Latino USA Episode 20

This is Latino USA, the radio journal of news and culture.

From Austin, Texas, I'm Maria Martin for Latino USA.

[El Cuchipe--Los Lobos]

On August 24th of last year, Hurricane Andrew ripped through South Florida, wreaking devastation. When the rains and winds had died down, 150,000 people were left homeless. One year later, many communities hard hit by Andrew have generally recovered, but that's not the case in the mostly agricultural region of South Dade County, where construction and repairs are still in progress. Many farms remain closed or are operating at half capacity. Reporter Emilio San Pedro was in the Florida City homestead area of South Florida on the anniversary of Hurricane Andrew. He reports that life is only very slowly returning to normal in this primarily farmworker community.

The Centro Campesino in Florida City is a farm worker support organization that serves as the unofficial town center for many of South Dade's migrant and year-round farm workers. Housing counselor Leslie Guerra says that every day, the staff at the Centro sees indications that the damages caused by Hurricane Andrew are still affecting the area's farmworkers.

In the long run, or the long term, the farmworker was affected because now there aren’t any- there's not as much work. There used to be a lot of farm laboring work done on lime groves, in plant nurseries, and stuff like that. And, as you know, everybody lost their trees in their backyard or their front yard, so you can imagine how the plant nursery industry did. And the farmworker, especially the farmworker who's here year-round, does lots of work in that particular industry, and that was almost completely wiped out.

One year after the eye of Hurricane Andrew passed over the agricultural region of South Dade, many farms remain closed or are operating at half capacity. The cost of housing has risen sharply, due to the destruction of many of the trailer parks, apartments and homes that house agricultural workers.

Last night I was watching a special program about the hurricane, and it was sad. It made me sad because I'm thinking-

Terry Adellano is a dance teacher at the Centro Campesino. She has seen her life, and the lives of the farmworkers she works with, transformed.

Our spirits really were blown away with the hurricane because our school was completely torn. I mean, our costumes flew away, our shoes. Along with a lot of our students that had to relocate to West Palm Beach, some to Texas, some stayed here, but most of them had to relocate because they didn't have nowhere else to live.

One of her students is Raul. His family stayed, even though their house was damaged, and his parents lost their business.

I learned not to give up by helping my parents after the hurricane, going out, making a little money by cleaning up other people's yards after I cleaned up my yard. My parents were just starting to pick up on a restaurant, and on the same day that the hurricane hit, the insurance man was supposed to come and approve it. But Hurricane Andrew beat him to it.

I'm going to ask Governor Chiles to say a few-

Today, on the eve of the anniversary of Hurricane Andrew, Terry Adellano and others at the Centro Campesino are hosting Florida's governor, Lawton Chiles, and other dignitaries who are paying visits to many of South Dade's hardest-hit regions.

I want to say how surprised I was when I came in here to see not only repairs being made to the homes that were here, but to see all the new homes being constructed. By golly, I'm delighted to see that the tent city is no longer there.

This is one of the houses that was rebuilt. This house was here during the hurricane. In fact, this house was used for-

Outside the office of the Centro Campesino is a housing development called Centro Villas. The more than 60 homes are owned by farmworkers that have participated in the Centro's sweat equity program. Antonia Torres lives in one of the houses and is the president of the Centro Villas Homeowners Association.

No, me falta terminar la cocina…[transition to English dub] I still need to redo the kitchen, and the kitchen cabinets haven't been replaced. Also, the tool shed was destroyed, and my fence has not been repaired [transition to original audio]…todavía.

Today, Antonia brought her husband and two boys to the Centro Campesino to hear what the governor had to say.

Que bueno que nos visitó el gobernador, que bueno…[transition to English dub] It's great that the governor came here, and hopefully it won't be just a visit. Hopefully it will result in assistance for all that need it. Sometimes it happens that way. They visit, look around, say they're going to help, and in the end, they don't do nothing [transition to original audio]…ojalá que esta vez sí ayuden.

