Every year over the long Memorial Day weekend, Santa Barbara's mission turns into a creative street chalk palette. The festival, now in its 33rd year, brings to life familiar masterpieces and some original artwork all on the ground. If you are busy camping or paying respect to our fallen heroes, there's plenty of opportunity to see the chalk art after the crowds have gone. I suspect there will be more crowds this weekend. If you still can't make it, I've taken some photos to give you an idea of what you can expect for next year, or next weekend. As long as there's no big rainstorm, the art will remain vibrant and visible for weeks.
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Friday, May 31, 2019
I Madonnari Italian Chalk Festival Santa Barbara 2019
Melinda Palacio
Every year over the long Memorial Day weekend, Santa Barbara's mission turns into a creative street chalk palette. The festival, now in its 33rd year, brings to life familiar masterpieces and some original artwork all on the ground. If you are busy camping or paying respect to our fallen heroes, there's plenty of opportunity to see the chalk art after the crowds have gone. I suspect there will be more crowds this weekend. If you still can't make it, I've taken some photos to give you an idea of what you can expect for next year, or next weekend. As long as there's no big rainstorm, the art will remain vibrant and visible for weeks.
Every year over the long Memorial Day weekend, Santa Barbara's mission turns into a creative street chalk palette. The festival, now in its 33rd year, brings to life familiar masterpieces and some original artwork all on the ground. If you are busy camping or paying respect to our fallen heroes, there's plenty of opportunity to see the chalk art after the crowds have gone. I suspect there will be more crowds this weekend. If you still can't make it, I've taken some photos to give you an idea of what you can expect for next year, or next weekend. As long as there's no big rainstorm, the art will remain vibrant and visible for weeks.
Thursday, May 30, 2019
What's in a Name?
In the late 1930's, when he was a teenager, my uncle Chuy obeyed when his mother insisted he return to the family ranch, Mitic, in central Mexico, some shenanigans having to do with him and an older woman from the neighborhood whose husband was away, locked up in jail, I think it was. You know how the chisme mill works in Chicano neighborhoods? The truth is probably buried in there.
By all accounts, Chuy was a good kid, maybe a little too naïve, yet bold. When his mother told him to return to Mexico, he balked. He was an American. Born in Mitic, he came to the U.S. at seven or eight years of age, with his parents and siblings right about 1920.
The last time I spoke to him, of course, we didn't discuss the older woman. Still, today, as I write this, his voice comes to me from another place, yet, it's as clear as the day we spoke, eerie, right? They're gone now, his entire family, so I'm glad I got a chance to talk to him before he went to the other side. I hear him in English, though, occasionally, he slips into Spanish, words and no body. “Danny Boy,” he called me. Made no difference my hair was rapidly graying, to him, I was always Danny Boy.
He made his home in Venice, when the canals still smelled of oil. Beatniks roamed the streets. Abbot Kinney catered to drunks and winos. There was no Marina, only Mud Lake, where, in summer, Westside families frolicked in the thick water, oil derricks in the distance.
Chuy bought his first house near Oakwood Park, where a Venice gang, the Dukes controlled the neighborhood. There he started his family, until he could afford a larger, nicer house, still in Venice but east of Lincoln boulevard. In those days, few people wanted to live west of Lincoln, or near the beach and the riff-raff hanging out on the boardwalk. Man, how times have changed.
In
the ensuing years, he would work long, hard hours, and acquire enough rental property to secure his, and his
children’s futures. Not bad for a gardener who started out with a push lawnmower.
He was raised in Santa Monica, where he attended school and worked, until his sudden departure to Mexico. He hadn't wanted to go, but once on the ranch, he enjoyed the Mexican lifestyle, both the work, the play, and the time to rest. He especially loved the horses, coming to buy his own and treating it like he would have a new car in the States.
He described his mother's ranch, Las Palmas, as small, desolate and very poor. “I don’t even think it’s
there anymore,” he told me.
But, in Mexico, no never knows for sure.
