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del corazon nace el enjambre _ 1.20.21 Movement Workshop

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opening up the questions... 
What ceremonies do we need right now in order to *be* together?
what type of monster do I need to become so that I do not accept monstrous conditions?
Free write: How does it feel to be a problem? - W.E.B. Du Bois

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This exhibition is a creative engagement with soldaderas (Spanish for "female soldiers") as imagined figures, and as actual women with their own histories. Today, we know the soldadera through a romantic tradition that idealizes her: in song and on the silver screen she is celebrated for traditionally feminine values (for her beauty, for example, or for supportive labor such as cooking and maintaining the camp). In this exhibition, Bustamante deploys a methodology she calls "speculative re-enactment." She asks: How can we reach across time to know the soldadera's experience of the past? How do we bring her into the here and now, to experience her future?

The artist's search for the soldadera's wisdom culminated in a unique pilgrimage: Bustamante traveled to Guadalajara, Mexico, to meet 127-year-old Soldadera Leandra Becerra Lumbreras, the last survivor of the Mexican Revolution, and notably the oldest person in the world. Their transformative meeting inspired work that will be featured in this exhibition, as well as an ongoing documentary project. Leandra, at times referred to as La Abuela del Mundo, passed over to the next life on March 19, 2015. We mourn her loss and are grateful for her contributions to the Soldadera project.

Bustamante creates hybrid works that hover over the line between fact and fiction, between the past and the future, and engage the soldadera's capacity, as a figure, to signify vulnerability and violence. The artist places women inside historical scenes from which they are normally elided, and also imagines the soldadera protected by contemporary combat materials. Bustamante's historically appropriate, period-specific dresses made from Kevlar© add a sculptural element to this exhibition. Kevlar© is a modern material used in personal protection products such as combat helmets and ballistic vests. The artist fired shots at one of her frocks using weapons and ammunition appropriate to the period of the Mexican Revolution. This "fighting costume" will be on view, displayed as an artifact of a fantastical battle. Finally, several of the dresses will be featured in a live performance during the opening of the exhibition.

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This exhibition is a creative engagement with soldaderas (Spanish for "female soldiers") as imagined figures, and as actual women with their own histories. Today, we know the soldadera through a romantic tradition that idealizes her: in song and on the silver screen she is celebrated for traditionally feminine values (for her beauty, for example, or for supportive labor such as cooking and maintaining the camp).

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7 episodes...
releasing one a day from March 22-28th
different forms?
instagram?
americas...

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What is the question I am asking? What am I searching for?

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What is the question I am asking? What am I searching for?

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what ceremonies do We need to have | Right Now | to be together?

What does brownness do in the world?
How does brownness move in the world?

What might the theory of brownness have to teach me about freedom as a practice?

What does it mean to attune to brownness?

What is the ceremony for our being together?

If blackness is about the future? Is brownness about the now? is blackness about the future? what of utopian futures that is and always has been brown?

There is something about brownness as an interstitial space…

About what we need to accept about the now in order to move beyond.

It’s all so big.

I need help.

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Mexico's Nobodies: The Cultural Legacy of the Soldadera & Afro-Mexican Women

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The Revolt of the Cockroach People by Oscar Zeta Acosta: 9780679722120 | PenguinRandomHouse.com: Books

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The further adventures of "Dr. Gonzo" as he defends the "cucarachas" -- the Chicanos of East Los Angeles. Before his mysterious disappearance and probable death in 1971, Oscar Zeta...

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"Knowledge is only rumor until it lives in the muscle."

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"Knowledge is only rumor until it lives in the muscle."

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Saying located to the Asaro tribe of Indonesia and Papua New Guinea

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of attuning to what is outside of whiteness

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Brown Es Hermoso series - FABIOLA VALENZUELA

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an attunement to what is already there, to the now

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an attunement to what is already there, to the now

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"we would sincerely appreciate it if you stopped pretending to be alone" - Alexis Pauline Gumbs, DUB

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in Remembering

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Ep 7: Remembering with Alexis Pauline Gumbs

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Listen to this episode from Finding Our Way on Spotify. In this episode, Prentis meets with Queer Black Troublemaker, Black Feminist Love Evangelist, and author of the upcoming book Undrowned: Black Feminist Lessons from Marine Mammals, Alexis Pauline Gumbs.

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Mexico's Nobodies: The Cultural Legacy of the Soldadera & Afro-Mexican Women

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Possibilities of Listening w/ Alexis Pauline Gumbs

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Listen to this episode from Possibilities Podcast on Spotify. The first episode of our new season dives into the power of listening, honing interconnectedness, honouring elders, and cultivating ceremony and practices of freedom with the brilliant expansive genius Alexis Pauline Gumbs (@alexispauline).

