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He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13928085":{"type":"posts","id":"arts_13928085","meta":{"index":"posts_1591205157","site":"arts","id":"13928085","score":null,"sort":[1682034932000]},"guestAuthors":[],"slug":"no-borders-just-flavors-immigrant-cooking-show-united-we-dream","title":"Young Immigrants Are the Stars of a New Cooking Competition Show","publishDate":1682034932,"format":"standard","headTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show | KQED","labelTerm":{},"content":"\u003cp>For years, I watched televised cooking competitions like \u003ci>Top Chef\u003c/i> religiously. The amateur home cook in me would nerd out over knife skills and ad hoc sous vide contraptions. The romantic in me loved seeing chefs pay heartwarming homage to treasured family recipes.\u003c/p>\n\u003cp>Like so much of American reality television, however, over time these shows began to feel \u003ca href=\"https://screenrant.com/top-chef-most-creative-branded-challenges\">overly corporatized\u003c/a> and, at times, actively toxic — \u003ca href=\"https://www.nytimes.com/2023/03/09/dining/top-chef-season-20.html\">a microcosm of the restaurant industry itself\u003c/a>. They didn’t seem to understand non-European cuisines at all. One favorite chef contestant was \u003ca href=\"https://www.texasmonthly.com/food/paul-qui-problem-redemption-narratives/\">outed as an alleged domestic abuser\u003c/a>. At least two others were \u003ca href=\"https://www.washingtonian.com/2018/11/26/the-inside-story-of-mike-isabellas-fallen-empire/\">accused of\u003c/a> \u003ca href=\"https://www.gawker.com/culture/whatever-happened-to-gabe-erales-the-sex-pest-who-won-top-chef-season-18\">sexual harassment\u003c/a>.\u003cspan style=\"font-weight: 400\">[aside postID='arts_13904835,arts_13927103']\u003c/span>\u003c/p>\n\u003cp>I tuned out.\u003c/p>\n\u003cp>A new web series led by young immigrants is giving me reason to tune back in. Produced not by one of the big cable networks or streaming services, \u003ca href=\"https://unitedwedream.org/nobordersjustflavors/\">\u003ci>No Borders, Just Flavors!\u003c/i>\u003c/a> is instead the creation of the nonprofit advocacy group \u003ca href=\"https://unitedwedream.org/\">United We Dream\u003c/a>, which touts itself as the largest immigrant youth network in the United States. The organization is mostly known for its work pushing for a pathway for citizenship for young undocumented folks.\u003c/p>\n\u003cp>But a cooking show? Why not? After all, the food of one’s cultural heritage is the throughline for so many immigrant experiences — a theme that comes up again and again in each of the show’s four 15-minute episodes, the first of which debuts on April 20.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CbFu2w8EeRc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The show is only a “competition” in the most nominal sense, in that each episode features two contestants — immigrants in their 20s or late teens — who have come prepared to cook a dish that fits the chosen theme of the day (e.g. “stews” or “hand-rolled and fried”). The judges taste each dish and declare a winner, but there’s no big cash prize — or even bragging rights, really — at stake. (In an email, Catherine Lee, a United We Dream spokesperson, clarified that the contestants were fairly compensated for their participation.) Nor is there much focus on complicated cooking methods or technical prowess.\u003c/p>\n\u003cp>Instead, \u003ci>No Borders, Just Flavors! \u003c/i>is mostly a vehicle for storytelling centered on each amateur chef’s cultural identity. In the first episode, Emmanuel Gonzalez Perez, a DACA recipient from Sacramento, talks about how his mother’s carne en su jugo recipe is one of the only ways he’s able to feel connected to his family in Guadalajara, Mexico, since he’s unable to cross the border to visit. In another episode, Betsabe Perez Mertija talks movingly about the little papas rellenas stand that her grandfather used to run in Cuba before coming to the U.S. as a political asylee.\u003c/p>\n\u003cfigure id=\"attachment_13928088\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg\" alt=\"A stew made with bacon, onion, beans and avocado, served with a bowl of tostadas on the side.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestant Emmanuel Gonzalez Perez’s carne en su jugo is made with bacon, onions, avocado and beans. The dish is a tribute to the cook’s mother and his Guadalajaran roots. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the contestants are just so darn \u003ci>likable\u003c/i>. Even the show’s handful of goofy, lo-fi cooking competition gimmicks — like a button you press to force your opponent to stop what they’re doing to help you — wind up turning into sweet moments of cross-cultural connection instead of cutthroat contention.\u003c/p>\n\u003cfigure id=\"attachment_13928092\" class=\"wp-caption alignright\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928092 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dru-scaled.jpg\" alt=\"A headshot of a young Indonesian-Chinese immigrant with long dyed hair and an infectious smile.\" width=\"1424\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-scaled.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-800x1438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1020x1834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-768x1381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-854x1536.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1139x2048.jpg 1139w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">Dru Lay participated in the show’s first episode, representing his Indonesian and Chinese cultural identities. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Dru Lay, a Chinese-Indonesian contestant in the first episode, puts it, “Being an immigrant almost automatically means we have a lot in common.”\u003c/p>\n\u003cp>For those of us who’ve grown accustomed to every reality TV series having a handful of token Black, brown and Asian contestants who all get eliminated halfway through the season, a show like \u003ci>No Borders, Just Flavors! \u003c/i>is a breath of fresh air. Nearly \u003ci>everyone\u003c/i> involved in the show is an immigrant or person of color — the contestants, host, director, producers and art directors. Some of the crew members are undocumented immigrants and DACA recipients themselves.\u003c/p>\n\u003cp>That approach is reflected in the show’s intended audience, too: Host Morelys De Los Santos Urbano ends each episode by asking contestants if they have any words of wisdom they’d like to offer to the immigrant youth who might be watching.\u003c/p>\n\u003cp>Indeed, the main point of the show, for United We Dream, seems to be to flip the script on the typical ways that immigrants — whether they’re documented or not — tend to get portrayed.\u003c/p>\n\u003cp>“All too often, we hear immigrant stories as told by people other than immigrants themselves,” says Lee of United We Dream. “The immigration headlines are dominated by stories of struggle, suffering and survival. But there’s another side of the immigrant story that’s rarely represented in mainstream media: our joy, our courage and vision.”\u003c/p>\n\u003cp>And if these four snack-sized episodes serve as proof of concept that America is ready for a more immigrant-centric approach to food television? I’ll be ready to tune in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>The first episode of \u003c/i>\u003cem>‘No Borders, Just Flavors!\u003c/em>’ \u003ca href=\"https://www.youtube.com/playlist?list=PLTahl_sx9fesEeRvIbZEESALwbdlBWs0U\">\u003ci>debuts on YouTube\u003c/i>\u003c/a>\u003ci> on April 20, at 5 p.m. PST. A new episode will go up online every Thursday night for the next three weeks after that.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘No Borders, Just Flavors!’ flips the script on how immigrants are portrayed in the U.S.","status":"publish","parent":0,"modified":1705005601,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":908},"headData":{"title":"Young Immigrants Are the Stars of United We Dreams' New Cooking Show | KQED","description":"‘No Borders, Just Flavors!’ flips the script on how immigrants are portrayed in the U.S.","ogTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show","ogDescription":"","ogImgId":"","twTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show","twDescription":"","twImgId":"","socialTitle":"Young Immigrants Are the Stars of United We Dreams' New Cooking Show %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Young Immigrants Are the Stars of a New Cooking Competition Show","datePublished":"2023-04-20T23:55:32.000Z","dateModified":"2024-01-11T20:40:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928085/no-borders-just-flavors-immigrant-cooking-show-united-we-dream","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, I watched televised cooking competitions like \u003ci>Top Chef\u003c/i> religiously. The amateur home cook in me would nerd out over knife skills and ad hoc sous vide contraptions. The romantic in me loved seeing chefs pay heartwarming homage to treasured family recipes.\u003c/p>\n\u003cp>Like so much of American reality television, however, over time these shows began to feel \u003ca href=\"https://screenrant.com/top-chef-most-creative-branded-challenges\">overly corporatized\u003c/a> and, at times, actively toxic — \u003ca href=\"https://www.nytimes.com/2023/03/09/dining/top-chef-season-20.html\">a microcosm of the restaurant industry itself\u003c/a>. They didn’t seem to understand non-European cuisines at all. One favorite chef contestant was \u003ca href=\"https://www.texasmonthly.com/food/paul-qui-problem-redemption-narratives/\">outed as an alleged domestic abuser\u003c/a>. At least two others were \u003ca href=\"https://www.washingtonian.com/2018/11/26/the-inside-story-of-mike-isabellas-fallen-empire/\">accused of\u003c/a> \u003ca href=\"https://www.gawker.com/culture/whatever-happened-to-gabe-erales-the-sex-pest-who-won-top-chef-season-18\">sexual harassment\u003c/a>.\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904835,arts_13927103","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>I tuned out.\u003c/p>\n\u003cp>A new web series led by young immigrants is giving me reason to tune back in. Produced not by one of the big cable networks or streaming services, \u003ca href=\"https://unitedwedream.org/nobordersjustflavors/\">\u003ci>No Borders, Just Flavors!\u003c/i>\u003c/a> is instead the creation of the nonprofit advocacy group \u003ca href=\"https://unitedwedream.org/\">United We Dream\u003c/a>, which touts itself as the largest immigrant youth network in the United States. The organization is mostly known for its work pushing for a pathway for citizenship for young undocumented folks.\u003c/p>\n\u003cp>But a cooking show? Why not? After all, the food of one’s cultural heritage is the throughline for so many immigrant experiences — a theme that comes up again and again in each of the show’s four 15-minute episodes, the first of which debuts on April 20.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CbFu2w8EeRc'\n title='//www.youtube.com/embed/CbFu2w8EeRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The show is only a “competition” in the most nominal sense, in that each episode features two contestants — immigrants in their 20s or late teens — who have come prepared to cook a dish that fits the chosen theme of the day (e.g. “stews” or “hand-rolled and fried”). The judges taste each dish and declare a winner, but there’s no big cash prize — or even bragging rights, really — at stake. (In an email, Catherine Lee, a United We Dream spokesperson, clarified that the contestants were fairly compensated for their participation.) Nor is there much focus on complicated cooking methods or technical prowess.\u003c/p>\n\u003cp>Instead, \u003ci>No Borders, Just Flavors! \u003c/i>is mostly a vehicle for storytelling centered on each amateur chef’s cultural identity. In the first episode, Emmanuel Gonzalez Perez, a DACA recipient from Sacramento, talks about how his mother’s carne en su jugo recipe is one of the only ways he’s able to feel connected to his family in Guadalajara, Mexico, since he’s unable to cross the border to visit. In another episode, Betsabe Perez Mertija talks movingly about the little papas rellenas stand that her grandfather used to run in Cuba before coming to the U.S. as a political asylee.\u003c/p>\n\u003cfigure id=\"attachment_13928088\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg\" alt=\"A stew made with bacon, onion, beans and avocado, served with a bowl of tostadas on the side.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestant Emmanuel Gonzalez Perez’s carne en su jugo is made with bacon, onions, avocado and beans. The dish is a tribute to the cook’s mother and his Guadalajaran roots. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the contestants are just so darn \u003ci>likable\u003c/i>. Even the show’s handful of goofy, lo-fi cooking competition gimmicks — like a button you press to force your opponent to stop what they’re doing to help you — wind up turning into sweet moments of cross-cultural connection instead of cutthroat contention.\u003c/p>\n\u003cfigure id=\"attachment_13928092\" class=\"wp-caption alignright\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928092 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dru-scaled.jpg\" alt=\"A headshot of a young Indonesian-Chinese immigrant with long dyed hair and an infectious smile.\" width=\"1424\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-scaled.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-800x1438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1020x1834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-768x1381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-854x1536.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1139x2048.jpg 1139w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">Dru Lay participated in the show’s first episode, representing his Indonesian and Chinese cultural identities. