Category Archives: The Forum

Discussions about current topics.

Speaking Latina: Race v. Ethnicity

From: http://blog.nuyoriquena.com

I have had to deal with some very rude questions over the years such as, “What are you?” to which I reply, “A woman. You?” Of course, my wit is not typically appreciated. I am shocked by how many people have retorted, “You know what I mean!” Um yeah, no. I have no idea what you mean. Of course once the not-so-amusing banter ceases and I answer “Puerto Rican” the most unoriginal response asked approximately 99% of the time is, “Full?” Ugh.

Since I can remember I have struggled with understanding race versus ethnicity. It has nothing to do with not understanding the definition of the terms, it started out as people began to question who I was when the only acceptable answer was what I identified as my culture. I’m an American, a U.S. citizen and a Puerto Rican – I knew this and it wasn’t an issue. People wanted to know my ethnicity but questioned me because I didn’t look right, calling my race into question. As far as I knew, one was not exclusive to the other. Not everyone was taught the same thing.

I am not going to pretend it doesn’t matter on some level to most “minorities” to embrace their culture. Many times it isn’t intentional, that is to say we don’t get up in the morning and say “How can I wave my flag today?” [Okay, maybe I do sometimes.] We grow up in a home where our parents speak Spanish to us, salsa y merengue play as frequently as R&B or hip hop, and we don’t think the color of our skin is an issue until someone else brings it up.

The first time it was called to my attention I was nine-years-old and living in Biloxi, Mississippi. I was at the lunch table with the other “Air Force Brats” and one of my white classmates asked why I was “darker” than her, but clearly not black. Our black classmate answered, “It’s all that chocolate milk she drinks.” I laugh thinking about it now because it was silly and I had the most perplexed expression when I went home incredibly pensive. That night my father taught me the meaning of ignorance. Fast forward. In junior high school, while learning about the Civil Right Movement and particularly Rosa Parks, I asked the teacher where I would have had to sit in the bus. And because God has always used humor to teach me, a classmate answered, “In the middle.” People laughed of course, but the teacher (who I am pretty sure giggled as well) told me I would most likely have to sit in the rear of the bus. It was then that I learned about blacks with very light complexions passing for white, which only fueled my curiosity.

For many years, I struggled with being so light-skinned. I have been called white, blanca nieve, high yellow, and more. I wanted to meet more Latinos like my mother or aunt who were born with blonde hair and green eyes. It happened briefly in college with my first boyfriend and new friends. It was a wonderful little clique of Boricuas, both Puerto Rican and Nuyorican. It was a little creepy that people thought my boyfriend and I were related – even my mother said, “He looks like he could be in our family!” I digress… I learned so much from them and I went on to be a chairperson for the Association of Black Collegiates and the president of the Organization for Latin American Students thereby making me a representative on the Multicultural Council. Something in me was stirred.

I was so happy when the world met Jennifer Lopez – and then she got a tan. Then I saw Alexis Bledel on Gilmore Girls and as her starmeter grew so did the questions about her being a Latina who spoke fluent Spanish and grew up in Argentina. I saw her get the same “Really?” face in interviews I had seen so many times. Surely people remember the silliness over LaLa Vasquez daring to boldly claim her Puerto Rican heritage and the backlash from the Black community. When it has gotten to the point where dark-skinned Latinas cannot be proud of who they are without fear of pissing someone off because they didn’t say “black” as a descriptor or people taking it as a personal dismissal, we have problems. Puerto Ricans [Latinos as a whole] are so varied because of their background and ancestry and it is utterly ridiculous that women like LaLa Vasquez and Zoë Saldaña have to know state they are “Afro-Latina” because we are in some sort of bidding war over celebrity status. People wanted LaLa Vazquez to “say it loud” and some sites even claimed Sammy Sosa, Daddy Yankee and Fat Joe refuse to be identified as “Black” but imagine if people started insisting you walk around and proudly announcing you’re “White” or “Brown.” I have green eyes, freckles and my olive complexion is on the light side – should I classify my ethnicity as “White-Latina” to satisfy the masses? [Note: According to the Census Bureau that is exactly my category, white latina.] We have become far too desperate and forcing labels, often diluting the importance and making weak connections or ones that don’t exist.