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Possibilities of Listening w/ Alexis Pauline Gumbs

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Listen to this episode from Possibilities Podcast on Spotify. The first episode of our new season dives into the power of listening, honing interconnectedness, honouring elders, and cultivating ceremony and practices of freedom with the brilliant expansive genius Alexis Pauline Gumbs (@alexispauline).

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Rooted in Gloria Anzaldúa's experience as a Chicana, a lesbian, an activist, and a writer, the essays and poems in this volume profoundly challenged, and continue to challenge, how we think about identity. Borderlands / La Frontera remaps our understanding of what a "border" is, presenting it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us.

This twenty-fifth anniversary edition features a new introduction by scholars Norma Cantú (University of Texas at San Antonio) and Aída Hurtado (University of California at Santa Cruz) as well as a revised critical bibliography.

Gloria Anzaldúa was a Chicana-tejana-lesbian-feminist poet, theorist, and fiction writer from south Texas. She was the editor of the critical anthology Making Face/Making Soul: Haciendo Caras (Aunt Lute Books, 1990), co-editor of This Bridge Called My Back: Writings by Radical Women of Color, and winner of the Before Columbus Foundation American Book Award. She taught creative writing, Chicano studies, and feminist studies at University of Texas, San Francisco State University, Vermont College of Norwich University, and University of California Santa Cruz. Anzaldúa passed away in 2004 and was honored around the world for shedding visionary light on the Chicana experience by receiving the National Association for Chicano Studies Scholar Award in 2005. Gloria was also posthumously awarded her doctoral degree in literature from the University of California, Santa Cruz. A number of scholarships and book awards, including the Anzaldúa Scholar Activist Award and the Gloria E. Anzaldúa Award for Independent Scholars, are awarded in her name every year.

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borderlands / la frontera: the new mestiza

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Borderlands / La Frontera: The New Mestiza

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Borderlands / La Frontera: The New Mestiza [Anzaldúa, Gloria, Cantú, Norma, Hurtado, Aída] on Amazon.com. *FREE* shipping on qualifying offers. Borderlands / La Frontera: The New Mestiza

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Subjects
American Studies, Latin American Studies, Theater and Performance > Performance Art

"A timely collection of essays. . . .Taylor weaves together insights, examples, and critical strategies from [performance studies and Latina/o American studies] and her exemplary book makes a major contribution to both." - Marvin Carlson, TDR: The Drama Review

"Excellent. . . . Both in its impressive range, . . . and in its insistence on exploring non-dominant forms of processing experience, Taylor's book is a crucial contribution to the emerging cartographies of global Latin/o American cultures." - Juan Poblette, The Americas

"One of the most wide-ranging studies of performance in and of the Americas today. Taylor has masterfully brought together, in a work that is an act of performance itself, both the contradictions and the possibilities of performance studies and the histories and trajectories of Latin/o American hemispheric studies into a 'loosely structured arrangement.'" - Alberto Guevara, Canadian Journal of Latin American and Caribbean Studies

"Persuasively argued and elegantly theorized, The Archive and the Repertoire constitutes a necessary intervention in performance scholarship." - Lisa Wolford Wylam, Theatre Research International

"Taylor's work is an important step in acknowledging marginalized expressions of cultural memory. Its most notable contribution is undoubtedly a defense of the growing field of performance studies as a tool of decolonization." - Katherine M. Hedeen, Latin American Research Review

"The book is itself both a performance and a contribution to the archive. The remarkably effective way in which [Taylor] combines personal story with analytic reflection is a fitting demonstration of the usefulness that can result from being able to sustain an awareness of one's spatio-temporal role as an observer even as one gets lost in the findings of archival discovery." - Dianna Niebylski, Arizona Journal of Hispanic Cultural Studies

"While I am trained to appreciate Taylor's analyses of Latino/a theatre and performance, I was most moved and surprised by her discussion of September 11 in chapter 9. As Taylor shows, the abundance of media attention and commentary produced after the destruction of the Twin Towers obscured the lives of nonheroes and nonvictims and turned all of them into spectators. Her testimony as scholar and participant in the events surrounding the attack is enlightening, but also refreshing." - Margo Milleret, Theatre Journal

"Diana Taylor is perhaps the most lucid and original Latin American performance theorist. In her new book, she tackles a very complex topic: the relationship between writing, performance, and historical memory on our continent. Her interdisciplinary approach provides us with new bridges and pathways between cultures, metiers, and disciplines. My colleagues and I have long been waiting for such a book." - Guillermo Gómez-Peña, performance artist and writer

