By caleb duarte, Mar 8 2017 08:48PM


Zapantera Negra:

An Artistic Encounter Between Black Panthers and Zapatistas


EDITED BY MARC JAMES LÉGER AND DAVID TOMAS


WITH EMORY DOUGLAS, EDELO (MIA EVE ROLLOW AND CALEB DUARTE PIÑON), RIGO 23, AND SAÚL KAK


What is the role of revolutionary art in times of distress? When Emory Douglas, former Minister of Culture of the Black Panther Party, accepted an invitation from the art collective EDELO and the Rigo 23 to meet with autonomous Indigenous and Zapatista communities in Chiapas, Mexico, they addressed just this question. Zapantera Negra is the result of their encounter. It unites the bold aesthetics, revolutionary dreams, and dignified declarations of two leading movements that redefine emancipatory politics in the twentieth and twenty-first century.


The artists of the Black Panthers and the Zapatistas were born into a centuries-long struggle against racial capitalism and colonialism, state repression and international war and plunder. Not only did these two movements offer the world an enduring image of freedom and dignified rebellion, they did so with rebellious style, putting culture and aesthetics at the forefront of political life. A powerful elixir of hope and determination, Zapantera Negra provides a galvanizing presentation of interviews, militant artwork, and original documents from these two movements’ struggle for dignity and liberation.


“Zapantera Negra is an incredible endeavor, the depth of which is not often found in social practice: a direct and embodied connection between a key actor in a major social movement in US history (the Black Panthers) and the people of Chiapas, carrying the legacy and expressions of an equally revolutionary struggle in Mexico (the Zapatistas), some thirty years apart. The subtlety and complexity of this project, and its implications for a globally engaged arts-based activism is truly impressive.”

—Suzanne Lacy, artist and author of Leaving Art and Mapping the Terrain: New Genre Public Art


By caleb duarte, Nov 13 2016 03:07AM

ZAPANTERA

THE BLACK PANTHER PARTY AND THE ZAPATISTAS

The flower of the word


November 9th at Fresno State University.

Kremen Education 140

3 - 4:30 pm


Recpetion 6 - 8pm at Mst Studios

Wednesday November 9th


Zapantera Negra - The Flower of the Word - gatherers the visual residue of fiver encounters, beginning in 2012 and continuing through 2016, between the Black Panthers Party and the Zapatistas, an indigenous autonomous community in southern Mexico. Zapantera is guided by the works and presence of Emory Douglas, artist and former Minister of Culture for the Black Panther Party and Caleb Duarte, artist and co founder of EDELO (Where the United Nations Used to Be). For these encounters, Mr. Douglas and Duarte, along with artist Rigo 23, Mia Eve Rollow, and Saul Kack, teamed up with Zapatista women embroidery collectives, Zapatista farmers and painters, and with local artists, activists and musicians to create new works that reflect and celebrate these two powerful artistic, social, political movements of our time.


Support from The Center for Creativity and Arts

College of Arts and Humanities

California State University and Fresno Art Department.

By caleb duarte, Aug 19 2016 01:07AM

Convoke artists, formal and natural scientists, l@s compas of the sixth national and international indigenous congress, y whatever human being who feels inclined

Zapatista Army for National Liberacion


MEXICO


February 29, 2016


Considering:


First: That the serious crisis that shakes the entire world, and that will only worsen, puts the survival of the planet and the entire population, including human beings, at risk.


Second: That politics from above is not only incapable of coming up with and constructing solutions, but is also among those directly responsible for the catastrophe already underway.


Third: That the sciences and the arts rescue the best of humanity.


Fourth: That the sciences and the arts now represent the only serious opportunity for the construction of a more just and rational world.


Fifth: That the originary peoples and those who live, resist, and struggle in the basements of the entire world possess, among other things, a fundamental wisdom: that of survival in adverse conditions.


Sixth: That Zapatismo continues betting, in life and death, on Humanity.