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Dru Lay, a Chinese-Indonesian contestant in the first episode, puts it, “Being an immigrant almost automatically means we have a lot in common.”\u003c/p>\n\u003cp>For those of us who’ve grown accustomed to every reality TV series having a handful of token Black, brown and Asian contestants who all get eliminated halfway through the season, a show like \u003ci>No Borders, Just Flavors! \u003c/i>is a breath of fresh air. Nearly \u003ci>everyone\u003c/i> involved in the show is an immigrant or person of color — the contestants, host, director, producers and art directors. Some of the crew members are undocumented immigrants and DACA recipients themselves.\u003c/p>\n\u003cp>That approach is reflected in the show’s intended audience, too: Host Morelys De Los Santos Urbano ends each episode by asking contestants if they have any words of wisdom they’d like to offer to the immigrant youth who might be watching.\u003c/p>\n\u003cp>Indeed, the main point of the show, for United We Dream, seems to be to flip the script on the typical ways that immigrants — whether they’re documented or not — tend to get portrayed.\u003c/p>\n\u003cp>“All too often, we hear immigrant stories as told by people other than immigrants themselves,” says Lee of United We Dream. “The immigration headlines are dominated by stories of struggle, suffering and survival. But there’s another side of the immigrant story that’s rarely represented in mainstream media: our joy, our courage and vision.”\u003c/p>\n\u003cp>And if these four snack-sized episodes serve as proof of concept that America is ready for a more immigrant-centric approach to food television? I’ll be ready to tune in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>The first episode of \u003c/i>\u003cem>‘No Borders, Just Flavors!\u003c/em>’ \u003ca href=\"https://www.youtube.com/playlist?list=PLTahl_sx9fesEeRvIbZEESALwbdlBWs0U\">\u003ci>debuts on YouTube\u003c/i>\u003c/a>\u003ci> on April 20, at 5 p.m. PST. A new episode will go up online every Thursday night for the next three weeks after that.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928085/no-borders-just-flavors-immigrant-cooking-show-united-we-dream","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_2370","arts_10278","arts_16105","arts_1773","arts_585","arts_2792","arts_4554"],"featImg":"arts_13928087","label":"source_arts_13928085"},"arts_13920483":{"type":"posts","id":"arts_13920483","meta":{"index":"posts_1591205157","site":"arts","id":"13920483","score":null,"sort":[1666124238000]},"guestAuthors":[],"slug":"flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","title":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants","publishDate":1666124238,"format":"standard","headTitle":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/ChfIb_jFZhL/\u003c/p>\n\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Flor Martinez Zaragoza\"]“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”[/pullquote]If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CjV0S5PJM9k/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13918088,arts_13920076,arts_13919032']I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Flor Martinez Zaragoza uses Instagram and TikTok as vehicles for her activism.","status":"publish","parent":0,"modified":1705006260,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2361},"headData":{"title":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED","description":"Flor Martinez Zaragoza uses Instagram and TikTok as vehicles for her activism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants","datePublished":"2022-10-18T20:17:18.000Z","dateModified":"2024-01-11T20:51:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"¡HELLA HUNGRY!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13920483/flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"ChfIb_jFZhL"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Flor Martinez Zaragoza","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CjV0S5PJM9k"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918088,arts_13920076,arts_13919032","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920483/flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_2370","arts_10342","arts_10278","arts_17573","arts_1773","arts_1084","arts_3001"],"featImg":"arts_13920486","label":"source_arts_13920483"},"arts_13888707":{"type":"posts","id":"arts_13888707","meta":{"index":"posts_1591205157","site":"arts","id":"13888707","score":null,"sort":[1604271054000]},"guestAuthors":[],"slug":"inmigracion-y-futbol-el-camino-de-cervantes-en-un-pais-tan-suyo-como-extranjero","title":"Inmigración y fútbol: el camino de Cervantes en un país tan suyo como extranjero","publishDate":1604271054,"format":"standard","headTitle":"Inmigración y fútbol: el camino de Cervantes en un país tan suyo como extranjero | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Para entender mejor la vida, a veces hace falta una lección. No una bofetada o un jalón de orejas, sino un episodio en el cual basta con observar. Fue en el verano de 2005, en la ciudad californiana de Oakland. El señor Cervantes despertó a su hijo Julio, de 12 años, con un par de instrucciones a las dos de la mañana. Julio debía cambiarse y acompañar a su padre. En el auto, somnoliento, se abrochó el cinturón de seguridad sin idea de lo que le esperaba: conducir horas y descargar cajas con frutas, conducir horas y descargar cajas con verduras, así sucesivamente. Hacia el final del día laboral, Julio descubrió a qué se dedicaba su padre y lo admiró. Eran tantos los sacrificios que su familia emprendía para que él cumpliera sus metas en un país tan suyo como extranjero.\u003c/p>\n\u003ch3>Cerca del balón, lejos de las pandillas\u003c/h3>\n\u003cp>Julio Cervantes no recuerda cómo llegó a Estados Unidos. Jamás olvidará, sin embargo, la reacción de sus compañeros al enterarse de su estatus migratorio. “Las miradas en sus rostros me daban la sensación de que se preguntaban a sí mismos ‘¿por qué es indocumentado?’”, cuenta Julio sentado en uno de los dos muebles de la sala decorada con fotografías suyas vistiendo distintas camisetas deportivas.\u003c/p>\n\u003cp>Al igual que Julio, aproximadamente \u003ca href=\"https://www.oaklandca.gov/topics/oakland-demographics-for-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">112,000\u003c/a> residentes de Oakland nacieron en el extranjero. Cuando al fin conoció a otros jóvenes provenientes de hogares inmigrantes, Julio sintió realmente que su lugar de nacimiento no era un problema. Pero más allá de compartir historias migratorias semejantes entre ellos, fue a través del fútbol que surgió una sensación de pertenencia. Una comunidad.\u003c/p>\n\u003cp>No había necesidad de hablar el idioma materno o la lengua adoptada, solamente había que pegarle al balón. A temprana edad, ese deporte ya empezaría a definir el futuro de Julio. A poco tiempo de terminar su ciclo escolar en Urban Promise Academy, Julio le pidió a su madre, Juanita Flores, que lo inscribiera en Fremont High School.\u003c/p>\n\u003cp>“Todos mis amigos iban a Fremont para jugar fútbol. Había más latinos en Fremont, era muy diverso pero también muy problemático. Todos los días fui testigo de al menos una pelea, un tiroteo, una persecución policial”, cuenta Julio mientras revisa fotografías de su segundo cumpleaños en Guadalajara, México.\u003c/p>\n\u003cfigure id=\"attachment_13888718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio2.jpg\" alt=\"Poco después de cumplir los dos años de edad en su ciudad natal Guadalajara, Julio Cervantes y su madre Juanita Flores emigraron a Estados Unidos en busca de reunirse con su padre con quien comparte el mismo nombre. Julio lleva más de 25 años viviendo en Oakland, lugar que hoy reconoce como su hogar.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio2.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio2-160x213.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poco después de cumplir los dos años de edad en su ciudad natal Guadalajara, Julio Cervantes y su madre Juanita Flores emigraron a Estados Unidos en busca de reunirse con su padre con quien comparte el mismo nombre. Julio lleva más de 25 años viviendo en Oakland, lugar que hoy reconoce como su hogar. \u003ccite>(Familia Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>En 2007, cuando Julio ingresó a la preparatoria, más del 50 por ciento de los estudiantes en Fremont High School eran de origen latino. De los 265 estudiantes que acompañaron a Julio desde el primer año en la preparatoria, solo 141 de ellos se graduaron en 2011, según datos recopilados por la institución.\u003c/p>\n\u003cp>“Yo paré muchas peleas. Detuvimos a estudiantes con armas y drogas. La mayoría de nuestros estudiantes eran Norteños y Julio lo vivió de cerca. A veces, teníamos que cerrar toda la escuela por estas situaciones”, cuenta Emiliano Sánchez, vía telefónica, sobre los años como subdirector de Fremont High School, mismos en los que conoció a Julio, a quien describió como un adolescente tímido de una sonrisa amable.\u003c/p>\n\u003cp>Fremont High School está situada sobre la calle 47 y Foothill Boulevard, domicilio y zona de operación de una pandilla conocida como Los Norteños. La disputa de territorios y negocios turbios entre Los Norteños y otras pandillas latinas, tales como Los Sureños y los Border Brothers, generaron, por varios años, altas cifras de violencia en Oakland.\u003c/p>\n\u003cp>“Un día estaba con unos amigos en el carro y tenía puesta una gorra con la parte de adelante de color rojo. Nos paró la policía y de repente teníamos helicópteros y varias patrullas. Cualquier persona o joven que se vestía como un pandillero sería detenido”, cuenta Julio hoy de cabello rapado en ambos lados, un flequillo que roza su ceja derecha, barba corta bien cuidada y dos aretes negros, uno en cada oreja.\u003c/p>\n\u003cp>[pullquote size='large' align='right']Vivir en Oakland era entonces vivir a la defensiva: de ser fichado erróneamente por la policía, alejarse de las pandillas y ser detenido por la falta de documentos.[/pullquote]\u003c/p>\n\u003cp>En vista de que, en ciertas ocasiones, la policía identificaba a pandilleros según la apariencia, Julio tiró la gorra de la visera roja, color usualmente asociado con los Norteños, días después de aquel incidente. A las semanas, se vio forzado también a cortarse el cabello largo y cambiar su forma de vestir. Vivir en Oakland era entonces vivir a la defensiva: de ser fichado erróneamente por la policía, alejarse de las pandillas y ser detenido por la falta de documentos. Por nada del mundo Julio quería que estereotipos en torno a su comunidad arruinaran sus metas dentro de la cancha y en el salón de clases.\u003c/p>\n\u003cp>“El fútbol me llevaba por otros lugares, lejos de las pandillas. Muchas de las personas que conocí en la preparatoria están en la cárcel”, cuenta Julio quien guarda silencio segundos después, pensando en dónde estarán esos amigos olvidados.\u003c/p>\n\u003ch3>El “Sueño de tu Vida”\u003c/h3>\n\u003cp>Julio se graduó de Fremont High School en 2011, mismo año que participó en el popular torneo de talentos, “Sueño de tu Vida”, organizado por \u003ca href=\"https://alianzadefutbol.com/aboutus\" target=\"_blank\" rel=\"noopener noreferrer\">Alianza de Fútbol Hispano\u003c/a>, líder dedicado al apoyo y desarrollo del fútbol amateur en Estados Unidos.\u003c/p>\n\u003cp>Al evento llegaron, además de Julio, otros 399 jóvenes con la esperanza de formar parte de un exclusivo grupo de 18 jugadores que serían invitados a un partido de exhibición contra los San Jose Earthquakes, escuadra de la Major League Soccer (MLS). No obstante, una primera oferta para Julio llegó desde México.\u003c/p>\n\u003cp>“Este hombre vino a ver otros muchachos, pero se interesó en mi hijo. Quería que lo dejáramos ir. Le dije al agente que para nosotros es muy difícil porque Julio no tenía papeles. El agente movía la cabeza y decía ‘¡híjole!’”, cuenta Julio César Cervantes, padre, sentado en una silla de madera en la cocina de la casa, compitiendo con su propia memoria para recordar el nombre del agente.\u003c/p>\n\u003cp>El nombre del cazatalentos es José Luis Ortega, un ex futbolista mexicano con una trayectoria de 17 años. Ortega, presente en el “Sueño de tu Vida”, propuso a Julio una pasantía en el club Santos Lagunas de Torreón, Coahuila. En una entrevista telefónica, Ortega confiesa que son pocos los jóvenes quienes logran ser invitados a prestigiosos equipos mexicanos.\u003c/p>\n\u003cp>Si Julio aceptaba la pasantía, implicaba volver a México, tierra que dejó a los dos años de edad. De no prosperar, porque el éxito no es garantizado, corría el riesgo de no poder regresar a Estados Unidos al ser indocumentado. El impedimento no era su falta de talento, sino su condición migratoria.\u003c/p>\n\u003cfigure id=\"attachment_13888716\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio3.jpg\" alt=\"En el 2011, luego de descartar la posibilidad de volver a México a jugar fútbol por su condición migratoria, Julio participó en el torneo el “Sueño de tu Vida” donde, a la posterior, sería invitado a entrenar con los San José Earthquakes de la MLS. \" width=\"800\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio3.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio3-160x155.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">En el 2011, luego de descartar la posibilidad de volver a México a jugar fútbol por su condición migratoria, Julio participó en el torneo el “Sueño de tu Vida” donde, a la posterior, sería invitado a entrenar con los San José Earthquakes de la MLS. \u003ccite>(Juanita Flores)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Descartada la oferta del Santos, Julio fue seleccionado para entrenar con los San Jose Earthquakes a la expectativa de que firmase un contrato profesional, lo cual no sucedió. Julio se preguntaba entonces si ser indocumentado afectaba sus posibilidades de ser futbolista profesional. La respuesta la sabría pronto.