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Current politics of Latinidxd are that which call for a decolonial theory in recognizing and ‘calling-out’ our racialized his/herstory. It was revealed through a podcast station, NOFM-radio comunicado and article, “Bocafloja: El privilegio del macho progre”[i] that a year ago at a conference titled the Foro Hilvana de Ciudad Mexico; a highly-acclaimed artist/advocate of decoloniality has perpetrated the very same acts of misogynist-bigoted-patriarchy against those he intends to uplift in his songs, in this case a woman who worked alongside filming the documentary Nana Dijo.

Bocafloja/ Aldo Villegas, is a self-identified Afro-Indigenous descendant rapper and founder of artist collective, Quilombo Arte/Sociedad Cimarrona, who has influenced many throughout the U.S. and Latin-America through his music which challenges racial hierarchies, capitalism and even machismo, but he has extensively conducted workshops at acclaimed University institutions and released his own body of literary works  and poems. In this essay, I will examine the complexities of colorism, patriarchy, coloniality and accountability with the question: How do lighter-skinned femme identified Latinxs hold men accountable, whom proclaim radical-leftist ideology but incongruently express their own patriarchy as a weapon of ‘trade-off’ for their racialized marginalization?

During the presentation at the Foro Hilvana, the cinematographer, Sofia Castillo, who filmed a third of the documentary, is accused by Bocafloja to be a middle-class criolla Mexican who is attempting to ‘hijack’ the cultural production of his work. Bocafloja, quickly shifts the focus from his work and re-words himself by stating ‘all of your work,’ or ‘de los prietos’ to the audience in an effort to redeem himself. He responds to Sofia’s declaration of being invisibilized as a woman, by mocking her and stating:

“Lo que los cineastitas como ella hacen es irse a meter a las comunidades marginales a retratarlas como objetos de estudio, es lo que esos cabrones hacen”… la gente aplaude. “Lo que estoy haciendo es pimpear al sistema [...] A ti yo te cogí, a ti yo te cogí, a ti yo te cogí bien cabrón. ¿Sabes por qué lo hice? Porque estaba pimpeando al sistema, porque al cogerte a ti me estaba burlando de tu papá.”[ii]

           Although this situation is somewhat brushed off during the interview as ‘chisme or personal issues’ between the two collaborators, the very urgent issue remains; ‘How do self-proclaimed ‘decolonial’ artist/thinkers, continue to perpetuate the negation of inter-sectionality?’ I ask this rhetorically, because Bocafloja recognizes during the interview that he is exercising his patriarchy, but he excuses his derogatory tone and position, due to the woman’s historical connection to coloniality and whiteness. He exclaims:

“Yo puedo lidiar con mi proceso patriarcal pero tú no puedes lidiar con tu blanquitud”[iii]

           Since the release of this article on no-fm radio.com, the interview has gone viral and the artist has even put out a filmed statement recognizing his error, but has not apologized to the victim or offered recognition for her part in the film. He simply restates his pseudo-intellectual position and claims to have dismantled and re-learned the effects of his own masculinity (within the context of the year since this happened), but offers no real accountability measures or alternatives

. Although this case is not specifically linked to rape, the artist is using rape language to justify historical racial oppression. I can’t help but consider the works of Angela Davis in ‘Rape, Racism and the Myth of the Black Rapist’. Bocafloja, someone with hundreds of thousands of followers, if not millions; someone who fiercely advocates for racial justice, puts to shame the works of the legendary Davis. Davis makes a clear connection to “racism’s salient historical features as that as always being the assumption that white men -especially those that wield economic power- possess an incontestable right of access to a Black woman’s body.”[iv] In this scenario, it is a self-named ‘race activist’ that is perpetuating this similar notion of bigotry onto light-skinned femme bodies. Although, it can be argued that racism wouldn’t fit this scenario because Boca holds no political power, but his own idea that he ‘automatically’ has access to the body of  a woman of lighter skin as ‘compensation’ to coloniality problematizes that argument, and he uses patriarchy as his leveraging weapon.

John D. Marquez, author of Black & Brown Solidarity, makes a distinction to the terms identity and subjectivity in which he states that subjectivity is “how oppressed groups relate to oppression.”[v] Marquez utilizes Kelly Oliver’s theory of subjectivity in that it “is experienced as the sense of agency and response-ability constituted in the infinite encounter with otherness- the realm of ethics. And although subjectivity is logically prior to any possible subject position, in our experience, the two are always interconnected.”[vi] It should be re-iterated that Boca does point out the woman, Sofia’s, privilege as a light skinned woman who ‘can make a career out of her own gaze into that of a marginalized group,’ and I do agree with this statement very much so. But Sofia defends herself in saying that she ‘believes the centering of the Afro-Latinx diaspora is necessary’ but she does not demand that she be centered, she only wants the credit in the film and to be paid for her labor (which seems to be at the root of the ordeal), whereas Boca has centered himself in the documentary and is claiming full entitlement to the project.

