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-A defender of the people with his words, pen and actions.

The recent film based upon the life of the late Cesar Chavez who was the leader of the United Farm Workers union has ignited some controversy and differing opinions in regard to its format and factual content. Years have been spent in an attempt to get the film made and to acquire the necessary funding to do so. However, the existing Hollywood glass ceiling had repeatedly turned down the production of this film with the flimsy excuse that this story was supposedly not “interesting” nor commercially viable. Mexican-born actor and director Diego Luna spent many frustrating years trying to get the film bankrolled and produced and also

The Cesar Chavez film has brought the plight of farmworkers to the public

The Cesar Chavez film has brought the plight of farmworkers to the public

encountered the same type of obstruction by the Hollywood establishment and the industry’s host of ingrained stereotypes that had to be overcome. This existing glass ceiling in Hollywood still negates the stories and scripts that realistically depict the lives of Mexican-Americans as well as the opportunity for US-born Latino actors in general to be given work and roles within the industry that are not stereotypical and demeaning. The liberal Hollywood white power-elite has attempted to deflect these valid criticisms of exclusion and superficially resolve this issue by importing light-skinned actors from Spain and other Latin American countries to portray Latino-type characters. Thus, the use of US-born Latino actors in this Chavez film under the direction of Mexican-born Diego Luna who now resides in the US was a positive step forward in breaking down this existing glass ceiling. An evaluation of this film requires an objective perspective as it is not a political documentary based upon all available historical facts and produced by political activists who had direct experience with the farmworker movement. Rather, it is a Hollywood production comprised of a commercial script that is not historically inclusive in all of its aspects and that was made for mass distribution and entertainment with the intended goal of making a profit to cover the costs of production. Despite this commercial basis for the film it has a progressive character to it and is educational for those who are unacquainted with Chavez and the plight of the farmworkers. A balanced evaluation of the movie and its positive and negative aspects has to keep this context and distinction in mind.

 

The film has received many criticisms, some constructive, some overly harsh
Many criticisms have been heaped upon the movie and range from Michael De La Pena’s lack of emotion while portraying Cesar Chavez to the silence regarding the UFW leader’s errors. Other points that have been raised in regard to the film’s shortcomings was the secondary role attributed to women’s leadership in the movement, ignoring the organizing efforts of the Filipino farmworkers and the lack of a

The exploitation of farm labor has not ended and the Farm Worker Movement still seeks justice

The exploitation of farm labor has not ended and the Farm Worker Movement still seeks justice

political focus on the broad-based farmworkers movement which involved tens of thousands of people. Most of these points are valid and while not trying to gloss over these defects we must keep in mind that this is essentially a commercial Hollywood film with a script that has been somewhat historically fictionalized and it was directed and acted by entertainment professionals and not by hard-core political activists. This was a movie created and distributed primarily for mass popular consumption, but it also has the objective of familiarizing a broader public with the cause of the farmworkers movement and the role of the UFW and Chavez. The motives of the director and actors in this movie are well-meaning and some of the criticisms leveled at this film effort have been overly harsh. Constructive criticism within a proper context is a welcome thing for political allies. Thus, a broad and balanced perspective is required in evaluating this film as the people involved in the making of it are not the enemy, but are a part of the progressive camp and sympathetic alliance working to promote civil rights principles and the image of Latinos within Hollywood. A distinction needs to be made here between those who are our allies and those who are our adversaries. This film should be viewed within the context of how it helps to bring attention to the farmworker movement of the past and assists its continuing struggle.

