LA Day of Dead weekend...

I haven't done a weekend recap in a while and since I'm in a quiet but sharing mood here you go:

Thursday I went to my homie Rueben Mendoza's Contemporary Chicano Issues class at ELAC to participate in a discussion on Blogotitlan with Cindylu and Random Hero. The students were very cool and I think they like the idea of blogging and how we as Raza are making a mark in cyberlandia. We went to eat at Ordonez after and then I went home to do some quick emails.

Later I hit the streets to check out Brooklyn n Boyle's new installation about dead soldiers. I don't agree with celebrating dead soldiers. I know its to heal the families of those who went off to kill in the name of the USofA but I can't shake the feeling that it is glorifying war and supporting our killing machine. I let Abel know this when I got there. We get along that way. After this we all rolled over to Eastside Love.

It was $5 at the door and I was ready to turn around and walk to the bar next door for a drink, cause I ain't paying $5 for bar. To my surprise the generous Rueben Mendoza paid the entry fee for 5 of us. Gracias! Once inside the El Conjunto Los Pochos was hitting the stage. It perplexed me even more to hear these guys after a $5 cover charge because on any given morning or afternoon, heck even in the evening in Boyle Heights, if you are in a decent restaurant there is usually a strolling conjunto that plays the same songs that these guys on stage were doing, and in most cases with less off key notes. I asked one of my homies what was the difference between these guys and the conjuntos I've heard at Chispa de Oro and he quickly replied, "These guys are Pochos its harder for them to hit the notes and sing in Spanish, I guess." LOL

I bailed out of there at 12:25am in order to get home to watch "Star Trek: The Next Generation." It's on at 12:30 am on Ch. 5 in case any fellow Trekies didn't know.

Friday: I got up and did some laundry, ran some errands and then met V.V in Burbank to get on our way for a night in Valley. We met up with some homies at Claim Jumper for drinks. Yeah I know but we're in the Valley what else is there? Acapulco? El Torito? Flavor and funk is in short supply out there. Anyway, its about the company not about having a watering hole with style and good drinks. We had a good time and then we left to rendevous at Pierce College for the Corn Maze. I try do this every year, it's the little hillbilly in me I suppose. We had a blast running around scarrying each other and getting lost.


After this we went back to CSUN for MEChA's Day of the Dead party which is always great. This year was no exception. Lots of people, great bands including Very Be Careful and Quinto Sol, teatro from Las Ramonas and tasty food. One side trip on campus we did was to try and 'hear' the ghost of the Asian House. Apparently it is afraid of or doesn't like Mexicans because it didn't come out while we were there, but as soon as we left Mamma M called and said it made all kinds of noise. I wouldn't come into a room if I knew Mexicans were sitting in the dark waiting for me.

Later I got a ride back with Soul Rebel Miguel because he wanted to go on a taco hunt in NoHo. I had my doubts. After driving around and watching all the trucks shut down and drive down Vineland at 1:00 am we ended up at a stand somewhere on Vineland. It was ok. Nothing memorable.

Saturday: Very simple, Lili and I picked up the Noodles and hit Monster Massive, then Deeper Moods where Noodie Suli was spinning at 2 am. It was Noodie Lana's b-day earlier in the week so we were celebrating! HAPPY BIRTHDAY LANITA! All love to my girl. MM was crazy, thanks to Reza for getting me tix ahead of time we were able to get in with little drama. It was super packed and even though we hung out in VIP getting from one VIP to another was hellish. Sometimes the crowd would just move you in another direction. Total mob rule.

The shuttle for Deeper Moods was on Santa Fe and the space was on the Boyle Hts./Vernon border. Very cool. I had heard of this place for months, so glad I got to see it in full swing. Of course Suli rocked it. We crawled out of there at sun up.

Sunday: chill out. Good food at Hecho en Mexico, thanks to Gumby for posting it on FB. Gumby was still there when I got there and he sent over some michiladas and a bucket of beer. What a great and generous guy. Thanks homes always.

