Annotations for Communities: Mexicans

This is news from Latino USA. I'm María Martin. Hearings have begun on the North American Free Trade Agreement with Canada and Mexico. While concurrently in Washington, Latino leaders held a national Latino seminar on NAFTA. Andres Jimenez of the University of California at Berkeley says this is the first time Latino organizations attempt to formulate a common strategy on a major national question because of NAFTA's far-reaching impact on US Latinos.

This is news from Latino USA. I'm María Martin. Hearings have begun on the North American Free Trade Agreement with Canada and Mexico. While concurrently in Washington, Latino leaders held a national Latino seminar on NAFTA. Andres Jimenez of the University of California at Berkeley says this is the first time Latino organizations attempt to formulate a common strategy on a major national question because of NAFTA's far-reaching impact on US Latinos.

The impact of job displacement, environmental concerns, and not just protection of spotted owls, but protection of water in the air where people live along the border.

The impact of job displacement, environmental concerns, and not just protection of spotted owls, but protection of water in the air where people live along the border.

Latino organizations, including the National Council of La Raza, the Mexican American Legal Defense and Education Fund, and the Puerto Rican Institute for Policy Studies have signed on to a Latino consensus position on NAFTA, which calls for parallel agreements on immigration, job retraining, the environment, and for a North American Development Bank. Other organizations, including the Hispanic Chamber of Commerce, accept NAFTA as negotiated.

Latino organizations, including the National Council of La Raza, the Mexican American Legal Defense and Education Fund, and the Puerto Rican Institute for Policy Studies have signed on to a Latino consensus position on NAFTA, which calls for parallel agreements on immigration, job retraining, the environment, and for a North American Development Bank. Other organizations, including the Hispanic Chamber of Commerce, accept NAFTA as negotiated.

Long before the word “multicultural” came into popular usage, it was reflected on the public television's children's program, Sesame Street. Now the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

Long before the word “multicultural” came into popular usage, it was reflected on the public television's children's program, Sesame Street. Now the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

[Cheerful Sesame Street Music]

[Cheerful Sesame Street Music]

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a Mariachi band, and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks and visit a community center known as a Casita. This year, the spotlight will also be on the new fluffy blue bilingual muppet, Rosita.

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a Mariachi band, and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks and visit a community center known as a Casita. This year, the spotlight will also be on the new fluffy blue bilingual muppet, Rosita.

¡Hola Amigos! ¿Cómo están?

¡Hola Amigos! ¿Cómo están?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Sí, sí…yes, yeah I'm trying to help my friends to speak Spanish and all of my other friends that they're watching us. I'm trying to let them know that if they speak Spanish like me and English, they have to feel proud because they're very lucky to speak two languages.

Sí, sí…yes, yeah I'm trying to help my friends to speak Spanish and all of my other friends that they're watching us. I'm trying to let them know that if they speak Spanish like me and English, they have to feel proud because they're very lucky to speak two languages.

¿Abierto?

¿Abierto?

Yes, certainly! Abierto is the Spanish word for open! Abierto.

Yes, certainly! Abierto is the Spanish word for open! Abierto.

For many years now, Sesame Street has been teaching kids a few words in Spanish, like “hola” and “adios”, but what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

For many years now, Sesame Street has been teaching kids a few words in Spanish, like “hola” and “adios”, but what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

El mundo.

El mundo.

That's the world all right, and we are moving into...

That's the world all right, and we are moving into...

Puerto Rico!

Puerto Rico!

Puerto Rico it is! But look...

Puerto Rico it is! But look...

¡Cotorra!

¡Cotorra!

In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self-images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character María on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self-images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character María on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

I had the opportunity to write a show where María's family comes to visit, and I wanted everyone in María's family to be a different skin color because that occurs in a lot of Hispanic families. Puerto Ricans especially, is that, there are people of different skin colors in the same family so…and actually have a puppet say, "Wow! But he's darker than you. How could he be related?" or "She's lighter than you. How could she be related to you?"

I had the opportunity to write a show where María's family comes to visit, and I wanted everyone in María's family to be a different skin color because that occurs in a lot of Hispanic families. Puerto Ricans especially, is that, there are people of different skin colors in the same family so…and actually have a puppet say, "Wow! But he's darker than you. How could he be related?" or "She's lighter than you. How could she be related to you?"