"Diana Taylor is that rare scholar-a master of theory who speaks from experience and writes with passion. She tells us that as a child she 'learned that the Americas were one.' In this extraordinary book Taylor explores-from the pre-Columbian to the postmodern-America's oneness of contradictions, revelations, wounds, celebrations, rituals, and arts." - Richard Schechner, University Professor of Performance Studies, Tisch School of the Arts, New York University, and author of Performance Studies: An Introduction

"Diana Taylor's ideas, carefully etched out here to great effect, provide a new vocabulary to understand the work that performance does in culture and broadens our sense of how performance achieves its effect. Full of insight and information, The Archive and the Repertoire should finally unsettle the hegemony of narrative in Latin American literary and cultural studies." - David Román, author of Acts of Intervention: Performance, Gay Culture, and AIDS

"The Archive and the Repertoire is an original and brilliant contribution. It will take the study of Latin American performance to a new level with its attention not only to politics and to history and its consequences, but also to memory, the media, and aesthetic/political practices that take into account the hemispheric and the global." - Yvonne Yarbro-Bejarano, author of The Wounded Heart: Writing on Cherríe Moraga

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Subjects American Studies, Latin American Studies, Theater and Performance > Performance Art "A timely collection of essays. . . .Taylor weaves together insights, examples, and critical strategies from [performance studies and Latina/o American studies] and her exemplary book makes a major contribution to both." - Marvin Carlson, TDR: The Drama Review "Excellent.

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Alumni: Angélica Sanchez, Monique Simone, Julia Monk, Cat M., Amorita Falcon, Michelle Patiño-Flores, Yadira C. Ramirez, Jesus Monroy, Jade Heberer, Brandon Rivera, Liz Salim, Lamar Farr, Heather Raynie, Evan Duncan, Ninos Baba, Janjay Knowlden, Dr. Asantewa Sunni-Ali, Jordan Gleaves, Caitlyn Johnson (CJ Thomas), Jeremy Marder, Claritza Maldonado, Sophie Garcia, Kyle Bricker, Alberto Lara Valdivieso, Maya Vinice Prentiss, James Washington, Tyler Harr, Cristina Lucio, Sirena Elvira Mota, Terrance Lamonte Jr., Gustavo Carmona, Rachel Thain, Raffeal A. Sears, Dylan Connelley, Johnny Arceo.

BTC Faculty and Staff Allies: Prof. Robert Gerard Anderson, Prof. JW Morrissette, Prof. Siobhan Somerville, Prof. Latrelle Bright, Prof. Susan Koshy, Prof. Regina Garcia, Prof. Jennifer Monson, Prof. Fiona Ngo, Prof. David Coyoca, Prof. Jonathan Inda, Prof. Ruth Nicole Brown, Prof. Lisa Gaye Dixon, Samuel Smith, Monique Rivera, Prof. Maryam Kashani, Prof. Rebecca Ferrell, Prof. Amy L. Powell, Julie Rundell, Dr. Gioconda Perez, Prof. Valleri Robinson, Prof. Isabel Molina-Guzmán, Prof. Julie Dowling, Prof. Lisa Cacho, Prof. Edna Viruell-Fuentes, Prof. Gilberto Rosas, Prof. Soo Ah Kwon, Prof. Vicki Mahaffey, Prof. Andrea Stevens, Prof. JB Capino, Prof. Kevin Hamilton, Prof. Gabriel Solis, Prof. Dara Goldman, Prof. Rolando Romero, Prof. Kristin Romberg, Prof. Cynthia Oliver, Prof. Natalie Lira.

University of Illinois Departments: Latina/Latino Studies, Theatre, Urban Planning, the Unit for Criticism and Interpretive Theory, Linguistics, Spanish, Media + Cinema Studies, English, Anthropology, Communications, Engineering, Psychology, Comparative Literature, Political Science, and Dance.
Web Developer & Designer: Logo Designer: Luis Colindres Adrian Vera

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Alumni: Angélica Sanchez, Monique Simone, Julia Monk, Cat M., Amorita Falcon, Michelle Patiño-Flores, Yadira C. Ramirez, Jesus Monroy, Jade Heberer, Brandon Rivera, Liz Salim, Lamar Farr, Heather Raynie, Evan Duncan, Ninos Baba, Janjay Knowlden, Dr. Asantewa Sunni-Ali, Jordan Gleaves, Caitlyn Johnson (CJ Thomas), Jeremy Marder, Claritza Maldonado, Sophie Garcia, Kyle Bricker, Alberto Lara Valdivieso, Maya Vinice Prentiss, James Washington, Tyler Harr, Cristina Lucio, Sirena Elvira Mota, Terrance Lamonte Jr., Gustavo Carmona, Rachel Thain, Raffeal A.