On day, while I was eating at a popular Mexican restaurant in West L.A. I
chatted with the bartender. He told he had come to the Westside from San
Gaspar, Jalisco, and knew Mitic well. But, in Mexico, no never knows for sure.
“Ever heard Las Palmas. I think it’s gone, now.”
"No, it's there. All those towns are very old."
In Mexico, anything is possible.
This got me to thinking. United States history is short, less than 300
years. Cut off from their ancestral homelands, Americans of European and
African descent, know only the U.S. territory as their home. Oceans, mountains,
and deserts separate them from the motherland. Most have lost contact with family there and their roots, all part of the American spirit, I guess.
But mestizo roots in the Americas, including the U.S., grow wide
and deep, and in some cases, barely steps away from the motherland, a car’s
drive or short plane ride. Family visit each other on both sides of the border, that is until someone changed the rules and made it harder to cross. Even for those who never visit Mexico, it's there, both physically and psychically. It hangs over Los Angeles, San Francisco and the entire Southwest. Even those little pueblitos are there, sometimes burgeoning, sometimes just lost in time.Francisco Gonzales, Mitic thriving |
“Mitic,” (Mee-teek) two syllables, is how my uncle pronounces the name of his father's ranch. My aunts pronounced it Mitique (Mee-tee-keh), three syllables. They even argue about it. What's in a name, right? And though they rarely visited, it remained in their imagination, magical, almost mythic, for better or worse. My aunt Josie once said to me, "You always want to talk about Mexico. It was awful. That's why we're all here." Then she would reminisce about being a young girl on the ranch, and how much she missed her grandmother and grandfather.
Anyway, how old are these American settlements? After all, the name "America" was here before the pilgrims landed in the east. There was a time when the southern border wasn’t the southern border. Meso-Hispano-America was one. As I once heard Chicano writer Rolando Hinojosa say, "We (his family and our people) have been a growing in concern in these parts for many generations," or something to that effect.
In their book Beyond the Codices: The Nahua View of Colonial Mexico, the editors Arthur Anderson and James Lockhart published the letter of Miguel Lopez, a colonized Indian from a town near Jalostotitlan, Jalisco, who wrote a petition to the Spanish King for the removal of the near-almighty local priest, the vicar Francisco Munoz.
Lopez claimed the [Spanish] priest beat the Indians mercilessly, took their food, and had a lady for his personal use.
In the Indian language Nahua, the name of Lopez’s settlement is Mizquictlaca. Lopez also used the shortened version, Mizquitic, probably to satisfy the Spanish chroniclers, who avoided extra letters.
As I read Lopez’s letter, I wondered if this could be my grandmother’s village. I turned the page. There, I read the Indian Lopez noted the name Mitic, just as my uncle Chuy had pronounced it.
Located in the province of Jalostotitlan, near San Gaspar, there could be no doubt it was my family's paternal home. Lopez sign his letter and dated it 1611.
Who knows how many years earlier the first Tecuexe Indians settled there? By the 17th century, it had already been a well-established Mexican community.
Where the spirits of ancestors roam |
At the turn of the 20th century, the Gonzales family of Mitic lived relatively well. Juan invested in land and cattle. In those days, Mitic was a thriving community. By 1920, the Mexican Revolution ravaged the land, sending many fleeing their ranches and heading north, crossing at El Paso del Norte, the location Mexicans and Indians have crossed hundreds of years before Ellis Island and the Statue of Liberty.
My uncle Chuy said, “Today, it's only a few ranches.”
When I visited in 2002, our cousins had turned the ranch into commercially successful dairy, complete with electric milking machines and acres of farm land ready for planting. Mitic is a survivor.
From that little rancho, the mestizo American branches of the Gonzales-De Los Santos-Villalobos family reaches to Santa Monica, Venice, Alhambra, El Sereno, Eagle Rock, Rancho Cucamonga, Newberry Park, Santa Ana, San Jose, and Fairbanks, Alaska. They are as much a fabric of the American tapestry as any European family, maybe even more, by 1000 years.