For the last 20 years, María and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's Fix It Shop.

For the last 20 years, María and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's Fix It Shop.

Here, Luis and María, who are both Latinos, are regular people. I mean… they own a business; they have a family. You know… they're just regular people. They work like everybody else… you know. They brush their teeth, they comb their hair, you know…. whatever. The role model is, "Hey, they're just like everybody else.” You know… and that's important to show.

Here, Luis and María, who are both Latinos, are regular people. I mean… they own a business; they have a family. You know… they're just regular people. They work like everybody else… you know. They brush their teeth, they comb their hair, you know…. whatever. The role model is, "Hey, they're just like everybody else.” You know… and that's important to show.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

20 years ago when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either.

20 years ago when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either.

[Kid singing about his cultural roots]

[Kid singing about his cultural roots]

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Oh, that was great! Well, this is Big Bird leaving you with one final word: "¡Viva!"

Oh, that was great! Well, this is Big Bird leaving you with one final word: "¡Viva!"

Every culture has its special days, Diaz de Fiesta. Most often, they're related to a special date in history: Fiestas Patrias, Puertorriqueños celebrate El Grito de Lares on September 23rd. Dominicanos celebrate on February 27th, the Dominican Republic's independence from Haiti. In Mexico and among Mexican Americans, Cinco de Mayo is one such day of celebration, not an Independence Day, but in memory of a battle which took place in 1862. However, as producers Laura Valera and Arthur Duncan found, the historical significance of the holiday is often lost in the midst of cultural festivities. Here's their Cinco de Mayo audio essay.

Every culture has its special days, Diaz de Fiesta. Most often, they're related to a special date in history: Fiestas Patrias, Puertorriqueños celebrate El Grito de Lares on September 23rd. Dominicanos celebrate on February 27th, the Dominican Republic's independence from Haiti. In Mexico and among Mexican Americans, Cinco de Mayo is one such day of celebration, not an Independence Day, but in memory of a battle which took place in 1862. However, as producers Laura Valera and Arthur Duncan found, the historical significance of the holiday is often lost in the midst of cultural festivities. Here's their Cinco de Mayo audio essay.

You bet. There's a battle of somewhere… I forget now.

You bet. There's a battle of somewhere… I forget now.

[Transitional Drum Music]

[Transitional Drum Music]

Cinco de Mayo has to do with the French forces attempting to occupy Mexico. Essentially what it deals with is the defeat of the French forces by the liberal forces of Benito Juarez in the city of Puebla, in the state of Puebla.

Cinco de Mayo has to do with the French forces attempting to occupy Mexico. Essentially what it deals with is the defeat of the French forces by the liberal forces of Benito Juarez in the city of Puebla, in the state of Puebla.

Do you know why we celebrate Cinco de Mayo?

Do you know why we celebrate Cinco de Mayo?

All I know is it's a Mexican holiday. I don't really know what the reason is.

All I know is it's a Mexican holiday. I don't really know what the reason is.

I don't know, is it somebody's birthday?

I don't know, is it somebody's birthday?

Ah…for me, Cinco de Mayo is a pretty good… good day.

Ah…for me, Cinco de Mayo is a pretty good… good day.

A big event?

A big event?

A big Fiesta.

A big Fiesta.

That's when the Mexicans took over. They kicked the French out of Mexico!

That's when the Mexicans took over. They kicked the French out of Mexico!

Y ganamos los mexicanos.

Y ganamos los mexicanos.

The independence of Mexico.

The independence of Mexico.

From?

From?

Spain.

Spain.

And one last thing. Do you know why we celebrate Cinco de Mayo?

And one last thing. Do you know why we celebrate Cinco de Mayo?

[Transitional Music in Spanish]

[Transitional Music in Spanish]

Cinco de Mayo did not lead to the ouster of the French. It would represent a significant victory for the Mexicans because it taught them that they could create a real sense of nationalism for them, that they could defeat invading forces and the like. It was significant on the basis of… you know, sort of a moral strength that gave the Mexicanos.