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Listen to this episode from Stuff You Should Know on Spotify. You've seen them in your home and probably squealed in terror, but now it's time to learn all about cockroaches. From their ability to run incredibly fast to the appendage that alerts them when you're about to whack them with your shoe, cockroaches are fascinating creatures that deserve your respect.

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Duke University Press - The Sense of Brown

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“The final work of José Esteban Muñoz—scholar, mentor, and precious node in an intergenerational and transnational web of intellectual and social relations—will be received with eager enthusiasm and a box of tissues.” — Juana María Rodríguez, author of Sexual Futures, Queer Gestures, and Other Latin…

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URBAN BUSH WOMEN SLI
SUMMER LEADERSHIP INSTITUTE

The SLI is a 10-day intensive that connects dance professionals, community-based artists and activists in a learning experience that leverages the arts as a vehicle for social activism and civic engagement.

DANCE FOR EVERYBODY

This movement jam/dance class embraces the ideas that each individual has a unique and powerful contribution to make, and that our bodies are a powerful source of agency.

ENTERING, BUILDING AND EXITING COMMUNITY (EBX)

Based on experiential learning, we embody effective leadership practices that strengthen and develop our understanding of community engagement. Participants gain tools and methodologies for entering, building and exiting community, including navigating a variety of assumptions regarding community-based practices.

UNDERSTANDING AND UNDOING RACISM PRESENTED BY THE PEOPLE’S INSTITUTE FOR SURVIVAL & BEYOND (PISAB)

Through presentations, reflection, role-playing, and strategic planning, this intensive process challenges participants to analyze the structures of power and privilege that hinder social equity and prepares them to be effective organizers for justice.

ASSET MAPPING

Asset mapping is a process of assessing what resources, skills and strengths are available in the group and/or community. UBW's philosophy is that often communities are addressed by what they lack and not by what they offer. We model and practice asset mapping within various modalities (art-making, community assessment, etc.) so that participants may apply the philosophy to their own work.

DEEP LEARNING THROUGH RESEARCH, DISCUSSIONS, DIALOGUE, PANEL AND STORY CIRCLES

Participants are given thematically based research prompts as well as informational sessions and presentations to investigate and include in our experience together.

CULMINATING PERFORMANCE

We have found that creating together towards performance is an integrative process that allows participants to synthesize, rebuild and re-stabilize after deep change processes. Together with UBW, participants create an artistic product reflecting both their learning and their vision for community growth and change. With an emphasis on dance and song, we use various artistic genres including creative writing and visual art, to process, synthesize, and communicate so we can understand the power of culture to support a community of agency.

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Dance for Everybody

This movement jam/dance class embraces the ideas that each individual has a unique and powerful contribution to make, and that our bodies are a powerful source of agency.

Entering, Building and Exiting Community (EBX)

Based on experiential learning, we embody effective leadership practices that strengthen and develop our understanding of community engagement. Participants gain tools and methodologies for entering, building and exiting community, including navigating a variety of assumptions regarding community-based practices.

Understanding and Undoing Racism presented by The People's Institute for Survival & Beyond (PISAB)

Through presentations, reflection, role-playing, and strategic planning, this intensive process challenges participants to analyze the structures of power and privilege that hinder social equity and prepares them to be effective organizers for justice.

Asset Mapping

Asset mapping is a process of assessing what resources, skills and strengths are available in the group and/or community. UBW's philosophy is that often communities are addressed by what they lack and not by what they offer. We model and practice asset mapping within various modalities (art-making, community assessment, etc.) so that participants may apply the philosophy to their own work.

Deep Learning through Research, Discussions, Dialogue, Panel and Story Circles

Participants are given thematically based research prompts as well as informational sessions and presentations to investigate and include in our experience together.

Culminating Performance

We have found that creating together towards performance is an integrative process that allows participants to synthesize, rebuild and re-stabilize after deep change processes. Together with UBW, participants create an artistic product reflecting both their learning and their vision for community growth and change. With an emphasis on dance and song, we use various artistic genres including creative writing and visual art, to process, synthesize, and communicate so we can understand the power of culture to support a community of agency.

For more information join our mailing list, follow us on social media or email us at sli@urbanbushwomen.org

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SUMMER LEADERSHIP INSTITUTE - Urban Bush Women

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This movement jam/dance class embraces the ideas that each individual has a unique and powerful contribution to make, and that our bodies are a powerful source of agency. Based on experiential learning, we embody effective leadership practices that strengthen and develop our understanding of community engagement.