So, when a Fresno State University professor argues in his book that Mexicans and Latin Americans don’t assimilate into U.S. culture as successfully as Europeans have before them, one must question not only this professor’s research, but his intent, as well. After all, there is more to a name if we take a little time to study it.
Wednesday, May 29, 2019
Where Are You From? ¿De donde soy?
Written by Yamile Saied
Méndez
Illustrated by Jaime Kim
Age Range: 4 - 8 years
Grade Level: Preschool - 3
Hardcover: 40 pages
Publisher: HarperCollins (June 4, 2019)
Language: English
ISBN-10: 0062839934
ISBN-13: 978-0062839930
This resonant picture book tells the
story of one girl who constantly gets asked a simple question that doesn’t have
a simple answer. A great conversation starter in the home or classroom—a book
to share, in the spirit of I Am Enough by Grace Byers and
Keturah A. Bobo.
When a girl is asked where she’s
from—where she’s really from—none of her answers seems to be the right
one. Unsure about how to reply, she turns to her loving abuelo for help. He
doesn’t give her the response she expects. She gets an even better one.
Where am I from?
You’re from hurricanes and dark
storms, and a tiny singing frog that calls the island people home when the sun
goes to sleep....
With themes of self-acceptance,
identity, and home, this powerful, lyrical picture book will resonate with
readers young and old, from all backgrounds and of all colors—especially anyone
who ever felt that they don’t belong.
Este resonante libro ilustrado cuenta la
historia de una niña a la que constantemente se le hace una pregunta simple que
no tiene una respuesta simple. Un excelente tema de conversación en el hogar o
en el aula: un libro para compartir, en el espíritu de I Am Enough por
Grace Byers y Keturah A. Bobo.
Cuando se le pregunta a una chica de
dónde es, de dónde es realmente, ninguna de sus respuestas parece ser la
correcta.
Sin estar segura de cómo responder, se
dirige a su abuelo amoroso en busca de ayuda. Él no le da la respuesta que ella
espera. Le da una aún mejor.
¿De donde soy?
Eres de huracanes y tormentas oscuras,
y de una ranita cuyo canto llama a los
isleños para que vuelvan a casa cuando el sol se va a dormir....
Con temas de autoaceptación, identidad y
hogar, este poderoso y lírico libro de imágenes resonará con lectores jóvenes y
viejos, de todos los orígenes y de todos los colores, especialmente cualquiera
que haya sentido que no pertenecen.
Review
"Lyrical language and luminous illustrations. An ideal vehicle for readers
to ponder and discuss their own identities." —Kirkus (starred
review)
"A much-needed title that is a first purchase
for libraries and classrooms." —School Library Journal
"An
enchanted, hand-in-hand odyssey [and] opportunity to acknowledge and celebrate
the many, many backgrounds, roots, histories, of those who live in these
United States." —Shelf Awareness
"This
touching book addresses a ubiquitous question for children of color, and in the
end, the closeness between the girl and Abuelo shows that no matter the
questions, she knows exactly where she’s from." —Booklist
"Although the book begins as a gentle riposte
to narrow cultural and ethnic categorizations, its conclusion reaches out to
all readers, evoking both heritage and the human family." —Publishers
Weekly
Yamile Saied Méndez was born and raised
in Rosario, Argentina, in a family with roots from all over the world. She now
lives in a small mountain town in the United States with her Puerto Rican
husband, five multicultural kids, two bilingual dogs, and a herd of deer that
love to eat her flowers. She’s a graduate of the Vermont College of Fine Arts.
Visit her at www.yamilesmendez.com.
Jaime Kim was born South Korea and moved
to the US when she was eighteen. Her favorite things are the sun, moon, and
stars--which is why they always creep into her artwork. She lives in North
Carolina.
