#latinx
“Let Go,” 2048 x 2048px digital.
Laura Aguilar is a Los Angeles-based photographer whose work mines the intersection between feminism, body image, queer politics, and latinx identity. Her earliest works depicted latina lesbians in intimate portraits, calling to mind the frankness of Catherine Opie, while her best known series features self-portraits of Aguilar posed nude in the California desert landscape. These photographs are instantly striking, finding in the artist’s body formal elements that echo the landscape itself, as in its doubling here with the giant rock that eludes the frame. Aguilar also forces our gaze onto a body that does not conform to stereotypical images of latinx or feminine identity—a body type that is not so much othered as invisible, despite its ubiquity. The artist originally began to produce these photos as a means of grappling with her own issues with weight and self-acceptance, but quickly came to see them as something more. They offer a profound, ambivalent vision of woman and nature. We see Aguilar dissolve into the landscape in search of anonymity, at the same time that she reclaims the pride and beauty in her body far removed from the society that rejects it.
Laura Aguilar, Grounded #111, 1992
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They Told the Women in Bahia They Couldn’t Drum. Try Telling That to Banda Didá
Jan. 30, 2018SALVADOR, Brazil — This northeastern Brazilian city is famous for its Afro-Brazilian drumming traditions; the internationally acclaimed bloco-afroband Olodum has broadcast its colorful drums and pounding syncopation internationally for decades through music collaborations including Michael Jackson’s “They Don’t Really Care About Us” and Paul Simon’s “The Obvious Child”. To see that band — which is composed almost exclusively of men — or any of the city’s other renowned bloco-afros, like Ilê Aiyê, perform live in the streets of Salvador is a deep dive into the roots of this country’s musical traditions.But traditions change. Or actually, traditions are changed. By women like the ones that make up Banda Didá, a group composed exclusively of black women, pounding out those same Afro-Brazilian rhythms, filling up Salvador’s night with its old sounds, played by new hands.
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Yalitza Aparicio Never Saw Herself in Film Growing Up — Now She’s Embodying That Representation
Yalitza Aparicio never saw herself in film while growing up. In fact, the absence of anyone on film that the Roma star could identify with pushed her to stop really appreciating cinema altogether. But while she was on track to becoming a teacher, everything changed. Yalitza accompanied her sister, Edith, to a casting call for Alfonso Cuarón’s film. When it came time to audition, Edith felt unwell and hesitated, so she persuaded Yalitza to try out instead. The director had already looked at tapes of more than 3,000 women in search of the right actor to play the role of Cleo, a domestic worker for a middle-class family living in Mexico City during the 1970s, a family based on his own.
Yalitza won the role.
Roma now has 10 Oscar nominations, including Yalitza’s best actress nomination. It’s a groundbreaking achievement for both the performer and Hollywood — she’s one of the very few indigenous people ever to have received a nod from the Academy. Over the past couple of months, Yalitza has gone from her quiet life in Mexico to jetting all over the world for screenings, photo shoots, red-carpet events, and more.
It’s still a bit much for the young woman coming off her first acting gig. Yalitza is taking it all in stride while being mindful of all the discussion heralding her performance and nomination as major moments for representation. Because while she may not have had someone to look up to on the screen when she was younger, now she’s setting the example. As part of Teen Vogue’s Young Hollywood Class of 2019, Yalitza opened up about the responsibility on her shoulders, what she has splurged on, and more.
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Borandokht of the noble house of Sassanipur of Ispanahan.
Boran it´s an exiled djinn from Persia who came to de underground city of Temixtitlan in México, searching for a living as a thieve, it´s very pround of her persian legacy and likes expensive jewerly and clothing, but when she meet the possum nahual Ramiro, she will change her vision of the world, now she want to become the thieve queen of Temixtitlan!!!.
https://www.facebook.com/cafeteriadeloshorrores/
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Save yourself a death stare and leave it to this pin, basureras! ✨
(Stares in Spanish) lapel pins are up on my Etsy now!
