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Hanna Hill

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"I like the idea of subverting something that's regarded as submissive and docile and saying something quite strong with it," says Bristol-based embroidery artist Sophie King. "It appeals to my sense of humour to subvert assumptions."

The 29-year-old started sharing her embroidery on Instagram in 2013 and since then she has been using the medium to spotlight feminist issues. The phrases she stitches have since gone viral and been shared countless times. She focuses on deconstructing gender roles and holding men accountable in heterosexual relationships. For her Red Flag series, Sophie stitches relationship dealbreakers onto literal red flags.

To some, embroidery might seem like a ritual from the past -- Victorian women stitching together by the fireplace. However, in the past few years, social media has become a vehicle for a craftwork revolution. Instagram feeds like Sophie's are shareable and eye-catching, but more than that, they provide opportunities for contemporary embroiderers to get their work out there. And while traditionally embroidery may have been associated with floral, pastoral or Biblical art, this new wave of young, primarily female artists are reclaiming the craft as a platform for social change. Their work, rather than focusing on Bible verses or beautiful flowers, is inspired by issues as diverse as gun violence and gaslighting.

"Folks associate embroidery in particular with 'Home Sweet Home' and cats and bunnies and Bible quotes so when strong messages come through that medium, it stops them in their tracks," explains Shannon Downey, the artist/activist behind @badasscrossstitch. In 2017 her "Boys Will Be Boys" piece became a social media rallying cry in response to Harvey Weinstein and #MeToo, and was seen around the world after being shared by celebrities including Emily Ratajkowski, Willow Smith and Zoë Kravitz.

Activism and embroidery have always gone hand in hand for Shannon, though initially it might seem like a striking juxtaposition. "My activism is my life so it just made sense that I would be stitching around these topics," the Chicago native explains. Embroidery not only gives Shannon a tool with which to start conversations online. She finds that the act of embroidering itself allows time for reflection. "I use it as a way to give myself time to think about different issues and topics," she says. "It is a bit of a meditation for me. Anything I'm stitching is something that I want to spend time thinking about, whether it's feminism or politics or gun violence. It creates space for me to be quiet."

In our anxious times, many of us are on the lookout for new healthy coping mechanisms and ways to support our mental health. When artist Sarah Beth Timmons, who's based in Salt Lake City, Utah, was suffering from postpartum depression, embroidery was invaluable. "It was good for me to have something to do with my hands," she says. "I could watch a TV show and completely forget about my worries. I think it's really beneficial to get your fingers moving while your brain does something else."

Sarah started by stitching swear words, which feature on her most popular pieces, after getting into trouble for swearing at work. "I was in meeting and I said 'Fuck' because I was really frustrated. I didn't direct it at anybody, but they almost fired me for it," Sarah explains. "I went home that day and started to embroider 'Fuck.' I thought it was so funny because my grandmother taught me how to do this and my grandmother's house has the sweetest embroideries and now, I'm making these. The whole thing makes me laugh. People really respond to swear words in embroidery. It's a funny juxtaposition that people love."

But more than the messages these artists choose to champion, it is the art form itself that is perhaps most political and lends itself most to activism. Anyone, after all, can take up embroidery. The materials are affordable, and the ability to be self-taught, for instance via YouTube tutorials, makes it a remarkably accessible technique. With its close ties to sustainability, craftwork is increasingly popular, too, as a way of pushing back against mass-market consumerism, particularly among millennials and Gen Z.

Shannon's practice, in particular, is dedicated to passing on the collaborative, female-led aspect of teaching embroidery to a new generation. The artist wants to introduce as many people as possible to the craft, hosting regular "stitch-ups" in and around Chicago. She will soon be setting off on tour, driving a van across the US, teaching classes in every city she stops in, a project that she hopes will continue into 2021. "It's such an easy medium to learn so I can teach somebody in 10 minutes how to do it," Shannon says. "It's a low entry point in terms of cost and materials. You don't have to commit to buying a big instrument to learn this hobby. It's ten bucks and you're good to go."

Historically, it's embroidery's accessibility which has been used as an excuse to not take the art form seriously. With women historically being shut out of art schools and academies, embroidery was one of the only crafts they could easily engage in from the home. It's been in Sarah's family for generations, but her mum still couldn't believe that people were willing to give her money for the embroidery art she was creating. "It was women's work," Sarah says. "Embroidery was really the only art form we ever had. It's taken a big leap in the past 10 years from being strictly what you do with women in a circle, dating back to King Arthur probably. Now, we're doing it still, but it's kind of a higher art form."

However, there's still a struggle to get people to recognise embroidery as a medium that's as worthy of appreciation as more mainstream forms of artistic expression, like painting and drawing. "People say small things about embroidery that are patronising," says Sophie King. "I've done traditional art and I can tell the difference in reception from people. I embroider because I love the medium but it's hard trying to fight people's assumptions at the same time."