Housing Counselor Leslie Guerra points out that houses like those in Centro Campesino are the exception for farmworkers, and that the majority of farmworkers are finding it difficult to make ends meet after Andrew, due to the shortage of affordable housing. She adds that the post-hurricane assistance offered by the Federal Emergency Management Agency, FEMA, was in many cases inadequate.

I think that FEMA has helped with maybe their personal property and personal belongings and things like that, but that is not long-term help. When someone replaces their furniture, it doesn't really get them back into the shape that they were in before. Helping them get a better job, helping them get better housing, that's what FEMA really should have done instead of giving them $8,000 or $9,000 and say, "Hey, buy new furniture with it." Is that really helping somebody put them back to where they were, or even helping them put their life back together psychologically and emotionally?

Hurricane Andrew caused over $1 billion in damages to South Dade's agriculture industry, and left thousands of acres of farmland barren. But today, many of the businesses on US 1 are back in operation, and some of the larger agricultural companies are in full swing. But many farmworkers have not yet fully recovered from the loss of housing and employment opportunities. For Latino USA, I'm Emilio San Pedro In Florida City.

[Gloria Latina-- Local Traditional Artists & Gérard Kremer]

Summer may be drawing to a close, but for as long as the warm weather lasts, Latinos in one area of New York City make their summer getaway to Orchard Beach. Located in the Bronx, Orchard Beach is the hottest spot every weekend for free outdoor salsa and merengue shows, and for Latino politicians to campaign for votes. Mainly, though, it's a place where Latino New Yorkers can just relax. Mandalit del Barco prepared this sound portrait of Orchard Beach.

Yo, this is Orchard Beach in the boogie-down Bronx, the Puerto Rican Riviera.

If you can't get out of the city on vacation, this is the place to go. This is our version of Cancun, our version of Puerto Rico.

Tell you about this beach. It's blacks, whites, Puerto Ricans, Cubans, Indians, Iranians, you name it. [Laughter] But uh-

This beach is full of culture you know. This beach, you got all kind of Latin Americans. Dominicans, Puerto Ricans, Colombians, Cubans. Get all kind of heritage walking around and having a good time, dancing. There's music bands over there.

[Highlight--Music--Cuban music]

I love it here because you don't see your brother, your sister, for 20 years. Hey brother, remember me? Oh, remember, I was your wife a long time ago? [Laughter]

This is the only place that we come here to forget, and not be- right, enjoy the summer. Because it's good being here, you know away from things, away from problems, away from home.

What do you try to forget about when you're here?

Stress.

Stress. Stress. Problems. Stress.

Work, accounting. Living in the ghetto, which is the most toughest part.

Right. When you come here, everything is different. When you go back home, you're back to the same old thing, same old-

Mostly we're all in projects. You know bad neighborhood, worrying about looking over our shoulders. So, this is a place where we just get away. Everybody's just being themselves, hanging out. We don't have to worry about someone coming behind us and trying to do something. This is relaxing. That's why we come here.

Everybody's trying to get away from that bad environment out there. You know what I'm saying? The shooting and the drugs and all that. Over here, it's not a bad environment. I'm saying, you don't see too many fights over here. I haven't seen a fight broke out yet. If anything, everybody likes trying to help each other. I come here to try have a nice time with my family. Have a few beers, smoke a blunt. You know what I mean?

Yeah. Really. Forget about everyday work and get out of the hot steamy streets, dirty filthy streets and stuff.

Do you ever go into the water?

Not really. I don't like going in that water, cause it's filthy. That's the truth. Where's everybody at? Look, the sand. Very few in the water. And if they're in the water, they're only in up to their knees. That's about it.

I just got to say, the water is very polluted.

Look what happened to his face. It's all red. Jellyfish got in his face.

Yeah, it hurts. It hurts a lot.

I saw there was lot of suckers in there. I wouldn't get in the pool now. I wouldn't put my finger on the pool.

It's not about going in the water. The water's no good. It's just about hanging out on the boardwalk and meeting people.