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Gregory Nava’s El Norte will be rereleased theatrically for the first time since its original run 35 years ago. Thanks to a brand new restoration conducted by the Academy Film Archive and the Getty Foundation, audiences can see it in theaters on September 15—the first day of Hispanic and Latinx Heritage Month, which coincides with the independence days of Honduras, Nicaragua, Guatemala, El Salvador, Costa Rica and Mexico.
Directed by Nava from a screenplay co-written by Anna Thomas, El Norte tells the story of two indigenous siblings who flee from persecution in their native Guatemala to follow the promise of a better life in the United States. Together Nava and Thomas attended the inaugural 1981 Directors Lab as part of a cohort of filmmakers invited by Robert Redford to develop their screenplays with the newly founded Sundance Institute. At the heart of El Norte is what Redford calls “the pursuit of a sense of place”—a struggle that resonates as deeply today as it did 35 years ago.
To learn more about El Norte, check out this interview with Gregory Navaandthis essay by Héctor Tobar.
Photos: 1. Film still courtesy of El Norte ; 2. Creative Advisor Waldo Salt and El Norte filmmakers Anna Thomas and Gregory Nava. © 1981 Sharon M. Beard
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Hello everyone,
I know it has been a while since I posted on here. I just wanted to let all you beautiful people know that this blog 100% supports #BlackLivesMatter. With that being said, now it is the time to show our brothers and sisters that we care about them and that we are here with them! I will be posting more posts on different ways in which you can support. I know that everyone cannot go out protests, and that is ok! We can support in various ways.
We’ve had enough of this bullshit white supremacist racist ass system called the United States.
As a Latinx, I also want to remind people that anti-blackness is alive in our communities, sadly. Please Please take the time to educate those around that do not understand. Univision and Telemundo, here in the United States portray the protesters are violent looters, which is simply untrue. I’ve seen various posts on Instagram, Tik Tok, Twitter, and other platforms that discourage brown people from helping our black brothers and sisters. It’s very sad. We need to be together now more than EVER. Thank you for reading this, and stay safe <3.
Big Mary
Artwork 1987 by Jaime Hernandez
HAPPY INDEPENDENCE DAY
Let’s all remember that Independence Day isn’t a white holiday, it’s an American holiday. True patriots don’t discriminate against people of color or people of a different race from their own.
Chilean School for Transgender Children Is the First of Its Kind in Latin America
It was only an idea in December 2017
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ICYMI: One Day at a Time Is In Danger of Cancellation
So Go and Watch It, You Uncultured Heathens
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This last November 2, I decided to celebrate Día De Los Muertos with my intellectual and artistic hero Sergei Eisenstein.
On an objective level, it felt like my duty as a Mexican-American Eisenstein researcher living in Moscow at this time of year to adorn the grave of one of Russia’s greatest artists who had a deep creative and emotional affinity for Mexican culture (and its traditions surrounding the dead in particular).
On a personal level, it felt like a spiritual quest to unite the strands of my inner lives. I grew up with Día De Los Muertos (although I never actually got to celebrate in a graveyard because none of my ancestors are buried near where we lived) and Mexican art. Both my parents make art that draws inspiration from Mezoamerican folk traditions, and my dad also loves and emulates early Soviet art. He was the one who introduced me to Eisenstein’s films too. And here I am now, living in Russia on a research scholarship for a project deeply tied to Eisenstein’s work.
I hope that some day, the powers that be here will allow for a dedicated group of Eisenstein’s spiritual heirs to give him the full ofrenda and late-night grave party treatment. This year, Novodevichiye Cemetery closed as usual at 5 pm so I just left a modest offering of paper marigolds (handmade with love by me after I realized that it was not possible to find live marigolds in Moscow in November) and incense.
¡Feliz Día De Los Muertos, Serguéi Mijáilovich!
С днем мертвых, Сергей Михаилович!
¡Qué viva Eizenshtéin!
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