\u003c/p>\n\u003cp>La Universidad del Pacífico, en la ciudad de Stockton, buscaba instaurar un programa de fútbol masculino y para dicha tarea reclutó a Julio, aún con años elegibles de competitividad universitaria. En la división I de fútbol universitario, es decir, el más alto nivel colegial en Estados Unidos, Julio demostró su capacidad en encuentros memorables, impresionando a más de uno en su último año.\u003c/p>\n\u003cp>“Debido a sus dotes físicos, al hecho de que marcó goles y que en video se mostraba en gran estado atlético, varios equipos profesionales estaban interesados y buscaban iniciar conversaciones sobre él,” cuenta Ryan Jorden, entonces entrenador de la Universidad del Pacífico, hoy jefe del comando técnico del equipo masculino de fútbol de la Universidad de California, Los Ángeles, vía telefónica.\u003c/p>\n\u003cp>Uno de los requisitos para formar parte del Superdraft, evento en el cual se eligen a futbolistas universitarios para integrarse a clubes profesionales, es que cada participante reciba el interés oficial de al menos un equipo. Julio cumplía con el requerimiento, por lo que envió un formulario a la MLS como posible prospecto en el Superdraft 2016 durante su último año en la Universidad del Pacífico.\u003c/p>\n\u003cp>Cuatro años antes, el entonces presidente Barack Obama creó el programa de Acción Diferida para los Llegados en la Infancia (DACA, por sus siglas en inglés), que hoy protege a más de 640,000 jóvenes indocumentados de la deportación y los autoriza a trabajar legalmente en Estados Unidos. Julio es beneficiario, es un soñador, un ‘dreamer’, como se les conoce.\u003c/p>\n\u003cp>Según Paul Michael Ochoa, portavoz de la MLS, todo beneficiario de DACA con la posibilidad de jugar en la liga profesional tomaría un cupo internacional en la nómina de un club, usualmente reservado para futbolistas de gran jerarquía y salarios exorbitantes procedentes de importantes clubes europeos.\u003c/p>\n\u003cp>¿Prefiría un equipo profesional apostar por un muchacho universitario o por un futbolista experimentado? Las chances se reducen aún más frente a una estadística peculiar: la probabilidad de que un estudiante de preparatoria juegue en la división I de fútbol universitario en Estados Unidos es de \u003ca href=\"https://ncaaorg.s3.amazonaws.com/research/pro_beyond/2020RES_ProbabilityBeyondHSFiguresMethod.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1.3 por ciento\u003c/a>. ¿Y qué pasa si ese estudiante quiere ser futbolista profesional? ¿Y qué pasa si ese estudiante es indocumentado? La carta de interés para participar en el Superdraft de la MLS nunca llegó a casa de Julio.\u003c/p>\n\u003cp>“Mentalmente me destruyó. Fue un día que nunca me voy a olvidar”, responde Julio con una voz desalentada a la idea de ser considerado un foráneo en el país que él llama hogar.\u003c/p>\n\u003cfigure id=\"attachment_13888717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888717\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio4.jpg\" alt=\"De izquierda a derecha, Julio lleva puesto el sombrero charro. Más de 112,000 personas en Oakland nacieron en el extranjero al igual que Julio y sus amigos más cercanos. Desde muy joven, Julio participó en marchas a favor de políticas migratorias que lo protegerían de una deportación. A la fecha, Julio colabora en foros y paneles de inmigración con distintas organizaciones como SIREN en Oakland, contando su historia. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio4.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio4-160x107.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De izquierda a derecha, Julio lleva puesto el sombrero charro. Desde muy joven, Julio participó en marchas a favor de políticas migratorias que lo protegerían de una deportación. A la fecha, Julio colabora en foros y paneles de inmigración con distintas organizaciones como SIREN en Oakland. \u003ccite>(Familia Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Un ‘dreamer’ en Oakland\u003c/h3>\n\u003cp>Son casi las dos de la tarde y el sol arde en Oakland. Es octubre de 2020. Julio busca la sombra detrás de un camión de comida mexicana ubicado sobre la avenida Fruitvale y la calle San Leandro. Su burrito vegetariano está listo minutos después. Julio se sienta en un muro de mediana altura que da vista a los vagones del BART.\u003c/p>\n\u003cp>Termina de comer, se limpia las manos y se huele los dedos. Los vagones arrancan en dirección sur y cuando el ruido de los rieles culmina, Julio dice, “mis papás siempre me dijeron que vaya a la escuela y saque buenas notas. Me recordaban ‘¿no quieres ir a la escuela? Entonces te vas a levantar a las dos de la mañana’”.\u003c/p>\n\u003cp>Estudiar y jugar fútbol sí es posible. Por eso cuando su anhelo de ser atleta profesional no resultó, Julio colgó los botines para asumir el cargo de profesor de educación física, carrera que estudió en la universidad, en Urban Promise Academy, su antigua secundaria. Si bien su suerte en el fútbol fue impactada por el sistema migratorio, fue su talento el que mucho después lo compensaría.\u003c/p>\n\u003cp>“Una vez estaba con mis alumnos y ellos estaban muy emocionados porque su profesor se iba a convertir en un futbolista profesional. De repente, uno de los niños pregunta ‘¿entonces ganarás más dinero?’ Le tuve que decir la verdad. Le dije que no, que haría la mitad de lo que ganaba como profesor…nunca olvidaré su rostro, no podía creer lo que le estaba diciendo. A veces en la vida hay que hacer sacrificios y hacer lo que te hace feliz”, cuenta Julio sobre el día en el que Oakland Roots Football Club le ofreció integrarse a sus filas.\u003c/p>\n\u003cp>Julio vistió la camiseta \u003ca href=\"https://www.oaklandrootssc.com/squad\" target=\"_blank\" rel=\"noopener noreferrer\">número 27\u003c/a>, en reconocimiento al número de la calle donde creció en Oakland. La calle 27 con Foothill Boulevard es la intersección y la suma de su niñez, su identidad, los idiomas, las amistades y el deporte al que se aferró para hoy hacer realidad su sueño.\u003c/p>\n\u003cp>https://www.instagram.com/p/CGnQv73Bh9q/\u003c/p>\n\u003cp>Cuando los Roots juegan, el estadio de Laney College se tiñe de una fiesta multicultural conformada en su gran mayoría por la familia Cervantes y miembros de la comunidad inmigrante que cuentan la historia de Julio con orgullo. Una historia que, pese a obtener su tan ansiada recompensa, es desafiada, una y otra vez, por las políticas migratorias en Estados Unidos.\u003c/p>\n\u003cp>Gracias a repetidas decisiones por cortes federales, que incluyen una por parte del tribunal supremo este verano, la administración del Presidente Donald Trump no ha progresado en su intento de eliminar DACA, aunque el procedimiento para recibir esta protección de deportación es mucho más complejo ahora.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Julio Cervantes']‘Yo sé que DACA se puede terminar cualquier día, pero antes de DACA, yo no tenía nada … Si DACA se termina algún día, hay que buscar la manera de seguir luchando.’[/pullquote]\u003c/p>\n\u003cp>Aquellos que jamás hayan sido beneficiarios de DACA, no podrán ser parte de este programa. Aquellos que renueven sus permisos, como Julio, lo obtendrían tan solo por un año, y no 24 meses como se estableció en 2012.\u003c/p>\n\u003cp>“Yo sé que DACA se puede terminar cualquier día, pero antes de DACA, yo no tenía nada. Pasé mucho tiempo sin tener nada. Muchos años sin tener un guardaespaldas. Si DACA se termina algún día, hay que buscar la manera de seguir luchando”, cuenta Julio con una mirada convincente en su rostro, la misma que demuestra cuando habla de fútbol.\u003c/p>\n\u003cp>La reelección de Trump como presidente de Estados Unidos significaría la continuación de mayores complicaciones en torno a DACA y un posible nuevo esfuerzo en erradicarlo. Por su parte, el candidato presidencial demócrata Joe Biden prometió en el último debate con Trump, tal como lo hizo como vicepresidente bajo el mandato de Obama, que millones de indocumentados tendrían un camino a la ciudadanía, entre ellos los “dreamers.” Entre ellos, Julio Cervantes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Cuando más cerca estuvo Julio Cervantes de realizar su sueño de convertirse en un futbolista profesional, no fue su talento el cual determinó su suerte, sino su condición migratoria. ","status":"publish","parent":0,"modified":1705019902,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":2916},"headData":{"title":"Inmigración y fútbol: el camino de Cervantes en un país tan suyo como extranjero | KQED","description":"Cuando más cerca estuvo Julio Cervantes de realizar su sueño de convertirse en un futbolista profesional, no fue su talento el cual determinó su suerte, sino su condición migratoria. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Inmigración y fútbol: el camino de Cervantes en un país tan suyo como extranjero","datePublished":"2020-11-01T22:50:54.000Z","dateModified":"2024-01-12T00:38:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Kervy Robles","templateType":"standard","featuredImageType":"standard","path":"/arts/13888707/inmigracion-y-futbol-el-camino-de-cervantes-en-un-pais-tan-suyo-como-extranjero","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Para entender mejor la vida, a veces hace falta una lección. No una bofetada o un jalón de orejas, sino un episodio en el cual basta con observar. Fue en el verano de 2005, en la ciudad californiana de Oakland. El señor Cervantes despertó a su hijo Julio, de 12 años, con un par de instrucciones a las dos de la mañana. Julio debía cambiarse y acompañar a su padre. En el auto, somnoliento, se abrochó el cinturón de seguridad sin idea de lo que le esperaba: conducir horas y descargar cajas con frutas, conducir horas y descargar cajas con verduras, así sucesivamente. Hacia el final del día laboral, Julio descubrió a qué se dedicaba su padre y lo admiró. Eran tantos los sacrificios que su familia emprendía para que él cumpliera sus metas en un país tan suyo como extranjero.\u003c/p>\n\u003ch3>Cerca del balón, lejos de las pandillas\u003c/h3>\n\u003cp>Julio Cervantes no recuerda cómo llegó a Estados Unidos. Jamás olvidará, sin embargo, la reacción de sus compañeros al enterarse de su estatus migratorio. “Las miradas en sus rostros me daban la sensación de que se preguntaban a sí mismos ‘¿por qué es indocumentado?’”, cuenta Julio sentado en uno de los dos muebles de la sala decorada con fotografías suyas vistiendo distintas camisetas deportivas.\u003c/p>\n\u003cp>Al igual que Julio, aproximadamente \u003ca href=\"https://www.oaklandca.gov/topics/oakland-demographics-for-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">112,000\u003c/a> residentes de Oakland nacieron en el extranjero. Cuando al fin conoció a otros jóvenes provenientes de hogares inmigrantes, Julio sintió realmente que su lugar de nacimiento no era un problema. Pero más allá de compartir historias migratorias semejantes entre ellos, fue a través del fútbol que surgió una sensación de pertenencia. Una comunidad.\u003c/p>\n\u003cp>No había necesidad de hablar el idioma materno o la lengua adoptada, solamente había que pegarle al balón. A temprana edad, ese deporte ya empezaría a definir el futuro de Julio. A poco tiempo de terminar su ciclo escolar en Urban Promise Academy, Julio le pidió a su madre, Juanita Flores, que lo inscribiera en Fremont High School.\u003c/p>\n\u003cp>“Todos mis amigos iban a Fremont para jugar fútbol. Había más latinos en Fremont, era muy diverso pero también muy problemático. Todos los días fui testigo de al menos una pelea, un tiroteo, una persecución policial”, cuenta Julio mientras revisa fotografías de su segundo cumpleaños en Guadalajara, México.\u003c/p>\n\u003cfigure id=\"attachment_13888718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio2.jpg\" alt=\"Poco después de cumplir los dos años de edad en su ciudad natal Guadalajara, Julio Cervantes y su madre Juanita Flores emigraron a Estados Unidos en busca de reunirse con su padre con quien comparte el mismo nombre. Julio lleva más de 25 años viviendo en Oakland, lugar que hoy reconoce como su hogar.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio2.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio2-160x213.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poco después de cumplir los dos años de edad en su ciudad natal Guadalajara, Julio Cervantes y su madre Juanita Flores emigraron a Estados Unidos en busca de reunirse con su padre con quien comparte el mismo nombre. Julio lleva más de 25 años viviendo en Oakland, lugar que hoy reconoce como su hogar. \u003ccite>(Familia Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>En 2007, cuando Julio ingresó a la preparatoria, más del 50 por ciento de los estudiantes en Fremont High School eran de origen latino. De los 265 estudiantes que acompañaron a Julio desde el primer año en la preparatoria, solo 141 de ellos se graduaron en 2011, según datos recopilados por la institución.\u003c/p>\n\u003cp>“Yo paré muchas peleas. Detuvimos a estudiantes con armas y drogas. La mayoría de nuestros estudiantes eran Norteños y Julio lo vivió de cerca. A veces, teníamos que cerrar toda la escuela por estas situaciones”, cuenta Emiliano Sánchez, vía telefónica, sobre los años como subdirector de Fremont High School, mismos en los que conoció a Julio, a quien describió como un adolescente tímido de una sonrisa amable.\u003c/p>\n\u003cp>Fremont High School está situada sobre la calle 47 y Foothill Boulevard, domicilio y zona de operación de una pandilla conocida como Los Norteños. La disputa de territorios y negocios turbios entre Los Norteños y otras pandillas latinas, tales como Los Sureños y los Border Brothers, generaron, por varios años, altas cifras de violencia en Oakland.\u003c/p>\n\u003cp>“Un día estaba con unos amigos en el carro y tenía puesta una gorra con la parte de adelante de color rojo. Nos paró la policía y de repente teníamos helicópteros y varias patrullas. Cualquier persona o joven que se vestía como un pandillero sería detenido”, cuenta Julio hoy de cabello rapado en ambos lados, un flequillo que roza su ceja derecha, barba corta bien cuidada y dos aretes negros, uno en cada oreja.