Tuesday, May 28, 2019
Memorial Day 1969, 2019
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Monday, May 27, 2019
Conversation with Odilia Galván Rodríguez by Xánath Caraza
Conversation with Odilia Galván Rodríguez by Xánath
Caraza
Odilia Galván Rodríguez is a poet, writer, editor, and activist. She is the author of six
volumes of poetry. Her latest, The Color
of Light, (FlowerSong Books, 2019) is an extensive collection of chronicles
and poetry honoring the Mexica (Aztec) and Orisha (Yoruba) Energies, which she
worked on during her time living in Cuba and Mexico. Also, along with the late
Francisco X. Alarcón, she edited the award-winning anthology Poetry of Resistance: Voices for Social
Justice (University of Arizona Press, 2016). Galván Rodríguez has worked as
an editor for various print media such as Matrix
Women’s News Magazine, Community
Mural’s Magazine, and Tricontinental
Magazine in Havana, Cuba. She is currently the editor of Cloud Women’s Quarterly Journal online
and facilitates creative writing workshops nationally. As an activist she’s
worked for the United Farm Workers of America, AFL-CIO and the East Bay
Institute for Urban Arts, has served on numerous boards and commissions, and is
currently active in women’s organizations whose mission it is to educate around
environmental justice issues and disseminate an indigenous worldview regarding
the earth and people’s custodial relationship to it.
Odilia, could you share with La Bloga readers about
your new book, The Color of Light?
This book took me many years to complete because it is a compilation of poems dedicated to the Orisha and Mexica energies, or as many still call them – deities. There is not complete agreement on this designation, deity or energy, but I went with calling them energies because as a spiritual person who is a deist, I believe in one god who caused the universe to be created but does not necessarily intervene in it – for me the Orishas and Mexica energies fit into this world view. Others would say that these two traditions are polytheistic – that they hold belief in many gods, but the people who today practice these traditions would disagree. The energies as I am calling them, are the ones who can be called upon to help and they do, but they are not gods or god. I only mention this because writing this part of the book, which contains only the very simplest descriptions of the energies, was the part I had most difficulty with. I did not want to reveal too much or too little. I also wanted to be in integrity with whatever I did share because spiritual beliefs are very personal and when you put them down in a book which is public, well, then what your write is open to scrutiny and criticism. But the most important part for me was not wanting to offend practitioners in including this information in the book, and back when I started working on it sharing information about the Orishas was tricky. The poems, well they are my offerings, and really the heart of the book so I hope people will enjoy them.
This book took me many years to complete because it is a compilation of poems dedicated to the Orisha and Mexica energies, or as many still call them – deities. There is not complete agreement on this designation, deity or energy, but I went with calling them energies because as a spiritual person who is a deist, I believe in one god who caused the universe to be created but does not necessarily intervene in it – for me the Orishas and Mexica energies fit into this world view. Others would say that these two traditions are polytheistic – that they hold belief in many gods, but the people who today practice these traditions would disagree. The energies as I am calling them, are the ones who can be called upon to help and they do, but they are not gods or god. I only mention this because writing this part of the book, which contains only the very simplest descriptions of the energies, was the part I had most difficulty with. I did not want to reveal too much or too little. I also wanted to be in integrity with whatever I did share because spiritual beliefs are very personal and when you put them down in a book which is public, well, then what your write is open to scrutiny and criticism. But the most important part for me was not wanting to offend practitioners in including this information in the book, and back when I started working on it sharing information about the Orishas was tricky. The poems, well they are my offerings, and really the heart of the book so I hope people will enjoy them.
As a child, who first introduced you to reading?
That is a hard question because both of my parents
read. Mom was always an avid reader. She loved Agatha Christi, mysteries in
general – her go to entertainment. She also read our text books once we started
having those, I remember being really surprised to find her at the kitchen
table reading my history text, and later in college she was especially
interested in my psych and political science books. I began reading as a very
young child, with my Dad, I would point to words on labels and he, noticing
this, would sound them out with me. I think I was about 3 or 4 years old. He
used to bring home a newspaper in Spanish, we were living in Chicago at the
time, and I remember the same thing I would point and he would read to me and
then he would tell me to “read” it. Of course, I don’t think I was very good at
it at all but, by the time I went to kindergarten I was already reading. There
were always a lot of books in our home.
How did you first become a poet?