By caleb duarte, Mar 23 2016 05:03AM

Unaccompanied minors

By the end of 2014, the U.S. had apprehended over 68,000 unaccompanied migrant children at the border, resulting in a media and political storm. Overall, HYPERLINK "https://www.washingtonpost.com/politics/us-plans-raids-to-deport-families-who-surged-across-border/2015/12/23/034fc954-a9bd-11e5-8058-480b572b4aae_story.html"roughly 100,000 family members have arrived from Central America over the past two years—primarily mothers with children, many of them seeking asylum—along with some HYPERLINK "https://supportkind.org/resources/2015-a-year-of-expanding-help-and-hope-to-children-alone/"100,000 unaccompanied migrant and refugee children.


The root causes of their flight remain largely unchanged. El Salvador is experiencing violence not seen since the civil war in the 1980s and is on track to unseat Honduras as the murder capital of the world. Children continue to be targeted in Honduras, and Guatemala remains close behind both countries as among the most violent countries. It is well understood by leading international human rights organizations that the majority of those seeking asylum in the United States would qualify under international humanitarian law.


Frontera Sur

At the end of 2015, the U.S. Border Patrol reported a 51% drop since the previous year of unaccompanied migrant children. This may suggest that the immigrant crisis has ended, but it has not; it merely shifted south to the Guatemala/Mexico border where children and adults continue to be detained and deported at an alarming rate. Mexico implemented Plan Frontera Sur, a strategy to increase border security in Mexico’s southern states with the support of millions of dollars from the US. As a result, Plan Frontera Sur is pushing Central Americans further into Mexico’s harsher terrains making “Mexico a clandestine immigrant Cemetery” says Franciscan friars Tomas Gonzalez, a leading immigrant activist and founder of immigrant safe house “La 72”. In the beginning of this year, a dangerous and speedy process is sending children and their parents seeking sanctuary back to Central America. HYPERLINK "http://www.theguardian.com/us-news/2015/oct/12/obama-immigration-deportations-central-america"Many who are returned to their home countries face immense danger, with many being violently murdered shortly after deportation.


OAKLAND UNACOMPANIED IMMIGRANT MINORS

From February through April of 2016, with the support from the Doris Duke Charitable foundation, La Pena Cultural Center, Oakland Youth Alliance, and the Oakland School District, I will be working with over forty undocumented minor youth currently placed in foster care in Oakland California while they wait for legal proceedings. I will be establishing an artist-working studio for undocumented minor youth that can potentially be deported in 2016. HYPERLINK "http://trac.syr.edu/phptools/immigration/mwc/"According to the research group TRAC; of 64,500 family migration cases that have filtered through the courts as of late 2015, fewer than 40 percent had legal representation. Among those, fewer than 700 were granted relief. And for those cases without counsel, only 38 were granted relief, resulting in more than 15,300 ordered deported. Over 400 unaccompanied minors are currently enrolled in the Oakland School district with very little legal, psychological, and/or cultural services and are most likely to be destined to an underground existence and or to be deported back to their original countries.


We will meet two days a week for three months and through sculptural workshops, film screenings, lively discussions and oral history exercises we will revisit their lived experiences and examine the current immigration crisis while mapping out individual migration routs. We will investigate intersectionality and global migration. We will be creating large-scale collective sculptures that represent invisibility, movement, or a need to be seen, all in which will be determined by the students during workshops sessions. We will install our sculptural objects on the roof of La Pena Cultural Center and create situations for public interventions as poetic disturbances for greater visibility. This will lead to a final exhibition, presentation, and publication at the end of 2016 and will inform a general public about the realities that refugee children are experiencing.