Has it come to a point where the intricately beautiful layers of our race and ethnicities have become far too complex for any one classification? Perhaps for some, yes. I found it is much more about other people projecting their own stereotypes and insecurities upon others. I have come to the conclusion far too many people are still ignorant to world around them and silliness like the drama brought about by LaLa (Vazquez) Anthony’s pride will only serve to teach a few more starving minds.
Nearly all ethnicities and races in this country have felt the sting of racism and prejudice dating back to the first settlers and if there are any answers, they aren’t easy ones. The beauty of our world is everyone is entitled to their own opinion whether we like it or not, though we often forget that fact. It has taken us hundreds of years to make this mess and I have a feeling it will take more than few hundred more to clean it up.
~.~

*The excerpt image is of Ahmad and I who through a series of very fortunate events found out we are related. Distantly but family is family! We are both Puerto Rican and both have Irizarry blood yet we look very different. He is a proud ’afrocalirican, b-boy nerd’ and I, um … I have freckles!

Graciela Rivera – Aniversario 91 del Natalicio de la primera boricua en protagonizar una Ópera en el Met de Nueva York

Un día como hoy, hace 91 años, nació en Ponce, Puerto Rico, la primera boricua en obtener el papel principal en una producción de la mundialmente prestigiosa Metropolitan Opera of New York: la Dra. Graciela Rivera.

Esta virtuosa del Bel Canto, nacida en la Ciudad Señorial, la cuna del “Tenor de los Reyes y Rey de los Tenores”, fue reconocida desde muy joven como una prometedora cantante con un talento descomunal. Haciendo alarde de su “voz de ángel”, Rosalinda comenzó a cantar en la Escuela Superior Central en el distrito capitalino de Santurce, en San Juan.

En 1941, se casó con el amor de su vida, Joseph Zumchack. En tiempos en que el matrimonio comúnmente concluía las carreras de las mujeres debido al machismo y las restricciones sociales que imperaban con mayor fuerza que hoy en día, resulta admirable que Graciela continuó cultivando su carrera y no abandonó su pasión por el canto y la ópera.

Así pues, Graciela cultivó su inmenso talento innato al cursar estudios en la Escuela de Música Julliard, uno de los institutos más reconocidos y competitivos en todo el mundo por su labor docente de excelencia en prácticamente todas las áreas de la músicas, las artes escénicas y el baile.

Luego de trabajar con la Cruz Roja y llevar a cabo espectáculos con la “United Service Organizations” (USO) durante la Segunda Guerra Mundial y protagonizar varias producciones en Broadway, Graciela obtuvo el papel de su vida.

Según lo narra la Fundación Nacional para la Cultura Popular, Graciela, quien para 1952 ya era considerada una de las mejores sopranos del mundo:

“… se convirtió en la primera puertorriqueña en cantar [en un papel protagónico] en el Metropolitan Opera House al debutar en esta sala en el papel principal de la obra ‘Lucia di Lammermoor’. Dos años después protagonizó el estreno mundial de la ópera “I Pescatori” de Jacopo Napoli en Nápoles, Italia.”

Por su gran gesta histórica y majestuosa al tope del mundo de la Ópera, Graciela fue honrada con el galardón de “Ciudadana del año” por la ciudad de Nueva York.

Además de incontables otros éxitos y aportaciones al mundo de la música y de la docencia, allá para 1956, Graciela hizo su debut como cantante principal de una producción en suelo borincano, cuando fue la figura estelar en un espectáculo en el Teatro de la Universidad de Puerto Rico (UPR) junto al distinguido coro de la universidad pública de nuestro país. Resulta interesante que, para ese entonces, uno de los cantantes en el coro era el prometedor cantante y la figura cimera de su generación en Puerto Rico, el gran Justino Díaz.