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Vivir en Oakland era entonces vivir a la defensiva: de ser fichado erróneamente por la policía, alejarse de las pandillas y ser detenido por la falta de documentos.","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>En vista de que, en ciertas ocasiones, la policía identificaba a pandilleros según la apariencia, Julio tiró la gorra de la visera roja, color usualmente asociado con los Norteños, días después de aquel incidente. A las semanas, se vio forzado también a cortarse el cabello largo y cambiar su forma de vestir. Vivir en Oakland era entonces vivir a la defensiva: de ser fichado erróneamente por la policía, alejarse de las pandillas y ser detenido por la falta de documentos. Por nada del mundo Julio quería que estereotipos en torno a su comunidad arruinaran sus metas dentro de la cancha y en el salón de clases.\u003c/p>\n\u003cp>“El fútbol me llevaba por otros lugares, lejos de las pandillas. Muchas de las personas que conocí en la preparatoria están en la cárcel”, cuenta Julio quien guarda silencio segundos después, pensando en dónde estarán esos amigos olvidados.\u003c/p>\n\u003ch3>El “Sueño de tu Vida”\u003c/h3>\n\u003cp>Julio se graduó de Fremont High School en 2011, mismo año que participó en el popular torneo de talentos, “Sueño de tu Vida”, organizado por \u003ca href=\"https://alianzadefutbol.com/aboutus\" target=\"_blank\" rel=\"noopener noreferrer\">Alianza de Fútbol Hispano\u003c/a>, líder dedicado al apoyo y desarrollo del fútbol amateur en Estados Unidos.\u003c/p>\n\u003cp>Al evento llegaron, además de Julio, otros 399 jóvenes con la esperanza de formar parte de un exclusivo grupo de 18 jugadores que serían invitados a un partido de exhibición contra los San Jose Earthquakes, escuadra de la Major League Soccer (MLS). No obstante, una primera oferta para Julio llegó desde México.\u003c/p>\n\u003cp>“Este hombre vino a ver otros muchachos, pero se interesó en mi hijo. Quería que lo dejáramos ir. Le dije al agente que para nosotros es muy difícil porque Julio no tenía papeles. El agente movía la cabeza y decía ‘¡híjole!’”, cuenta Julio César Cervantes, padre, sentado en una silla de madera en la cocina de la casa, compitiendo con su propia memoria para recordar el nombre del agente.\u003c/p>\n\u003cp>El nombre del cazatalentos es José Luis Ortega, un ex futbolista mexicano con una trayectoria de 17 años. Ortega, presente en el “Sueño de tu Vida”, propuso a Julio una pasantía en el club Santos Lagunas de Torreón, Coahuila. En una entrevista telefónica, Ortega confiesa que son pocos los jóvenes quienes logran ser invitados a prestigiosos equipos mexicanos.\u003c/p>\n\u003cp>Si Julio aceptaba la pasantía, implicaba volver a México, tierra que dejó a los dos años de edad. De no prosperar, porque el éxito no es garantizado, corría el riesgo de no poder regresar a Estados Unidos al ser indocumentado. El impedimento no era su falta de talento, sino su condición migratoria.\u003c/p>\n\u003cfigure id=\"attachment_13888716\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio3.jpg\" alt=\"En el 2011, luego de descartar la posibilidad de volver a México a jugar fútbol por su condición migratoria, Julio participó en el torneo el “Sueño de tu Vida” donde, a la posterior, sería invitado a entrenar con los San José Earthquakes de la MLS. \" width=\"800\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio3.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio3-160x155.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">En el 2011, luego de descartar la posibilidad de volver a México a jugar fútbol por su condición migratoria, Julio participó en el torneo el “Sueño de tu Vida” donde, a la posterior, sería invitado a entrenar con los San José Earthquakes de la MLS. \u003ccite>(Juanita Flores)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Descartada la oferta del Santos, Julio fue seleccionado para entrenar con los San Jose Earthquakes a la expectativa de que firmase un contrato profesional, lo cual no sucedió. Julio se preguntaba entonces si ser indocumentado afectaba sus posibilidades de ser futbolista profesional. La respuesta la sabría pronto.\u003c/p>\n\u003cp>La Universidad del Pacífico, en la ciudad de Stockton, buscaba instaurar un programa de fútbol masculino y para dicha tarea reclutó a Julio, aún con años elegibles de competitividad universitaria. En la división I de fútbol universitario, es decir, el más alto nivel colegial en Estados Unidos, Julio demostró su capacidad en encuentros memorables, impresionando a más de uno en su último año.\u003c/p>\n\u003cp>“Debido a sus dotes físicos, al hecho de que marcó goles y que en video se mostraba en gran estado atlético, varios equipos profesionales estaban interesados y buscaban iniciar conversaciones sobre él,” cuenta Ryan Jorden, entonces entrenador de la Universidad del Pacífico, hoy jefe del comando técnico del equipo masculino de fútbol de la Universidad de California, Los Ángeles, vía telefónica.\u003c/p>\n\u003cp>Uno de los requisitos para formar parte del Superdraft, evento en el cual se eligen a futbolistas universitarios para integrarse a clubes profesionales, es que cada participante reciba el interés oficial de al menos un equipo. Julio cumplía con el requerimiento, por lo que envió un formulario a la MLS como posible prospecto en el Superdraft 2016 durante su último año en la Universidad del Pacífico.\u003c/p>\n\u003cp>Cuatro años antes, el entonces presidente Barack Obama creó el programa de Acción Diferida para los Llegados en la Infancia (DACA, por sus siglas en inglés), que hoy protege a más de 640,000 jóvenes indocumentados de la deportación y los autoriza a trabajar legalmente en Estados Unidos. Julio es beneficiario, es un soñador, un ‘dreamer’, como se les conoce.\u003c/p>\n\u003cp>Según Paul Michael Ochoa, portavoz de la MLS, todo beneficiario de DACA con la posibilidad de jugar en la liga profesional tomaría un cupo internacional en la nómina de un club, usualmente reservado para futbolistas de gran jerarquía y salarios exorbitantes procedentes de importantes clubes europeos.\u003c/p>\n\u003cp>¿Prefiría un equipo profesional apostar por un muchacho universitario o por un futbolista experimentado? Las chances se reducen aún más frente a una estadística peculiar: la probabilidad de que un estudiante de preparatoria juegue en la división I de fútbol universitario en Estados Unidos es de \u003ca href=\"https://ncaaorg.s3.amazonaws.com/research/pro_beyond/2020RES_ProbabilityBeyondHSFiguresMethod.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1.3 por ciento\u003c/a>. ¿Y qué pasa si ese estudiante quiere ser futbolista profesional? ¿Y qué pasa si ese estudiante es indocumentado? La carta de interés para participar en el Superdraft de la MLS nunca llegó a casa de Julio.\u003c/p>\n\u003cp>“Mentalmente me destruyó. Fue un día que nunca me voy a olvidar”, responde Julio con una voz desalentada a la idea de ser considerado un foráneo en el país que él llama hogar.\u003c/p>\n\u003cfigure id=\"attachment_13888717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13888717\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/julio4.jpg\" alt=\"De izquierda a derecha, Julio lleva puesto el sombrero charro. Más de 112,000 personas en Oakland nacieron en el extranjero al igual que Julio y sus amigos más cercanos. Desde muy joven, Julio participó en marchas a favor de políticas migratorias que lo protegerían de una deportación. A la fecha, Julio colabora en foros y paneles de inmigración con distintas organizaciones como SIREN en Oakland, contando su historia. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio4.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/julio4-160x107.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">De izquierda a derecha, Julio lleva puesto el sombrero charro. Desde muy joven, Julio participó en marchas a favor de políticas migratorias que lo protegerían de una deportación. A la fecha, Julio colabora en foros y paneles de inmigración con distintas organizaciones como SIREN en Oakland. \u003ccite>(Familia Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Un ‘dreamer’ en Oakland\u003c/h3>\n\u003cp>Son casi las dos de la tarde y el sol arde en Oakland. Es octubre de 2020. Julio busca la sombra detrás de un camión de comida mexicana ubicado sobre la avenida Fruitvale y la calle San Leandro. Su burrito vegetariano está listo minutos después. Julio se sienta en un muro de mediana altura que da vista a los vagones del BART.\u003c/p>\n\u003cp>Termina de comer, se limpia las manos y se huele los dedos. Los vagones arrancan en dirección sur y cuando el ruido de los rieles culmina, Julio dice, “mis papás siempre me dijeron que vaya a la escuela y saque buenas notas. Me recordaban ‘¿no quieres ir a la escuela? Entonces te vas a levantar a las dos de la mañana’”.\u003c/p>\n\u003cp>Estudiar y jugar fútbol sí es posible. Por eso cuando su anhelo de ser atleta profesional no resultó, Julio colgó los botines para asumir el cargo de profesor de educación física, carrera que estudió en la universidad, en Urban Promise Academy, su antigua secundaria. Si bien su suerte en el fútbol fue impactada por el sistema migratorio, fue su talento el que mucho después lo compensaría.\u003c/p>\n\u003cp>“Una vez estaba con mis alumnos y ellos estaban muy emocionados porque su profesor se iba a convertir en un futbolista profesional. De repente, uno de los niños pregunta ‘¿entonces ganarás más dinero?’ Le tuve que decir la verdad. Le dije que no, que haría la mitad de lo que ganaba como profesor…nunca olvidaré su rostro, no podía creer lo que le estaba diciendo. A veces en la vida hay que hacer sacrificios y hacer lo que te hace feliz”, cuenta Julio sobre el día en el que Oakland Roots Football Club le ofreció integrarse a sus filas.\u003c/p>\n\u003cp>Julio vistió la camiseta \u003ca href=\"https://www.oaklandrootssc.com/squad\" target=\"_blank\" rel=\"noopener noreferrer\">número 27\u003c/a>, en reconocimiento al número de la calle donde creció en Oakland. La calle 27 con Foothill Boulevard es la intersección y la suma de su niñez, su identidad, los idiomas, las amistades y el deporte al que se aferró para hoy hacer realidad su sueño.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CGnQv73Bh9q"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cuando los Roots juegan, el estadio de Laney College se tiñe de una fiesta multicultural conformada en su gran mayoría por la familia Cervantes y miembros de la comunidad inmigrante que cuentan la historia de Julio con orgullo. Una historia que, pese a obtener su tan ansiada recompensa, es desafiada, una y otra vez, por las políticas migratorias en Estados Unidos.\u003c/p>\n\u003cp>Gracias a repetidas decisiones por cortes federales, que incluyen una por parte del tribunal supremo este verano, la administración del Presidente Donald Trump no ha progresado en su intento de eliminar DACA, aunque el procedimiento para recibir esta protección de deportación es mucho más complejo ahora.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Yo sé que DACA se puede terminar cualquier día, pero antes de DACA, yo no tenía nada … Si DACA se termina algún día, hay que buscar la manera de seguir luchando.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Julio Cervantes","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aquellos que jamás hayan sido beneficiarios de DACA, no podrán ser parte de este programa. Aquellos que renueven sus permisos, como Julio, lo obtendrían tan solo por un año, y no 24 meses como se estableció en 2012.\u003c/p>\n\u003cp>“Yo sé que DACA se puede terminar cualquier día, pero antes de DACA, yo no tenía nada. Pasé mucho tiempo sin tener nada. Muchos años sin tener un guardaespaldas. Si DACA se termina algún día, hay que buscar la manera de seguir luchando”, cuenta Julio con una mirada convincente en su rostro, la misma que demuestra cuando habla de fútbol.\u003c/p>\n\u003cp>La reelección de Trump como presidente de Estados Unidos significaría la continuación de mayores complicaciones en torno a DACA y un posible nuevo esfuerzo en erradicarlo. Por su parte, el candidato presidencial demócrata Joe Biden prometió en el último debate con Trump, tal como lo hizo como vicepresidente bajo el mandato de Obama, que millones de indocumentados tendrían un camino a la ciudadanía, entre ellos los “dreamers.” Entre ellos, Julio Cervantes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13888707/inmigracion-y-futbol-el-camino-de-cervantes-en-un-pais-tan-suyo-como-extranjero","authors":["byline_arts_13888707"],"categories":["arts_835","arts_11615","arts_235"],"tags":["arts_820","arts_11374","arts_2370","arts_1118","arts_1773","arts_11215","arts_12587","arts_746","arts_1143","arts_4506"],"featImg":"arts_13888715","label":"arts"},"arts_13867062":{"type":"posts","id":"arts_13867062","meta":{"index":"posts_1591205157","site":"arts","id":"13867062","score":null,"sort":[1569424217000]},"guestAuthors":[],"slug":"arleene-correa-valencia","title":"Arleene Correa Valencia Makes Immigrant Labor Visible in Portraits of Napa Workers","publishDate":1569424217,"format":"video","headTitle":"Arleene Correa Valencia Makes Immigrant Labor Visible in Portraits of Napa Workers | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/REP1918_Arleene_Correa_Valencia_Spanish_Captions.pdf\">Download Spanish Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Mexican artist \u003ca href=\"https://www.correavalencia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arleene Correa Valencia\u003c/a> thinks a lot about where she can go and where she can’t go, and about whose bodies are welcome in which spaces—especially in the realm of fine art. \u003cspan class=\"c-message__body\" dir=\"auto\">Growing up in Napa as an undocumented immigrant, she witnessed firsthand the wealth disparity of the wine-growing region; while members of her family worked in the fields picking grapes, limos passed by conveying people to wine tastings.