The perception of embroidery is "highly gendered," adds Shannon. "It's crafty women's work. That's the general perception, although I believe that it's totally shifting." This shift is definitely in part due to the subject matter embroidery artists are tackling today. "I want to take embroidery from being perceived as a sweet lady grandma craft to people thinking 'Holy shit, they're taking over the world.'"

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The emerging artists making embroidery political

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"I like the idea of subverting something that's regarded as submissive and docile and saying something quite strong with it," says Bristol-based embroidery artist Sophie King. "It appeals to my sense of humour to subvert assumptions." The 29-year-old started sharing her embroidery on Instagram in 2013 and since then she has been using the medium to spotlight feminist issues.

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Scroll through Hannah Hill's Instagram feed and you'll find body positivity and delightful embroideries galore. The 22-year-old London-based artist has been developing a following through her artwork over the years, but it was her feminist Arthur embroidery, inspired by the all-too-relatable Twitter meme, that took the Internet by storm. As a woman of colour, Hill has decided to use her new-found viral fame to talk about the issues that matter to her. Most recently, she's spoken about her struggles with mental illness and she uses her art to raise discussions about police brutality and racial tensions post-Brexit.

We can't get enough of her lovely illustrations and embroidery. As an unstoppable artist and activist, Hannah is an inspiration to young female artists everywhere and we were so excited to chat with Hannah about memes, feminism, and life as an up-and-coming artist in the UK.
When did you first start making art?
My grandma's collection of things I've made for her from the past twenty years would suggest most of my life! I have always been imaginative and creative. My grandparents were architects, my mum enjoys knitting, sewing, and other crafts and her mum is skilled at garment making, so I have had different types of creativity around me from a young age. Long walks with my Grandpa around London when I was younger encouraged me to look at the world around me.
Your Arthur meme embroidery went viral after you posted the picture on Instagram, did you expect such a big, global reaction?
I kind of joked that I hope it goes viral, just because I was so chuffed with how it turned out, but I had no idea what that really meant until I woke up the next morning to 35k retweets and that just kept going up on every platform over the next few days. The response it got was incredible, and I'm so glad it was a sort of catalyst for many publications to write about how textiles have been sidelined in art history.
Why did you start embroidering?
I started embroidering when I was about 17 at college. I instantly loved it which was really validating because I didn't have any confidence with drawing, painting or sculpture. Then the more I got into feminism and learnt about the history of embroidery it all made sense that I use my favourite medium to make work about social issues important to me.
For you, what does it mean to bring feminism with art, from drawing to more craft-based mediums like embroidery? What's it like, navigating the art world as a woman today?
My art's meaning is one of the most important things for me. For me to be able to use my creativity and voice to explore issues I care about as well as parts of my identity is something I value highly. I'm not sure how I fit into the whole art world as there are parts which I do not like such as its history of exclusion and elitism, but I hope I am able to carve out my own part which is principled on inclusivity, social issues, community and ethics. I don't fit into the corporate side of the art world that's for sure, but I don't want to. I want to be a part of the art world but also critique its many flaws, while hopefully changing the future for artists. I love following fellow feminist artists and seeing them create amazing work, that inspires me.
You've recently been posting images from other clothing companies like Urban Outfitters that have copied and essentially ripped off your designs? What's that experience like, clicking on a company's page and seeing your own work on there without your permission?
It really sucks. Usually, it's people who follow me that message me to tell me about these cases. It's something so many independent artists and makers deal with. I just realised that the reason it doesn't bother me as much anymore is because my work that is copied are usually patches from years ago and I feel like I've moved in a totally different direction as an artist since then. They're still my property though so it is frustrating when big companies think they can get away with stealing. I try to utilise social media when this happens because thankfully people are equally as outraged and call the brands out which saves me a lot of energy and worry. It's also great to feel supported in this situation.
Internet memes are funny, we all love sharing them, but do you think that memes have the power to send a more serious message?
Totally! That's what's so great about memes, they can be simple and funny or deep. Brexit was a really hard time to deal with the uncertainty and stupidity surrounding it, and memes definitely helped take some of the edge off the misery going on at the time. Even depressing, political memes can bring you comfort or a laugh about the situation.
Some of your pieces have dealt with Grime music and you've talked about Grime on your Instagram. Who are some of your current Grime favourites?
Grime artists I love are Skepta, Frisco, D Double E, Novelist, AJ Tracey, P. Money, Flowdan, NoLay, jeez there's so much talent it's hard to not list everyone!
If you could collaborate with a Grime artist, who would it be?
The way things have been coming together for me, I wouldn't be surprised if there were to be some Hanecdote/Grime collaborations in the near future....
In one of your most recent Youtube videos, you talk about your experience living with mental illness? How has art helped you through those rougher moments? What advice would you have for someone who might be going through similar experiences of depression?
I've had a rollercoaster relationship with art and dealing with mental illness. When you're so depressed and have no self-worth, it's hard to feel good about anything you make. Saying that, anytime I was hospitalised I always made the most of the drawing/art facilities they had, and when I was in a short term unit I created an alter ego of some kind, called Superhan, which helped me to see the good in myself. Around this time I was also using drawing to express the dark side of what I was feeling, its hard to look back at those, I feel so much sadness for how 14-year-old me felt. In the past few months I have really enjoyed practising drawing, unlike ever before and seeing gradual improvements has been beneficial to my confidence of my skills. So I'd recommend practising whatever medium it is that you enjoy, test out loads of mediums if you're not sure, you don't have to share work unless you want to so make it just for yourself with as little pressure as possible. Keep trying.
As a woman of colour living in the UK, how do you feel about the current state of politics and society there?
Scary. I am privileged in a lot of ways, one being my race is ambiguous so it's hard for me to be stereotyped. I try to understand the concerns of many other people of colour who have to deal with outright sexism, xenophobia and racism and use my platform to uplift those experiences and voices. Growing up in London I have been blessed to know many different people of so many different races and that has shaped me into a caring accepting person. After the results of Brexit, it was obvious that we were living in a bubble, and the rest of the country voted Leave. Not everyone that voted Leave is racist, but the media and politicians manipulated people across the UK into thinking immigration was single-handedly to blame for the failing NHS and other services. The surge of racist and xenophobic attacks since the vote shows that this gave people a sense of entitlement about what is and isn't British. Immigrants helped shape this country and deserve respect and humanity.
You've also done some work with Tate Collectives. What has that experience been like?
I woke at Tate Collectives which is an amazing young people's group aged 15-25 at Tate which puts on events to encourage young people, especially ethnic minorities to enjoy the public art collection. We aim for our events to reflect the diversity of London, putting together DJs, spoken word artists, MCs, workshops and vibes to welcome a wider audience into Tate. This work is so rewarding for me because I love art so much, but I also understand that many people feel alienated and excluded from it, so to have the chance to change people's experiences with a gallery is incredible.
What do you think are some of the biggest challenges young artists face today? how have you personally trying to overcome these issues?
I guess a big problem would be dealing with plagiarism which can be so discouraging and demoralising for a young artist to deal with, especially alone and without the finances to take legal action. For me and many young people in London, living here seems unlikely but I'm grateful that I can live at home and study/work with the support of my family. Cuts are happening from creative subjects which will only discourage young people from exploring vocational forms of studying and further pursuing art.
Where do you hope to take your art in the future? Do you have any products or piece currently in the works?
My only hopes and plans for the future as of now is to have a solo exhibition after I graduate and to do an internship at Tate to gain further knowledge. I've been working on a Grime/London inspired piece for while now which I really want to finish because I think it's going to look great, but I'm also excited to start on a new piece. I have been working with similar motifs and themes, and I want to research textiles in a historical context to create a narrative combining all my ideas, interests and imagery. I'm excited for new work!