Hoy, en el 91 aniversario del natalicio de nuestra soprano Graciela Rivera, le rendimos tributo y honramos su memoria, por su gesta que puso en el alto a Puerto Rico alrededor del mundo y por ser una de las pioneras de las Artes de la Nación Puertorriqueña.

“Enalteciendo la música puertorriqueña no le estamos haciendo un favor a nadie. Nos estamos haciendo un favor a nosotros mismos. …

La música es eterna, eterna como la sustancia del jíbaro en el tiempo y el espacio.”

-Abelardo Díaz Alfaro

http://www.noticel.com/noticia/122233/que-paso-hoy-video.html#.T41ZixA062g.twitter

 

Congressmen seek to reinstate SNAP in Puerto Rico

Congressman Charles B. Rangel joined Resident Commissioner Pedro R. Pierluisi (Puerto Rico) and Colleagues in introducing legislation today to reinstate the SNAP (formerly the ‘food stamp’) program in Puerto Rico. H.R. 4280, the Puerto Rico Supplemental Nutrition Assistance Program Restoration Act, would provide the Island with $457 million in additional federal funding each year to support its food assistance program for low-income individuals.

“Puerto Rico deserves the same food assistance as the rest of the country,” said Rangel. “Our Manhattan Congressional District has many citizens of Puerto Rican descent whose families desperately need our help to meet basic nutritional standards.”

Presently, Puerto Rico receives from U.S. Department of Agriculture’s Food and Nutrition Service (FNS) an annual block grant that is appropriated by Congress in lieu of SNAP.  This block grant limits the amount of assistance available to Puerto Rico’s indigent population in terms of their ability to afford healthy food.

If this bill is enacted into law, Puerto Rico would join the 50 states, the District of Columbia, and two territories—Guam and the U.S. Virgin Islands—as jurisdictions that participate fully in the Supplemental Nutrition Assistance Program (SNAP).

According to a USDA report, conversion to SNAP would increase the number of households that receive nutrition assistance in Puerto Rico by an additional 85,000 households—consisting of 220,000 individuals. It would also mean an additional $457 million dollars in federal funding for the Island each year.”

“The USDA report confirms that the decision to deprive Puerto Rico of SNAP funds twenty years ago also deprived over 200,000 Puerto Ricans who are in most need of food assistance,” said Rangel. “Meanwhile, the 50 states, Washington, D.C., the U.S. Virgin Islands, and Guam all enjoy access to vital SNAP funds.  This is an inequity that makes no moral sense. The people of Puerto Rico deserve to receive the same financial aid necessary to meet high-quality nutritional standards.”

KEY FACTS REGARDING SNAP IMPLEMENTATION IN PUERTO RICO

  • From FY1974 through FY1982, Puerto Rico participated in the Supplemental Nutrition Assistance Program (SNAP)—then known as the “food stamp program”—along with, and no differently than, each of the 50 States and D.C.  Guam, Puerto Rico, and the U.S. Virgin Islands were each added to SNAP by Congress in 1971.  Although Puerto Rico was later dropped from the program, SNAP coverages continue today in Guam and the U.S. Virgin Islands.
  • In 1981, Congress replaced SNAP in Puerto Rico with an $825 million block grant—appropriated each year as the “Nutrition Assistance Program” block grant for Puerto Rico.  That level of funding represented about 75% of SNAP expenditures in Puerto Rico at that time (which was $1.1 million in FY1982). As a result, the block grant has not adjusted annually to account for changes in economic need or population in Puerto Rico or to keep adequate pace with costs for obtaining a basic, daily nutritional diet on the Island.  The vulnerable U.S. citizens residing in Puerto Rico are treated differently when it comes to federal nutrition assistance than if there they were living in one of the 50 States, D.C., Guam or the neighboring U.S. Virgin Islands.  In 1986, Congress amended the law to index the annual amount for the Puerto Rico block grant going forward for inflation but it is still indexed on an arbitrary base amount.
  • In the 2008 Farm Bill Congress directed USDA to examine the feasibility and effects of restoring SNAP in Puerto Rico in lieu of continuing the block grant arrangement (Sec. 4142 of P.L. 110-246).
  • USDA submitted the required report to Congress in June 2010.  Among the findings about transiting from a block grant to SNAP in Puerto Rico, are—
  • 85,000 additional households in need would receive assistance that they are unable to receive now under the block grant (a 15% participation increase); and
  • Average monthly benefits in Puerto Rico would increase by about 10% or $23 per household narrowing the gap between average benefit amounts received in the rest of the U.S. under SNAP and the amounts currently received under the limited block grant applying to Puerto Rico.