\u003c/span>\u003c/p>\n\u003cp>“My life has always been this in-between,” she says. “I try to be very cautious of my place and what it means to be an artist who’s investigating these very specific issues.” Correa Valencia was born in Arteaga, Michoacán and came with her family to the United States when she was three years old.\u003c/p>\n\u003cfigure id=\"attachment_13867074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg\" alt=\"'María Dolores' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘María Dolores.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of portraits of field workers, Correa Valencia establishes a relationship before she broaches the topic of painting her subjects. She explains how she wants to make their often invisible labor tangible to art audiences by physically inserting brown faces into white-walled spaces. These portraits, she says, reflect the resilience and extreme work ethic of her Latino community.\u003c/p>\n\u003cp>After fires swept through the region in 2017, ash and smoke in the air made any outdoor activity unsafe, and yet vineyard workers continued to pick grapes—they couldn’t afford to stop. Napa, Correa Valencia says, “is so rich and full of wealth, but also is home to some of the most cruel conditions for human beings.”\u003c/p>\n\u003cfigure id=\"attachment_13867072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13867072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png\" alt=\"'Para Mantener a Mis Hijos' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1020x811.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1200x954.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1920x1526.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM.png 2026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘Para Mantener a Mis Hijos.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Her openness about her own undocumented status is part of her desire to make hidden truths apparent through her art. “There’s definitely a lot of shame that comes with being undocumented, especially when you’re younger,” she remembers. Correa Valencia qualified for DACA and in 2018 completed a BFA in painting from California College of the Arts, where she has continued graduate studies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As she’s \u003ca href=\"https://www.npr.org/sections/thesalt/2018/09/01/642656221/after-the-wildfires-artist-captures-plight-of-napas-undocumented-workers\" target=\"_blank\" rel=\"noopener noreferrer\">gotten more attention for her practice\u003c/a>, her father has worried for her safety. “I was like, ‘Dad, a lot of people talking about this haven’t necessarily really lived it,” she says. “I have to try to show people what it’s like.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The two of them are now collaborators; she consults her father on just about every piece of art she makes. They developed a technique that lets Correa Valencia paint on wooden pallets—cheaply made objects meant to support goods from place to place, easily discarded by the side of the road. For Correa Valencia, the metamorphosis from trash to artwork is a metaphor for her family’s own immigration story. “I believe that we transform ourselves,” she says, “from being considered nothing to being something.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Watch the artist, who grew up in wine country, bring the stories of farmworkers into gallery spaces.","status":"publish","parent":0,"modified":1705022092,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":513},"headData":{"title":"Arleene Correa Valencia Makes Immigrant Labor Visible in Portraits of Napa Workers | KQED","description":"Watch the artist, who grew up in wine country, bring the stories of farmworkers into gallery spaces.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Arleene Correa Valencia Makes Immigrant Labor Visible in Portraits of Napa Workers","datePublished":"2019-09-25T15:10:17.000Z","dateModified":"2024-01-12T01:14:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=OAVdRvF0Nq4&feature=youtu.be","pbsMediaId":"3070983100","sticky":false,"nprByline":"Armando Aparicio","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13867062/arleene-correa-valencia","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/REP1918_Arleene_Correa_Valencia_Spanish_Captions.pdf\">Download Spanish Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Mexican artist \u003ca href=\"https://www.correavalencia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arleene Correa Valencia\u003c/a> thinks a lot about where she can go and where she can’t go, and about whose bodies are welcome in which spaces—especially in the realm of fine art. \u003cspan class=\"c-message__body\" dir=\"auto\">Growing up in Napa as an undocumented immigrant, she witnessed firsthand the wealth disparity of the wine-growing region; while members of her family worked in the fields picking grapes, limos passed by conveying people to wine tastings.\u003c/span>\u003c/p>\n\u003cp>“My life has always been this in-between,” she says. “I try to be very cautious of my place and what it means to be an artist who’s investigating these very specific issues.” Correa Valencia was born in Arteaga, Michoacán and came with her family to the United States when she was three years old.\u003c/p>\n\u003cfigure id=\"attachment_13867074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg\" alt=\"'María Dolores' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘María Dolores.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of portraits of field workers, Correa Valencia establishes a relationship before she broaches the topic of painting her subjects. She explains how she wants to make their often invisible labor tangible to art audiences by physically inserting brown faces into white-walled spaces. These portraits, she says, reflect the resilience and extreme work ethic of her Latino community.\u003c/p>\n\u003cp>After fires swept through the region in 2017, ash and smoke in the air made any outdoor activity unsafe, and yet vineyard workers continued to pick grapes—they couldn’t afford to stop. Napa, Correa Valencia says, “is so rich and full of wealth, but also is home to some of the most cruel conditions for human beings.”\u003c/p>\n\u003cfigure id=\"attachment_13867072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13867072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png\" alt=\"'Para Mantener a Mis Hijos' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1020x811.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1200x954.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1920x1526.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM.png 2026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘Para Mantener a Mis Hijos.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Her openness about her own undocumented status is part of her desire to make hidden truths apparent through her art. “There’s definitely a lot of shame that comes with being undocumented, especially when you’re younger,” she remembers. Correa Valencia qualified for DACA and in 2018 completed a BFA in painting from California College of the Arts, where she has continued graduate studies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As she’s \u003ca href=\"https://www.npr.org/sections/thesalt/2018/09/01/642656221/after-the-wildfires-artist-captures-plight-of-napas-undocumented-workers\" target=\"_blank\" rel=\"noopener noreferrer\">gotten more attention for her practice\u003c/a>, her father has worried for her safety. “I was like, ‘Dad, a lot of people talking about this haven’t necessarily really lived it,” she says. “I have to try to show people what it’s like.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The two of them are now collaborators; she consults her father on just about every piece of art she makes. They developed a technique that lets Correa Valencia paint on wooden pallets—cheaply made objects meant to support goods from place to place, easily discarded by the side of the road. For Correa Valencia, the metamorphosis from trash to artwork is a metaphor for her family’s own immigration story. “I believe that we transform ourselves,” she says, “from being considered nothing to being something.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867062/arleene-correa-valencia","authors":["byline_arts_13867062"],"categories":["arts_70"],"tags":["arts_2370","arts_1118","arts_1773","arts_5266","arts_7240","arts_8727","arts_596","arts_8723","arts_3126","arts_4204","arts_1007","arts_901","arts_2845"],"featImg":"arts_13867076","label":"arts"},"arts_13824683":{"type":"posts","id":"arts_13824683","meta":{"index":"posts_1591205157","site":"arts","id":"13824683","score":null,"sort":[1518717456000]},"guestAuthors":[],"slug":"undocujoy-galeria-de-la-raza","title":"Flipping the Narrative of the Undocumented from Pain to Joy","publishDate":1518717456,"format":"standard","headTitle":"Flipping the Narrative of the Undocumented from Pain to Joy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"At Galería de la Raza, '#UndocuJoy' celebrates the undocumented community's resilience and strength through the power of art. \r\n","status":"publish","parent":0,"modified":1705028489,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":872},"headData":{"title":"Flipping the Narrative of the Undocumented from Pain to Joy | KQED","description":"At Galería de la Raza, '#UndocuJoy' celebrates the undocumented community's resilience and strength through the power of art. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Flipping the Narrative of the Undocumented from Pain to Joy","datePublished":"2018-02-15T17:57:36.000Z","dateModified":"2024-01-12T03:01:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13824683/undocujoy-galeria-de-la-raza","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the year since Donald Trump took over the White House, administrative arrests by ICE rose by 30 percent. The fear and uncertainty felt by the undocumented community are palpable across the United States, but one thing many seem to forget is that underneath these feelings, there are regular people going about their daily lives: parents who work hard to raise their families, students who stress over getting good grades in school, doctors saving lives and artists crafting their next projects.\u003c/p>\n\u003cp>The \u003cem>#UndocuJoy\u003c/em> exhibit currently on display at San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> reminds viewers of exactly that, showcasing the undocumented community as more than just activists or people living in fear — the only narratives most mainstream media tends to portray.\u003c/p>\n\u003cfigure id=\"attachment_13824691\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg\" alt=\"Work by Nicolas Gonzalez at the opening of '#UndocuJoy.'\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NicolasGonzalez_640-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Work by Nicolas Gonzalez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>#UndocuJoy\u003c/em> includes the work of 14 talented artists, undocumented and formerly undocumented. As visitors walk through the gallery, the art ranges from textiles, sculptures, photography, painting, and video.\u003c/p>\n\u003cp>The show was curated by Yosimar Reyes, a poet and artist-in-residence at \u003ca href=\"https://defineamerican.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Define American\u003c/a>, a nonprofit media and culture organization dedicated to shifting the conversation around immigration and the ever-changing landscape of America.\u003c/p>\n\u003cp>“In the mainstream media, we are not viewed as strategists, as thinkers, as artists, we are only viewed as subjects,” Reyes says, “not necessarily as someone articulate enough to propose an analysis of what is happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibit at Galería de la Raza is not the first effort for Reyes, who lives in Los Angeles — back home, he curated two other similar projects. The first one in Boyle Heights was called \u003cem>\u003ca href=\"http://www.latimes.com/local/california/la-me-ln-immigration-20170005-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">We Never Needed Papers to Thrive\u003c/a>\u003c/em>, the second installment was \u003cem>No Ban, No Wall\u003c/em>, a joint effort with the Muslim community in Southern California. These exhibitions showcased the work solely of undocumented artists as a celebration of strength and resilience.\u003c/p>\n\u003cfigure id=\"attachment_13824690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg\" alt=\"Work by Féi Hernandez at the opening of '#UndocuJoy.'\" width=\"1200\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-800x728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-768x699.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1020x928.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-1180x1074.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-960x874.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/FeiHernandez_1200-520x473.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Work by Féi Hernandez at the opening of ‘#UndocuJoy.’ \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people talk about the undocumented community, they talk about fear, and I didn’t want to do that with the exhibit,” Reyes says, “I wanted it to be about joy.”\u003c/p>\n\u003cp>Ani Rivera, executive director at Galería de la Raza, was one of Reyes’ most fervent supporters in the effort to bring this exhibit to San Francisco. “It’s a moment to celebrate and flip the narrative,” says Rivera. “The exhibition brings these folks together to a space that has been historically about organizing social justice, and [shows] how art can change and transform lives.”\u003c/p>\n\u003cfigure id=\"attachment_13824686\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg\" alt=\"Alexander Hernandez, 'Nopal,' 2017.\" width=\"640\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AlexanderHernandez-520x681.