Cinco de Mayo did not lead to the ouster of the French. It would represent a significant victory for the Mexicans because it taught them that they could create a real sense of nationalism for them, that they could defeat invading forces and the like. It was significant on the basis of… you know, sort of a moral strength that gave the Mexicanos.

[Transitional Mariachi Music]

[Transitional Mariachi Music]

We just know it as a celebration, as a fiesta. Aside from it being a festival event, it's an educational event because it is the time of the year that, for some reason, many of our people put our political agendas, our turf agendas aside, and realize that we are all one of a large majority of people in this hemisphere.

We just know it as a celebration, as a fiesta. Aside from it being a festival event, it's an educational event because it is the time of the year that, for some reason, many of our people put our political agendas, our turf agendas aside, and realize that we are all one of a large majority of people in this hemisphere.

Do you celebrate Cinco de Mayo?

Do you celebrate Cinco de Mayo?

Well, doesn't every Hispanic?

Well, doesn't every Hispanic?

Bueno, cuando celebramos el Cinco de Mayo vamos aquí a las fiestas que tienen en el Fiesta Garden.

Bueno, cuando celebramos el Cinco de Mayo vamos aquí a las fiestas que tienen en el Fiesta Garden.

Yes, a big party.

Yes, a big party.

Con Mariachi, es una fiesta mexicana.

Con Mariachi, es una fiesta mexicana.

Bueno… el parque.

Bueno… el parque.

The typical barbecue con unas cervecitas aquí y allá. I just have a good time with the friends and family.

The typical barbecue con unas cervecitas aquí y allá. I just have a good time with the friends and family.

The most things that I do is dance.

The most things that I do is dance.

[Corrido Music]

[Corrido Music]

During these festivals, we also realize that there are no borders.

During these festivals, we also realize that there are no borders.

[Corrido Music]

[Corrido Music]

This is news from Latino USA. I'm María Martin. He truly was a legend in his own time, the man who organized farm workers in California and throughout the Southwest beginning in the '60s, whose tireless efforts on their behalf inspired a whole generation to political activism and who, more than 25 years ago, gave then oppressed Mexican Americans a hero and a cause.

[Corrido music]

César Estrada Chávez was born in 1927 on a ranch outside Yuma, Arizona. At age 10, he was working in the fields. 20 some years later, he was organizing Mexican and Filipino farm laborers in California in the first ever successful effort to unionize US agricultural workers.

[Corrido music]

César Chávez died at his home in Arizona, not far from where he was born, but the journey he traveled in those 66 years as a symbol of the Chicano movement, as a unique labor leader, was one of struggle and faith. Not long ago, Father Virgil Elizondo of San Antonio, Texas mused on how far Chávez had come, often fighting a David and Goliath battle against powerful economic interests, but driven by a strong belief in the justice of his cause on behalf of migrant workers.

When Caesar Chávez took on the greatest powers in this country, people said he was crazy…couldn't do it. He has not totally succeeded, but he's come a long way.

Rebecca Flores Harrington works with the United Farm Workers in Texas.

He never forgot where he came from as a farm worker himself, as a migrant farm worker… and he always remembered those experiences. And he inspired others who were different from himself to do the same, to go back into their communities and do something to better the lives of those people in their own communities.

In 30 years as an organizer, Chávez saw his small union grow to a high-tech organization with a pension plan and retirement benefits, but Chávez's union had lost membership and some say moral authority in its later years due to a hostile political environment in California and infighting within the union itself. Osvaldo Jaurechi worked with the UFW until 1990. He says even those people who had had severe fallings out with the UFW founder were in shock on hearing of the passing of César Chávez.

They feel really shocked, really moved, and they think they should go and pay their tribute to the leader for what he was and most for what he still represents as a symbol of the campesino struggle.

I'm María Hinojosa. Trade talks are now underway regarding the North American Free Trade Agreement with Canada and Mexico. NAFTA perhaps, as no other US economic initiative, will have a significant impact on US Latinos. With us to speak about the future of the controversial free trade agreement are three journalists who cover Washington DC politics: Sandra Marquez of the Hispanic Link News Service; freelance journalist, Zita Arocha; and José Carreño, DC Bureau chief for the Mexican daily, El Universal.