 

The positive aspects of this film are part of a progressive trend
It has taken film director Diego Luna quite a while to bring this film to the screen and this project has taken many twists and turns through the Hollywood establishment which did not openly embrace its production and actually ignored it for many years. Diego must be given credit for his sincere persistence in pursuing this goal and finally bringing this issue of the farmworkers struggle to theaters nationwide as it is important to our community that our stories be told. Depicting the life story of a Mexican-American civil rights and labor leader and particularly the cause of the farmworkers in the

It is important to bring the farmworkers struggle to the public and build support for it

It is important to bring the farmworkers struggle to the public and build support for it

national media where it can be viewed by a wider and more diverse audience is a progressive achievement and breakthrough. Is the movie a perfect and totally factual achievement, of course not. But as a film for public consumption and as a means to bring this issue of the farmworkers to a national audience and educate them this movie is a quantitative breakthrough. The showing of this film is particularly important for the younger generation who may not have any idea about the struggle of the farmworkers, the role of Cesar Chavez and the UFW and what they accomplished. This movie should be used as a media tool with a positive message that can be utilized to politically educate and raise the consciousness of adults and particularly young people. As the saying goes, we should not shoot the messenger, but instead use the message to create a forum for political dialogue and further learning. As a commercial venture this film is a positive step in the right direction and should motivate others to take even more steps toward bringing our history, stories and accomplishments to the screen and other forms of the media.

 

The present farmworkers and their children continue to be exploited
The principal aspect of the film and all of the ensuing discussion about it was and is the cause of the millions of farmworkers and their movement for justice, and what is secondary are the individuals and leaders who were and are a part of this struggle. This movie was not perfect and neither was Cesar Chavez as his leadership had positive and negative aspects to it, but it is the broader farmworker movement for justice that is of primary importance. Individuals and leaders may come and go, but this political movement of hundreds of

Legalized child abuse exists as thousands of exploited child laborers  do not attend school

Legalized child abuse exists as thousands of exploited child laborers
do not attend school

thousands of workers within the fields who are still fighting for their human and labor rights continues onward. Presently, over two million farmworkers and their children endure the exploitation of their labor and having their lives shortened by unsafe conditions. The states with the highest farmworker population are California, Texas and certain states on the West and East coasts. There are farmworker organizations in the eastern part of the country, Northwest and Southwest who are organizing these workers in order to improve their substandard conditions. The majority of agricultural workers in the US are predominantly Latino and remain unorganized and without labor contracts nor decent working conditions. The vast number of today’s farmworkers still lack basic labor, health and safety, and political rights which are restricted by a formidable alliance between agricultural corporations and their supporters within the federal government. The attempt by these workers to improve their situation is even more difficult since many of them are undocumented or restricted by guest worker programs. What is even more intolerable is that federal law presently allows the children of these workers to work in the fields by the age of twelve and many of these young people labor long hours which leaves little time for attending school or doing homework. Over 60 percent of these migrant farmworker children eventually drop out of school due to being behind in grade level, constantly changing schools or because of job injuries such as pesticide exposure and a general state of poor health. This is in reality a widespread case of legalized child abuse and human rights violations committed by agricultural
Farm labor should not be slave labor and human rights must not be trampled on by corporate rights

Farm labor should not be slave labor and human rights must not be trampled on by corporate rights

corporations throughout the country and sanctioned by the federal government. While the present Chavez film primarily dwelt upon the past, it has also brought to the public’s attention the reality that these intolerable conditions in the fields still exist for millions of farmworkers and their children who are left unprotected, undefended and economically exploited. Such a historical and political perspective which connects the past injustices to the present ones is important and must be kept in mind. This will allow us to shine a light upon this ongoing exploitative and disgraceful situation and demand that these agricultural workers be treated as human beings and permitted to live with the same rights and protections that most US employees possess. The cause of justice and the present farmworkers movement is not merely a relic of history as this fight by those who produce our food continues onward and urgently needs our support.

 

Copyright 2014, Jimmy Franco Sr.

Facebook: Jimmy Latinopov

Follow on: twitter@xicanomc


 

El pasado 28 de marzo el Presidente de Estados Unidos, Barack Obama, declaró el 31 de marzo, Día Nacional de Servicio en honor de César Chávez. En los años sesenta, este activista mexicano-americano inició una lucha pacífica por los derechos civiles y laborales en California y a lo largo de su vida trabajó a favor de la justicia social Sus esfuerzos estuvieron encaminados a conseguir que los trabajadores agrícolas tuvieran derecho a organizarse, a salarios justos y a condiciones de trabajo dignas.