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Hernandez, ‘Nopal,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes emphasizes that \u003cem>#UndocuJoy\u003c/em> is not about educating the masses on the complexity of immigration, or the years of fighting to pass the DREAM Act. “We put the burden on undocumented people to constantly be educating, and constantly bare everything, to relive their trauma,” Reyes says. “The audience for this is actual undocumented people, but we are opening it to everyone — the theme of trying to thrive is universal.”\u003c/p>\n\u003cp>Some of the participants in the show might not necessarily self-identify as artists, but trusted Reyes’ vision enough to bring out their artwork. “Maybe 15 percent of them identify as artists,” says Rivera, “they are day-to-day people who are living and thriving as undocumented in a way that is humane.”\u003c/p>\n\u003cp>Reyes did a national call for submissions to select those who would ultimately be part of this exhibit. The response was overwhelming, and while he expected a significant portion of the work to be about the fight for the DREAM Act, most of the art he received honored parents and grandparents.\u003c/p>\n\u003cfigure id=\"attachment_13824687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13824687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg\" alt=\"Alicia Martinez, 'Angelinos: Rosalina,' 2017.\" width=\"1200\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-768x664.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1020x882.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-960x830.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/AliciaMartinez_1200-520x450.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Martinez, ‘Angelinos: Rosalina,’ 2017. \u003ccite>(Courtesy of Define American)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intersectionality is also a crucial part of the exhibit —being undocuqueer (openly undocumented and queer) is not often part of the conversation around immigration. The work of \u003ca href=\"https://www.feihernandez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Féi Hernandez\u003c/a>, \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julio Salgado\u003c/a>, \u003ca href=\"https://www.instagram.com/chelinski.art/\" target=\"_blank\" rel=\"noopener noreferrer\">Chela Chelisnki\u003c/a>, and \u003ca href=\"https://www.hernalex.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Hernandez\u003c/a> reflect this duality.\u003c/p>\n\u003cp>The most striking piece in the show is a video by \u003ca href=\"https://www.keniaguillen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenia Guillen\u003c/a>, who documented a trip back to El Salvador, combining old VHS tapes from her childhood with the new footage. Before the DACA program was rescinded, Dreamers were able to apply for a temporary permit to travel out of the country. (As of now, Dreamers are no longer able to apply for this permit.) The video is a powerful visual reminder of what is like for someone to return to the land where they were born years, sometimes decades, after leaving for the United States.\u003c/p>\n\u003cp>“This is such a global experience, loss, transition, migration,” Rivera says, “how do other people not see it?”\u003c/p>\n\u003cp>While Dreamers are as American as the rest of us, they cannot negate the pride and joy they feel for the country they once called home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘#UndocuJoy: Unfathomable Strength’ is on view through May 12, 2018 at Galería de la Raza in San Francisco (2857 24th Street). For more information, \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=7191\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824683/undocujoy-galeria-de-la-raza","authors":["11624"],"categories":["arts_70"],"tags":["arts_2370","arts_1118","arts_3447","arts_1773","arts_596","arts_769"],"featImg":"arts_13824692","label":"arts"},"arts_13812150":{"type":"posts","id":"arts_13812150","meta":{"index":"posts_1591205157","site":"arts","id":"13812150","score":null,"sort":[1509289236000]},"guestAuthors":[],"slug":"sign-on-bernal-hill-questions-just-who-is-allowed-to-dream","title":"Sign on Bernal Hill Questions Just Who is Allowed to Dream","publishDate":1509289236,"format":"image","headTitle":"Sign on Bernal Hill Questions Just Who is Allowed to Dream | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. Over and over again, multicolored tags reading “DREAM” run along the building’s concrete block wall.\u003c/p>\n\u003cp>“It was such a beautiful piece, and such an incredible moment every time I drove past it,” Fernández says, “because it says what art can do best: create a sense of introspection and awareness within ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13812694\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg\" alt=\"Ana Teresa Fernández with part of 'Dream' in progress behind her.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ana Teresa Fernández with part of ‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ana Teresa Fernández' Bernal Hill sculpture is both an invitation to the community and an homage to the hopeful art of Mike \"Dream\" Francisco.","status":"publish","parent":0,"modified":1705029228,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1207},"headData":{"title":"Sign on Bernal Hill Questions Just Who is Allowed to Dream | KQED","description":"Ana Teresa Fernández' Bernal Hill sculpture is both an invitation to the community and an homage to the hopeful art of Mike "Dream" Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sign on Bernal Hill Questions Just Who is Allowed to Dream","datePublished":"2017-10-29T15:00:36.000Z","dateModified":"2024-01-12T03:13:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13812150/sign-on-bernal-hill-questions-just-who-is-allowed-to-dream","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. Over and over again, multicolored tags reading “DREAM” run along the building’s concrete block wall.\u003c/p>\n\u003cp>“It was such a beautiful piece, and such an incredible moment every time I drove past it,” Fernández says, “because it says what art can do best: create a sense of introspection and awareness within ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13812694\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg\" alt=\"Ana Teresa Fernández with part of 'Dream' in progress behind her.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ana Teresa Fernández with part of ‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812150/sign-on-bernal-hill-questions-just-who-is-allowed-to-dream","authors":["11371"],"categories":["arts_235","arts_70"],"tags":["arts_2370","arts_1118","arts_903","arts_2907","arts_596","arts_1146","arts_2908","arts_1040"],"featImg":"arts_13812839","label":"arts"},"arts_13809643":{"type":"posts","id":"arts_13809643","meta":{"index":"posts_1591205157","site":"arts","id":"13809643","score":null,"sort":[1506465352000]},"guestAuthors":[],"slug":"for-two-immigrant-artists-american-dream-is-uncertain","title":"For Two Immigrant Artists, American Dream is Uncertain","publishDate":1506465352,"format":"video","headTitle":"For Two Immigrant Artists, American Dream is Uncertain | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>What would our local arts communities look like without DACA? Just ask Johan, a standup comedian, and Lauren, an actress and musician, whose emerging careers are a direct result of the freedom and stability afforded by the program.\u003c/p>\n\u003cp>Implemented in 2012, Deferred Action for Childhood Arrivals (DACA) granted individuals who entered the United States as minors temporary protection from deportation — along with work permit eligibility.\u003c/p>\n\u003cp>Johan was born in Peru and grew up in San Francisco’s Fillmore District, not even knowing he was undocumented until he was a teenager. Simple freedoms his friends enjoyed in high school were unavailable to him — like getting a driver’s license and making plans for college.\u003c/p>\n\u003cp>In Los Angeles, Lauren, whose family came from Korea when she was a child, remembers the helplessness of being stuck between the only country she’s known and the impossibility of living a full life here. “Why was I in this country, if I can’t fulfill my dreams?” she says.\u003c/p>\n\u003cp>Then DACA was announced in 2012, and their lives were filled with possibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Able to drive, work, receive loans and attend college, Johan and Lauren pursued their artistic goals, performing and gaining career momentum. But now that their immigration status is once again in question, they stand to lose it all. Watch above as Lauren reflects between performances and teaching music lessons, and Johan uses his place behind the mic to convey the enormous uncertainty that \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener noreferrer\">they – and 800,000 others – face at this moment\u003c/a>. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was supported by the journalism non-profit the \u003ca href=\"http://economichardship.org\" target=\"_blank\" rel=\"noopener\">Economic Hardship Reporting Project\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A standup comedian and an actress-musician reflect on the enormous uncertainty that they — and 800,000 others — face with DACA in jeopardy.","status":"publish","parent":0,"modified":1705029467,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":282},"headData":{"title":"For Two Immigrant Artists, American Dream is Uncertain | KQED","description":"A standup comedian and an actress-musician reflect on the enormous uncertainty that they — and 800,000 others — face with DACA in jeopardy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Two Immigrant Artists, American Dream is Uncertain","datePublished":"2017-09-26T22:35:52.000Z","dateModified":"2024-01-12T03:17:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/CkQaV9pds4Q","sticky":false,"nprByline":"Armando Aparicio and Leighton Woodhouse","path":"/arts/13809643/for-two-immigrant-artists-american-dream-is-uncertain","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would our local arts communities look like without DACA? Just ask Johan, a standup comedian, and Lauren, an actress and musician, whose emerging careers are a direct result of the freedom and stability afforded by the program.\u003c/p>\n\u003cp>Implemented in 2012, Deferred Action for Childhood Arrivals (DACA) granted individuals who entered the United States as minors temporary protection from deportation — along with work permit eligibility.\u003c/p>\n\u003cp>Johan was born in Peru and grew up in San Francisco’s Fillmore District, not even knowing he was undocumented until he was a teenager. Simple freedoms his friends enjoyed in high school were unavailable to him — like getting a driver’s license and making plans for college.\u003c/p>\n\u003cp>In Los Angeles, Lauren, whose family came from Korea when she was a child, remembers the helplessness of being stuck between the only country she’s known and the impossibility of living a full life here. “Why was I in this country, if I can’t fulfill my dreams?” she says.\u003c/p>\n\u003cp>Then DACA was announced in 2012, and their lives were filled with possibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Able to drive, work, receive loans and attend college, Johan and Lauren pursued their artistic goals, performing and gaining career momentum. But now that their immigration status is once again in question, they stand to lose it all. Watch above as Lauren reflects between performances and teaching music lessons, and Johan uses his place behind the mic to convey the enormous uncertainty that \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener noreferrer\">they – and 800,000 others – face at this moment\u003c/a>. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was supported by the journalism non-profit the \u003ca href=\"http://economichardship.org\" target=\"_blank\" rel=\"noopener\">Economic Hardship Reporting Project\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809643/for-two-immigrant-artists-american-dream-is-uncertain","authors":["byline_arts_13809643"],"categories":["arts_968","arts_835","arts_69"],"tags":["arts_3137","arts_2370","arts_1118","arts_1773","arts_596","arts_1007"],"featImg":"arts_13809673","label":"arts"},"arts_13808995":{"type":"posts","id":"arts_13808995","meta":{"index":"posts_1591205157","site":"arts","id":"13808995","score":null,"sort":[1505865658000]},"guestAuthors":[],"slug":"meet-brass-liberation-orchestra-a-radical-brass-band-drumming-up-energy-at-protests","title":"Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests","publishDate":1505865658,"format":"image","headTitle":"Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Earlier this month at the Defend \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> protest in downtown Oakland, \u003ca href=\"http://brassliberation.org/\" target=\"_blank\" rel=\"noopener\">Brass Liberation Orchestra\u003c/a> marched among the crowd like pied pipers of the resistance, drawing passersby into the procession with their jovial horns. The band members took turns as conductors, using hand gestures to quiet the brass instruments so protesters could chant along to the drum line’s beat: “El pueblo únido jamás será vencido! / The people united will never be divided!” \u003c/p>\n\u003cp>People who happened to show up to the march with musical instruments — including one person with an Afro-Brazilian \u003ca href=\"https://www.britannica.com/art/berimbau\" target=\"_blank\" rel=\"noopener\">berimbau\u003c/a> — spontaneously joined the Orchestra as it marched through the streets. This is how Brass Liberation Orchestra has acquired most of its 20-something members: Through serendipitous run-ins at actions. The sprawling, multi-generational brass band has drummed up energy at Bay Area protests since the early 2000s, and most of its musicians encountered Brass Liberation Orchestra at a march before deciding to pick up their instruments and join. \u003c/p>\n\u003cfigure id=\"attachment_13809020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg\" alt=\"Brass Liberation Orchestra has over 20 members of all ages. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brass Liberation Orchestra has over 20 members of all ages. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-time musician going only by the name Breakfast, with salt-and-pepper hair and a pink fedora, remembers attending an Occupy protest in San Francisco in 2012, saxophone in hand, when he spotted Brass Liberation Orchestra. When rumors circulated that police would raid the camp that night, protesters divided themselves into two groups: One to defend the camp and one that didn’t want to risk arrest. Brass Liberation Orchestra was in charge of leading the second group to safety by using their music to guide people away from the conflict zone. \u003c/p>\n\u003cp>“Wow, so all these musicians have shown up and they have a functional role,” recalls Breakfast when I meet him and several other members of Brass Liberation Orchestra at a dive bar in the Mission district, before they head out to busk on a recent Friday night. “It’s not for expression or entertainment or any of these other roles we normally assign music to. Its role was to protect people’s physical safety.”\u003c/p>\n\u003cp>Candy Michelle Smallwood, an eviction defense lawyer by day, first heard Brass Liberation Orchestra at an anti-eviction march two years ago when she worked at the \u003ca href=\"http://hrcsf.org/\" target=\"_blank\" rel=\"noopener\">Housing Rights Committee of San Francisco\u003c/a>. “There was this really awesome march that started at Dolores Park and went to different houses where people were facing eviction. Through this whole march — which lasted about two hours — there was this band that was playing.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smallwood was so inspired she got her flute out of storage. Two years later, she’s still with the Brass Liberation Orchestra as an alto saxophonist. Like Smallwood and Breakfast, Brass Liberation Orchestra members come from diverse professions and musical backgrounds: Some are rigorously trained musicians while others hadn’t played their instruments since the high school marching band. Sousaphone player Geoff Lee, for example, is a philosophy professor at UC Berkeley; his wife and fellow band member, drummer Deepa Varma, is the executive director of the \u003ca href=\"https://www.sftu.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Tenants’ Union\u003c/a>. \u003c/p>\n\u003cp>Brass Liberation Orchestra’s musical selections, while fun and upbeat, are charged with political meaning: The band has several songs in its repertoire from Afrobeat pioneer and human rights activist Fela Kuti. Anthems of Latin American resistance, like Los Fabulosos Cadillacs’ “\u003ca href=\"https://www.youtube.com/watch?v=pjPA7CXutDw\" target=\"_blank\" rel=\"noopener\">Matador\u003c/a>,” are also on rotation, as well as familiar pop songs like Eurythmics’ “Sweet Dreams.” In keeping with the band’s anti-capitalist spirit, Brass Liberation Orchestra’s \u003ca href=\"http://brassliberation.org/sheetmusic.php\" target=\"_blank\" rel=\"noopener\">sheet music\u003c/a> is available on its website for free. \u003c/p>\n\u003cp>https://youtu.be/uJUBE8xpHVk\u003c/p>\n\u003cp>Brass Liberation Orchestra’s membership often increases parallel to major political events: The group first gained momentum around the anti-Iraq war protests of the early- and mid-2000s; many new members came along during the Occupy movement and, more recently, anti-Trump rallies. The band has performed at the 2014 Climate March in New York, workers’ strikes, racial justice rallies, and eviction blockades. Oftentimes, it uses its music for functional purposes: Guiding protest chants, disturbing the peace of predatory landlords and exploitative employers, drowning out white supremacists, and busking to raise money for victims of Hurricane Harvey and Charlottesville. \u003c/p>\n\u003cp>“At our best, we can diffuse tension, offer moral support, or bring joy to people risking arrest,” says drummer Joshua Cohen, who has a day job as a hospice social worker.\u003c/p>\n\u003cp>Brass Liberation Orchestra is part of a growing movement of radical brass bands that started in the late ’90s and early 2000s: \u003ca href=\"http://www.extra-action.com/\" target=\"_blank\" rel=\"noopener\">Extra Action Marching Band\u003c/a>, a like-minded group from Oakland, went on to tour with David Byrne. Cohen refers to New York’s \u003ca href=\"http://rudemechanicalorchestra.org/\" target=\"_blank\" rel=\"noopener\">Rude Mechanical Orchestra\u003c/a> as Brass Liberation Orchestra’s sister band. Some former members of Brass Liberation Orchestra have also relocated to other states and founded similar bands in their cities, many of which meet up at \u003ca href=\"http://honkfest.org/\" target=\"_blank\" rel=\"noopener\">HONK!\u003c/a>, a festival for activist street bands that takes place in various cities around the country. \u003c/p>\n\u003cfigure id=\"attachment_13809019\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg\" alt=\"A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we wrap up our interview, the members of Brass Liberation Orchestra pack up their saxophones and tubas to head to the corner of 18th and Valencia. Today, they’re busking to raise money for their trip to HONK! — a rare occasion, they tell me, where they collect money for themselves instead of a cause. I expect to see a few passersby drop dollar bills into an open saxophone case, but two songs in, a large crowd has already amassed. A woman shows up with a musical saw and joins the ensemble. Couples on dinner dates, families with strollers, and groups of friends getting ready to hit the town all cluster in close to avoid oncoming traffic as they watch the band.\u003c/p>\n\u003cp>As the band members catch their breath, trumpet player Jordan Baxter Stern introduces the next song, Nile Rogers’ “Do What You Wanna”: “We’re all about doing what you wanna unless you’re a rich asshole, in which case, you should give all your money away and do what other people tell you to do.” \u003c/p>\n\u003cp>Judging by their whoops and hollers, the crowd approves. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The band uses its music to guide protests, to disturb the peace, and to raise money for social and political causes.","status":"publish","parent":0,"modified":1705029506,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1069},"headData":{"title":"Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests | KQED","description":"The band uses its music to guide protests, to disturb the peace, and to raise money for social and political causes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests","datePublished":"2017-09-20T00:00:58.000Z","dateModified":"2024-01-12T03:18:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13808995/meet-brass-liberation-orchestra-a-radical-brass-band-drumming-up-energy-at-protests","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month at the Defend \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> protest in downtown Oakland, \u003ca href=\"http://brassliberation.org/\" target=\"_blank\" rel=\"noopener\">Brass Liberation Orchestra\u003c/a> marched among the crowd like pied pipers of the resistance, drawing passersby into the procession with their jovial horns. The band members took turns as conductors, using hand gestures to quiet the brass instruments so protesters could chant along to the drum line’s beat: “El pueblo únido jamás será vencido! / The people united will never be divided!” \u003c/p>\n\u003cp>People who happened to show up to the march with musical instruments — including one person with an Afro-Brazilian \u003ca href=\"https://www.britannica.com/art/berimbau\" target=\"_blank\" rel=\"noopener\">berimbau\u003c/a> — spontaneously joined the Orchestra as it marched through the streets. This is how Brass Liberation Orchestra has acquired most of its 20-something members: Through serendipitous run-ins at actions. The sprawling, multi-generational brass band has drummed up energy at Bay Area protests since the early 2000s, and most of its musicians encountered Brass Liberation Orchestra at a march before deciding to pick up their instruments and join. \u003c/p>\n\u003cfigure id=\"attachment_13809020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg\" alt=\"Brass Liberation Orchestra has over 20 members of all ages. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brass Liberation Orchestra has over 20 members of all ages. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-time musician going only by the name Breakfast, with salt-and-pepper hair and a pink fedora, remembers attending an Occupy protest in San Francisco in 2012, saxophone in hand, when he spotted Brass Liberation Orchestra. When rumors circulated that police would raid the camp that night, protesters divided themselves into two groups: One to defend the camp and one that didn’t want to risk arrest. Brass Liberation Orchestra was in charge of leading the second group to safety by using their music to guide people away from the conflict zone. \u003c/p>\n\u003cp>“Wow, so all these musicians have shown up and they have a functional role,” recalls Breakfast when I meet him and several other members of Brass Liberation Orchestra at a dive bar in the Mission district, before they head out to busk on a recent Friday night. “It’s not for expression or entertainment or any of these other roles we normally assign music to. Its role was to protect people’s physical safety.”\u003c/p>\n\u003cp>Candy Michelle Smallwood, an eviction defense lawyer by day, first heard Brass Liberation Orchestra at an anti-eviction march two years ago when she worked at the \u003ca href=\"http://hrcsf.org/\" target=\"_blank\" rel=\"noopener\">Housing Rights Committee of San Francisco\u003c/a>. “There was this really awesome march that started at Dolores Park and went to different houses where people were facing eviction. Through this whole march — which lasted about two hours — there was this band that was playing.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smallwood was so inspired she got her flute out of storage. Two years later, she’s still with the Brass Liberation Orchestra as an alto saxophonist. Like Smallwood and Breakfast, Brass Liberation Orchestra members come from diverse professions and musical backgrounds: Some are rigorously trained musicians while others hadn’t played their instruments since the high school marching band. Sousaphone player Geoff Lee, for example, is a philosophy professor at UC Berkeley; his wife and fellow band member, drummer Deepa Varma, is the executive director of the \u003ca href=\"https://www.sftu.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Tenants’ Union\u003c/a>. \u003c/p>\n\u003cp>Brass Liberation Orchestra’s musical selections, while fun and upbeat, are charged with political meaning: The band has several songs in its repertoire from Afrobeat pioneer and human rights activist Fela Kuti. Anthems of Latin American resistance, like Los Fabulosos Cadillacs’ “\u003ca href=\"https://www.youtube.com/watch?v=pjPA7CXutDw\" target=\"_blank\" rel=\"noopener\">Matador\u003c/a>,” are also on rotation, as well as familiar pop songs like Eurythmics’ “Sweet Dreams.” In keeping with the band’s anti-capitalist spirit, Brass Liberation Orchestra’s \u003ca href=\"http://brassliberation.org/sheetmusic.php\" target=\"_blank\" rel=\"noopener\">sheet music\u003c/a> is available on its website for free. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uJUBE8xpHVk'\n title='//www.youtube.com/embed/uJUBE8xpHVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brass Liberation Orchestra’s membership often increases parallel to major political events: The group first gained momentum around the anti-Iraq war protests of the early- and mid-2000s; many new members came along during the Occupy movement and, more recently, anti-Trump rallies. The band has performed at the 2014 Climate March in New York, workers’ strikes, racial justice rallies, and eviction blockades. Oftentimes, it uses its music for functional purposes: Guiding protest chants, disturbing the peace of predatory landlords and exploitative employers, drowning out white supremacists, and busking to raise money for victims of Hurricane Harvey and Charlottesville. \u003c/p>\n\u003cp>“At our best, we can diffuse tension, offer moral support, or bring joy to people risking arrest,” says drummer Joshua Cohen, who has a day job as a hospice social worker.\u003c/p>\n\u003cp>Brass Liberation Orchestra is part of a growing movement of radical brass bands that started in the late ’90s and early 2000s: \u003ca href=\"http://www.extra-action.com/\" target=\"_blank\" rel=\"noopener\">Extra Action Marching Band\u003c/a>, a like-minded group from Oakland, went on to tour with David Byrne. Cohen refers to New York’s \u003ca href=\"http://rudemechanicalorchestra.org/\" target=\"_blank\" rel=\"noopener\">Rude Mechanical Orchestra\u003c/a> as Brass Liberation Orchestra’s sister band. Some former members of Brass Liberation Orchestra have also relocated to other states and founded similar bands in their cities, many of which meet up at \u003ca href=\"http://honkfest.org/\" target=\"_blank\" rel=\"noopener\">HONK!\u003c/a>, a festival for activist street bands that takes place in various cities around the country. \u003c/p>\n\u003cfigure id=\"attachment_13809019\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg\" alt=\"A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we wrap up our interview, the members of Brass Liberation Orchestra pack up their saxophones and tubas to head to the corner of 18th and Valencia. Today, they’re busking to raise money for their trip to HONK! — a rare occasion, they tell me, where they collect money for themselves instead of a cause. I expect to see a few passersby drop dollar bills into an open saxophone case, but two songs in, a large crowd has already amassed. A woman shows up with a musical saw and joins the ensemble. Couples on dinner dates, families with strollers, and groups of friends getting ready to hit the town all cluster in close to avoid oncoming traffic as they watch the band.