The biggest misperception in this whole thing is that even if NAFTA is a new document, in a way, it is something that is already happening at the border, as well, the people who's in Texas and California can say. Now what is going to happen? I think that there will be a lot of pressures on Mexico and the United States mostly in the environment and labor problems. Congressman Gephardt and a number of other Democratic freshmen went to Tijuana to take a look at the ecological situation there. They came out saying, "No way that way. At least the actual treaty has to be upgraded." We'll see a lot of the arguments in the next few months about it.

In fact, we've seen a lot of arguments already. Sandra, how much has the debate over NAFTA divided the Latino community in particular?

I think there's tremendous division among US Latinos on the issue of NAFTA because primarily, the jobs that are expected to be lost as a result of this agreement are the low-skilled, low-paying jobs that so many Latinos in this country hold. So, there is concern that the jobs that Latinos have are going to be exported to Mexico, but at the same time, Latinos realize that they have this intrinsic link with their Mexican kin across the border. And so, they realize there's tremendous potential that because of Latinos' bicultural skills that they can really tap into this and benefit more so than other Americans in this country.

The Latino population is also divided in terms of convenience. For instance, in Texas, there is a lot of people who's in favor of NAFTA because most of the import-export businesses are going through Texas and of course, they're getting a boost out of it. But in California, for instance, where there is a lot of Latinos in this low end of the industry, they're having a lot of problems, a lot of hesitations about it. So, I think that it is also related a lot with where are the jobs.

I think the Mexican government has realized that US Latinos can be very good promoters of this plan. And they have started a NAFIN fund, a $20 million fund for US Latino business leaders to create joint ventures with business partners in Mexico. And US Hispanic chambers of commerce here in this country have also been leading in terms of creating these trade partnerships and expose and taking people from the United States to Mexico and really helping to create these links.

There's another benefit to Latinos and I think Latinos are beginning to see this, that if the agreement leads in less immigration from Mexico to the United States…from Latin America in general to the United States, then those low-end jobs will not be taken away as easily as they would be if we continue to see hundreds of thousands of people coming across the border every year. There is some resistance on the part of some Latinos for fear that a lot of the low-end jobs will go to Mexico, but at the same time, there is also a realization that there will be benefits long term that will come from fewer immigrants coming over and you know, taking US jobs at the low end.

Thank you very much, Sandra Marquez, Zita Arocha, and José Carreño for joining us here on Latino USA.

Yo crecí en Chicago. I grew up in Chicago, but every summer, my family would pack up an overloaded station wagon and drive across the border to visit my homeland, México. I have many wonderful memories of those trips to less urban settings. That was where I came into contact with nature, driving across the mountains and deserts of México. I often think that, like me, many Latinos who return to the land of their birth or where their parents or grandparents came from do so for the joy of going back to where the simple things of life are still valued. A few years ago, Texas artist Luis Guerra moved to a village in the state of San Luis Potosí in northern México. He says he was recently reminded of why he made the move as he took a long hike in the mountains in La Sierra.

La subida es dura. It's a steep climb, but after a few hours, the walking gets easier. The valleys and peaks of this beautiful, rocky Sierra spread out before you like a solid ocean suspended in time. This is a dry land, almost a desert, yet sometimes I'll find a tiny spring in a niche of a canyon wall. Or I'll happen upon a small shrine in a lonely valley. Almost every day, I'll come across a shepherd tending his flock or I'll hear the sounds of children and discover they are gathering wild herbs like oregano or rosa de castillo. Often, early in the morning, I'll see a woman or a man driving two or three burros loaded with mountain produce heading for a nearby town or city. I make it a point not to camp close to someone's home just out of respect and so as not to use up firewood that doesn't belong to me. Firewood is scarce around here. This day as I crested a hill, I spotted a ranchito, just a little two-room house, adobe walls with a flat roof.

Smoke was rising from the chimney. I was barely 300 yards from the ranchito and it would be dark soon. It was too late to move on. It was going to be a cold night and the only firewood I could find was already cut…tú sabes, for the rancho's wood stove. Ni modo. I used the firewood. I felt guilty, but warm that night. Anyway, I would make it up to them in the morning. After breakfast, as I was packing my things, the campesino from the ranchito showed up, a barrel-chested man with strong hands, a weathered face, and a scraggly beard. "Buenos días." I walked up to him and offered to pay for the wood. He brushed my words aside. "Mira, everything you see all around you is mine. Estás en tu casa. This is your home." To him, I was already his guest and my offer to pay was almost impolite. He reached into his bag and handed me a small bundle. "My wife packed this for you," he said. It was bread, goat cheese, and jamoncillo, a homemade candy made from fresh milk. We talked for a while.