This has proven itself to be a very complex situation and argumentation that an acclaimed artist is making. Although it is necessary to remind ourselves that his perspective is not legitimate, we should also be wary of these types of arguments in ‘woke’ or ‘decolonial’ circles by always approaching the issue with critical and ethical analysis. His work is one that holds a lot of credibility and legitimacy, but when these instances occur and are magnified to their historical contexts, it can leave fellow activists, womxn- identified persons especially with a sense of falsehood and unwillingness to continue organizing/creating in said ‘decolonial’ spaces. Nevertheless, we must maintain our avenues open to continue to build on the solidarity work that many before this guy have already done so.

[i] http://nofm-radio.com/2017/04/bocafloja-el-privilegio-del-macho-progre/

[ii] Aldo Villegas (Bocafloja): http://nofm-radio.com/2017/04/bocafloja-el-privilegio-del-macho-progre/

[iii] Aldo Villegas (Bocafloja): http://nofm-radio.com/2017/04/bocafloja-el-privilegio-del-macho-progre/

[iv] Davis, Angela. Women, Race, & Class. Knopf Doubleday Publishing Group. 2011

[v] Marquez, John D. Black-Brown Solidarity: Racial Politics in the New Gulf South. University of Texas Press. 2013

[vi] Marquez, John D. Black-Brown Solidarity: Racial Politics in the New Gulf South. University of Texas Press. 2013

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MuXeres en H I P - H O P <3

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A R T E  E N  T O D A  P A R T E <3

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T R A V E L I N G  T H R O U G H  T I M E  &  S P A C E

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F E M M M E G R A F F in the C E N T R A L V A L L E Y <3 I X

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Razones porque No Soy Chicanx

#no soy Chicanx por que mi historia me ha GRITADO de otrxs realidades

#por que me han negado saber lo profundo de donde vengo; aunque fueramos del mismo color, una pregunta de una niña nunca se le niega

#por que me han despreciado como ser conocedora de mi propia historia, era una ofensa a los años de escuela que se entrenaron y todavia nunca nos mencionaron

#por que a mis niñxs los han despreciado y han hecho sus sujetos de estudios ‘humanitarios’ ignorando lo sabio que les vienen dando, mientras ustedes... hay ganando $

#por que tambien mandaron soldados Mexicano-Americanos a matarnos, por luchar por nuestra libertad; siempre lo supimos y cuando todxs cruzamos por sus barrios, mas se dio esa realidad

#por que nos usan por lo lindo de nuestra cultura, arte, musica, cumbia, merengue, bolero, bachata, salsa. nos roban de conveniencia para hacerlo pasar como si fuera lo suyo... pero, ey... todo mundo sabe que esa vaina es de nuestra familia afrikana

#por que se burlan y siempre se han burlado de como yo hablo, porque casi canto y GRITO tanto. Apuntenme el dedo aver si no me sale que las zampo como me enseñaron en el campo

#por que desde que llegamos nos estaban hechando la migra por la envidia que les ‘quitabamos’ los trabajos, los hombres, mujeres, las casas

y valoramos a nuestros aliados que siempre hechan la mano, pero la realidad de quien soy y quienes somos es de respetar, sin ofender, pero cultivar. Esta nota va para todxs los campañerxs que realmente creen en la autonomia. Es un GRITO hecho para que vaya interrumpiendo la desigualdad e inarmonia.

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collage: proyectos : cultura viva

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Nota a mis compañerxs Chicanx y Mexicanxs

Quiero compartir algo a mis compañerxs mexicanxs, de una mujer Centro-Americana.