Monday: came to work and right back to Los. I made a stop at the site where we scattered my mom's ashes for a quiet moment. Got a quickie car wash, got some last minute stuff at Ozzie Dots and home to get ready for my MC gig at Self Help Graphics Day of the Dead. I had to be on site by 4 pm. I got there without my calvera makeup wearing my rented Mariachi suit. My goal was to be a vampiro mariachi this year. I got my bite marks on my neck but my calvera makeup didn't imply anything about me being vampire-ish.

Lalo Alcaraz was co-MCing with me so it was sure to be a great time.
The new location, full moon and thick spirit of Eastside DoD celebration made it all magical. The bands all impressed. The Camino de Calaca Coutoure was awesome! We had anyone who wanted to strut their calaca wear walk on stage after I read their description and dedication. The big hits were Lilifor's tribute to migrant workers that had here flossing huge angel wings made of fence and barbed wire. When I read her description at the end it said "Because we didn't cross the borders, the borders crossed us!" I used that opportunity to get the audience to cheer that and boy did they! Like five times I went "We didn't cross the borders!" and they would cheer back "The Borders crossed us!!!" louder and louder, it was beautiful.
Bunny Martha was also a hit in her ensemble called "The Death of Higher Education" the scariest of all the ensembles. People really reacted to it. Education, as all Raza knows, is the only way for us to change things for the better and one of the better ways to reach our highest potential.

By the end of the night my toes were killing me. I had to wear botines that were very pointed. I now understand what women go through for fashion's sake.

And that's how I did it this DoD weekend.

LACMA's Phantom Sightings pt. 2

As you can read below I was at the April 2nd opening night of Phantom Sightings: Art After The Chicano Movement. I was also at the Saturday April 5th symposium titled Phantom Sites: Rethinking Identity and Place in Contemporary Art. I returned last Friday to check out the show at a casual pace and I have tried to read all the reviews, about the show which have been compiled by Harry Gamboa Jr.

A couple of issues that keep arising are the subtitle: Art after the Chicano Movement, and thus 'What then is Chicano Art?'

Some of the reviews have been gentle, others searing with their words, not about the art per se, but the spirit and thus the curatorial framework which aims to present art by Chicanos who don't necessarily see themselves as Chicano. This leads to a lot of questions as to why then even call it Chicano art?

In discussions at the symposium, about the symposium and in the hallways of the collective mental barrio, other questions or snipes have emerged such as: 'After the Chicano Movement? I didn't know it was over?' or 'What is this talk about post-Chicano, or post-race? Sounds like an Obama campaign tactic on the loose.' (I like that one in particular.)

I asked one of the panelists, after the symposium, out on the lawn, "Why did they think the curators left out any art that referenced the Zapatistas or indigenismo? Surely these two have influenced a lot of art and artists 'after the movement.' "

They claimed, without a pause, that it was not conceptual art and that it was claiming a lineage. (I'm using 'they' to hide their identity. They are well versed in the art world, I respect them, they were on the panel, I know they weren't one of the curators, but their opinion still matters.)

I replied with, "To be born in Boyle Heights, and to never have spent a moment in the Lancandon jungle, but still claim to support and be inspired by the lives of the Zapatistas is totally conceptual. As far as lineage, are you saying that an indigenous lineage, which has its own language, cosmology and theories behind it, isn't a valid lineage for this show? Does art have to follow a German abstract, plastic based, Dadist lineage to be considered?"

They couldn't say anything to that. I still want that answered from someone, por favor.

Overall I believe that this is another example of the institutionalization of Chicanos. Chicana/o Studies Depts. have become fairly institutionalized, concerning themselves too much with tenure, theories, funding and not offending the others. Many departments have sheepishly agreed or initiated changing the name to Latino Studies or falling under the Ethnic Studies umbrella. I know I am at the Chicana/o bubble that is CSUN, but wasn't it the original goal of all these programs and centers to become their own single standing full blown department like we have at CSUN? And not to cave in and become part of the system while settling for less?