I told him I was a painter who took inspiration from the Sierra. He told of his early life as a shepherd in these same mountains and of his many years as a minor in Zacatecas. "The mines are bad luck," he said. "Es muy duro, siempre en lo oscuro… always in the dark, digging with dynamite for God knows what or for whom. Here on top of the earth, we have everything a man can need. What more can one ask for? Dios provides the earth, the sun, wind, and rain. We provide the labor." He smiled. Somehow, my pack felt especially light that whole day.

By now, Dr. Loco's Rockin' Jalapeño Band has a reputation up and down the California coast. Their fun-loving style is broad in its range, from cumbias like this…to Dixieland, the blues, or a mix of gospel and soca, with a little bit of Afro-Cuban percussion for spice. The members of this nine-piece band like to think of their work as Chicano world music. The band leader is Dr. Loco, also known as Professor José Cuéllar, PhD and chairman of La Raza studies department at San Francisco State University. Dr. Loco says his music is an example of what Chicano culture is all about, mixing and blending unlikely elements to create something entirely new.

We see Afro-Cuban rhythms that have been a part of our culture since the '20s. We see Germanic elements that have been part of our music since the late 1800s. We see indigenous rhythms and indigenous instruments and the reintegration and the influence of nueva canción of the '60s, the cha-chas and mambos of the '40s and '50s, the doo-wop of the '50s, and the rhythm and blues, and, more recently, the rap influence as well as influences from rhythms around the world: songo, soca, and et cetera. So we decided to call it Chicano world because we think it's Chicano music and it also represents the influences of the world on our music.

You know, you've also done something that is really somewhat daring. You've taken a term, “pocho,” which if it's used by a Mexican towards a Mexican, it can be taken as an insult that you're too pocho. That means you're too Americanized, but you've in fact taken this term, and you've said that you pocho-sized something.

Absolutely! We're very proud of being not only bilingual, actually multilingual, and not only bicultural but multicultural. And for the longest time, we were put down on the one side for being too Mexican and on the other side for being too anglicized or too Africanized. And uhh...we decided to, you know, take a cultural position in saying, “we're pochos and proud of it.” You know, somos bilingües. So what? In fact, we see that being bilingual, even when changing the lyrics, we're speaking to two different, actually, three different groups: monolingual English speakers who fill in the blanks, monolingual Spanish speakers who fill in the blanks, and bilingual razas, who trip off on how we can do this.

You mean they're the lucky ones out of…they're the luckiest ones because they can understand everything that's going on?

Well, they appreciate… you know, we appreciate it at a deeper level.

You can really hear the pocho-sizing of your music when you take a song, like "I Feel Chingon" from your album "Con Safos" or "Chile Pie" also from "Con Safos," both of these are like '50s remakes of Black songs, que no?

Absolutely, absolutely…those…I feel "Chingon" is our Jalapeño version of James Brown's "I Feel Good," and "Chile Pie" is the classic…a remake of the classic. It's always reverberated in the Chicano community…resonated. It's the "Cherry Pie."

[Dr. Loco's Rockin' Jalapeño Band music]

Black music is a very important part of the Chicano experience from the West Coast.

It's been an integral experience throughout. I mean, whether we're Chicanos in Tejas, we had the influence of the Louis Armstrongs and the Dixielands way back. I mean, Ernie Cáceres, Emilio Cáceres, the jazz musicians, were tremendous in the '30s, were influenced by Afro-Americans a lot from New Orleans, and then throughout the '40s and '50s, the blues had been strong. Some of our greatest blues singers, Chicano blues singers, have been tremendously influenced by the blues. Freddy Fender, you know, wrote "Wasted Days," the first Chicano blues.