You can follow Hannah on Instagram and Twitter.
Photos via Hanecdote More from BUST How To Make Your Own Feminist Em-Broad-ery Hoop Art How Embroidery Made Me a More Well-Rounded Feminist This Japanese Denim Repair Technique Will Make Your Jeans Look Cooler Than Ever

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Meet Hannah Hill, The Feminist Artist Bringing Activism To Embroidery: BUST Interview

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Scroll through Hannah Hill's Instagram feed and you'll find body positivity and delightful embroideries galore. The 22-year-old London-based artist has been developing a following through her artwork over the years, but it was her feminist Arthur embroidery, inspired by the all-too-relatable Twitter meme, that took the Internet by storm.

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Hanna Hill + Kate Rolison on embroidery and mental health

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Hanna Hill + Kate Rolison on embroidery and mental health

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https://www.youtube.com/watch?v=1HrUaxG7880

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https://es.wikipedia.org/wiki/Sonia_Delaunay

https://en.wikipedia.org/wiki/Sonia_Delaunay

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https://en.wikipedia.org/wiki/Natalia_Goncharova

https://es.wikipedia.org/wiki/Natalia_Goncharova

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Artist Natalia Goncharova – Leader of the Russian Avant-garde | TateShots

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https://en.wikipedia.org/wiki/Mierle_Laderman_Ukeles

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https://en.wikipedia.org/wiki/Ilse_Fuskova

https://es.wikipedia.org/wiki/Ilse_Fuskova

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https://en.wikipedia.org/wiki/Vandana_Shiva

http://web.rebegin.tech/vshiva/

https://es.wikipedia.org/wiki/Vandana_Shiva

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https://vimeo.com/344387183

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BORDADORAS DEL BAKER: UNA TRAVESÍA POR LAS RAÍCES DE NUESTRA PATAGONIA

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BORDADORAS DEL BAKER: UNA TRAVESÍA POR LAS RAÍCES DE NUESTRA PATAGONIA

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Article: The women who invented collage – long before Picasso and co.Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue, as this fascinating new exhibition shows

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Article: The women who invented collage – long before Picasso and co.Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue, as this fascinating new exhibition shows

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The art-history books will tell you that sometime around 1912, Picasso invented collage, or, actually, perhaps it was Braque. What they mean is that sometime around 1912 a man of sufficient standing took up a technique that had been quietly practised in largely domestic spheres by a largely female army of amateurs, and applied it in his own work. Cue the universal astonishment of observers who pretended they had never seen such a thing before.

