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.His letter came in response to my letter of February 29, 2008, in which I posed nine questions concerning his artwork and artistic motivations behind bars and his interactions with Chicano and Cuban prisoners.veConnect - 2011-05-0619.Ibid., 3–4.algra20.Elizam admits that “in those first college years, (he) was already involved in the independence movement and the student movement on campus” (Escobar 1994a, 37).tium - P21.During these years, Elizam became a member of the Progressive Labor Party (PLP), then a fraternal organization of the Puerto Rican Socialist League.Working for the party’s newspaper, he developed ideas for caricatures to illustrate the paper’s editorials.He also worked with PLP-front organizations, including guerrilla theater groups (Escobar, 39).His conflicted view that art and politics were different spheres of activity—one “ideal-aiwan eBook Consoristic and useless,” the other “practical and realistic” (Escobar, 37)—was being tested.HeTstruggled with the notion of “art-as-instrument-for-something-else” (39).22.“Another way of thinking, of philosophizing, of creating sense and understanding informing conceptual things as well as emotional and sensual ones, and not as a mere hobby to which the jailers want to reduce it” )English translation by author).23.“The prevailing notion is that prison is an ideal place to write and paint.The very opposite is true.In prison, as I have lived and experienced it, privacy and concentration are difficult to find.As a result, I have had to slowly develop, little by little, aveconnect.com - licensed tonew way of undertaking the process of painting to be able to overcome all kinds of obstacles.Necessity has made this possible.For me, art is an act of liberation, especially.palgrawhen one is surrounded by the obscenity that prison represents.Art functions as salvation, the sacred activity of liberty” (English translation by author).om www24.Unless specified otherwise, all citations in the following section are from Félix 2006.25.Drawn from C.Alberto Torres’s letter of March 10, 2008, page 4, written to me from the Federal Correctional Institution (FCI) in Oxford, Wisconsin.His letter was written one day before he would be relocated to the FCI in Pekin, Illinois.His letter was inyright material frresponse to my letter of February 29, 2008.Also, refer to Note 18.Cop26.“Although the vejigantes originate and are associated with religious celebrations, I don’t interpret the subject as a religious figure.More precisely, it is a traditional cultural expression” (letter of March 10; English translation by author).27.“Reaching beyond the prison in which I’m detained” (English translation by author).28.The series of decrees ( cedulas) compiled and published by royal authority since about 1512culminated in what became known as the Recopilación de las leyes de los reinos de Indias (1680–81; Compendium of the laws of the kingdom of the Indies).The Recopilación contains 6,377 laws in nine books of uneven length, subdivided into 218 chapters ( títulos).29.As the word implies, this reference subsumes both a C(X)icano and Indian identity.Xicanindio Artes, Inc., a contemporary multidisciplinary arts organization in Mesa, 10.1057/9780230101470 - Behind Bars, Edited by Suzanne Obolerpal-oboler-12.indd 209pal-oboler-12.indd 2099/14/09 2:15 PM9/14/09 2:15 PM210 VÍCTOR ALEJANDRO SORELLArizona, presents performances that are reflective of the Latino/Chicano and Indian experiences.30.Italics for emphasis are added.31.Peltier suggests that speaking his Indian language was “my [his] first crime” (Peltier 1999, 84).32.The poem is rendered in italicized form in Peltier’s book.The poem’s spirit of egalitarianism calls to mind “A Blogspot: Friends of Leonard Peltier” (http://freepeltiernow.blogspot.com/2008/05/fundraising-event-for-puerto-rican.html; and http://freepeltiernow.blogspot.com/2008/11/play-and-salsa-party-for-puerto-ric (accessed 2009/01) that links efforts to secure Peltier’s freedom with freedom efforts on behalf of Puerto Rican political prisoners.33.He adopted fellow writer eecumming’s orthographic style, often free of uppercase letters and traditional punctuation.34.Refer to edited version of article by Alejo Sierra at http://www.raulrsalinas.com/.35.Recall a similar “visual accusation” in Oscar López Rivera’s painting, Katrina’s Dome.veConnect - 2011-05-0636.Carlos Cumpián, e-mail communication to author, June 24, 2008.Subsequent infor-algramation about Camilo and his work is also drawn from the same e-mail.37.“Fresco” also references freedom by virtue of the shared first three letters in its orthog-tium - Praphy and the spelling of the word “freedom.”38.