Puerto Rican Scientist Fermin Tanguis

Tangüis cotton
Main article: Fermín Tangüis

Fermín Tangüis poses with an example of the “Tangüis cotton”
In 1901, Peru’s cotton industry suffered because of a fungus plague caused by a plant disease known as “cotton wilt” (more correctly, “fusarium wilt”) caused by the fungus Fusarium vasinfectum.[14] The plant disease, which spread throughout Peru, entered plant’s roots and worked its way up the stem until the plant was completely dried up. Fermín Tangüis, a Puerto Rican agriculturist who lived in Peru, studied some species of the plant that were affected by the disease to a lesser extent and experimented in germination with the seeds of various cotton plants. In 1911, after 10 years of experimenting and failures, Tangüis was able to develop a seed which produced a superior cotton plant resistant to the disease. The seeds produced a plant that had a 40% longer (between 29 mm and 33 mm) and thicker fiber that did not break easily and required little water.[15] The Tangüis cotton, as it became known, is the variety which is preferred by the Peruvian national textile industry. It constituted 75% of all the Peruvian cotton production, both for domestic use and apparel exports. The Tangüis cotton crop was estimated at 225,000 bales that year.[16]

Seminario: Raíces del Desprecio al Puertorriqueño

Puertorriqueñidad, Puerto Rico, Coloniaje

“Los puertorriqueños son unos, vagos, colonizados y manduletes. Menos mal que están los federales aquí, sino esto fuera un sal pa’ fuera.” ¿Cuántas veces escuchamos estas frases a la semana? ¿De dónde vienen? ¿Qué las justifica y por qué? ¿Qué implicaciones tiene esta for…ma de concebir al puertorriqueño sobre PR? Estas preguntas tienen respuesta en el Seminario “Raíces del Odio al Puertorriqueño. Un Seminario teórico e histórico cuyo propósito final es explorar otras avenidas para vivir y disfrutar de lo puertorriqueño, tanto individual como colectivamente, mediante el rastreo y la reflexión histórica en torno a las nociones de puertorriqueñidad, calidad de vida y desarrollo. El mismo se efectuará en el Senado Académico de la Inter en Cupey todos los miércoles a partir de las 6 PM desde el 11 de abril. Puede inscribirse en la página electrónica www.sociedadsinergia.org

PRdream mourns the passing of Louis Reyes Rivera, 1945 – 2012

* Professor Reyes is a professor of Pan-African, African-American, Caribbean and Puerto Rican literature and history whose essays and poems have appeared in numerous publications, includingAreytoBoletinThe City SunAfrican Voices, and in five award-winning collections: In Defense of MumiaALOUD: Live from the Nuyorican Poets CafeOf Sons And Lovers,Bum Rush The Page, and his own Scattered Scripture.  Known as the Janitor of History, poet/essayist Louis Reyes Rivera has been studying his craft since 1960 and teaching it since 1969. The recipient of over 20 awards, including a Lifetime Achievement Award (1995), a Special Congressional Recognition Award (1988), and the CCNY 125th Anniversary Medal (1973), Rivera has assisted in the publication of well over 200 books, including John Oliver Killens’ Great Black Russian (Wayne State U., 1989), Adal Maldonado’s Portraits of the Puerto Rican Experience (IPRUS, 1984), and Bum Rush The Page: A Def Poetry Jam(Crown Publishers, 2001).