\u003c/p>\n\u003cp>As the band members catch their breath, trumpet player Jordan Baxter Stern introduces the next song, Nile Rogers’ “Do What You Wanna”: “We’re all about doing what you wanna unless you’re a rich asshole, in which case, you should give all your money away and do what other people tell you to do.” \u003c/p>\n\u003cp>Judging by their whoops and hollers, the crowd approves. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13808995/meet-brass-liberation-orchestra-a-radical-brass-band-drumming-up-energy-at-protests","authors":["11387"],"categories":["arts_69"],"tags":["arts_2370","arts_1118","arts_596"],"featImg":"arts_13809018","label":"arts"},"arts_13807891":{"type":"posts","id":"arts_13807891","meta":{"index":"posts_1591205157","site":"arts","id":"13807891","score":null,"sort":[1504875620000]},"guestAuthors":[],"slug":"dear-trump-im-a-daca-kid-and-heres-what-youre-doing-to-us","title":"Dear Trump: I'm a DACA Kid—and Here's What You're Doing to Us","publishDate":1504875620,"format":"image","headTitle":"Dear Trump: I’m a DACA Kid—and Here’s What You’re Doing to Us | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Editor’s Note: “Maria” is an active member of the Bay Area arts community who, as a recipient of the Deferred Action for Childhood Arrivals program, came out as undocumented in 2012. The administration’s declaration this week to rescind the program puts her future in jeopardy, and guides our choice to protect her identity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Dear President Trump\u003c/strong>,\u003c/p>\n\u003cp>Do you know what it’s like to live in the shadows?\u003c/p>\n\u003cp>I do. I completed kindergarten through high school in California. I wasn’t born in America, but I’ve lived here for more than 23 years. It’s the only home I’ve ever known.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My mother and I immigrated to the United States from Mexico when I was four years old. All I know about Mexico are the few stories my mother shared — of working as a maid, or a receptionist, or selling handmade hair bows on the street to support us. She could barely make ends meet, and needed to leave Mexico to escape an unhealthy relationship with my father.\u003c/p>\n\u003cp>Growing up, I felt like I couldn’t tell anyone I wasn’t born in the United States because I was scared of being deported. It was difficult going to high school knowing that even if I got good grades and went to college, I’d be unlikely to get a decent job once my employer asked me to provide proof of employment eligibility.\u003c/p>\n\u003cfigure id=\"attachment_13807915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg\" alt=\"Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had to skip out-of-state class field trips, because flying on an airplane means having to show ID and, for me, the possibility of being shipped back to Mexico and never seeing my family again. I couldn’t get a drivers license when I was 16 like the rest of my classmates. I rode my bike as a main form of transportation until 2012, when I applied for Deferred Action for Childhood Arrivals (DACA).\u003c/p>\n\u003cp>This same program that 800,000 other immigrant youth signed up for allowed me to receive a state ID, a drivers license and a work permit. I was able to come out of the shadows and meet others in my situation. I realized I was not alone. I stopped being scared of getting shipped off to Mexico where I wouldn’t understand a copy of a local newspaper because I never learned how to read or write in Spanish.\u003c/p>\n\u003cp>One of your election promises was to end DACA as soon as you came into office — but then shortly after you won the election, you said people like me could “rest easy” because you were going after criminals.\u003c/p>\n\u003cp>Does that mean you’ve labeled me a criminal after all? Should I have told my mother to leave me in Mexico to fend for myself at the age of four, or to stay with a man who never cared for us?\u003c/p>\n\u003cfigure id=\"attachment_13807916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg\" alt=\"A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-960x650.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I willingly completed the DACA application because it was the only way for me to obtain a legal presence in the United States. The process was long and it took me months to track down the necessary documents to apply. I had to get copies of my school records, print out five years’ worth of bank account statements, and track down a vaccine record to show proof that I’d entered the United States as a minor. I had to put my life on paper for USCIS to conduct a background check and determine if I posed a national threat. I was fingerprinted, I answered dozens of questions, and I had to figure out how to write, in just a half-page of space, why I deserved the right to work. I reapplied twice and paid nearly $500 for each two-year work permit.\u003c/p>\n\u003cp>Though I’ve lived here my whole life, the program did not make me a citizen or classify me as one. I still can’t vote, travel outside of the U.S. or apply for federal aid for college, yet the program has given me comfort. It’s allowed me to pursue my dreams of attending college, and earn a career in the arts that I’m proud of. But now that comfort is gone.\u003c/p>\n\u003cp>Have you ever had to look someone you love in the eye and then tell them everything is going to be OK when you have a sinking feeling in your heart that it’s not?\u003c/p>\n\u003cp>I have. I had to put on a strong face for my mother as I felt my heart racing with fear after U.S. Attorney General Jeff Sessions announced your decision to end the DACA program on Tuesday. I had to hide my shaking hands from her as I promised her I would be fine. Act like my dreams weren’t crushed into a million pieces. I told her I might still have two years of protection from deportation because I’d recently sent off my renewal application, even though I wasn’t sure if it would be honored.\u003c/p>\n\u003cfigure id=\"attachment_13807918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg\" alt=\"Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You publicly stated “We love the DREAMers.” Is love making someone else deliver the blow of your decision?\u003c/p>\n\u003cp>The legal eviction notice in California is 30 days — is love giving a six-month notice? Does that seem like the right amount of time to evict 800,000 immigrant youth out of the country?\u003c/p>\n\u003cp>My story is just one of many. I am one of thousands of people registered in databases somewhere in the United States who now stand to be deported and ripped from our homes.\u003c/p>\n\u003cp>You passed our fate along to Congress. I don’t have a say in what is going to happen, but technically you still do. So I urge to question your actions one more time, and ask: is this what love is?\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Maria\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Do you know what it's like to live in the shadows? I do.","status":"publish","parent":0,"modified":1705029582,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1090},"headData":{"title":"Dear Trump: I'm a DACA Kid—and Here's What You're Doing to Us | KQED","description":"Do you know what it's like to live in the shadows? I do.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dear Trump: I'm a DACA Kid—and Here's What You're Doing to Us","datePublished":"2017-09-08T13:00:20.000Z","dateModified":"2024-01-12T03:19:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria","path":"/arts/13807891/dear-trump-im-a-daca-kid-and-heres-what-youre-doing-to-us","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: “Maria” is an active member of the Bay Area arts community who, as a recipient of the Deferred Action for Childhood Arrivals program, came out as undocumented in 2012. The administration’s declaration this week to rescind the program puts her future in jeopardy, and guides our choice to protect her identity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Dear President Trump\u003c/strong>,\u003c/p>\n\u003cp>Do you know what it’s like to live in the shadows?\u003c/p>\n\u003cp>I do. I completed kindergarten through high school in California. I wasn’t born in America, but I’ve lived here for more than 23 years. It’s the only home I’ve ever known.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My mother and I immigrated to the United States from Mexico when I was four years old. All I know about Mexico are the few stories my mother shared — of working as a maid, or a receptionist, or selling handmade hair bows on the street to support us. She could barely make ends meet, and needed to leave Mexico to escape an unhealthy relationship with my father.\u003c/p>\n\u003cp>Growing up, I felt like I couldn’t tell anyone I wasn’t born in the United States because I was scared of being deported. It was difficult going to high school knowing that even if I got good grades and went to college, I’d be unlikely to get a decent job once my employer asked me to provide proof of employment eligibility.\u003c/p>\n\u003cfigure id=\"attachment_13807915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg\" alt=\"Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had to skip out-of-state class field trips, because flying on an airplane means having to show ID and, for me, the possibility of being shipped back to Mexico and never seeing my family again. I couldn’t get a drivers license when I was 16 like the rest of my classmates. I rode my bike as a main form of transportation until 2012, when I applied for Deferred Action for Childhood Arrivals (DACA).\u003c/p>\n\u003cp>This same program that 800,000 other immigrant youth signed up for allowed me to receive a state ID, a drivers license and a work permit. I was able to come out of the shadows and meet others in my situation. I realized I was not alone. I stopped being scared of getting shipped off to Mexico where I wouldn’t understand a copy of a local newspaper because I never learned how to read or write in Spanish.\u003c/p>\n\u003cp>One of your election promises was to end DACA as soon as you came into office — but then shortly after you won the election, you said people like me could “rest easy” because you were going after criminals.\u003c/p>\n\u003cp>Does that mean you’ve labeled me a criminal after all? Should I have told my mother to leave me in Mexico to fend for myself at the age of four, or to stay with a man who never cared for us?\u003c/p>\n\u003cfigure id=\"attachment_13807916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg\" alt=\"A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-960x650.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I willingly completed the DACA application because it was the only way for me to obtain a legal presence in the United States. The process was long and it took me months to track down the necessary documents to apply. I had to get copies of my school records, print out five years’ worth of bank account statements, and track down a vaccine record to show proof that I’d entered the United States as a minor. I had to put my life on paper for USCIS to conduct a background check and determine if I posed a national threat. I was fingerprinted, I answered dozens of questions, and I had to figure out how to write, in just a half-page of space, why I deserved the right to work. I reapplied twice and paid nearly $500 for each two-year work permit.\u003c/p>\n\u003cp>Though I’ve lived here my whole life, the program did not make me a citizen or classify me as one. I still can’t vote, travel outside of the U.S. or apply for federal aid for college, yet the program has given me comfort. It’s allowed me to pursue my dreams of attending college, and earn a career in the arts that I’m proud of. But now that comfort is gone.\u003c/p>\n\u003cp>Have you ever had to look someone you love in the eye and then tell them everything is going to be OK when you have a sinking feeling in your heart that it’s not?\u003c/p>\n\u003cp>I have. I had to put on a strong face for my mother as I felt my heart racing with fear after U.S. Attorney General Jeff Sessions announced your decision to end the DACA program on Tuesday. I had to hide my shaking hands from her as I promised her I would be fine. Act like my dreams weren’t crushed into a million pieces. I told her I might still have two years of protection from deportation because I’d recently sent off my renewal application, even though I wasn’t sure if it would be honored.\u003c/p>\n\u003cfigure id=\"attachment_13807918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg\" alt=\"Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You publicly stated “We love the DREAMers.” Is love making someone else deliver the blow of your decision?\u003c/p>\n\u003cp>The legal eviction notice in California is 30 days — is love giving a six-month notice? Does that seem like the right amount of time to evict 800,000 immigrant youth out of the country?\u003c/p>\n\u003cp>My story is just one of many. I am one of thousands of people registered in databases somewhere in the United States who now stand to be deported and ripped from our homes.\u003c/p>\n\u003cp>You passed our fate along to Congress. I don’t have a say in what is going to happen, but technically you still do. So I urge to question your actions one more time, and ask: is this what love is?\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Maria\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807891/dear-trump-im-a-daca-kid-and-heres-what-youre-doing-to-us","authors":["byline_arts_13807891"],"categories":["arts_835","arts_235"],"tags":["arts_2370","arts_1118","arts_1773","arts_596"],"featImg":"arts_13807917","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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