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In her essay, The Site of Memory, Toni Morrison rips the veil drawn over public storytelling that makes the discourse around slavery and other narratives of marginalization and oppression palatable via the erasure of interior lives.

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"I have nothing but my body... and now I'm here in front of you with this sacred thing... you're holding everything that you are with you"

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percept, affect, concept

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L'Abecedaire de GILLES DELEUZE:  I comme Idée

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My body speaks in stains and I am slowly letting them sit on surfaces longer. I think I imagine that if I can sit with the stains, I’ll learn something about release. And, that release will let me heal. Will let me sweat truth to power. Will let me call forth the memories, inherited and chosen, that need to be touched.

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When I was thirteen I started fainting. I didn't know at the time my body would be putting a spell on me. Protecting me.
I fainted at
again at
and again at

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barred rooms and the fabric of the american project.mp4

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Sarah Annie Navarette in phone conversation

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Sarah Annie Navarette in phone conversation

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"atmospheres"

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"Periplaneta americana performing a high speed inversion on a ramp" I mean... COME ON!!!!! I WOULD PAY TO SEE THAT DANCE.

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Ále Movement 1

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[Demo_10_18_2020] Del corazon nace el enjambre [Movement 1].wav

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https://remezcla.com/features/culture/tejas-made-art-gallery/

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8. Locusts: Ex. 10:1–20[edit]

This is what the LORD, the God of the Hebrews, says: 'How long will you refuse to humble yourself before me? Let my people go, so that they may worship me. If you refuse to let them go, I will bring locusts into your country tomorrow. They will cover the face of the ground so that it cannot be seen. They will devour what little you have left after the hail, including every tree that is growing in your fields. They will fill your houses and those of all your officials and all the Egyptians—something neither your fathers nor your forefathers have ever seen from the day they settled in this land till now.

— Exodus 10:3–6

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Pest Rhetoric & Anti-Immigrant Sentiment as biofuel

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Pest Rhetoric & Anti-Immigrant Sentiment as biofuel

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"taking our jobs" linking Black liberation to brownness more explicitly, i.e. history of police patrolling in the North

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to a new "minority-majority", No to change via numbers, No to criminalizing or fetishizing
reproduction esp. of black and brown female bodies, No to old systems of power and control, No to "self"
No to home
No to identity
No to latinidad
No to i as singular manifestation
No to hybrid implying there ever was separation
No to order
No to belonging
No to anything that keeps me from dreaming beyond
No to ever not on time
Yes to always enough
Yes to presence
Yes to public

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Non-Hispanic white Americans account for 60% of the U.S. population, but in a growing number of counties, a majority of residents are Hispanic or black, reflecting the nation's changing demographics and shifting migration patterns.

In 2018, there were 151 U.S. counties where Hispanics, blacks or two much smaller racial and ethnic groups - American Indians and Alaska Natives - made up a majority of the population, according to a Pew Research Center analysis of U.S. Census Bureau data. That was an increase from 110 such counties in 2000. The 41 counties that joined the list between 2000 and 2018 are all majority Hispanic or majority black. (For a full list of these counties, see the sortable table at the end of the post.)

Overall, 69 counties were majority Hispanic in 2018, 72 were majority black and 10 were majority American Indian or Alaska Native. The majority American Indian or Alaska Native counties are unique in that most have experienced overall population declines since 2000, even as the share of American Indian or Alaska Native residents in these counties remained fairly flat.

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There were no U.S. counties where Asians accounted for more than half of the population, but in Honolulu County, Hawaii, the population was 42% Asian and 9% Native Hawaiian or Pacific Islander.

The South and Southwest of the United States hold most of the counties where Hispanic, black or indigenous people make up a majority of residents. These counties represent just 5% of the 3,142 counties in the U.S. and about half of the country's 293 majority nonwhite counties (a figure that includes counties where multiple racial and ethnic groups combine to account for a majority).

This analysis includes only counties with a minimum population of 10,000 in 2018. These counties represent 77% of the nation's 3,142 counties and include 99% of the U.S. population.

For this analysis, a majority is defined as more than 50% of the population.

Rapid growth in majority Hispanic counties

The number of majority Hispanic counties doubled between 2000 and 2018, from 34 to 69 - mostly in the South and West. In all but four of these 69 counties, the Hispanic share of the population grew during that period. The few counties that experienced declines saw only slight decreases, and no county that was majority Hispanic in 2000 fell below 50% Hispanic by 2018.