That's America. You know what I mean? Turn loose. That's what it's all about. You could be you, here in Orchard Beach. It's a symbol of all cultures exposing and expressing what America's about in one little corner of the world. [Laughter]

[Highlight--Music--Cuban music]

Our summertime audio snapshot of Orchard Beach, the Bronx, was produced by Mandalit del Barco.

[Recordando a Tschaikowsky--Gonzalo Rubalcaba]

Before the revolution that brought Fidel Castro to power, jazz music flowed freely from this country to Cuba and back. That musical cross-pollination has been more difficult in recent years, though. However, Cuban jazz pianist Gonzalo Rubalcaba made history this summer when he was permitted to play in the United States for the very first time. Alfredo Cruz reports.

[Recordando a Tschaikowsky--Gonzalo Rubalcaba]

During the first half of this century, Cuban music was a very popular source of entertainment in the United States. The Mambo y cha-cha-cha, and other rhythms dominated radio waves and dance halls across the country. Cuban music was being heard here, and jazz over there. But in 1959, following the Cuban Revolution, all cultural and political connections between the two countries were cut. And in Cuba, jazz became a Yankee imperialist activity. Playing or listening to jazz was done in an underground clandestine manner. Since then, things have changed. For one, the Havana International Jazz Festival, now in its 14th year, has attracted world-class musicians and helped raise the social and political acceptance of jazz in Cuba. But as pianist Gonzalo Rubalcaba says, it wasn't easy.

Bueno, principio en los años sesenta, y parte de los setentas…[transition to English dub] In the early '60s and through part of the '70s, it was very difficult getting people to understand the importance of supporting jazz and the increasing number of young Cuban musicians heading in this direction. Today, however, there can not be, and there isn't any misunderstanding or political manipulation of jazz or Cuban jazz musician [transition to original audio] …interpretación por parte de los musico Cuba.

[Mi Gran Pasion--Gonzalo Rubalcaba]

At 30 years of age, Gonzalo Rubalcaba is considered one of Cuba's premier pianists. His father played with the orchestra of Cha-cha-cha inventor Enrique Jorrín, and later became one of Cuba's most popular band leaders. Gonzalo himself played with the legendary Orquesta Aragón while still a teenager, but it is through his solo playing that Gonzalo has made his mark in Cuba and around the world. Because of political differences, however, the United States audience remained out of reach to Cuban jazz and musicians like Rubalcaba.

[Simbunt Ye Contracova--Gonzalo Rubalcaba]

Bueno Estados Unidos debió ser uno de los primeros escenario…[transition to English dub] The United States should have been one of the first places for me to play. But since 1989, there's been a mystique and anticipation surrounding my not being allowed to enter this country. Very simply put, it's been a politically motivated maneuver to not grant me a performance visa, and has nothing to do with artistic or musical considerations. But now, my first appearance in this country, I think signals that we are entering a new era. But that doesn't mean I haven't had any contact with American musicians, because I've played with many in Cuba and in festivals around the world [transition to original audio]…contacto con músicos Norte Americanos.

American bassist Charlie Haden met and played with Gonzalo Rubalcaba in Switzerland at the 1989 Montreux International Jazz Festival and brought him to the attention of Blue Note Records. Haden, along with Blue Note executives and Lincoln Center in New York City, negotiated with the US State Department to grant the young pianist a performance visa. And finally, in what seems to have been a political icebreaker last May 14th, Gonzalo Rubalcaba made his US debut performance before a sold-out audience at Lincoln Center.

[No name (Live at Lincoln Center)--Gonzalo Rubalcaba]

Nueva dirección, del viento, el aire lleva…[transition to English dub] There's been a change of wind, politically speaking, a relaxation of attitudes and perceptions that are now opening the doors to dialogue in an effort to eliminate tensions. And it seems to me that this is a common goal of both Cuba and the United States. Even though we still can't really speak of this in practical terms, but ideally, this could be the beginning of normalizing relations between the two countries [transition to original audio]…esto podría ser un pequeño parte de eso, un comienzo.