E vivido toda mi vivida en estos EEUU, e viajado extensivo a mi tierrita natal con mi gente e aprendido lindura mas la realidad que se enfrenta nuestra gente a lo diario, pobreza, miedo, resistencia y sobresalir. Igual e viajado extensivamente a sus tierras que me han acalorado y enseñado belleza. Les quiero compartir parte de mi corazón como ser humana y también con empatía sobre nuestra situación como Latinx-Americanxs, Pan-Indigenas, Chicanx , Pan-AfroIndigenas o como mas se identifiquen. Naci en Los Angeles y criada en Fresno, y mi situacion como Salvadoreña a sido de silencio y clandestinidad, de no hablar tanto porque se darán cuenta que soy/somos un poco diferente a la mayoría, no Mexicanos. Agradesco a toda la gente/ amigxs que no me han tratado asi y me han visto florecer y con orgullo de mi cultura e historia… pero eso no niega la realidad en que mis padres, familiares han vivido en este país al igual al migrar por sus tierras via Mexico. Tambien e visto con mis propios ojos la discriminación de mis hermanxs Centro-Americanxs artesanxs/artistas/migrantes viajando por Mexico, un compañero de corazón noble quemado a media calle con gasolina mientras trabajaba/malabareaba, otros golpeados por hablar diferente y simplemente tener diferente modo. Es la realidad que tenemos que enfrentar y reconocer que entre nuestra propia gente nos discriminamos, abusamos, o hasta matamos. La realidad que estamos viviendo a este momento con dictaduras racistas es un llamado para nosotros los pobres, oprimidos, los conscientes de unirnos como gente que luchado y resistido el imperialismo de EEUU. Es la lucha que el Centro-Americano/ Indigena/ Afro-Descendiente ha cargado y llamamos a esto que sea reconocido. Nuestras familias han sufrido ser discriminados en los trabajos por nuestro modo de hablar por propios Mexicanxs, durante los 80’s muchos Mexicanxs entregaban a Centro-americanx a la migra por esto. Manteniendo callado, hemos sufrido sus mismos sufrimientos de tener nuestros familiares desparecidos, nuestras mujeres y niñas esclavizadas y violadas,  pasamos las mismas rutas de la bestia, de los desiertos y en las situaciones de mas desesperación es cuando vemos nuestra propia humanidad en toros, sin nacionalidad. A este lado de la pinche frontera también pasamos esa misma discriminación por Mexicanos o Chicanx que nos ven de menos, criminales y no aceptan nuestra identidad como una de la misma opresión. Y no pedimos eso, pero tampoco vale que nuestra voz siga siendo una que sea silenciada por Mexicanos/Chicanxs que han tenido mas oportunidad/movilidad social/influencia en este país. Este es el dilema en que nos hemos encontrado por muchos años y hoy en dia se amplifican mas con leyes y negocios absurdos de políticos corruptos a los dos lados de esa frontera. La critica de un racista Norte-Americano será valido cuando los racistas rodeados en sus propias tierras sean enfrentados al igual en este lado de la frontera. A mis compañerxs Chicanx pedimos que esta critica sea parte del dialogo de la xenofobia y racismo que existe, no solo porque el hijueputa (trump) critica a los Mexicanxs quiere decir que no tiene planes/leyes hasta peores para los de mas abajo, y esto se tiene que reconocer. Ya existen estos tratos (Plan Frontera Sur) y como activistas, trabajador/a defensores o plenamente gente decente necesitamos criticar estas mismas policas que mantienen en tacto los planes de totalitarismo y fascismo. Este es nuestro llamado. Con mucho valor, amor, y conciencia proponemos esta conversación y auto-analizacion. #unidadlatinx-americana #migración #labestia #laruta #diálogo #derrumbarelfascismo #todosomosmigrantes

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Nota a mis Compañerxs Chicanx/Mexicanxs

I want to share something with my Mexican/Chicanx friends, from a Central American woman:

I’ve lived my entire life in the U.S. and have traveled extensively to my homecountry and with my people have learned precious lessons along with the reality that our people face on a daily basis, poverty, fear, resistance and overcoming. I have also traveled extensively in your lands that have warmly invited me and have learned beauty. I want to share a piece of my heart as human and with empathy of our situation as Laatinx, Pan-Indigenous, Chicanx, Pan-Afro-Indegenous or how you choose to identify. I was born in Los Angeles and raised in Fresno and my experience as a Salvadoran has been one of silence and and clandestine-ity, of not speaking much because they will know we are/am a little bit different from the majority, not Mexican. I love & appreciate all the people/friends that haven’t treated me as such and have seen me grow with pride of my culture and history… but that does not deny the reality that my parents and family have lived in this country as well as in the process of migration via Mexico. I witnessed with my own eyes the discrimination that my Central-American brothers/sisters artisans/artists/migrants traveling through Mexico. A friend with noble heart burned in the middle of the street while performing/juggling, others beat for speaking differently or having a ‘different’ manner. It’s the reality we must face and recognizes; that within our ‘own’ people we are discriminated, abused, sometimes killed. The reality that we are living at this moment with racist dictatorships is a call for us the poor, oppressed, conscious of unifying as a people that has vigorously fought against U.S. Imperialism. It is the fight that Central-American has carried on its back and we urge for this to be recognized as so. Our families have suffered in being discriminated in the workplace for our ‘way’ of speaking by Mexicans, people were snitched on to the Migra in the 80’s for this. We remained silent, but have also suffered your same laments in having family members disappear, our women and little girls enslaved & raped in human trafficking rings, we follow the same routes on the trains the deserts and in the instances of most desperation we are able to see our own humanity in others without nationality. On this side of the bitch-ass border we face discrimination as well by Mexicans/Chicanxs that see as less than or ‘crime ridden’ and simple do not accept our identity as one of similar oppression. Although, we do not ask for that but it is also a fallacy to continue to silence our voices for not having the same opportunities/influence/social mobility in this country. This is the dilemma in which we have found ourselves for many years and once again are being amplified by racist and absurd negotiations by corrupt politicians on both sides of the border. The critique of a racist North-American will be valid when the racists in your own countries and neighborhoods are confronted, just as on this side of the border. To my Chicanx comrades we say that these critiques also be included in your dialogues of the xenophobia and racism that exists. Not just because the fuckface of trump demeans and degrades Mexico in his rhetoric does not mean that he does not have plans/ policy meant to further marginalize those from further south, and this must be recognized. These policies exist already (Plan Frontera Sur), and as activists, defense workers or just decent people, we must criticize these policies that maintain intact totalitarianism, fascism and xenophobia. With bravery, love and conscious we propose this conversation and self-analyzation.