 

En el marco de esta conmemoración, la Casa Blanca otorgó por primera vez el premio “César Chávez Champions of Change” a diez líderes comunitarios que han honrado la memoria del activista al realizar esfuerzos alineados con los valores que defendía. De estos diez líderes, la Casa Blanca resaltó que dos son mexicano-americanos: Germain Castellanos, director del programa SHINE Educational Leadership y Luis Urrieta Jr., coordinador del programa Cultura en Acción.

 

Entre los esfuerzos para difundir el legado de Chávez, destaca a su vez la película dirigida por el cineasta mexicano Diego Luna y estrenada en la misma fecha de la proclama presidencial. El Presidente Obama rindió homenaje a la tenacidad de este líder sindical en una presentación especial de dicho largometraje que se llevó a cabo en la Casa Blanca el 19 de marzo. La película se estrenó el 28 de marzo en 664 salas en Estados Unidos y pronto se exhibirá en México en más de 200 salas de cine en todo el país.

 

Para mayor información sobre los reconocimientos y la película visite: http://www.whitehouse.gov/champions y http://www.cesarchavezmovie.com/.

 

 

Lazos es un servicio informativo del IME, se distribuye de lunes a viernes, y contiene información sobre la población de origen mexicano y latino en EE.UU. y Canadá

 

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Diego Luna on ‘Cesar Chavez’

The director discusses his new film about the labor leader and activist.

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“Cesar Chavez,” directed by Diego Luna, is a well-cast, well-intentioned movie that falls into the trap that often awaits film biographies of brave and widely admired individuals. The movie is so intent on reminding viewers of its subject’s heroism that it struggles to make him an interesting, three-dimensional person, and it tells his story as a series of dramatic bullet points, punctuated by black-and-white footage, some real, some simulated, of historical events.

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In spite of these shortcomings, Mr. Luna’s reconstruction of the emergence of the United Farm Workers organization in the 1960s unfolds with unusual urgency and timeliness. After a rushed beginning — in which we see Chavez (Michael Peña) arguing in a Los Angeles office and moving his family to Delano, a central California town, before we fully grasp his motives — we settle in for a long, sometimes violent struggle between the workers and the growers. Attempted strikes are met with intimidation and brutality, from the local sheriff and hired goons, and Chavez and his allies (notably Dolores Huerta, played by Rosario Dawson) come up with new tactics, including a public fast, a march from Delano to Sacramento and a consumer boycott of grapes.

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Movie Review: ‘Cesar Chavez’

The Times critic A. O. Scott reviews “Cesar Chavez.”

As is customary in movies like this, we see the toll that the hero’s commitment takes on his family life. His wife, Helen (America Ferrera), is a steadfast ally, but there is tension between Chavez and his oldest son, Fernando (the only one of the couple’s eight children with more than an incidental presence on screen). Fernando (Eli Vargas) endures racist bullying at school and suffers from his father’s frequent absences. Their scenes together are more functional than heartfelt, fulfilling the requirement of allowing the audience a glimpse at the private life of a public figure.

We also venture into the household of one of Chavez’s main antagonists, a landowner named Bogdonovich, played with sly, dry understatement byJohn Malkovich. He is determined to break the incipient union, and the fight between the two men and their organizations becomes a national political issue. Senator Robert F. Kennedy (Jack Holmes) takes the side of the workers, while the interests of the growers are publicly defended by Ronald Reagan, shown in an archival video clip describing the grape boycott as immoral, and Richard Nixon. Parts of “Cesar Chavez” are as rousing as an old folk song, with chants of “¡Huelga!” and “¡Sí, se puede!” ringing through the theater. Although it ends, as such works usually do, on a note of triumph, the film, whose screenplay is by Keir Pearson and Timothy J. Sexton, does not present history as a closed book. Movies about men and women who fought for social change — “Mandela: Long Walk to Freedom” is a recent example — treat them less as the radicals they were than as embodiments of hope, reconciliation and consensus.

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Michael Peña, right, as the title character, who led a grape boycott in 1965, in “Cesar Chavez.”CreditPanteleon Films

Though Cesar Chavez, who died in 1993, has been honored and celebrated, the problems he addressed have hardly faded away. The rights of immigrants and the wages and working conditions of those who pick, process and transport food are still live and contentious political issues.

