The stencil on top depicts Jorge Rafael Videla, the head of the first military junta that overthrew Isabel Martínez de Perón in 1976 and initiated the neoliberalization of the country; Carlos Saúl Menem, elected president from 1989 to 1999, widely associated to neoliberal reforms; and current president Mauricio Macri, with the universal recycling symbol, as if they were -and they are!- part of the same process. “Ni una menos” (“Not one less”) is a movement that combats violence against women.
by Ezequiel Zaidenwerg
PhD Candidate at the Spanish and Portuguese Department
July 21st 2016
I’ve been in Buenos Aires for two weeks now. I’m surprised at how much things seem to have changed since my last visit, about a year ago. Many small shops that I knew have closed: after recently elected President Macri devalued the local currency by over 60%, they can’t afford to pay the rent or the dramatically increased electricity and heating bills. For instance Aleksandr, a Russian immigrant taylor I used to take clothes I usually buy for peanuts at the Salvation Army in New York for alterations and repairs, has been priced out of his small work space in downtown Buenos Aires and I’m told he’s now moved deep into the Conurbano Bonaerense, the Capital’s sprawling, densely populated outskirts. Although neoliberalism never left -even with the Kirchners, who so ardently spoke against it- it now seems tremendously reinvigorated. To my dismay, a few days ago, the Secretary of Communications, Oscar Aguad, in a nonchalant way, invoked the infamous trickle-down economics to explain the need for further austerity measures in the energy sector.
Posted by William Ramirez – MA Candidate at CLACS
This summer I traveled to Guatemala with the intention of learning more about current trends and developments in Guatemalan literary, poetic, and artistic production. In recent years, there has been a surge in not only scholarly, but also literary and artistic production of the “Central American” (including Guatemala) in the United States (See Arturo Arias, Ana Patricia Rodriguez, Kency Cornejo, Claudia Milian). For example, in 2014, Guatemalan-American poet, Maya Chinchilla (Maya Chapina), published her first book, The Cha Cha Files: A Chapina Poética (Kórima Press), marking the first time a Guatemalan-American publishes a book of poetry with themes concerning the Guatemalan/Central American-American experience within the United States. However, her work would perhaps be lesser known within Guatemala. A question arises: what relevance would her poetry have with current Guatemalan literary and artistic trends and, moreover, with Guatemalans, in general, who perhaps have never set foot outside of the country? I came to look for what type of relation might, or might not, exist between literary, artistic, and poetic productions between Guatemalan-Americans and those within the country.
Cover of ‘The Cha Cha Files: A Chapina Poética’ by Maya Chinchilla. Artists – Yolanda Lopez, Rio Yañez
Omni-ZonaFranca is an innovative poetry, music and performance collective from Alamar, Cuba. In their first U.S. tour, this internationally renowned group performed for an enthusiastic audience in NYU’s Kimmel Center for University Life on March 28, 2012.
The group’s performance was an explosive ensemble of music and poetry, complimented by videos and interspersed with dance and dramatic performances. They also featured a typewriter symphony. Each episode in the show was seemingly spontaneous, but the fluidity made clear the performance was orchestrated.