and vital role in the promotion of social justice. Air Traffic Control believes in the power of music, the in- fluence of musicians, and the ability that music The Applied Research Center (ARC) is a racial justice think fans have to make social change. We exist to tank and home for media and activism. ARC is built on rigor- support and provide musicians and managers who want to ous research and creative use of new technology. Our goal is be engaged in social change the resources and backing they to popularize the need for racial justice and prepare people to need to make change. fight for it. By telling the stories of everyday people, ARC is a voice for unity and fairness in the structures that affect our Citizen Engagement Lab (CEL) lives. uses digital media and technol- ogy to amplify the voices of un- derrepresented constituencies, particularly people of color and youth. Our mission is to empower these constituencies to act collectively, promoting a world of CultureStrike is an artist-led initiative whose mission is to greater equality and justice in the process. CEL is designed cultivate innovative and urgent collaborations between art- as an incubator: we provide the infrastructure that helps social ists, writers, musicians, and other cultural workers to shift the entrepreneurs develop campaigns and build longstanding national imagination on immigration. CultureStrike possess- communities to realize concrete victories and create move- es special access to high-cultural artists as well as on-the- ments for social change. Our supported projects include ground connections with organizations fighting the immigra- ColorOfChange.org, Presente.org, and OccupyOurHomes. tion battle in real time. Responsive to what’s happening in the org. moment, the model begins with raising the consciousness of key artists, so their cultural production will inspire others. © 2012 The Culture Group. All rights reserved. CULTURESTRIKE IN THE HEART OF ARIZONA U.S.-Mexico Border. Photo by Jesus Barraza. Every weekday in Tucson’s DeConci istrate judge Jennifer Guerin Zipps, a blonde, courthouse, it takes about 37 seconds middle-aged woman, conducted the trials of 13 people simultaneously. In eight minutes, they to deport an immigrant. Dozens of un- all pled guilty, and the next group stepped up to documented people—many of whom the microphones at the front of a spotless court- have made long journeys across thou- room. sands of miles—are sentenced en masse through Operation Streamline, a con- Dozens of others, mostly men, awaited their fate troversial federal initiative of the U.S. on wooden benches, as if at church. They were all shackled together, and the sound of their Border Patrol. chains as they shifted in their seats clattered The program has led to a threefold increase in around the courtroom. The smell of body odor criminal prosecutions of minor immigration of- wafted through the air. fenses in border towns like Tucson. It’s part of the reason that President Barack Obama has The magistrate went down the line. “Mr. Martín- been able to deport 1.1 million people, more than ez, do you understand the charges against you?” any American leader since Eisenhower. Then she waited as interpreters repeated the question in Spanish into his black plastic head- On Monday, September 12, 2011, federal mag- phones. CULTURESTRIKE IN THE HEART OF ARIZONA 1 “It reminded me of modern “Si,” he replied. day slavery, seeing young “Mr. Chávez, do you understand the charges men in shackles and chains, against you?” with no rights at all,” said “Si.” Emory Douglas, an acclaimed Opposite the defendants sat members of the movement artist and the CultureStrike delegation, a group of more than former Minister of Culture 50 artists, writers, filmmakers and comedians from around the country. Organizers had invited of the Black Panther Party. the illustrious group—which included a National Book Award winner, an artist whose work hangs in New York’s MOMA museum, and at least one person who’s seen his own FBI file—to meet in Tucson. The goal was to offer them a crash course in the border crisis and ignite their crea- tivity. “Our work is premised on the belief that culture, as the realm of ideas, images and stories, is where people make sense of the world, find meaning and forge communi- ty,” reads the group’s mission statement. “Cul- tural change precedes political change.” For many of the delegates, the trip offered a shocking glimpse at business as usual. “It was tragic theater. The border agents looked like they were bored out of their minds. They put on black latex gloves before touching the boys,” said writ- er Jessica Hagedorn, whose latest book, To x i - cology, is haunted by the ghost of an undocu- mented woman. “I zeroed in on the kid who was the only one who said no. When Hector López said no, tears came to my eyes. He was so small and young and gaunt. I thought there was this To p : Black Panther illustrator and famed designer Emory Douglas joined the CultureStrike delegation. Above: CultureStrike delegates gleam of hope in his eye. visited the border wall here at Nogales. Photos by Jesus Barraza. At dinner that night, members of the delegation discussed the scene. “It reminded me of modern CULTURESTRIKE IN THE HEART OF ARIZONA 2 Creative types were among day slavery, seeing young men in shackles and chains, with no rights at all,” said Emory Douglas, the first responders to Arizona’s an acclaimed movement artist and the former SB 1070 in the spring of 2010, Minister of Culture of the Black Panther Party. “I didn’t know it was going to have that type of and their support helped the impact.” resistance to the draconian In Arizona, 83% of senior citizens are white, law reverberate around the compared with 43% of children, the largest ra- country and the world. cial generation gap in the country. White retirees from the North—an infrequently demonized wave of migrants—have been the most supportive de- mographic of the state ‘s Tea Party takeover. Previously part of Mexico and the last of the contiguous American states to join the union in 1912, Arizona has emerged as a laboratory for reactionary immigration policy. Kat Rodríguez of the human rights group Derechos Humanos told the delegation, “Arizona is the opposite of Vegas; what happens in Arizona doesn’t stay in Arizona.” In Arizona, anti-immigrant demagoguery has taken the form of Maricopa County Sheriff Joe Arpaio’s disturbing, aggressive policing and hu- miliating treatment of undocumented prisoners. It has turned up in the government attacks on the Tucson Unified School District’s Mexican American Studies program. And it is reflected in the extremist legislative proposals, such as bills to remove citizenship from U.S. born children of undocumented parents. In 2010, state lawmakers passed SB 1070, a bill that requires police officers to check a person’s immigration status while enforcing other laws; copycat legislation has passed in Georgia and Alabama. Similarly harsh anti-immigrant meas- ures are now on the books in Utah and Indiana. Creative types were among the first responders CULTURESTRIKE IN THE HEART OF ARIZONA 3 to Arizona’s SB 1070 in the spring of 2010, and their support helped the resistance to the draco- nian law reverberate around the country and the world. Musician and activist Zack de la Rocha asked Arizona organizations how he could sup- port them.
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