[Unknow Track--Gonzalo Rubalcaba]

Many artists in both countries do agree that a relaxation of political policy between Cuba and the United States would be a positive development. And Rubalcaba's US debut has generated a renewed optimism within the cultural community, even though the visa he was issued allowed him to play only one concert, and on the condition that he would not be paid. Recently, Gonzalo Rubalcaba's recording, entitled Suite 4 y 20, was released in this country on the Blue Note record label. For Latino USA, I'm Alfredo Cruz in Newark, New Jersey.

[Unknow Track--Gonzalo Rubalcaba]

When Congress reconvenes in September, they'll be taking up the merits of NAFTA, the North American Free Trade Agreement. But free trade isn't just about consumer goods, and many artists and intellectuals are talking about a parallel structure to NAFTA, one that would deal with ideas and culture. Commentator Guillermo Gómez-Peña calls it a free art agreement for cross-cultural dialogue.

Mexican and Caribbean cultures can offer the North their spiritual strength, political intelligence, and sense of humor in dealing with crisis, as well as experience in fostering personal and community relations. In exchange, North American artists and intellectuals can offer the South more fluid notions of identity and their understanding of experimentation and new technologies. US and Canadian artists of color, in particular, can offer Latin America sophisticated discourse on race and gender. Through trilingual publications, radio, video and performance collaborations, more complex notions of North American culture could be conceived. This project must take into consideration the processes of diaspora, hybridization, and borderization that our psyches, communities and countries are presently undergoing. Chicanos and other US Latinos insist that in the signing of this new trans-American contract, it is fundamental that relationships of power among participating artists, communities, and countries be addressed. The border cannot possibly mean the same to a tourist as it does to an undocumented worker. To cross the border from north to south has drastically different implications than to cross the same border from south to north. Trans-culture and hybridity have different connotations for a person of color than for an Anglo-European. People with social, racial or economic privileges are more able to physically cross borders, but they have a much harder time understanding the invisible borders of culture and race. Though painful, these differences must be articulated with valor and humor. In the conflictive history of the north-south dialogue and the multicultural debate, American and European sympathizers have often performed involuntary colonialist roles. In their desire to help, they unknowingly become ventriloquists, impresarios, flaneurs, messiahs, or cultural transvestites. These forms of benign colonialism must be discussed openly without accusing anyone. Their role in relation to us must finally be one of ongoing dialogue and a sincere sharing of power and resources. As Canadian artist Chris Creighton Kelly says, "Anglos must finally go beyond tolerance, sacrifice, and moral reward. Their commitment to cultural equity must become a way of being in the world. In exchange, we have to acknowledge their efforts, slowly bring the guard down, change the strident tone of our discourse, and begin another heroic project, that of forgiving, and therefore healing our colonial and post-colonial wounds.

Commentator Guillermo Gómez-Peña is an award-winning performance artist based in California.

[Closing Theme]

And for this week, y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin. The associate producer is Angelica Luévano. We had help this week from Vidal Guzmán, Karyl Wheeler, and the Hispanic Link News Service. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We really want to hear from you. So why don't you call us, llámanos, on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

[Opening Theme]

I'm Maria Hinojosa. Today on Latino USA, Homestead, Florida, one year after Hurricane Andrew.

[Simbunt Ye Contracova--Gonzalo Rubalcaba]

My God, it's been a year. Our lives have been affected so much that we were living so fast, so quickly.

Also, for the end of the summer, a Nuyorican pastime.

Yo, this is Orchard Beach in the boogie-down Bronx, the Puerto Rican Riviera.

And a proposal for a free art agreement.

Through trilingual publications, radio, video, and performance collaborations, more complex notions of North American culture could be conceived.

That's all coming up on Latino USA. But first, las noticias.

This is news from Latino USA. I'm Maria Martin. US Latinos are three times more likely to live in poverty than most Americans. According to a new census report, almost a third of Hispanics live below the poverty line. They make up 18% of the nation's poor, and only 9% of the population. Sonia Perez heads The Poverty Project at the National Council of La Raza.

