El Big Easy Amigo Blogger: March 2009

José Torres-Tama is an award-wining multidisciplinary artist, and he received a prestigious MAP Fund Grant for his "Taco Truck Theater / Teatro Sin Fronteras" ensemble performance on wheels, which challenges the anti-immigrant hysteria. "This Taco Truck Kills Fascists" is the project’s documentary that won Best Louisiana Feature at the 2018 New Orleans Film Festival. "Aliens, Immigrants, & Other Evildoers” is “a sci-fi Latino noir” solo that exposes the rise in hate crimes against Latin American immigrants in a country that dehumanizes them while exploiting their labor. Northwestern University Press will publish the full “Aliens” script in the anthology titled “Encuentro: Latinx Performances for the New American Theater” due in May 2019. Vanderbilt, Duke, Cornell and others have presented his solos, and international presenters include Roehampton University in London, Bluecoat Arts Centre in Liverpool, and Centre for Performance Research in Wales. From 2006 to 2011, he contributed commentaries to NPR’s Latino USA, and exposed the human rights violations Latin American immigrant workers faced in post-Katrina New Orleans. (Top blog photo from “ALIENS” by Craig Morse, and bottom image by Ben Thompson.) www.torrestama.com

Thursday, March 5, 2009

On the Road with the Tulsa New Genre Festival Project

Amigos in cyberspace,

It has been sometime since I have had an opportunity to post a new blog, but I am on the road again with my peripatetic performance migrations. I have begun the spring 2009 season with performances of "The Cone of Uncertainty: New Orleans after Katrina" at the New Genre Festival here in Tulsa, Oklahoma. Produced by Living Arts of Tulsa, the festival featured more than a hundred artists, and it was possible for me to experience only a handful of events as I prepared for my performance. The opening night included the engaging installation called "Domestic Arsenal" by Eileen Doktorski, which piled an ominous collection of objects used in home violence in the gallery space housing it, and the seductive concerto by Adam Tendler reprising John Cage's complicated score for a prepared piano called "Sonatas & Interludes".

On Sunday, I was able to briefly catch Cindy Zimmerman's "Axis Mundi Archives" which mines a visual collection of artifacts through photographs, drawings, and multimedia collage to explore the oil and mining industries of her native Oklahoma. The installation chronicles her early beginnings as a working artist in Okmulgee, OK, and covers a 25 year career from San Diego to her current home base in Salinas, Kansas.

I performed two shows of "The Cone" at the Nightingale theater, and the piece was profiled in the "Tulsa World" newspaper (link below).

http://www.tulsaworld.com/spot/article.aspx?subjectID=272&articleID=20090228_272_D3_JoseTo199352

The local NPR station also conducted an extensive interview covering the development of this piece, which was written while in exile from the devastated city of New Orleans in the months after the storm. The interview was conducted by the insightful Rich Fisher for the "Studio Tulsa" series. It can be heard on Pubic Radio Tulsa at the link below:

http://www.publicbroadcasting.net/kwgs/news.newsmain?action=article&ARTICLE_ID=1475240&sectionID=1

WORKSHOPS OF "HOME & THE AMERICAN DREAM MYTHOLOGY":
Currently, I am engaged in the performance workshop process of my two-week Living Arts residency, developed with support from the National Performance Network, and I have been working with a diverse cast of local Tulsa visual artists, spoken word poets, and performers who are developing a provocative ensemble performance exploring the concept of "home", the physical home, the spiritual home, and the psychic home, in relationship to the "American Dream" mythology.

The local artists I have been working with have exhibited some strong performance skills, poetic writings, and a willingness to mine the territory of the personal and political, offering some moving pieces that explore domestic abuse, the trauma of the Iraq War, and the reinvention of self when "home" falls apart. The piece we are developing is a multilayered work with film projections, voiceovers, improvised rituals, conceptual actions, and personal stories.

"Home & the American Dream Mythology" will debut Saturday, March 7 at the Nightingale Theater @ 8PM. You can call Living Arts at 918-585-1234 for more information, and visit www.livingarts.org on the web. Tickets are $10/$7 (students).

Below are some excerpts of the writings from three of the artists involved, September Champagne Boles, Amy Luznicky, and Justin McKean. The full performance group includes Marjorie Atwood, Tony Brinkley, Chris Jones (Smitty), Bill Zischang, and Steve Liggett with directorial guidance by yours truly.

If you are in the Tulsa area, hope to see you there!

El JTT
www.torrestama.com

WORKSHOP WRITINGS:

My Jungle—a thick, darkened living jungle. From the jungle grew swirls and curls of crazy vines reaching out of the ground toward the sky. My mother—the only known woman to tame my jungle—referred to it as a “crazy head fulla hair.” Every Sunday night (around eight or nine) my mother gathered her precious tools (one Big comb, one small brush, hair grease and a handful of colorful berets) and summoned me into her bedroom for a ritual hair-combing. Every Sunday evening my mother and her tools delicately opened the two giant cornrows attached to my roots, and within this opening emerged the wilderness of my Black hair.