And if you read between the lines of Mr. Luna’s earnest, clumsy film, you find not just a history lesson but an argument. The success of the farm workers depended on the strength of labor unions, both in the United States and overseas, and the existence of political parties able to draw on that power. What the film struggles to depict, committed as it is to the conventions of hagiography, is the long and complex work of organizing people to defend their own interests. You are invited to admire what Cesar Chavez did, but it may be more vital to understand how he did it.

“Cesar Chavez” is rated PG-13 (Parents strongly cautioned). Strong language and scenes of bloody class struggle.

 

Este diplomado ofrece herramientas teórico-prácticas para indagar en historias de vida personales, desde la familia, el contexto geográfico y las experiencias en las diferentes etapas de la vida. El diplomado esta diseñado para ser un semillero de ideas, donde la introspección será la base del proceso de trabajo, y el material para el desarrollo de proyectos artísticos y culturales.

*el proyecto eres tu mismo.*

 

-El árbol genealógico.

 

Imparte: Melina Alzogaray Vanella

 

-Taller de Historia Barrial.

 

Imparte: Melina Alzogaray Vanella

 

-Arte y memoria: algunas relaciones.

 

Imparte: Maria Laura Ise

 

-Lo autobiografico.

 

Imparte: Noé Morales

 

-Producción de proyectos.

 

Imparte: Livia Animas

 

4 sesiones

 

RENTA DE EQUIPO FOTOGRÁFICO

Y

ESTUDIO PROFESIONAL PARA CINE

 

 

 

 

 

 

 

 

 

¿A dónde conduce todo? ¿En qué nos convertimos?

Todo conduce al otro. Nos convertimos en nosotros.

(Patti Smith)

 

Melina Alzogaray Vanella

 

MEMORIA MIGRANTE

Un proyecto de historia oral, arte y encuentro cultural ambulante.

 

http://memoriamigrante1.wix.com/memoriamigrante

 

044-5554962344

55-55430530

Mazunte, Oaxaca. México.

 

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Ensemble de manifestations à travers la région PACA, RHMIT, septembre à décembre 2013

Tous les deux ans depuis 2011, le RHMIT organise la Biennale régionale pour l’histoire et la mémoire des immigrations.

Pendant quatre mois, de septembre à décembre, la diversité des approches est présentée à travers différentes formes : rencontres, balades, projections de films, conférences, spectacles, expositions, colloques... Par la diversité des manifestations, la Biennale rappelle l’intérêt et la légitimité de l’histoire des immigrations pour toute la population de la région Provence-Alpes-Côte d’Azur.

En 2013, au delà de la valorisation des initiatives existantes, le Réseau apportera soutien et expertise aux acteurs qui souhaitent s’engager dans la démarche de la Biennale.

Biennale Histoire et mémoire des immigrations et des territories
À travers la région PACA, de septembre à décembre 2013

Voir sur le site du RHMIT.

La brochure programme : Programme de la Biennale histoire et mémoire des immigrations et des territoires

L’organisation de la Biennale est coordonnée par Approches Cultures et Territoires

Pour le territoire de Marseille-Provence, la Biennale s’inscrit dans la Capitale européenne de la culture 2013


-1er septembre 2013-

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Retorno y reemigraciones:

Seminario Permanente sobre Migración Internacional

 

Acciones y reacciones de la sociedad mexicana ante la migración de retorno, 1930-1933

 

El Colegio de la Frontera Norte, en colaboración con El Colegio de Michoacán, el Centro de Investigaciones y Estudios Superiores en Antropología Social, El Colegio de la Frontera Sur, el Instituto de Investigaciones Sociales de la UNAM, la Universidad de California en Los Ángeles, la Universidad de la Coruña, el Instituto Mora, El Colegio de México y la Sociedad Mexicana de Demografía presentan la segunda sesión del ciclo 2014 del Seminario Permanente de Migración Internacional, el viernes 11 de abril de 2014, a las 9:30 horas, tiempo del noroeste.

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