That is a good question. I was always writing. Started early – writing in those diaries I would ask for and get for Christmas. You know the ones that come with a key and lock. I’m laughing at this, because I know how easy they were to open with a bobby pin or a paper clip. So there was nothing private about them. Anyway, I kept a journal from early on and was never really interested in poetry because what they give you to read in school are normally poems working-class poor children growing up on the south side of Chicago can not relate to. But low and behold one day Gwendolyn Brooks! Yes, her poem We Real Cool is the reason I am a poet today. I don’t remember what grade that was, maybe 5th grade, yes, I had Mrs. Elliott that year – one of the few lay teachers in my Catholic School. The year JFK was assassinated. Yes, she introduced us to Gwendolyn Brooks. Everything changed for me then, I started loving poetry. Knew I wanted to write it. I was always very private about my writing and didn’t come out as a poet until the late ‘70’s my first poem was published in a small anthology in Santa Cruz, CA under a pseudonym. That makes me laugh now. It wasn’t until I met the incredible Francisco X. Alarcón – ¡presente! who encouraged me and invited me to write more. I started sharing my work in a taller called Centro Chicano Latino de Escritores, and in the early 80’s was when my work began to be published in anthologies.
That is a good question. I was always writing. Started early – writing in those diaries I would ask for and get for Christmas. You know the ones that come with a key and lock. I’m laughing at this, because I know how easy they were to open with a bobby pin or a paper clip. So there was nothing private about them. Anyway, I kept a journal from early on and was never really interested in poetry because what they give you to read in school are normally poems working-class poor children growing up on the south side of Chicago can not relate to. But low and behold one day Gwendolyn Brooks! Yes, her poem We Real Cool is the reason I am a poet today. I don’t remember what grade that was, maybe 5th grade, yes, I had Mrs. Elliott that year – one of the few lay teachers in my Catholic School. The year JFK was assassinated. Yes, she introduced us to Gwendolyn Brooks. Everything changed for me then, I started loving poetry. Knew I wanted to write it. I was always very private about my writing and didn’t come out as a poet until the late ‘70’s my first poem was published in a small anthology in Santa Cruz, CA under a pseudonym. That makes me laugh now. It wasn’t until I met the incredible Francisco X. Alarcón – ¡presente! who encouraged me and invited me to write more. I started sharing my work in a taller called Centro Chicano Latino de Escritores, and in the early 80’s was when my work began to be published in anthologies.
Is there anything else you would like to share with
our readers?
Just that if you are a writer or want to be, find like-minded people who will support and help you work on your craft, whatever that might be poetry, fiction, creative non-fiction etc. We have to get our stories and voices heard. So, join or form a community of writers in your area and write together, then when your work is ready, submit it and see what magic happens!
Just that if you are a writer or want to be, find like-minded people who will support and help you work on your craft, whatever that might be poetry, fiction, creative non-fiction etc. We have to get our stories and voices heard. So, join or form a community of writers in your area and write together, then when your work is ready, submit it and see what magic happens!
The Color of Light
is shadow
there is not one
without the other
to delve further
into this duality
one must vision
reality bent
a descent
into seeing
what isn’t
a three-dimensional trick
in that world of flat magic
it’s tragic
when people refuse
to muse beyond
their edges
isn’t it?
and color only
inside their lines
their whole lives spent
not looking beyond
their assigned comfort
not feeling the others
who live with us daily
sharing the planet
on an invisible level
or is it?
some same plane
traffic jam
where some of us
are merely sideswiped while
others are rammed head-on
since birth in a collision
She Walks in Beauty
she walks
in beauty
in night
shadow dreams
a star specked shawl
swirled across
her shoulders
free of wide world’s weight
tonight she dreams
reality that fits
she strolls
red earth mesas
where gold bones
are a
sunken treasure
all that is left
all that is left
of petrified trees
rock roots
in an ancient ocean
transformed
to desert
floor
deep with messages
of the still rooted
Cloudy Serpent
down
from the milky
sky road
ripe
we were
thrown
in handfuls
from on high
seeding the earth
from molten
blue stars
we became flesh
from your
downy plumes
you made
flores bloom
as humans
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