Monthly Archives: August 2011

Crossing Borders in the DR

I am in the Dominican Republic doing 3 weeks of research in the Archivo General de la Nación in Santo Domingo. I am a third year PhD student in the Spanish Department at NYU, and my research concerns the border region between colonial Haiti and the DR (Saint Domingue and Santo Domingo) in the late 18th Century before and during the Haitian Revolution. I’ve been looking at diplomatic correspondence between the French and Spanish sides of the island, police treaties having to do with the border, and maps, with a focus on language (translation issues), slavery, citizenship, non-state actors, contraband trade and topography (how the states divided space along the border versus the reality of the situation).

I want to see how these “contested topographies” in the border region have continued to this day, as the border still simultaneously acts as a divisive yet porous wall between the two sides of this island. Last weekend I had the opportunity to travel to the sugar “bateyes” in the southwestern part of the Dominican Republic, near Baharona. The community in the bateyes is comprised of mostly Haitian families – some having been there as long four generations, yet many still without Dominican citizenship – and Dominican families who make their living in the sugar cane fields. Like on this island, there exists a border in these communities. The Spanish-speaking Dominican families live on one side (with access to running water and better amenities installed under President Balaguer’s government in the 80s), the Haitian-Dominican families live in the middle (they are completely bilingual in Spanish and Creole after one generation there), and the newly arrived Creole-speaking Haitians, who live in much poorer conditions on the outside of the community. Creole is maintained even after 4 generations of living in the Dominican bateyes, because it is the language spoken within the home and community and because of the constant influx of Haitians arriving to work the cane.

Being able to do archival work on the border 200 years ago, and seeing the topographical and linguistic divides still manifest in the sugar bateyes, have shown me how important it is for history to shed light on the present. I wonder if those Haitians and Dominicans living in the sugar bateyes in Baharona know that 200 years ago that very region close to the border was considered a “no man’s land” on the island, where maroon slaves from both the French and Spanish sides would escape (although the majority from the French sugar plantations) and establish communities known as the “Maniel” and “Bahoruco,” living in freedom and outside of state surveillance.

Posted by Nathalie Bragadir – PhD Candidate in Spanish at NYU

Batey 8, Dominican Republic, Bragadir

Sixth and Final Week in Brazil

For my last few weeks in Sao Paulo I decided to explore other archives around the city as see if I could find new and different kinds of sources that spoke to Robert Moses 1950 “Program” for the city of Sao Paulo and how local paulistas reacted to it.  I spend a few days at two different archives: Arquivo Publico do Estado de Sao Paulo and the Arquivo Histórico de São Paulo.  At the Arquivo Publico I found a good amount internal communications by the organizations like the Sao Paulo Transit Authority (CMTC).  Especially interesting were the communications provided by informants that the administration had implanted to monitor the actions of the labor union, particularly communist members of the unions who were seen as organizer of labor strikes and other subversive activities in the late 1940s.  I am not sure if I will be able to use this material in my dissertation but I certainly hope to.  Reforming the transportation system was a key component of Moses’s “Program”, thou Moses never directly mentioned labor issues or communist infiltration for that matter.  At the Public Archive I also looked at their extensive collection of newspapers.  However, newspaper research strikes me as extremely time consuming and potentially frustrating.   There is just so much material to cover, most of which is irrelevant to my research topic.  Anyone doing research using newspapers I would appreciate some guidance.  At the Arquivo Historico I found out that they hold most of the institutional documents related to the events that the government of Sao Paulo sponsored to celebrate the 400th anniversary of the city.  Unfortunately, this was also the most unwelcoming of all the archives I visited in Brazil.  Unlike most other places where photographing is not only permitted but also free of charge, the Arquivo Historico charges quite a bit of money to photograph documents in their collection.  And when I say quite a bit I actually mean quite a lot.  It costs an academic researcher $25.00 Reais (about $15.00 dollars) to take a single photograph with his or her own camera.  If you are a regular citizen (i.e. not an academic) the price tag is $50.00 Reais (about 30.00 dollars) per photograph.  By way of comparison, earlier this summer I had the New York Public Library scan 51 pages worth of documents from the Robert Moses Papers for me.  The dossier cost me $31.50 cents, which I gladly paid since I know it took staff time and equipment to make those scans possible – neither of which are the case in the Arquivo Municipal in Sao Paulo.  I was so disheartened by the price tag (not to mention the sheer disincentive to research) that I did some research on the issue.  As it turns out, the current prefect of Sao Paulo is the responsible party.  By approving decree 52.040 the prefect made it possible for municipal archives to charge that much money for individuals interested in getting a closer look of what is essentially public information.  To make a long story short I contacted someone who writes for one of the main newspapers in Sao Paulo (Folha de Sao Paulo) and on Sunday, Aug. 2011 a short op-ed piece on this very issue was published.  Hopefully others will also be outraged.  Despite this particularly unpleasant experience, I had a very productive time in Brazil this summer largely because of the wonderful  librarians and archivists I met along the way.