These trends are in line with the growth of the U.S. Hispanic population as a whole, which reached a new high in 2018 even as its rate of growth slowed. The Latino population grew at a faster rate than most other racial or ethnic groups during the 2000s, due to relatively high birth rates among Hispanic women and immigration from Latin America.
See Pew Research Center's U.S. population projections through 2065, which provide a look at immigration's impact on population growth and on racial and ethnic change.
In 2018, Texas was home to the 10 counties in the U.S. with the largest shares of Hispanic residents. Starr County, home to about 65,000 people overall, had the largest concentration of Hispanic residents, at 96% of the population. Other counties where Hispanics accounted for an especially large share of residents included Webb (95%), Hidalgo (92%) and Cameron counties (90%) - all in Texas.

The Hispanic populations of some larger U.S. counties also grew between 2000 and 2018. San Bernardino County, California (population 2.2 million) was the most populous county to become majority Hispanic during this span. Osceola County, Florida (home to about 370,000) saw the largest percentage point increase in Hispanic residents during this time (26 points, rising from 29% to 55%).

The migrating U.S. black population

While the black share of the total U.S. population has not changed substantially over the last two decades, the number of majority black counties in the U.S. grew from 65 to 72 between 2000 and 2018. One contributing factor may be migration of black Americans from the North to the South and from cities into suburbs.

There are now 15 majority black counties that were not majority black in 2000. Among them, Rockdale County, Georgia, located about half an hour outside Atlanta, had the largest percentage point increase in the share of black residents (from 18% in 2000 to 55% in 2018). With about 930,000 residents, Shelby County, Tennessee, which contains Memphis, was the county with the largest population to become majority black.

The 10 counties with the highest shares of black residents in 2018 were in Mississippi (seven counties) Alabama (two) and Virginia (one). In these 10 counties, about 70% or more residents were black.

Meanwhile, eight counties that were majority black in 2000 are no longer. Three of these are large U.S. cities that the Census Bureau includes in its county estimates: Washington, D.C.; Richmond, Virginia; and St. Louis, Missouri. Washington (home to roughly 702,000 residents in 2018) saw a 19% increase in total population during that period, while its black population decreased by 9%. The city's share of black residents declined by 15 percentage points, from 60% to 45%.

Majority American Indian or Alaska Native counties

In 2018, there were eight U.S. counties where more than half of the population was American Indian; two other counties were majority Alaska Native.

While majority Hispanic and black counties are growing in number, these predominantly American Indian or Alaska Native counties have experienced net population loss from 2000 to 2018. And one county that was majority American Indian or Alaska Native in 2000 is no longer: San Juan County, Utah, where the share of American Indian residents fell 8 percentage points, from 55% to 47%.

All 10 majority American Indian counties are located on or near reservation land in the Midwest and the West, and most have populations of fewer than 20,000 people. The exceptions are McKinley County, New Mexico, and Apache County, Arizona, both of which are home to about 72,000 people.

The two counties where the majority of residents were Alaska Native are both in rural Alaska: Bethel Census Area (population of roughly 18,000) and Nome Census Area (population of about 10,000).

Population in U.S. counties where Hispanic, black or indigenous people are a large share of residents

State County% of population that was one racial/ethnic group other than white in 2000% of population that was one racial/ethnic group other than white in 2018 Largest racial/ethnic group, 2018

Note: This analysis includes only counties with 10,000 or more residents in 2018. These counties account for 77% of the nation's 3,142 counties and 99% of the U.S. population.

Source: Pew Research Center analysis of 2000 decennial census and 2018 Census Bureau population estimates.

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In a rising number of U.S. counties, Hispanic and black Americans are the majority

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Non-Hispanic white Americans account for 60% of the U.S. population, but in a growing number of counties, a majority of residents are Hispanic or black, reflecting the nation's changing demographics and shifting migration patterns. In 2018, there were 151 U.S.

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Flipping imagery from a mass migration of brown people as activism/change to a revolution that lives in the self-metamorphosis of brown people in relationship to themselves and one another

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where have you gone? where are you taking me?

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I took my first tequila shot when I was 15.
Today, I take a shot too. A sacred ritual tethered between grief and celebration. All in the name of memory.Tequila shots as methodology. hahahaha amazing. when you think about it ... worlds colliding is one giant chiste.

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objects as anchors and portals

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Being underwater in a confined space, unable to breathe, triggers an instinctual alarm-it's uncomfortably close to actually drowning. For celebrated Puerto Rican photographer Adál Maldonado, it's also a biting metaphor for the state of the island today.