Poet and Essayist

Louis Reyes Rivera is an award-winning poet; an academic and professor with a specialty in African American, Puerto Rican, and Caribbean literature and history; a political activist; and a radio show host. He is the author of three poetry collections: Scattered Scripture (1996), This One for You (1983), and Who Pays the Cost(1977). Known as the Janitor of History, Rivera is the recipient of numerous awards, including a lifetime achievement award from the University of Massachusetts at Amherst (1995), a Special Congressional Recognition award (1988), and City College of New York’s 125th Anniversary Medal (1973).

Scattered Scripture won the 1996 poetry prize from the Latin American Writers Institute. A volume of highly crafted poems of militant and radical perspective, it is a literary masterpiece that attempts to translate history into poetry, covering the chapters missing from official renditions of history. This collection took twenty years of research to create. The first poem completed for the book, “(what are they doing),” was written in 1974, and the last poem, “(like toussaint, so marti)” was written in 1995. In between came all the other works as responses to his research.  Scattered Scripture contains forty-one pages of notes that provide the sources and historical context for the poems, making the book complete as a poetic song, a historical document, and an instructional device.

PRdream mourns the passing of Jimmy Sabater, Sr. – April 11, 1936 – February 8, 2012

Jimmy Sabater, Sr. was born in New York City. He was a Latin musician and singer who was a three-time winner of the ACE Awards. Sabater sang with Joe Cuba and his Sextet in both Spanish and English, representing the most successful band singing Latin Music in English. The band was also one of the leaders of the Latin Boogaloo.

Sabater is the son of Nestor Sabater and Teresa Gonzalez of Ponce, Puerto Rico. He grew up in East Harlem, the Spanish Quarter of New York City known as “El Barrio”. Like most teenagers in the neighborhood, he played stickball, flew kites, and harmonized the tunes of the popular R&B groups and vocalists of the day such as Nat King Cole.
He was inspired by percussionists such as Willie Bobo, Uba Nieto, Papi Pagani, Monchito Muñoz, and Willie Rodriguez. With encouragement from many of these same drummers who were from “El Barrio”, Jimmy practiced playing the timbales, the standing drum kit made world-famous by the great “Rey del Timbal”, Maestro Tito Puente. It was during a 1951 stickball game between the Devils and the 112th Street Viceroys that Jimmy’s life would turn towards history. A young man named Gilberto Calderon of the Devils met Jimmy, and invited him to a party. The two became fast friends. They had a lot in common. Both wanted to be musicians after being influenced by the music of Machito, Marcelino Guerra, Noro Morales, Tito Puente and Tito Rodriguez. 1954 saw the Joe Panama Sextet as one of Spanish Harlem’s most popular music groups. When Panama’s Conguero, or conga drummer, left the group, Jimmy recommended his friend Gilberto for the job. Soon after, bandleader Joe Panama fired his sidemen and replaced them with others. The now unemployed musicians which included vocalist Willie Torres and pianist Nick Jimenez formed a group which included bassist Roy Rosa, vibraphonist Tommy Berrios, timbalero Jimmy Sabater, and conguero Gilberto Calderon (who had been selected by the musicians to direct the band).

Movie Script Writing Classes

Alberto Vazquez (actor/screenwriter) will be assembling a screenwriting class in February at The Producers Club in Manhattan.  We will meet Thursday evenings from 7:30 till 10 PM.  Classes are $100 monthly and classes will be ongoing.  You will write a script in 30 days (first draft).  See my acting website: www.actoralbertovazquez.com / Contact me at: 917-331-3850

Acting Classes with Pro Actor

Actor Alberto Vazquez is teaching a new classes that begins February 8th (Wednesday) from 7:30 – 10 PM @ The Producers Club (358 West 44th Street / 9th Avenue in Manhattan.  Class are $100 introductory fee and $120 dollars thereafter monthly.  Private lessons are $75 dollars hourly.  Study stage, film and TV techniques.  On camera techniques also for the audition!  Learn how to become a working professional.

CONTACT: 917-331-3950

SEE WEBSITE/BIO & CREDITS (www.actoralbertovazquez.com)