Well, one of the themes that runs through most of your music is the idea of Chicano pride, and it's really especially apparent on your most recent CD called "Movimiento Music," but at some point, Dr. Loco, don't you feel like, for example, let's take "El Picket Sign." I mean, it sounded kind of predictable, kind of a throwback to the '70s or '80s, real staid, predictable, even like rhetorical kind of political music. I mean, at what point do you continue to talk, let's say, in music that is considered panfletária, really propagandistic, and, on the other hand, really wanting to do something that is communicating something else on a cultural level?

Well, you know, the reason we included that song…in fact, that song was the reason …the rest of the album grew out of that song, conceptually, for me, and that song was a song that we performed because the farm workers are still boycotting grapes and because we're so close to really having more and more people understand the dilemma of pesticides, you know, on our food and our jobs and how many people in Earlimart and in other communities are really suffering from these pesticides, and there's other…there has to be other ways of dealing with our food so that we have safe food and safe jobs.

Well, what do you say to people who believe that political music like this is really passé, that it's something of the past and that it's really from an old school, an old trend that's already gone?

Well, you know, I say to them, you know, the lyrics of "The Picket Sign," you know?

El picket sign. El picket sign. Boycott the Jolly Green Giant. El picket sign. El picket sign. Let's stop, run away in the street. El picket sign. El picket sign. Support the displaced workers. El picket sign. El picket sign. [unintelligible]. From San Antonio to San Francisco.

We were encouraged to produce the music because of the movement, not because of the other way around. We were encouraged by what seems to be conditions all around us.

The last piece on your CD is an interesting remake and an interesting version of "We Shall Overcome."

Nosotros venceremos. We shall overcome. Nosotros venceremos. Oh, deep in my heart, I do believe we shall overcome someday. ¡Soca, Loco!

We believe that this is the essential song for the movement of social justice. I mean, it has been…it's the one that's sung all over the world, from Tiananmen Square to Berlin to South Africa to the fields of California. So we decided to do a remake, our own remake blending something that would kind of reflect both its historical essence…and its rooted in the South and southern spirituals and the African American experience, but that has gone around the world and back, and with different and interesting influences. So, that's why we decided to do it in a blending of spiritual soca with Chicano Jalapeño flavor.

Speaking with us from KQED studios in San Francisco, Professor José Cuéllar, leader of Dr. Loco's Rockin' Jalapeño Band.

[Dr. Loco's Rockin' Jalapeño Band music]

They came by the thousands to the 40-acre ranch near Delano to pay their respects to the man who had fought an entire lifetime to give dignity and more opportunity to those who picked the food on America's tables. César Chávez, founder of the United Farm Workers Union, the first successful attempt to organize agricultural workers in this country, died April 23 at age 66. In Delano, the mass procession behind Chávez's simple pine coffin was at times over two miles long, as everyone, from farmworkers to the famous, came to pay their respects.

We shall miss…we shall miss César's powerful voice. His life and its example call each of us to a higher purpose, to greater resolve, to right the wrongs, to correct the injustices that continue to plague our communities, whether it's urban or rural, industrial or agricultural. It is an honor to remember his valiant life and to recommit myself and that of my colleagues as we go forward to try to bring for our children and our children's children the vision and the dream that we share. Entonces, con su permiso…hablo poquito en Español.

[Crowd cheering]

César Chávez es mi hermano, mi amigo, mi compañero. ¡Viva la raza! ¡Viva la causa! ¡Viva César Chávez!

[Crowd cheering]

A proclamation by the President of the United States of America upon the death of César Chávez. "César Chávez came from the humbled yet proud beginnings of a migrant worker to lead those same workers in a movement that irreversibly shaped our nation and brought justice and dignity to thousands. After the Depression ..."

In 1965, I believe, or '66, we marched with César here in Delano. On the efforts to do something about publicizing the boycott and the plight of farmworkers.

He moved us in a way that has come to be known as el movimiento y la causa.

Repeat after me. Boycott grapes! Boycott grapes! Boycott grapes!

In his loving…in his loving memory, please, boycott grapes. Make sure that our children do not have to suffer the pesticides anymore. What has happened to César will happen to all of us, and may we all be as lucky as César and be able to lay our heads down, close our eyes while reading a magazine on the Aztec nation and go to sleep and end our lives in that manner. We should all be that lucky.

¡Nosotros venceremos! ¡Nosotros venceremos ahora!