This narrative has been recycled ever since, assuring us that the collage techniques that shaped the language of dada, surrealism and all the other isms that made up modernism, as well as pop art and even today's Photoshop-driven design, all emanated from that one original spark of paper-sticking cubist genius.

So thank heavens that the National Galleries of Scotland's new exhibition, Cut and Paste: 400 Years of Collage, is here to set the record straight. A sprawling festival of collage, papier collé, découpage, photomontage, photocollage, cut and paste, scrap work, mosaic work - call it what you will - fills both floors of the gallery and effectively resets the chronology.

The rediscovery of all these unheralded practitioners of premodernist collage is exciting. The range of collage-esque techniques that were practised over the centuries before Picasso unfolds like a museum of curiosities. Complicated 16th-century anatomical flap books vie with similar constructions that advertise how Humphry Repton might improve your Georgian parkland. Elsewhere a creepy, outsize die-cut baby hovers alarmingly over a stuck-down arrangement of posies and disembodied hands.

Even better are Mary Delaney's still quite astonishing botanical collages, which pop off the walls with a vibrancy that belies the fact they were created 250 years ago from tiny shards of hand-tinted paper by an 'amateur' artist in her seventies. Nearby, elaborate silhouettes and stage-set portraits, decorated home furnishings - including a screen covered with pictures reputed to have been pasted there by Charles Dickens - and 'paper transformation' constructions that become nocturnal scenes when backlit by a candle all indicate the rampant variety of creative ways with cut paper that emerged from people's homes as soon as the materials became readily available.

By Victorian times, paper was everywhere. Scrapbook kits, Valentine card kits, photographic cartes-de-visite and all manner of decorative papers became fixtures in wealthy homes, and cutting it up became an obsession. Presages of modernism abound. Photomontage is used extensively to create space-defying group portraits or deceptive illusions. A scrapbook of sliced-up words and portraits by Mary Watson, from 1821, reads like the chance poetry practised 100 years later, and looks like some punky contructivist graphic.

George Smart uses cut-out newspaper in his vignettes of early 19th-century Sussex life, just like a cubist. Take that, Picasso. Meanwhile, Kate Gough's peculiar photo-and-ink montages of shrunken children and monkeys with human heads are pure 1870s proto-surrealism: Max Ernst, born before himself.

There is plenty here like this - inventive, imaginative and often made by women. Denied the opportunity to paint or sculpt, well-to-do ladies went to town with scissors and glue. That the work could be startling in its skill and originality meant nothing, though. It was dismissed as an artform and explicitly barred from the Royal Academy.

By the time the cubists took up scissors to toy with abstract cut-outs and trompe-l'oeil commercial patterns, the potential of collage had been well established by its domestic progenitors. The 20th century just brought the methods to mainstream art, embraced by a new generation of artists who had grown up in cities so plastered with advertising they were ever-evolving, real-life collages.

The fast-paced methods and instant effects of collage soon became the preferred vehicle for expressions of rebellion, lending a cheap, readymade aesthetic to visual protest from the first world war onwards. The dadaists began their satirical collages in Germany during that war, inventing the term 'photomontage', if not the technique, and kept at it for the next two decades. Seven of John Heartfield's photomontage assaults on Nazism, created for mass circulation rather than the art gallery, are displayed here. The ferocious rebuke of his distorted realism is still as savage today.

But collage was also well suited to the consumerism-fixated art of Eduardo Paolozzi, Peter Blake and Andy Warhol. Robert Rauschenberg's approach was entirely dependent on the cut-and-paste effect, as was Robert Motherwell's. Cheap, fast, easy to construct and endlessly recyclable, collage became a dominant aesthetic in the 20th century, shaping everything from Picasso's flat, fragmented paintings, through Warhol's multiples and the graphics of 1970s protest art, to our modern, mouse-clicked designs.

Interestingly, though, when seen in the context of a fuller history, the cut-out shtick feels a little tired by the time the pop artists appear. Blake's Sgt. Pepper artwork is grand, but it's nothing George Washington Wilson wasn't doing in Aberdeen back in 1857. There are a number of forgettable post-war collage works in this exhibition that feel like yet another variation on a rehashed trope. The late-career flat-colour cut-outs of Matisse, on the other hand, diverge from the general obsession with the found image. Untrammeled by contemporary photography, his 'drawing with scissors' technique remains fresh today.

Also standing out from the soup of post-war photomontage is Gwyther Irwin's large scale 'Collage No. VIII'. More a piece of anti-collage, it is made from peeled-back layers of poster and resembles the obscure remains of a medieval vellum manuscript or a decaying shroud. Substantial and meditative, it also recalls the paintings of Antoni Tapies, which, often heavily collaged with paper, fabric, dirt or hair, are a regrettable omission.