Marcio Siwi — PhD Candidate in Latin American History at NYU

 

Models for sustaining engaged and collective art practices

Opening of an exhibition of street art at Museu de Arte de São Paolo

In the course of my research on engaged art practices, which often operate outside of the traditional institutional frameworks and commercial circuits of contemporary art, I have become increasingly interested in how artists and art groups sustain their work over time, i.e. how they find ways (or don’t) to sustain their production economically, if they move towards increased institutionalization or professionalization; if they develop long-term plans or if they work on a project-by-project basis; and what material, organizational and interpersonal conditions motivate them to continue working and working together. In my interviews with artists in São Paulo I found that members of collectives that had worked together for upwards of a decade also had given a great deal of thought to these questions. Many discussed the public grants made available under Lula’s administration and the leadership of Gilberto Gil in the Ministry of Culture, as well as the evident and probable changes taking place under the new Ministry of Culture, as led by Ana de Holanda. Most of the artists acknowledged that this public funding had been a major source of support for their work, as evidenced in the books (published for free distribution), DVDs, documentary videos, original research, and large-scale community-based projects they had produced with funding from state agencies (and Petrobras). However, some also pointed to the negative effects the cycle of grant competitions and the specified interests of funding agencies had on artists’ abilities to develop and maintain long-term initiatives and a unified line of investigation, the fact that members of collectives often internalize costs of their work when the public money falls short (as it often does), and the possibility that the critical potential of some work is compromised by its reliance on state funding. Continue reading

Writing Workshops and Jewish Writers in Santiago de Chile

My final week in Chile, I walked into one of Pía Barros’s literary talleres (workshops) and to my surprise, an announcement had been posted on the white board calling for submissions for the 2011 libro objeto (book object).  When I began this research trip, with the hopes of learning more about the libros objetos, I had no idea that I would get to see one in the steps of production!

July 21, 2011, Taller with Pia Barros

One participant in the taller reads his work while Barros (in the far right corner) and the other participants listen, before offering their critiques.

Helping to polish other writers’ submissions, reading my own short stories in front of some of my favorite Chilean authors, and listening to their criticism of each other’s work has given my research an unexpected realness, for which I am incredibly grateful.  Though several surprises, like this one, have taken my research in exciting directions, I realized this week that I still had not conducted a few of the interviews I had hoped to have done at this point.  Two individuals I had hoped to meet are Rodrigo Cánovas, a literary scholar, and Jorge Scherman, a Chilean author of Jewish descent.  They co-authored Voces judías en la literatura chilena (2010), the first book devoted to analyzing literature by Chilean Jewish authors. Continue reading

Jewish Chilean Responses to Pinochet’s Dictatorship

Wyse - Chile - Hidden Door

Tom, one of the leaders at Hashomer Hatzair, holding up the secret door (normally covered by a large rug)

This past week, I found myself lifting up a hidden door in the floor of Santiago, Chile’s Zionist youth organization Hashomer Hatzair.  Peering through the doorway at a dark basement below, I listened as Carlos Vasquez, a former member of the group, described how the room once hid books and people that the military regime (1973-1990) considered dangerous.