She tried quickly to comb through my jungle, brush it down to the ground, and lock it tight into the two giant cornrows I’ve known all my life. Being her stubborn daughter, I cried and screamed and jerked my head until my mother gave in and slowed down the combing. So in the end, she combed and brushed her way down every strand of hair—nappy root to curly tip—and all the while mumbling under her warm breath, “I never saw a mo’ tender-headed thing in all my life!”

---excerpt from "My Hair is My Home" by September Champagne Boles

home home
homey home home home
i ain’t got no home no more,
never had one fit for me really
never had no place of my own
that required no sharing
or no bleeding
or no paying with self-inflicted bloodshed or tears sizzling hot
like mom’s bacon
grease frying up the laundry
frying up my emotion for her
frying up all of the everything
of our family our home

and my dad in mechanical seat,
he’s now too removed for god to reach
although i see it in his eyes sometimes
that maybe he is god
and that maybe he was always my only ever hope.

i trash the seat
i lacerate the seat
i break it in half with the force of my will
i love my father
and he don’t deserve this ill-cast body imposition
he’s been forced in.
his home, my childhood home, it’s all broken and lonely.
the rooms empty of the feelings that once made them homely.

---excerpt from Amy Luznicky's "Home" poem

home
dry twigs snapping
crunchy undergrowth
betrays the presence
of the recon unit
exploring the wood behind the house

home
a bag of cheetos
a comfy chair
a two liter of diet coke
a book with a great story

home
a bible
with my name in it
with my heart in it
with my life in it
with my family in it
its red letters
the life blood of my home

which i called out
for the lie it was

home
i don't think i have that anymore
home
isn't something i believe in
does a gypsy have a home?

---excerpt from Justin McKean's "Home" poem

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The Disappeared Immigrants, Photo Retablo

A member of the Congress of Day Laborer demonstrating on Canal Street in New Orleans for a public protest, and carrying a name placard of an immigrant who has disappeared in the NOPD jail system. This demonstration took place on International Workers' Day on May 1, 2011. Demonstrators carried dozens of name placards with silhoutted figures of immigrants who have gone missing in the notorious jails of the New Orleans Police Department. While the NOPD has been rightfully castigated for its mistreatment and murdering of African American civilians in the days after Katrina, the press has not engaged in investigating the many immigrants who have gone missing in the NOPD jails. Immigrants live in a parallel unverse and their suffering goes unnoticed.

When an Immigrant Dies in Chocolate City, Photo Retablo

Members of the Congress of Day Laborers/El Congreso de Jornaleros demonstrate in front of the offices of Immigration and Customs Enforcement (ICE) on Poydras Street in New Orleans, across from City Hall, to demand answers for the mysterious death of Jose Nelson Reyes-Zelaya. He died in the custody of ICE agents within twenty-four hours of being picked up by the New Orleans Police Department and handed to them. ICE agents would not release any evidence and claimed that Reyes-Zelaya commited suicide. They would not even release any informaton to the Consulate of El Salvador in New Orleans. This demonstration took place in July 2010.

LUCHA LIBRE MAN UP CLOSE

LUCHA LIBRE MAN UP CLOSE is one of many New Orleans immigrant workers who demonstrated on International Workers Day on May 1st, 2012. The march was organized by the Congress of Day Laborers, and immigrant workers, their families, allies from the African American community, Unitarians and other church groups, and local Union organizers all met at Louis Armstrong Park on the edge of the French Quarter. From there, a good hundred plus demonstrators marched through downtown New Orleans and ended at City Hall, where many immigrants presented testimonials of worker's abuse, unjustified jailing, and cases of brutality at the hands of the local police.

ALTO AL ODIO! STOP THE HATE!

At no other time since my arrival in 1968 have I been witness to such blatant defamation of immigrants as I am seeing today, and the passing of Arizona’s SB 1070 by the Republican Governor Brewer in 2010 has spawned other copycat anti-immigrant laws in states like Georgia (May 2011), Alabama (June 2011), and South Carolina (June 2011). In these three Southern states, it’s been Republican Governors signing these odious laws to criminalize immigrants and anyone suspected of looking illegal, as in brown Latino men, women, and children. Basically, people who look like me because I, too, am a brown Mestizo Latino male, and based on the discretion of local police in any of these states, I could be detained and made to present my passport or green card to prove my status. This demonstrator's placard petitions us to stop this hatred and the persecution of immigrants in the so-called land of the free.

WE ARE ALL AMERICANS

The phrase of the “American Dream” itself has done much to place the United States as the sole proprietor of a name shared by all three continents of a sizable landmass, which is also referred to as the “New World.” For the geographically challenged, let me remind you that America is South, Central, and North America. Unfortunately, the U.S. citizenry and its politicians often suffer from a collective denial that the entire hemisphere is called the Americas, and as part of a measure to deconstruct the inherent biases of this pompous stance, many us us born in Latin America need to refrain as much as possible in referring to the United States as the absolute possessor of the moniker of “America.” The rest of us born in the “other Americas” also dream, and the phrase exemplifies a continuous act of condoned cultural appropriation. It posits the U.S. as the sole beneficiary of a geographical ideology akin to all that is good, noble, and warrants praise, while degrading the “other” Americas as lesser than, or even non-existent, as Eduardo Galeano states, “a Sub-America.” NO MAS! We are all Americans!