There is good stuff among the contemporary exhibits, with some lightly sculptural, rhythmic and elegant works by Fred Tomaselli and Lucy Williams that expand the definition of collage. Jean-François Rauzier's montage of pictures from the National Gallery demonstrates the power of digital technology. This is the visual language of our time, and Rauzier's immensely detailed, digitally stitched photographic print feels like some kind of metaphor for the vast potential of the image in the age of Google.

The Chapman brothers' more traditional but shamelessly bizarre collaged perversions of original Goya prints, titled 'The Disasters of Everyday Life', are also absorbing. The juxtaposition of unexplained modern pictures and Goya's glowering backdrop embodies Paolozzi's definition of collage as an exercise in 'introducing strange fellows to each other in hostile landscapes'.

Of course, by gluing pictures on to original artworks, the Chapmans are merely following the women who, during Goya's lifetime, were doing exactly the same thing to paintings by Watteau and Boucher in the court of Marie Antoinette. Let them cut and paste.

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The women who invented collage - long before Picasso and co. | The Spectator

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The art-history books will tell you that sometime around 1912, Picasso invented collage, or, actually, perhaps it was Braque. What they mean is that sometime around 1912 a man of sufficient standing took up a technique that had been quietly practised in largely domestic spheres by a largely female army of amateurs, and applied it in his own work.

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Ana María Pino: Otras formas de textualidad: Iconografía, textiles, quipus, […]

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Ana María Pino: Otras formas de textualidad: Iconografía, textiles, quipus, […]

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Ana María Pino: Otras formas de textualidad: Iconografía, textiles, quipus, […]

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https://en.wikipedia.org/wiki/Victoria_Santa_Cruz

https://es.wikipedia.org/wiki/Victoria_Santa_Cruz

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Victoria Santa Cruz : Me gritaron negra     La historia tras el poema

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Victoria Santa Cruz : Me gritaron negra     La historia tras el poema

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Victoria Santa Cruz        Función de la palabra 1.

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Victoria Santa Cruz        Función de la palabra 1.

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Victoria Santa Cruz        Función de la palabra 2.

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Victoria Santa Cruz        Función de la palabra 2.

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The Women Weavers of the Bauhaus Have Inspired Generations of Textile Artists

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The Women Weavers of the Bauhaus Have Inspired Generations of Textile Artists

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It is fellow New Bauhaus student Lenore Tawney, though, whose work reveals the most delightful connections between her community and her deeply innovative practice. Tawney not only studied with Ehrman, but also forged long-lasting friendships with Zeisler, Kuh, and artists

(who studied with

) and Sheila Hicks (who met Anni Albers while studying at Yale and is one of the only artists included in the exhibition who is still living).

Like Zeisler, Tawney expanded the scale, density, and texture of woven artworks. "[She] was a very important pioneer in the field," Zeisler said of Tawney in 1981. "[She] reached her peak before I had." Tawney's works were indeed unprecedented. She punctuated skeins of silk and cotton fibers with airy voids and natural objects like feathers, stones, and sticks, then suspended her towering constructions from the ceiling, as if floating. "All my work should be hung out from the wall, as space, or breathing, is part of it," she stressed in 1982.

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The Women Weavers of the Bauhaus Have Inspired Generations of Textile Artists

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It is fellow New Bauhaus student Lenore Tawney, though, whose work reveals the most delightful connections between her community and her deeply innovative practice. Tawney not only studied with Ehrman, but also forged long-lasting friendships with Zeisler, Kuh, and artists (who studied with ) and Sheila Hicks (who met Anni Albers while studying at Yale and is one of the only artists included in the exhibition who is still living).

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Imprescindibles:            Remedios Varo

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Imprescindibles:            Remedios Varo

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especials tve catalunya programa completo

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Especial TVE Catalunya - Remedios Varo - RTVE.es

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Especial TVE Catalunya - Remedios Varo . Especials TVE Catalunya online, completo y gratis en RTVE.es A la Carta. Todos los programas de Especials TVE Catalunya online en RTVE.es A la Carta

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Un cuento propio: Historias para escuchar, heroínas por descubrir

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Un cuento propio: Historias para escuchar, heroínas por descubrir

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https://soundcloud.com/pandoramirabilia

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Es un proyecto de audiocuentos infantiles que nace con la intención de aportar personajes e historias distintas. Además de visibilizar la historia de las mujeres y ofrecer nuevos referentes a niñas y a niños, quiere que estos cuentos contados y cantados animen a soñar, disfrutar y fomentar la creatividad, el disfrute de la música y la imaginación.

Un cuento propio está formado por tres entregas que contienen siete audiocuentos cada una. Acompañados por música y canciones, los relatos nos cuentan asombrosas historias basadas en las vidas de mujeres reales a las que la Historia no ha tenido lo suficientemente en cuenta y cuyas aventuras y aportaciones queremos dar a conocer.