“What stimulates you to engage in your art inside prison?”39.Havana-based art critic, curator, poet, and historian Orlando Hernández describes the performance piece, the outrage it triggered, and the consequences for the artist as follows: “He (Ángel) had defecated on a newspaper during the exhibition El objetoaiwan eBook Consoresculturado ( The Sculpted Object, Centro de Desarrollo de las Artes Visuales [Center forTthe Development of Visual Arts], Havana, 1990).His act was intended to be merely provocative, even artistic (excrement seen as the human sculpture), but the Ministry of Culture and the police saw it differently.They stressed the importance of the newspaper—an issue of Granma, the official organ of the Cuban Communist Party—and Ángel was declared guilty of “public scandal,” sentenced to six months in jail and incarcerated like a common criminal under the number 1242900” (Hernández 2001, 25).40.Ángel Delgado, e-mail communication to author, March 10, 2008.Translation: “Sinceveconnect.com - licensed tomy stay in prison in 1990 (during six months) for having staged a performance piece, my art revolves around one point, an individual’s liberty or lack of it.I am moved.palgraby the lack of communication between human beings, [a state of] exile, loneliness, abandonment, restrictions; but above all, captivity in any of its physical or sociologi-om wwwcal variants.I’m always trying to [have] the spectator reflect on the theme” (English translation by author).41.Ángel Delgado, e-mail communication to author, March 10, 2008: “No pertenezco a ninguna religión” (“I am without religious affiliation”; English translation by author).yright material fr42.Ángel Delgado, e-mail communication to author, March 10, 2008.Translation: “ToCopknow how to paint, draw and sculpt was the greatest benefit I had while in prison.With this skill I was able to survive drawing with colored pencil and cold cream on handkerchiefs and carving soap bars.These objects were exchangeable for cigars, bed sheets, towels, among other (things), and most immediately for food with which I could fend off the hunger one experiences in (prison) cells.But, above all (else), (the art) helped me to be more human and to communicate with others, outside of prison”(English translation by author).43 [ Pobierz całość w formacie PDF ]
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.His letter came in response to my letter of February 29, 2008, in which I posed nine questions concerning his artwork and artistic motivations behind bars and his interactions with Chicano and Cuban prisoners.veConnect - 2011-05-0619.Ibid., 3–4.algra20.Elizam admits that “in those first college years, (he) was already involved in the independence movement and the student movement on campus” (Escobar 1994a, 37).tium - P21.During these years, Elizam became a member of the Progressive Labor Party (PLP), then a fraternal organization of the Puerto Rican Socialist League.Working for the party’s newspaper, he developed ideas for caricatures to illustrate the paper’s editorials.He also worked with PLP-front organizations, including guerrilla theater groups (Escobar, 39).His conflicted view that art and politics were different spheres of activity—one “ideal-aiwan eBook Consoristic and useless,” the other “practical and realistic” (Escobar, 37)—was being tested.HeTstruggled with the notion of “art-as-instrument-for-something-else” (39).22.“Another way of thinking, of philosophizing, of creating sense and understanding informing conceptual things as well as emotional and sensual ones, and not as a mere hobby to which the jailers want to reduce it” )English translation by author).23.“The prevailing notion is that prison is an ideal place to write and paint.The very opposite is true.In prison, as I have lived and experienced it, privacy and concentration are difficult to find.As a result, I have had to slowly develop, little by little, aveconnect.com - licensed tonew way of undertaking the process of painting to be able to overcome all kinds of obstacles.Necessity has made this possible.For me, art is an act of liberation, especially.palgrawhen one is surrounded by the obscenity that prison represents.Art functions as salvation, the sacred activity of liberty” (English translation by author).om www24.Unless specified otherwise, all citations in the following section are from Félix 2006.25.Drawn from C.Alberto Torres’s letter of March 10, 2008, page 4, written to me from the Federal Correctional Institution (FCI) in Oxford, Wisconsin.His letter was written one day before he would be relocated to the FCI in Pekin, Illinois.His letter was inyright material frresponse to my letter of February 29, 2008.Also, refer to Note 18.Cop26.