In his new series, Puerto Ricans Underwater, Adál presents Boricuas of varying ages, lifestyles and occupations, each of them submerged in a tub, their bodies restricted by its size and their faces obscured beneath the bathwater. The resulting images are subtly eerie and chill-inducing; they evoke the shock and burn of accidentally inhaling water.

But that's only the first-glance effect. What do these photographs mean in the context of Puerto Rico's colonial state?

"I think mainly and most importantly, it's the sense of denial of self-determination by having the federal government sort of impose their agenda on you. That feeling that you get from not being in control of your own life," Adál says. "That will manifest differently depending on different people...but I would say that's pretty much it; not having a voice, feeling impotent inside of your own condition."

Gabriella Alfred Pinpero, Photo by Adál Maldonado

Puerto Rico has been controlled by the United States since 1898-that's nearly 120 years of colonial rule, and a whole slew of transgressions, from stifling trade restrictions to the exploitation of unknowing Puerto Rican women in dangerous early contraceptive testing. The in-progress implementation of the U.S.-appointed Fiscal Control Board -La Junta de Control Fiscal-marks yet another abusive colonial infliction. With the oppressive austerity cuts that await, the weight of Puerto Rico's American overlords today is undeniably heavy.

Adál notes that he first experimented with the underwater setup about two decades ago. In the '90s, a combination of two literary works- Invisible Man, Ralph Ellison's social critique of racism against black Americans, and Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge, a work on shamanism-led him to create Out of Focus Nuyoricans. Debuted in 1996, the portrait project featured musicians, artists, activists and others making significant contributions to culture.

Jeannette Betancourt, Photo by Adál Maldonado

But before he'd settled on the final out-of-focus effect, Adál tried out the underwater idea-ultimately, though, it was set aside. A few years ago, he recalls, he revisited the concept when taking photos of a visiting friend, Jeannette Betancourt, a Puerto Rican visual artist living in Mexico. It wasn't until a month-and-a-half ago, however, that he began developing a complete series.

"I was like, oh my God, this happened 20-something years ago, but it seems to be appropriate to what's happening in Puerto Rico right now," he says.

Adál's storied artistic history is rich with political and social commentary. The Nuyoricans series was an outgrowth of a project with the late Pedro Pietri, a founding member of the Nuyorican Movement of the '60s and '70s. Together they created El Puerto Rican Embassy, "a mythological state" replete with manifesto, passport and other identifying documents for citizens, as well as a photograph series of its space program, The Coconauts. Pietri penned its Spanglish anthem and founded its church, la Santa Iglesia de la Madre Tomate. In 2004, Harvard University press published the series as a book along with text from Pietri.

Dorianne Gray, Photo by Adál Maldonado

After returning to Puerto Rico, he ventured into a similar theme by co-founding Anartistas with poet and writer Rafael Acevedo. Ahead of the election, they launched Anonymous-style videos announcing the candidacy of two members for governor and resident commissioner.

Adál started by seeking out a few friends to participate, planning for only about 20 photos altogether. When he shared the initial images on Facebook, he found himself swamped with messages from people who wanted to participate. He's up to about 85 people, he says. The final 100 will be included in his 40-year retrospective, slated for a three-fold delivery in March 2017 at the Museo de Arte Contemporáneo in Santurce, in Old San Juan at the Museo del Arsenal, and in a university setting where lectures and conferences will be incorporated.

By not picking the subjects specifically, Adál has allowed the series to progress organically. Each person brings their own idiosyncrasies, their own personality, to the process, which takes place in Adál's own bathroom.

"Strangers would just approach me on the internet. There's a slight element of danger, in a way, because you don't know who you're going to let into your house," he says. "But at the same time, it's kind of interesting too. It's cool, not knowing people and what they're going to show up with and...how that image will develop."

The sessions can be rough on the subjects - relaxing your face while water inevitably goes up your nose isn't easy.

"Some people will give into the experience; se rinden, you know? Se ahogan out of their own free will. Other people fight and they resist all the way through the end," he says. "I had another fella came in who said fuck it, I'm just going to have a good time, I don't care about the political situation of this country, I don't really give a shit, I'm just going to live my life and have a great time and party all the time. So depending on where you are, you're going to respond differently to that situation."

Pablo del Hierro, Photo by Adál Maldonado

Cecilia Agüellos Ramos, Photo by Adál Maldonado

Maria de Azua, Photo by Adál Maldonado

Nelson Rivera, Photo by Adál Maldonado

Cutito, Photo by Adál Maldonado

Ozzie Forbes, Photo by Adál Maldonado

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Powerful Photo Series 'Puerto Ricans Underwater' is a Biting Metaphor For an Island Drowning in Debt

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Being underwater in a confined space, unable to breathe, triggers an instinctual alarm-it's uncomfortably close to actually drowning. For celebrated Puerto Rican photographer Adál Maldonado, it's also a biting metaphor for the state of the island today.