We are part of the system at CSUN too, its not liberated Aztlan over there. We recognize there are students and faculty that would like to move into a post-Chicano world, but we ask "Have the issues that forced us to take a stand 30 plus years ago been eliminated? Have we stopped dropping out of sub par schools? Have we stopped being forced into a life and death in a military fighting an unjust war? Are our people who are crossing the border being treated like humans? Just because Raza are the majority in the LAPD, are we being treated any better? Does our brown mayor really work for us, or for the big money in the city?" How can we be post-Chicano or post-Race if the problems and issues are still with us and in some cases stronger and worse today than before?

I think our MFAs, BAs, MAs and PhDs are blinding us and making us think that since me and mine got ours it must be all good in the 'hood. This art show is in a sense a result of the success of Chicana/o Studies. We got a lot of peeps into college and got them degrees, we just didn't think it would look like this.

At the symposium one of the panelists said "This art is for people that go to galleries and get all the references." OK then. So this art is geared to an art educated audience? Fine.

When I told my students they could get extra credit for going to this show I told them that they would see stuff that would make them think "That is considered art?"

I told them (they are all writing students) "When you think that, look for the description. It will be a paragraph somewhere near the piece. Try to read it. I know it may be confusing. It was written for curators and people who study art. That paragraph makes it art. If you can learn to write so only a few educated people will understand you, then you can make a lot of money putting stuff up in galleries that most people will go: 'That is considered art?'"

I'm sorry if that offends anyone.

In my first Chicano Studies class at CSUN I had Dr. Rudy Acu~a as my first teacher, my first day of school. He said that first day, "We are here to learn. We are here to learn to love to learn. We are here to learn not only what they want us to learn, but as Chicanos we have to learn about ourselves and our history. Once we learn everything we can, we need to be able to go back to our grandmother, who crossed the border to have your mom or dad be born here, and be able to explain to her what you learned and why it is important. If you can't explain what you know to your grandma, or your community, and have her or them understand its importance, then you really didn't learn anything important." I take that to the heart.

On Sunday May 4th Chicano artist Harry Gamboa Jr. and Sandra de la Loza will have a conversation about this much discussed show at LACMA's Brown auditorium. I can't wait to hear what he has to say about this show which features him so prominently. I know he won't let us down. He won't let us keep trying to make phantoms of ourselves.

__________________________________

Post Script:

Just got this email about this event featuring 2 of the curators of the show. This should be an informative evening that settles a lot of questions.

Wednesday, April 23, 2008 7:00 pm

Please join us for a special LECTURE at the Hammer
Curating Race: A Conversation on Curating Ethnically Specific Exhibitions

Moderated by Chon Noriega, Director of the CSRC, Professor, UCLA Dept.
of Film, Television, and Digital Media; and Adjunct Curator at the Los
Angeles County Museum of Art (LACMA) on the occasion of One Way or
Another: Asian American Art Now at the Japanese American National Museum
(JANM) and Phantom Sightings: Art after the Chicano Movement (LACMA).

With Malik Gaines, Independent writer and performer; adjunct curator at
LA ART; Rita Gonzalez, assistant curator, Special Exhibitions, LACMA;
and Karin Higa, adjunct senior curator at Art, JANM.

Wednesday, April 23, 2008 7:00 pm

Hammer Museum
10899 Wilshire Blvd, Los Angeles, CA 90024

(Located at the northeast corner of Westwood and Wilshire Blvds. in
Westwood Village, 3 blks. east of the 405 freeway’s Wilshire Blvd. exit.
Parking available for $3 under the museum for the first 3 hours).

This lecture is free and open to the public.

For more information: www.hammer.ucla.edu
or (310) 443-7000

A night at LACMA's Phantom Sightings

I have seen so much press and talk about this show at LACMA.
This art show plays on many levels: it shows Chicano/a art after the 'movimiento;' Chicano/a art that isn't necessarily concerned with calling itself Chicana/o art; and art by Chicana/os which has been absent from LACMA for 20 plus years. Many are also calling this the Post ASCO Chicano/a art show. ASCO being the bad ass art collective mentioned in this blog here.

I was very excited to go and celebrate the recognition of ASCO, my mentor Harry Gamboa Jr., and to see some of today's Chicano/a art stars stick a new pie in the face of LACMA for ignoring us for so long.