“Although the vejigantes originate and are associated with religious celebrations, I don’t interpret the subject as a religious figure.More precisely, it is a traditional cultural expression” (letter of March 10; English translation by author).27.“Reaching beyond the prison in which I’m detained” (English translation by author).28.The series of decrees ( cedulas) compiled and published by royal authority since about 1512culminated in what became known as the Recopilación de las leyes de los reinos de Indias (1680–81; Compendium of the laws of the kingdom of the Indies).The Recopilación contains 6,377 laws in nine books of uneven length, subdivided into 218 chapters ( títulos).29.As the word implies, this reference subsumes both a C(X)icano and Indian identity.Xicanindio Artes, Inc., a contemporary multidisciplinary arts organization in Mesa, 10.1057/9780230101470 - Behind Bars, Edited by Suzanne Obolerpal-oboler-12.indd 209pal-oboler-12.indd 2099/14/09 2:15 PM9/14/09 2:15 PM210 VÍCTOR ALEJANDRO SORELLArizona, presents performances that are reflective of the Latino/Chicano and Indian experiences.30.Italics for emphasis are added.31.Peltier suggests that speaking his Indian language was “my [his] first crime” (Peltier 1999, 84).32.The poem is rendered in italicized form in Peltier’s book.The poem’s spirit of egalitarianism calls to mind “A Blogspot: Friends of Leonard Peltier” (http://freepeltiernow.blogspot.com/2008/05/fundraising-event-for-puerto-rican.html; and http://freepeltiernow.blogspot.com/2008/11/play-and-salsa-party-for-puerto-ric (accessed 2009/01) that links efforts to secure Peltier’s freedom with freedom efforts on behalf of Puerto Rican political prisoners.33.He adopted fellow writer eecumming’s orthographic style, often free of uppercase letters and traditional punctuation.34.Refer to edited version of article by Alejo Sierra at http://www.raulrsalinas.com/.35.Recall a similar “visual accusation” in Oscar López Rivera’s painting, Katrina’s Dome.veConnect - 2011-05-0636.Carlos Cumpián, e-mail communication to author, June 24, 2008.Subsequent infor-algramation about Camilo and his work is also drawn from the same e-mail.37.“Fresco” also references freedom by virtue of the shared first three letters in its orthog-tium - Praphy and the spelling of the word “freedom.”38.“What stimulates you to engage in your art inside prison?”39.Havana-based art critic, curator, poet, and historian Orlando Hernández describes the performance piece, the outrage it triggered, and the consequences for the artist as follows: “He (Ángel) had defecated on a newspaper during the exhibition El objetoaiwan eBook Consoresculturado ( The Sculpted Object, Centro de Desarrollo de las Artes Visuales [Center forTthe Development of Visual Arts], Havana, 1990).His act was intended to be merely provocative, even artistic (excrement seen as the human sculpture), but the Ministry of Culture and the police saw it differently.They stressed the importance of the newspaper—an issue of Granma, the official organ of the Cuban Communist Party—and Ángel was declared guilty of “public scandal,” sentenced to six months in jail and incarcerated like a common criminal under the number 1242900” (Hernández 2001, 25).40.Ángel Delgado, e-mail communication to author, March 10, 2008.Translation: “Sinceveconnect.com - licensed tomy stay in prison in 1990 (during six months) for having staged a performance piece, my art revolves around one point, an individual’s liberty or lack of it.I am moved.palgraby the lack of communication between human beings, [a state of] exile, loneliness, abandonment, restrictions; but above all, captivity in any of its physical or sociologi-om wwwcal variants.I’m always trying to [have] the spectator reflect on the theme” (English translation by author).41.Ángel Delgado, e-mail communication to author, March 10, 2008: “No pertenezco a ninguna religión” (“I am without religious affiliation”; English translation by author).yright material fr42.Ángel Delgado, e-mail communication to author, March 10, 2008.Translation: “ToCopknow how to paint, draw and sculpt was the greatest benefit I had while in prison.With this skill I was able to survive drawing with colored pencil and cold cream on handkerchiefs and carving soap bars.These objects were exchangeable for cigars, bed sheets, towels, among other (things), and most immediately for food with which I could fend off the hunger one experiences in (prison) cells.But, above all (else), (the art) helped me to be more human and to communicate with others, outside of prison”(English translation by author).43 [ Pobierz całość w formacie PDF ]