The poverty level in the Latino community has increased over the past year, and we were expecting that, given the recession last year and the effect that that's had on the employment of a lot of people. So, the poverty issue is a big concern because we see that the community is working, and yet the poverty is high, so they constitute a large proportion of the working poor.

Almost half of poor Latinos are children under the age of 18.

Cuban American activists are protesting a decision by the Mexican government not to allow a boatload of refugees from Cuba to land on Mexican shores. Protests took place in Miami and in New York. Mandalit del Barco reports.

The Cubans protesting the decision called on a total boycott of Mexican products and traveled to Mexico. The demonstration targeted the Mexican government, and the consulate here in New York, for what protestors called their roles as assassins. Cuban refugees had been sailing for 21 days, allegedly on their way to the Cayman Islands, when their boat had mechanical problems. 10 people died, including two children, and the others continued floating until they reached the waters near Cancun. On August 19th, the Mexican government ordered them to be deported back to Cuba. The Mexican consulate issued a bulletin saying the Cubans on the boat were given medical attention before being sent back. According to the consulate, the refugees never asked for political asylum. For Latino USA, I'm Mandalit del Barco in New York.

Lawyers for the Clinton administration, and for a coalition of environmental groups, appeared before the US Court of Appeals in Washington, arguing the merits of a recent ruling, which prevents the administration from presenting the North American Free Trade Agreement to Congress until an environmental impact study is conducted. Patricia Guadalupe filed this report.

The Coalition of Consumer Groups maintains that the North American Free Trade Agreement is in violation of the 1970 National Environmental Policy Act. That law requires that any proposal significantly affecting the environment must be accompanied by an environmental impact study. Patti Goldman is the senior litigator from the consumer group Public Citizen.

We would like to see the environmental impact statement. There are serious environmental consequences of the recent vintage of trade agreements, including the NAFTA, and we'd also like to see a system developed under the National Environmental Policy Act for a full analysis of the environmental effects of future trade agreements.

The Clinton administration, represented by the Solicitor General Drew Days, contends that the environmental impact study applies only to federal agencies, and not to actions by the president, such as treaties. For Latino USA, I'm Patricia Guadalupe in Washington.

You're listening to Latino USA. Government officials from states along the US-Mexico border came together for a border summit in El Paso, Texas. On the agenda, how to pay for improving infrastructure projects. Luis Saenz of station KTEP reports.

Texas Congressman Ron Coleman, who convened the border summit, says, "It is unfair for border residents to pick up the tab in preparation of a North American free trade agreement." Coleman specifically opposes a proposal by house majority leader Richard Gephardt to levy a special tax on border businesses. Coleman says, "No one has asked people along the Mississippi to pay for flood damage, so why should the border be any different?"

It seems to me illogical, then, that something that benefits the entire United States, meaning international world trade and commerce, people of America would ask people along the border to pay for.

Coleman says, instead of taxing border communities, the government should use the money collected from duties at the various ports of entries to pay for infrastructure projects. For Latino USA, I'm Luis Saenz in El Paso, Texas,

There was another free trade-related summit in Tijuana, Mexico. This went to form a community-based agenda regarding NAFTA. Joseph Leon has this report.

Hundreds of people representing US and Mexican environmental labor groups met to discuss the North American Free Trade Agreement. The US, Mexican, and Canadian governments believe that NAFTA will tend to the economic and environmental needs of the communities throughout North America. But for the community groups, the agreement will accomplish quite a different goal. Mike Guerrero of the Southwest Organizing Project in New Mexico.

The North American Free Trade Agreement, as it's negotiated now, has nothing to do with free trade. For them to increase their profit margins means cutting our wages, cutting environmental regulations, cutting social services, and that's basically what it's all about.

Those who met in Tijuana hope to influence the public's opinion on NAFTA before the Congress issues their vote in the coming months. For Latino USA, I'm Joseph Leon.