A central component of my research has been trying to explore how the military regime affected Chile’s Jewish communities.  My goal is to learn more about Chilean Jewish authors Andrea Jeftanovic, Cynthia Rimsky, Sonia Guralnik, and Susana Sánchez Bravo, and how they are representative (or not) of Chile’s Jewish communities from the 1970s to the present, especially in terms of how they discuss and construct Jewish identity in their writing.  Continue reading

Overcoming a Dispute: Museo de Arte de Lima, MAC-Lima and Fernando de Szyszlo’s Exhibition

The promotion of the arts and, particularly, of modern and contemporary art has been in private hands. Historically, two private institutions, founded in the 1950s, have promoted Peruvian (“fine”) art: The Patronato de las Artes that leads the Museo de Arte de Lima (MALI), and the Instituto de Arte Contemporáneo (IAC). Many of their members belong to both Institutions and they comprise a large part of Lima’s elite group. The aims of these institutions were not in tension until the ends of 1990s, when controversies between members of both institutions regarding the management of contemporary art started.

Borea - Peru - MAC-Lima's bulletin - July 25th 2011

Opening of the first stage: Minister of Culture Juan Ossio, IAC's President George Gruenberg, President Alan Garcia, Minister of Production Mercedes Araoz, MAC-Lima's director Alvaro Roca-Rey

In 2001, the IAC initiated the construction of its long standing Museo de Arte Contemporáneo (now MAC-Lima). This project has been interrupted several times due to the struggles between the managerial group, and the neighborhood and local government. However, with the new political party in the district hall and the new impulse of contemporary art in the city, the museum’s construction has resumed and it seems that now the Museum will be finished (see image 1).

The specific interest of the Museo de Arte de Lima in the contemporary art, started in 2005, when young members of the Patronato de las Artes took the leadership. They have redirected the Museum’s attention to contemporary art. The following excerpts of interviews with Fernando de Szyszlo, the most prestigious Peruvian abstract artist, member of the IAC and ex-member of the Patronato de la Artes, and with Natalia Majluf, director of the Museo de Arte de Lima, give insight into this debate. Continue reading

Wrapping Up & Thinking Ahead: Memory Politics in Spain & Argentina

My two-month stay in Spain has been an invaluable research experience.  The opportunity to spend time in Madrid and Barcelona, to observe and participate in an exhumation, and to interview forensic scientists, photographers, artists, and archivists about the intersection of science, visual representation, and history has allowed me to gain a more nuanced understanding of how memory can be mobilized to discuss the politics of both the past and the present.  The information that I have collected over the past eight weeks will be incredibly useful as I begin to define and design my dissertation research project.  Even more so, as I begin think about how forensic science and photographic practices are employed differently across different cultural, political, and historical contexts.

In this last post, I want to address a few topics that have come up in recent interviews as well as some themes that have appeared and reappeared throughout the course of fieldwork.  While in Barcelona, I have interviewed several visual artists and members of the academic community who share an interest in the ways in which visual media has been and can be used to call attention to or discuss the period of political violence that marked a large part of Spain’s recent history.  In almost all of these interviews, the “papeles de Salamanca” have played an important – if not a primary – role in describing local and national memory debates.  The Salamanca papers are a collection of documents that formerly pertained to the Archivo General de la Guerra Civil Española in Salamanca.  The Archive itself consists in an immense stockpile of thousands of documents that were produced and/or collected by the Francoist regime.  Now deemed to be an “archivo de la represión,” this particular archive is thought to be an invaluable source of information regarding the inner workings of the Franco dictatorship. Continue reading