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#Central America # el Pulgarcito #TierradeJaguares

Murals in El Salvador (Photos do not belong to me)

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A R T E D I G I T A L : C U S C A T L A N / V E R A C R U Z

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Refugee Musik

I have flashes of memories of my little girl-ness in the rough concrete that is Los Angeles and the migrations to Fresno: Salvadorian refugees in Cali… Memories in which the remembrances lead me to a feeling of tenderness and warm sunsets across palm trees and a family re-grouping ourselves to the powerful clashes that exist within the realm of capital dominance. When I first heard Nicola Cruz, who is an international DJ from Ecuador and what he is introducing as Andes Step, which is the mix of traditional Andean Music with Electronic Dub, I knew this was a music I always craved for. For many reasons had I always wanted to hear something of this sound, but primarily it enhanced my ability to dream, to remember, to feel peaceful and at the same time very upbeat because that is what traditional Andean music always made me feel. Much of this feeling stemming from the sounds of the Zampoña, in which notes reach very high sopranos to bass-ful airy melodies. The traditional chant of women in Andean communities, in this case a highly regarded chantuesse, Luzmila Carpio is a deep and solemn reminder of my grandmother and her painful humming, resisting the physical effects of a laborious life; ironing and washing clothes most of her adulthood to, having to be the first vendor at the Mercado to sell vegetables or whatever was available, while providing the days nourishment for the family.

The remembrance of my childhood and music: where music is the healing and comfort for being in a land so far away. My experience with Andean music began in my infancy with the songs of Simon and Garfunkel, because when my Father and Tio’s put on ‘El Condor Pasa,’ we knew it was time to be quite and lament the tyranny of displacement but most of all, the faces and lands we could no longer make visible to the eye… only by telephone or days of traveling letters could we have the instantaneous connection to our veins, to our lineal and circulating blood.  

When I first heard the song “Amaotayku Avelino Sinani,” I felt an enveloping love for being able to have the gift of remembering and I also felt a quiet suffering and wailing for the beauties that surrounded me, I happened to be in my husband’s lush homeland Veracruz at that moment. A beauty so natural to existence and fruitful with song-giving birds and hidden paths visible to those accustomed to treading through leaf-covered earth and suave rivers. The love stems from a lifetime of storytelling and visualizations generationally transmitted through decades and centuries of family gathering and reciprocity, and the wailing and suffering from the knowledge of the dangers in which capitalism and imperialism had imposed on the hearth and natural dwellings of humanity, of flora & fauna, of microscopic and very necessary atoms and molecules for the very survival and continuity of existence, of our very own little region known as El Salvador or Cuscatlan. The story of my life begins with an uprooting and displacement and has led me to only desire synchronization and alignment to what the heart and intuition whisper to be true and just. And who gives one that? Pues será la memoria (lejana, cercana, cosmica, creativa) creo yo…. 2��M.4

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T E Z C A T L I P O K A O N T H E B O R D E R L A N D S A N Y S I D R O T I J U A S

 U N F A N D A N G U I T O P A R A N U E S T R O S H E R M A N X S 

A L S U R D E L O S Y U N A I E S T E I D S

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H I P H O P U N I T Y A L T A R . . . D E C O L O N I A L S O U N D S C A P E S

U N I V E R S I T Y L I F E . . . C O M B A T I N G - 

R A C I S M & P A T R I A R C H Y

A F R I K A I S T H E R O O T . . . R E S P E C T