R and I got there and immediately saw Gamboa, with his pal and collaborator Humberto Sandoval.
We chatted with or at least spotted, Leo Limon, Barbara Carrasco, Reina Prado, Fernando Galvez, Todd of Ollin, Luis Vega, Raul Baltazar, Rueben Mendoza, Sandra de la Loza, Yreina Cervantes, Rueben Martinez, Adrian Rivas, Elias Serna, John Valadez and so many whose names unfortunately I can't remember now. It was a night full of the of La Chicanidada universe. At every turn there were old friends introducing me to people I have read or heard about. It was Chicano/a heaven.
The first picture you will see when you first walk in is Gamboa's 'Pie in de Face,' pic where he shot Patsi Valdez standing on the bridge of LACMA where Gamboa, Herron and Gronk had spray painted their names after LACMA told Gamboa that Chicanos don't make art, they make graffitti. It says so much that nearly 30 years ago LACMA didn't know what Chicanos were capable of and thus became part of Chicano art's most famous image, thanks to ASCO. From there you are treated to more of Gamboa's pics of ASCO in action. After that introduction you are taken on a trip into the contemporary landscape of art by Chicanos today. The pieces were all amazing. I can't begin to say enough of how each of them spoke on so many levels.

Go see this show. Go alone. Take all your family. Take your time. Meditate. Breathe it in. This is like fine tequila, you need to savor the subtleties. Some will make you laugh right out, others will have you scratching your head, many will take you places known, and to some places not visited, yet.

After this show, we will no longer be seen as phantoms in our own lands.

what a week...(trippin' good)

I found out I am a Nommo.
my dreams have been intense
energy getting me up early
sitting me up in the middle of intense dreams

shared with students a view of their future.
many seem more awake in class now
they care and want to be ready
studying abroad and new language lessons are in the plans of many.

rode 21 miles, getting ready for 26
saw a bloody fall, from too much fun










fun has been redefined
pushing harder, going farther

DJed 5 hours
felt like 2.5
made an elder feel like a teen with "wild is the wind"
made up for not having her radiohead request

hearts are open to new sounds
love as a theme
approval of the undeniable
respect and gratitude for allowing growth

viewed a life's amount of art
causes, personal, poignant, critical













a fearless artist
inspiring, humbling

the travel and adventure show
opened up more dreams
to be realized
soon...

Day of the Dead, burnout or ...

This year I'm feeling a lil burned out on the whole Day of the Dead thing.
This year I have also been witness to a couple of friends who lost family this year and all they went through including rosaries every Sunday, the few visits a week to the cemetary, the no parties- no drinking promises, the wearing of black clothes. This made grief, loss, and remembering the dead come into a new focus for me.

Last year I began to look DoD celebrations as mostly a day for local artists to sell stuff with calaveras. The year before a compa~era pulled out a 'Day of the Dead: In a Box' novelty gift she found online. It was designed by two non- Chicanas and all the pieces including tiny skulls, altar, serapes and such were made in China.

I was not raised with a lot death around me. The deaths in my family were not too close and my immediate family was never about all the rituals many other families do when death visits a loved one. We mourn, bury, miss, remember and then forget in a sense.

DoD was cool when I first started going to them at the beginning of the 1990's. I saw it as a big middle finger to Catholicism and the Western views of death. We Chicano/as were bringing up one of our ancient rituals to show everyone (including ourselves) just how complex and deep we are. I liked going to see the altars that some of the artists I read about and some that I knew would design with such detail and care.

When I finally saw what greiving and mourning looked like in a more real way, I began to question what these DoD were really about. Were they just another excuse for a party? Ain't nothing wrong with that, we need to come together and clebrate any chance we get. Were they just a chance for artists to make a lot of money selling kitschy art that wouldn't normally sell? Nothing wrong with that, artists need to make money. Yet I am feeling burned on it. I do think the soul of coming together to share, create, and grow together around an ancient system of beliefs is fading away and being replaced more with trinket collecting and sales.

I take my daughter EVERY year to DoD at SHG. This year will be no different. But this year we might just add a trip to the cemetary to see grandma before we go to SHG.