& after the Obrigação has been made…

Brazil - Barton - Work

a day or two after the 'work' had been done

It appears that someone had to make an obrigação to Exú either the night before I first saw this detritus, Saturday or on Friday. The alcohol, the adiga formerly filled with farofa de dendê and the fact that it has been placed at a crossroads are the overt clues. Obviously, this particular ‘work’ that had been done didn’t come at great cost. Hopefully, it did it what is was supposed to have done…

Posted by Scott Alves Barton — PhD Candidate in Food Studies at NYU

Patrimony, Environmentalism and Community Development in La Habana

In 1982 UNESCO named Havana Vieja a World Heritage Site.  In order to parlay this prestigious title into foreign investment, the City Historian of Havana, Eusebio Leal Spengler, undertook a massive restoration project that boasts a dual focus on tourism and community development.  I arrived in Havana Vieja a little over two weeks ago in order to understand the workings of the heritage project’s stated priority to, “increase social benefits in the community,” and explore residents’ engagement in the patrimonialization process.

Attending the City Historian’s tour through its social projects provided me with a unparalleled opportunity to immerse myself in the language of the official heritage narrative and its marketing to tourists.  Additionally, my observation of the State Working Group of the Havana Bay, a government agency founded in 1998 under the ministry of Science Technology and the Environment (partially financed by foreign donors such as the Swiss Agency for Development and Cooperation) gives me the chance to see how ideas of patrimony and community play out in daily life.  Conceptualizing the environment as patrimony, SWG-HB channels their modest resources into the promotion of environmentalism and Community Work in four neighborhoods that surround the Havana bay and its tributaries: San Isidro, Jesús María, El Canal y Lawton.

My institutional contacts at SWG-HB generously assisted me with gaining access to primary sources, community settings and establishing relationships with professionals and local actors.

The SWG-HB began its project of Community Work in 2008, forming Neighborhood Environmental Delegations.  These groups, made up of representatives of local institutions and mass organizations (most participants are over 60 years old), assembled for educative workshops dedicated to different environmental themes: recycling, compost, reforestation, permaculture, natural medicine, etc.  Also taught were methodologies of “popular education” such as “the green map” and “participatory evaluation.” The delegate groups worked to incorporate the participation of schools, institutions and neighbors with the stated goal that community members can define their problems, develop their own solutions, and provide tangible results.  Mainly the community initiatives are educational talks, festivals or weekly activities designed to reach members of the community with idle time (pre-school aged children, unemployed men and women, and retirees).  Also of concern is outreach to troubled youth, single mothers, and ex-prisoners.

Between daily visits to the SWG-HB office, conducting informal interviews with local actors, attending community events, and reflecting on an unfamiliar rhetoric of Cultura ambiental, Colectivismo, Integración, Pertencia and Barrios marginales, I also take the time to engage with ethnographies of development and urban renewal projects in Latin America such as Daniella Gandolfo’s, The City at its Limits and Adrian Hearn’s, Cuba: Religion, Development and Social Capital.

Posted by Kate Bedecarré MA candidate at CLACS

Crossing Boundaries, Crossing Disciplines

Garrido - Argentina - Stoppani by Copi

Drawing by Argentine writer, actor and cartoonist Copi in homage to his close friend Juan Stoppani -materials like this give as a hint of the links and the fruitful exchanges among these Argentine exiles in France.

My second interview during my stay in Buenos Aires was with Juan Stoppani, another relevant artist from the Instituto Di Tella who moved to Paris by the end of the sixties. As a member of Groupe TSE, created by Alfredo Arias, Stoppani started a career as a costume and stage designer. Throughout the seventies and the eighties, Stoppani continued to work in theater under the direction of Jean Louis Barrault, Jerôme Savary, Roland Petit, and Jorge Lavelli, among others. The curtain he designed for the play Le frigo by his close friend Copi, in 1984, attracted a great deal of interest.

After many decades of living abroad, Stoppani returned to Buenos Aires and lives now in a sort of Mundo Stoppani, an old beautiful house in the neighborhood of La Boca, fully renovated according to his personal style and peopled by works of art -all of them his own creations- dispersed in every single room, in every single wall. Continue reading