Vol. 42 No. 23
www.eltecolote.org
Noviembre 22–Diciembre 5, 2012
Eva Martinez El Tecolote
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or 34-year-old Oakland artist Favianna Rodriguez, merging activism and art is something that comes natural. The curly-haired industrious champion of the disenfranchised is unafraid to speak her mind, verbally or through her colorful prints and digital art. Although she’s won many awards, Rodriguez has a genuine humility and calmness about her that belies her firebrand spirit and her inyour-face work. Her Peruvian parents met in Oakland in the early 1970s where they settled in the Fruitvale neighborhood and raised their children amid a community rich with Latino culture and political awareness. As a child Rodriguez learned about social movements at Centro Infantil school. Her art journey began in a children’s program at the Spanish Speaking Citizen’s Foundation where she was taught by Chicano muralists. But in the early ‘90s, 14-yearold Rodriguez began to feel trapped by Oakland’s growing violence. In the eighth grade, after friends were beaten and sexually assaulted, Rodriguez’s parents agreed to her request to go to school in Mexico City. “It was one of the best experiences of my life, because in Mexico I was not seen as an outsider,” Rodriguez said. “All the education was about me. I learned about Simón Bolivar, El Che, the muralists. It felt so relevant to me and it made me realize that in the U.S. young Latinos are treated as outsiders. The history is not ours. We are always on the sidelines.” After three years she returned to the U.S. and enrolled at U.C. Berkeley, majoring in architecture and Chicano Studies. She began exploring art and the Internet, learning to code and build websites. Three years later she left school before getting her degree to explore art on a deeper level. When she couldn’t get into art school because she lacked formal training and a portfolio, she decided to learn on her own. “I really am a champion of being an autodidactic,” she said. “Especially now with all the cuts, you have to go outside of the institutions.” In her quest, she worked with Xochitl Nevel Guerrero, an Oakland artist who taught her to have a voice as an artist. Other mentors included Bay Area artists Yolanda López, Ester Hernandez and Jesus Barraza. She soon extended her network to Los Angeles when she met Yreina Cervantez, Barbara Carrasco and Diane Gamboa. She also worked with author Elizabeth “Betita” Martinez on her book, “500 years of Chicana Women’s History.” “They all gave me the confidence to know that I could do anything I wanted to do,” she said. A turning point happened in 1999 when Rodriguez got her first print made at Los Angeles’ Self Help Graphics. “Going to Self Help Graphics was like walking into art heaven for me. It is the place where Chicano and Latino artists thrive. And they loved my art.” In 2001, she and artist Jesus Barraza created TUMIS, a multi-purpose design and webconsulting firm with a mission to
Favianna Rodríguez junto a su obra ‘Día de los Muertos 2012’ en una gala de apertura de exhibición en la galería Solespace de Oakland. Favianna Rodriguez and her piece Dia de los Muertos 2012 at an Opening Art Show at Solespace in Oakland, Nov. 2, 2012. Photo Melanie Guilbault Eva Martinez El Tecolote
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“Lo más cierto a horas inciertas”, 2007, grabado de Favianna Rodríguez. “Lo más cierto a horas inciertas”, 2007 letterpress print by Favianna Rodriguez. Photo Courtesy favianna.com help communities of color. On a wave of tireless creativity and organizing, Rodriguez went on to establish the Eastside Arts Alliance, Taller Tupac Amaru, CultureStrike and Presente.org, a national organization working to promote the voice of Latino communities. According to Rodriguez, Latinos are six years behind the technology curve. She saw the massive 2006 immigrant marches as a missed opportunity to use tech tools. “That’s why I started Presente.org, because I saw it as an opportunity to really leverage our power via technology, ” she said. While many people see her art as empowering the Latino community, Rodriguez said it’s larger than that. “It’s about serving humanity, about serving mother earth. It’s about serving all of us and not just a few of us.” And she is not afraid to take on her community when they oppose issues like gay marriage. “As an artist it’s important to See artist, page 10
ara la artista de 34 años, de cabello rizado, y originaria de Oakland, Favianna Rodríguez, la fusión del activismo con el arte es natural. La campeona de lucha por los desposeídos no teme decir lo que piensa, ya sea por medio de la palabra o a través de sus coloridos estampados y arte digital. A pesar de haber ganado muchos premios, Rodríguez conserva una genuina humildad y sosiego, que contradicen su espíritu y trabajo contestatarios. Sus padres peruanos se establecieron en Oakland a principios de 1970, en el barrio de Fruitvale, y criaron a sus hijos en el seno de una comunidad rica en cultura latina y conciencia política. De niña, Rodríguez aprendió de los movimientos sociales en su escuela, Centro Infantil. Su trayectoria artística comenzó con un programa infantil de la Fundación de Ciudadanos de Habla Española, donde aprendió sobre los muralistas chicanos. En los 90, con 14 años de edad, Rodríguez comenzó a sentirse atrapada por la creciente violencia de Oakland. En el octavo grado, después de que amigos fueron golpeados y agredidos sexualmente, sus padres accedieron a su petición de acudir a la escuela en la ciudad de México. “Fue una de las mejores experiencias de mi vida, porque en México no fui vista como una extraña”, dijo Rodríguez. “Toda la educación se centraba en mí. Aprendí sobre Simón Bolívar, El Che, los muralistas. Era tan relevante que me hizo dar cuenta que los jóvenes latinos en Estados Unidos son tratados como extranjeros. La historia no es nuestra. Estamos siempre al margen”. Después de tres años, regresó a los EEUU e ingresó en la Universidad de California en Berkeley, especializándose en Ar-
“Hermano Kyang Hae Lee”, 2003, serigrafía de Favianna Rodríguez. “Hermano Kyang Hae Lee”, 2003 silkscreen by Favianna Rodriguez. Photo Courtesy favianna.com quitectura y Estudios Chicanos. Comenzó a explorar el arte e Internet, aprendiendo a codificar y desarrollar sitios web. Tres años más tarde, abandonó la escuela, antes de obtener su título, para explorar el arte a un nivel más profundo. Al ver que no podía entrar en la escuela de arte, porque carecía de formación y de un portafolio, decidió aprender por su cuenta. En su búsqueda, trabajó con Xóchitl Nevel Guerrero, una artista de Oakland que le enseñó a tener su propia voz como artista. Entre otros de sus mentores se
encuentran los artistas del Área de la Bahía Yolanda López, Ester Hernández y Jesús Barraza. Pronto extendió su red hasta Los Ángeles cuando conoció a Yreina Cervantes, Bárbara Carrasco y Diane Gamboa. También trabajó con la autora Elizabeth “Betita” Martínez en su libro 500 años de historia de la mujer chicana. “Todos me dieron la confianza de saber que podía hacer cualquier cosa”, dijo. Un gran giro ocurrió en 1999, cuando Rodríguez consiguió su Vea artista, página 10