Los cuentos están inspirados en siete mujeres de diferentes épocas, ámbitos y lugares. Ellas son:

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Es un proyecto de audiocuentos infantiles que nace con la intención de aportar personajes e historias distintas. Además de visibilizar la historia de las mujeres y ofrecer nuevos referentes a niñas y a niños, quiere que estos cuentos contados y cantados animen a soñar, disfrutar y fomentar la creatividad, el disfrute de la música y la imaginación.

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https://www.poetryfoundation.org/poets/gwendolyn-brooks

https://www.poetryfoundation.org/harriet/2017/06/against-miracles

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Ángela Ruiz Robles:          la ignorada inventora del ebook

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Ángela Ruiz Robles:          la ignorada inventora del ebook

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Ángela Ruiz Robles (1895-1975) es otro ejemplo de cómo los creadores de la historia (en masculino) han sido injustos con las mujeres. Esta maestra y pedagoga en la II República y después en los peores años del franquismo tras la Guerra Civil, fue la primera en inventar el precursor del actual libro electrónico en 1949.

Ha sido Michael Hart quien se ha llevado el mérito de ser el inventor del ebook ya en el año 1971, pero si rastreamos más en la historia, concretamente más de veinte años atrás, Ruiz Robles, leonesa de nacimiento y posterior residente en Ferrol hasta su muerte, fue la creadora del primer prototipo de dispositivo electrónico, que incluso patentó.

"Procedimiento mecánico, eléctrico y a presión de aire para lectura de libros", se llamó su primera patente con número 190.698. La Enciclopedia Mecánica fue ideada por esta inventora con un propósito: liberar a sus alumnos de la carga que suponía llevar tantos libros a la espalda. También para "aliviar la enseñanza: con el mínimo esfuerzo, conseguir los máximos conocimientos", explicaba la propia Ruiz Robles en una entrevista en televisión a finales de los años 50. "He aquí un prototipo llamado a revolucionar el concepto que tenemos de los libros", la presentaba el periodista.

Ahora, el Ayuntamiento de Madrid va a reconocerla dándole una calle en el distrito de Villaverde, según se aprobó este jueves en Junta de Gobierno y adelanta eldiario.es. "La asignación del nombre de Ángela Ruiz Robles a una calle situada en el Área de Planeamiento Boetticher y Navarro se enmarca en la línea de reconocimiento a mujeres relevantes de la historia madrileña y española hasta ahora invisibilizadas", explican desde el Ayuntamiento de Madrid.

Esta reconocimiento a su trayectoria como pedagoga e inventora estará situado cerca del Centro de Innovación de Madrid, según explica la propia Manuela Carmena a eldiario.es. "Es bueno saber que nuestras calles tienen a maestras y pedagogas, porque tenemos que pensar que los maestros son definitivos en la vida de muchas personas", reflexiona la alcaldesa. "A cuántos de nosotros no ha sido definitivo una determinada maestra, y Ángela es que fue innovadora hasta el punto de crear el libro mecánico que tiene cifras, tiene dibujos, y en definitiva fue el precursor del ebook de nuestros días", celebra.

Ruiz Robles, más conocida por sus alumnos como Doña Angelina, fue una maestra comprometida con la enseñanza en la que fue una pionera. Comprometida también con los más necesitados, a los que atendió con especial mimo para darles la libertad a través de la educación a la que no tenían tan fácil acceder. Se trasladó a Ferrol tras sacar su plaza de maestra en unas oposiciones y allí abrió un centro de enseñanza donde daba clases nocturnas gratuitas a personas con pocos recursos.

Idiomas, luz y sonido

Pero si algo se le debe reconocer para hacer justicia a todo un género es su faceta como inventora. A ella se deben tres ingenios muy importantes para la enseñanza: la máquina taquimecanógrafa, un atlas lingüístico gramatical y la enciclopedia mecánica aprobada por el Ministerio de Educación y ciencia como texto de enseñanza.

El prototipo La Enciclopedia Mecánica o libro mecánico incorporaba en 1949 sonidos, un gran número de gráficos, auto iluminación, la posibilidad de escribir al propio lector, probabilidad de enlaces textuales, información multimodal y contenidos actualizados. También idiomas: castellano, inglés y francés. Poco espacio y poco peso contenían la mayor cantidad de materias escolares posible: todo en el tamaño de un solo libro. Y se podía leer tanto en vertical como en horizontal. De ahí que Ángeles Ruiz Robles pueda ser considerada una de la precursoras del actual libro electrónico o ebook.

Constaba de varias bobinas enrolladas. Una de ellas contenía todas las asignaturas y la otra el abecedario y números que permitían hacer cálculos y textos. El invento, que creó en solitario, no pudo ser desarrollado ya que nunca encontró la financiación necesaria. Era de metal, un elemento caro en la época. Pero la gallega de adopción planteó que se hiciera incluso con materiales más baratos como el plástico.