By working with communities in movement, materials and subject matter used to encourage individual expression are materials and symbols readily available within that particular community. Visual language, through theatrical performance, construction/farming materials, and mural painting are introduced through a lens of familiarity. Through this approach, art takes the invaluable role of demonstrating the depths of human expression while avoiding the dangers of imposing techniques and aesthetics not familiar to this particular community. My personal experience as a Mexican Immigrant has lead me to create art on the issues of human migration and social mobility with communities in Honduras, California and through out Mexico. I have developed sensitivity to a certain artistic language that reflects a loss of cultural memory, due to evangelical movements, migration, civil war and the homogenization of an entire region.


We will first establish workshops on mural painting and sculptural performance. Through mural painting we establish a working relationship and create an atmosphere of co-authorship and enthusiasm while transforming the architectural environment. Mural workshops provide access for visual literacy and encourage greater participation regardless of artistic capabilities. Sculptural performances allows for us to use objects of familiarity, of travel, of home, and to revisit the ritualistic aspects of migration in a theatrical form. Familiarity to material such as construction materials; cement, plaster, wood, clay, dirt, as well as water bottles, shovels, and/or shoes, are examples used as a vehicle for a magical realism to take place.

As a facilitating artist, I have a specific line of aesthetic values that I gravitate towards. And through workshops, interviews and intimate conversations we collectively navigate towards a visual language that makes sense to us all. It is bold, unapologetic, sight specific and surreal in the Latin American tradition that it injects magic into a not so logical moment of violence and uncertainty. Here, art does not sensationalize, romanticize, or simply illustrate the suffering of people, but art, created by people, demonstrates the extraordinary qualities humans’ posses. If indeed art can create real social change, it is precisely when it demonstrates the ability for human beings to feel. By exposing not just the fragility and endurance of human migration, but also the inhumane treatment of the most vulnerable amongst us, we can then open up the space for the possibilities for change by enacting a dignified rage and a level of empathy not vissible until the arts participate.


Art cannot possibly pretend to change capitalistic economic powers and its displacement of people, but art can challenge the effects of colonialism and the demands of a global market by allowing us to become actors of our own realities. Public and intimate performance, along side the creation of sculptural objects through resulting anecdotes and contemplative interactions, is vital to understanding the constructs within which we live. Creative action with rich shared narrative is a means to recovering our humanity in the face of such violence, uncertainty, and life threatening circumstances.



By caleb duarte, Mar 17 2016 09:24PM

Arte urGente, Works created by unaccompanied

migrant youth currently living

in Oakland California and caleb Duarte n residency.

By caleb duarte, Feb 24 2016 05:50AM

Works by unaccompanied immigrant youth currently living in Oakland California. Sculptural public performance.


From February through April of 2016, with the support from the Doris Duke Charitable foundation, La Pena Cultural Center, Oakland Youth Alliance, and Fremont High, Caleb Duarte will be working with over twenty undocumented minor youth currently placed in foster care in Oakland California while they wait for legal proceedings. He will establish an artist-working studio for undocumented minor youth that can potentially be deported in 2016. According to the research group TRAC; of 64,500 family migration cases that have filtered through the courts as of late 2015, fewer than 40 percent had legal representation. Among those, fewer than 700 were granted relief. And for those cases without counsel, only 38 were granted relief, resulting in more than 15,300 ordered deported. Over 400 unaccompanied minors are currently enrolled in the Oakland School district with very little legal, psychological, and/or cultural services and are most likely to be destined to an underground existence and or to be deported back to their original countries.


They will meet two days a week for three months and through sculptural workshops, film screenings, lively discussions and oral history exercises they will revisit their lived experiences and examine current global migration while mapping out individual experiences. They will investigate intersectionality, the causes of mass migration, and express what it means to move from small villages in Guatemala and El Salvador to a large city like Oakland. They will be creating large-scale collective sculptures that represent invisibility, movement, or a need to be seen, all in which will be determined by the students during workshops sessions. They will install their sculptural objects on the roof of La Pena Cultural Center or create situations for public interventions as poetic disturbances for greater visibility.


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