SOMOS HUMANOS / WE ARE HUMAN

A Congress of Day Laborers' demonstrator carries one of the more poignant signs contesting the inhumanity implied in the demonizing and stigmatic label of "illegal aliens." The definition of “alien” means foreigner, nonnative, and immigrant according to the dictionary. It also means a hypothetical or fictional being from another world, as in nonhuman, as in a non-sentient being that should not be treated with the accords of decency and humanity. They are inhuman and have no rights, even if they bleed the same red blood that the “legal” oppressors bleed. The term “illegal aliens” is being used strategically to exact a precondition that dehumanizes undocumented immigrants (men, women, and children), people whose labor the United States has always exploited to its benefit, and immigrants have become associated with other terms that scare the populace such as “terrorists,” “criminals,” and “disease carriers.” Aided by conservative media advocates and bombastic personalities like the former Lou Dobbs of CNN and the powerful buffoon Rush Limbaugh, some Republican right-wingers have made outrageous claims that immigrants crossing the border are bringing diseases and infecting U.S. citizens. Let’s dare to see this scarlet letter “a” of the “alien” for what it really is. Let’s dare to call it the calculated classification of the dehumanized that benefits the de-humanizers.

Stop Wage Theft

Latino immigrant workers are still doing much of the reconstruction work in New Orleans, but many are still victims of wage theft by ruthless local and national contractors. Instead of the promised wages, contractors often call Immigration Agents to have the workers deported after many a construction job has been completed. This practice has been going on for the nearly seven years since Hurricane Katrina's pounding and the consequent federal levee breaches flooded the historic port city. Thousands of immigrants have worked hard to rebuild the Big Easy and thousands have been cheated. The Southern Poverty Law Center's 2009 study revealed that 80% of the immigrants who aided the reconstruction have been victims of wage theft. The undocumented status of many workers has been used against them. Welcome to the big "21st Century Slave Labor Fiesta" in these United States. New Orleans was built on the slave labor of African Americans when "cotton was king," and it continues to exploit the labor of a new people of color. Brown is the new black to abuse--not only here but across the so-called "land of the free." While their labor is exploited, immigrants are criminalized by right-wing political zealots, and the Democratic President deports them in record numbers. It's an insidious cycle of labor exploitation that is reaching epic proportions. Don't think for a minute that this is all by accident. This country's corporations are addicted to labor exploitation, and since the domestic reconstruction cannot be outsourced, the most vulnerable workers are the best to abuse.

Respuestas/Answers for the Death of José Nelson Reyes-Zelaya

On July 29, 2010, members of the Congress of Day Laborers held a vigil for the mysterious death of José Nelson Reyes-Zelaya, a 28 year old immigrant from El Salvador. He died in the custody of ICE after twenty-four hours of being picked up by them. Their press release on his death noted that Reyes-Zelaya committed suicide and died of apparent asphyxiation. ICE refused to give out any more information. The CDL presented a Freedom of Information petition to ICE agents, but to this day, they have not heard anything more. There was hardly any news coverage in the local media about this tragedy, and it exemplifies how little immigrant lives matter in New Orleans, a city that has been rebuilt by thousands of Latino immigrants after the storm. The CDL protested on the same day that Arizona's infamous anti-immigrant law SB1070 when into effect. All photos and captions by José Torres-Tama.

UNDOCUMENTED & UNAFRAID

These photographs document El Congreso de Jornaleros/The Congress of Day Laborers May 1, 2011 demonstration through the streets of New Orleans. Organized by the New Orleans Workers' Center for Racial Justice, the gathering began at Louis Armstrong Park on North Rampart Street. It continued on Canal Street, up Poydras, and ended at City Hall. The theme for the march was THE RIGHT TO REMAIN! Demonstrators proclaimed that Latino immigrant workers and their families have aided the post-Katrina reconstruction of New Orleans, and are now experiencing persecution by the NOPD and rampant ICE deportations since most of the city has been rebuilt. All photos by José Torres-Tama. www.torrestama.com

José Torres-Tama as the ALIEN character with Cross of Dollars/Los Dolorosos Dolares.

Congress of Day Laborers on July 29 in New Orleans

Day Laborers with Wooden Cross

The dirtiest little secret of the reconstruction of the Big Easy is that it has been rebuilt by hard working Latino immigrants who have risked their lives in a city where many have been victims of random police brutality. There is no Arizona law here like SB1070, but immigrants are criminalized, arrested, and jailed daily in the Crescent City, with NOPD's finest even robbing some of them because they can. As devastating as the BP oil spill disaster has been to our Gulf and wetlands, this human tragedy has been unfolding for the past five years. It is time to give the Latino immigrants who have labored to restore a devastated city their rightful gratitude and stop the condoned official violence against them.