El Plan Memoria de Madrid, que depende del Área de Cultura y Deportes y reconoce a figuras relevantes en las calles de Madrid, ha introducido criterios de igualdad de género en la selección de personas homenajeadas. Así, entre las últimas placas de este Plan que se han colocado en la ciudad figuran las dedicadas a cuatro creadoras e intelectuales vinculadas a la generación del 27: la abogada Victoria Kent, la escritora María Lejárraga, la periodista y escritora Luisa Carnés y la poeta Ernestina de Champourcí.

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Ángela Ruiz Robles, la ignorada inventora del ebook en 1949, tendrá una calle en Madrid

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Esta pedagoga leonesa afincada en Ferrol inventó el primer prototipo de libro digital para facilitar la enseñanza a sus alumnos y aligerar la carga de librosLa Enciclopedia mecánica incorporaba sonidos, un gran número de gráficos, auto iluminación, la posibilidad de escribir al propio lector, enlaces textuales, información multimodal y contenidos actualizadosEl Ayuntamiento de Madrid quiere reconocer a la inventora, que tendrá la calle Ángela Ruiz Robles en el distrito de Villaverde

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The first time I heard Sister Rosetta Tharpe, I cried real tears. Not because her distinct sound of music sounded as if one of God's angels drank a fifth of gin and figured out a way to plug an extension cord into its harp. It wasn't because I was listening to something that was recorded in the 1930s that sounded like Prince had laid it down in a studio yesterday.

It was the erasure.

Because not finding out about Sister Rosetta Tharpe's existence until my third decade on the planet meant everything could be a lie. If an intentional omission can delete an entire human being from history, then nothing means anything.

The title of this article is not hyperbole. It is truth. It is an indisputable fact.

Invent: (verb) to create or design (something that has not existed before)

It is as simple as this: What we know as rock 'n' roll did not exist before Sister Rosetta Tharpe. She came before Elvis and Johnny Cash. She preceded Chuck Berry and Little Richard.

When most music historians are asked who invented this class of music, many will name one of the previously mentioned rock stars. The most respectful and thoughtful will say it was a combination of these men.

But every single one of those men, including Little Richard, will tell you that the first person from whom they heard the sound with which we have become familiar was Rosetta Tharpe.

In his induction into the Rock and Roll Hall of Fame, Johnny Cash said that she was his favorite singer growing up. Little Richard called her his greatest influence. Chuck Berry said that his entire career was just "one long Rosetta Tharpe impersonation."

A PBS documentary on her life called her the " godmother of rock and roll." She is still called the " forgotten mother" of the genre and " the most influential artist ever. "

Maybe she is overlooked because she was technically a gospel singer (because rock didn't exist yet, remember?). Perhaps Tharpe's blackness has something to do with the fact that she wasn't elected to the Rock and Roll Hall of Fame until 2017. Or her queerness. Or the fact that she was a woman.

Music authorities argue about a handful of songs recorded between 1946 and 1952 when discussing what might be the first rock 'n' roll song ever, the most popular of which is "Rocket 88" by Jackie Brenston and His Delta Cats, recorded in 1952.

On Oct. 31, 1938, when Elvis was 3 years old, when Chuck Berry was 12, when Little Richard (who is rarely disputed when he says he "invented" rock 'n' roll) was 6 years old, and when Jackie Brenston and His Delta Cats were still kittens, Sister Rosetta Tharpe recorded this song for posterity:

"Music authorities" are a motherfucking lie.

Once more, for the people in the back: Sister Rosetta Tharpe invented rock 'n' roll.

Rosetta Nubin was born in 1915 in Cotton Plant, Ark. By the time she was 6 years old, she was performing in churches around the South with her mother. After moving to Chicago as a child, Rosetta married a Church of God in Christ preacher named Thomas Tharpe after she became a renowned gospel musician in the COGIC community. Rosetta would divorce her husband after a few years, but she kept the surname as her stage moniker.

During a time when the idea of a guitar-playing woman was nonexistent, not only did Rosetta Tharpe erase this line by mastering the symbol of musical masculinity, but her blend of gospel and secular music was seen as earth-shattering. Her willingness to play "God's music" in the devil's den of nightclubs and music halls caused an uproar.

After a move to New York, she began playing with some of the biggest bands in the country, including Duke Ellington's. By the time she was 23, she had a recording contract, and recorded Decca Record's first gospel songs in 1938, including the hit song "Rock Me."

When people heard her music, Tharpe became an overnight sensation, and her music became the first gospel music to ever top Billboard's "race" charts, an accomplishment she achieved several times during her career. People often commented that she "played like a man," to which Tharpe often replied: "Can't no man play like me. I play better than a man."

Even though she was playing venues like Carnegie Hall and the Cotton Club with legendary acts such as Cab Calloway, Tharpe longed to get back to the gospel music circuit. After meeting gospel singer Marie Knight in 1946, Tharpe entered into a relationship with Knight and lived openly in the relationship until it ended in 1951.