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H.Exotic: Chinita Banana at Esquina Tango

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Erica is deeply motivated by creating shape-shifting entities thwarted into unpredictable situations and environments to challenge static notions acting on female dancing bodies. Erica’s current alias, H.Exotic, references an interview with Rita Moreno in the HBO Documentary “Latin Explosion” where she coins the term “House Ethnic” to describe her experience in Hollywood entertainment as a shape-shifting Ethnic body.  H.Exotic is a series of episodes calling on the entity to manically shift between characters of oral Mexican legends and famous Hollywood Latinas, referencing Peña Ovalle, 2011, in order to interrogate the stereotype of the Latina dancing body and the players who created her.  

H.Exotic:TURNUP!__Ep001, honors the intersectional power and (re)current popularity of Selena Quintanilla as it intersects with racial invisibility and excessive fashion as both signifier and armor. 

H.Exotic:Chinita Banana__Ep002, beckons music by Gloria Estefan and imagery inspired by Carmen Miranda to interrogate the relationship between the Latina dancing body and fruit.

I do not own the rights to this music. 
"La Tigresa" by Chicano Batman - https://www.youtube.com/watch?v=xW2PkuxMig8

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if i were la llorona for a day, i'd let my tired overcome me ~ and send me.
I would release my navel and let it fall out
unclench my jaw and surrender my cheeks ~ and i would cry. 
i would cry when i woke up late and missed my morning walk
i would cry when i saw someone eating alone
i would cry everytime i saw my mother. and my sisters. 
i would cry when i zoomed out to see how all of my creations set off chain reactions of truth telling
i would cry when i saw bravery. 
i would cry when i didn't.
i would cry when i walked down a sidewalk and saw a squirrel driven in half. 
i would cry when i was certain. 
i would cry all the time. forever. and then, id be free.

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Tracing Lineage: Black Skin, White Masks, The Sense of Brown, Collaboration as Transmission

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I make monsters so I can scare myself into sweating truth to power. So I can touch fear and turn it.

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Mossy hair circles under my toes

I tend to want to hop down into the earth
My feet like to grab on to the earth
Like she has mossy hair the curls into me
My feet are damn with drips of dew
The dew that feels like rain
Rain feet
Feet that soak spaces
Toes that get sucked and suckled
Heels that like a gentle slam but also manejable
I remember memories I’ve never been to
Of my feet curling through dirt
Like a truck skidding wheelies I was too scared to do it my cousin’s pick up truck
My cousins always drove too fast for me
Go carts on a beach
Texas sand
Dirty and grey and a part of my grandparent’s journies ro the shore
They held hands, together, walking into the ocean
I imagine that’s what heaven looks like
Me, walking with those I love to the shore
But of course, I don’t believe in heaven. I believe in magic. The magic of visiting my grandparents in my imagination holding their hands sands scrunching between my toes
Okay that’s enough of that I keep checking the time
Wow I love making work with others people
I didn’t like asking my feet about my class my gender or my ethnicity
But I acknowledge the appearance of them and how they carry me theough
My toes electric blue like the rock star I always wanted to be
Next time we write, I want to keep these ideas for the creation of our cockroach alter ego selves
I want my cockroach to have electric

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Dancers are the cockroaches, resilient creatures, from the future

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We blend in with our hands in the dirt
We blend in with our hips pushing brooms
We stand out when we’re
Thrown against a white wall

when she had a cockroach infestation, she realized how well the cockroaches blend in on her brown countertops. "be still, brown one. you fit in well here."

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Jose Estebán Muñoz

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If you need to grieve the myth of home...

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If you need to grieve the myth of home...

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Repeat This

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Luther Vandross - A House Is Not a Home (from Live at Wembley)

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"Put another way, identity frequently feels like a sad appeal for minoritarian subjecthood, scrubbing or working with meanings and consequences of an externally determined “self.” It’s a bureaucratic nothing trying to be carried out as a vital and recognizable something."

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"Put another way, identity frequently feels like a sad appeal for minoritarian subjecthood, scrubbing or working with meanings and consequences of an externally determined “self.” It’s a bureaucratic nothing trying to be carried out as a vital and recognizable something."

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Xandra Ibarra, F*ck My Life (FML), 2012. Photo: Brian Buck

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as character