With the move to folk music and the British invasion that rejuvenated musicians of her era in the 1960s and 1970s, Tharpe didn't get the same bump that male blues musicians did because she continued to stick to gospel-themed music. She died during a recording session on Oct. 9, 1973, when she suffered her second stroke.

Sister Rosetta Tharpe was not an unknown, hidden little secret. She was such a huge star, she had her third wedding in a stadium where 25,000 people attended. Yet she was somehow erased from the history of music.

Most reasonable music historians will tell you that one person shouldn't receive credit for an entire genre. While it is true that not every single musician who ever played rock 'n' roll was inspired by Rosetta Tharpe, it is also true that there is not a single rock musician playing in the year 2018 doing something that Rosetta Tharpe wasn't doing 80 years ago.

She did it first.

That's what "invent" means.

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Sister Rosetta Tharpe: The Queer Black Woman Who Invented Rock 'n' Roll

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The first time I heard Sister Rosetta Tharpe, I cried real tears. Not because her distinct sound of music sounded as if one of God's angels drank a fifth of gin and figured out a way to plug an extension cord into its harp.

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https://en.wikipedia.org/wiki/Donna_Haraway

https://es.wikipedia.org/wiki/Donna_Haraway

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https://es.wikipedia.org/wiki/Ursula_K._Le_Guin

https://en.wikipedia.org/wiki/Ursula_K._Le_Guin

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https://en.wikipedia.org/wiki/Joanna_Russ

https://es.wikipedia.org/wiki/Joanna_Russ

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https://es.wikipedia.org/wiki/Octavia_E._Butler

https://en.wikipedia.org/wiki/Octavia_E._Butler

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https://en.wikipedia.org/wiki/Marsha_P._Johnson

https://es.wikipedia.org/wiki/Marsha_P._Johnson

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The Death and Life of Marsha P. Johnson

ABOUT THE FILM

Who killed Marsha P. Johnson? When the beloved, self-described "street queen" of NY's Christopher Street was found floating in the Hudson River in 1992, the NYPD called her death a suicide. Protests erupted but the police remained impassive and refused to investigate. Now, twenty-five years on, Academy Award® nominated director and journalist David France ( How to Survive a Plague) examines Marsha's death-and her extraordinary life-in his new film.

Marsha arrived in the Village in the 1960s where she teamed up with Sylvia Rivera when both claimed their identities as "Drag Queens," to use the vernacular of the times. Together, the radical duo fought arrests, condemned police brutality, organized street kids, battled the intolerant majority within the gay community, and helped spearhead the Stonewall Riots.

In 1970 they formed the world's first trans-rights organization, STAR (Street Transvestites Action Revolutionaries). Despite their many challenges over the years-bias, homelessness, illness-Marsha and Sylvia ignited a powerful and lasting civil rights movement for gender nonconforming people.

Now, a quarter century later, at a time of unprecedented visibility and escalating violence in the transgender community, a dynamic activist named Victoria Cruz has taken it upon herself to reexamine what happened at the end of Marsha's Life. THE DEATH AND LIFE OF MARSHA P. JOHNSON follows as this champion pursues leads, mobilizes officials, and works to get to the bottom of Marsha's death.

Director David France
Writers David France, Mark Blane
Producers L.A. Teodosio, Kimberley Reed, David France
Executive Producers Joy A. Tomchin, Sara Ramirez, Alan Getz, Stanley Tomchin
Co-Executive Producers Mike C. Manning, Terrence Meck
Co-Producers Christos V. Konstantakopoulos, Ted Snowdon, Duffy Violante, Tyler H. Walk
Associate Producers Mark Blane, Dan Silver, Clelia Simpso, Jared Ruga, Andrew Tobias
Editor Tyler H. Walk
Cinematographers Thomas Bergmann, Adam Uhl
Music Bryce Dessner
Cast Marsha P. Johnson, Sylvia Rivera, Victoria Cruz

FESTIVALS
2017: Tribeca (World Premiere)

AWARDS
2017 Programming Award for Freedom-David France and Victoria Cruz (Outfest)
Download Press Kit
Available Press Images (click to preview)

DOWNLOAD IMAGES
Download Images for Web Use Download Images for Print Use

DIALOGUE LIST

dialogue list coming soon

EMBED TRAILER:

marshapjohnsonmovie.com

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THE FILM COLLABORATIVE is the first non-profit, full-service provider dedicated to the distribution of independent film, including narrative features, documentaries and shorts. We offer a full range of affordable distribution, educational, and marketing education to independent filmmakers looking to reach out to traditionally underserved audiences.

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https://es.wikipedia.org/wiki/Sylvia_Rivera

https://en.wikipedia.org/wiki/Sylvia_Rivera

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https://en.wikipedia.org/wiki/Street_Transvestite_Action_Revolutionaries

https://es.wikipedia.org/wiki/Street_Transvestite_Action_Revolutionaries

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https://en.wikipedia.org/wiki/Gay_Liberation_Front

https://es.wikipedia.org/wiki/Frente_de_Liberación_Gay