The life of César Chávez, his commitment to a cause, inspired many across the country, and as thousands gathered at the memorial service in Delano, California, Diana Martínez collected these thoughts from friends and supporters of César Chávez.

Nosotros venceremos.

Whether from a celebrity, politician, or average citizen, everyone who came to pay their respect seemed to have a story about how César Chávez touched their lives.

His life was an example to people, and millions of Hispanics and millions of Americans who will never live on a farm had their lives changed by him.

Mark Grossman first met Chávez in 1969 as a student. Grossman worked summers and vacations on the grape boycott from 40 Acres, United Farm headquarters in Delano. He learned firsthand how César was always able to get people to do a little more than what they first expected. Grossman wound up working for the union for 24 years and became his press secretary and personal aide. No one, he said, worked harder than the labor leader.

No one could tell César Chávez to slow down. The man was working 20-hour days, traveling constantly. I can't count the number of times that I'd meet him at his yard…you know, at 3 o’ clock in the morning, because…at La Paz near Bakersfield, because we had to be in Sacramento or San Francisco at 11:00, and we'd spend a full day of appearances and rallies and news conferences and protests or negotiations and be back dropping him off at 3 o’ clock the next morning.

Before becoming a politician, California State Senator Art Torres also worked for the UFW. As a young man, he was inspired by his unbending principles.

I remember, one time, we were driving from…Thermal, California in 1973 and the two dogs were in the back, Boycott and Huelga, and we stopped at a gas station…and we had just come from a rally. We had collected all this money, and I said, "Well, brother, we need to pay the gas bill." He says, "You're not going to touch that money until it's accounted for, back at La Paz." I said, "But we have no money to pay for the gas." "Then you go out there and you find the money from somebody else, but you're not going to touch that money because that has to be accounted for. It's the workers' money."

Senator Robert Kennedy, Jr., says his family became more aware of the power of the Latino vote because of Chávez.

I remember in the 1980 campaign when he came to Arizona, which he didn't have to do, during a primary, when Senator Kennedy was already in bad shape in the election, but he produced hundreds of lowriders who came with him because they were devoted to him to get out the vote for us on primary election day. He went into the field, sent organizers, had them register actually in the field, and we won the state of Arizona just because of César.

My first job that César gave me when we came to Delano was to go get the money from the workers at $3.50.

Dolores Huerta was with Chávez from the very beginning. She said he always knew gaining rights for farmworkers would mean tremendous sacrifice.

I went back to César, and I said, "César, they can't afford that much money." And he said, "If they don't give that $3.50, they will never get out of their poverty.”

Father William Wood, president of the National Catholic World Life Conference, and the Reverend Jesse Jackson, say Chávez will never be forgotten.

Because of our common faith, and especially with what I see here tonight, with the face of the people, I see that that it's really true when they say "Viva César Chávez." He really does live.

Chávez was a seed sower. He planted seeds of dignity, and those seeds will keep sprouting in the heart of people. As long as farmworkers fight for a decent wage, Chávez lives. As long as they fight against the horrors of the insecticides, Chávez lives. As long as they fight for the right to vote, Chávez lives. As long as they fight to build coalition, Chávez lives.

For Latino USA, I'm Diana Martínez.

When he died, César Chávez vacated the post he had held for over 20 years as president of the United Farm Workers. Towards the end of his tenure, though, the organization was faced with much criticism over the handling of the last grape boycott and a decreasing membership of farmworkers. In naming a new president, the UFW could have chosen Dolores Huerta, the co-founder of the organization. She said it would've been symbolic but, in fact, that the Farm Workers Union needed to move forward. So last week, the torch was passed to the younger generation. Arturo Rodríguez, Chávez's son-in-law is the new UFW president. The future of the UFW was on the minds of many who gathered at the memorial service for the longtime union leader. From Delano, Alberto Aguilar reports.

[Transitional corrido music]

This retired farmworker brought his accordion to Delano to remember César Chávez. Old-timers like him have been through a lot in the last 30 years, ever since César Chávez began organizing in the fields. The corridos tell the story of the struggle to improve the lot of the most impoverished of American workers. With the passing of their leader, unionized farmworkers now turn their heads to the future. While some may say these are unsettled times for the UFW, others see it as a rebirth. Organizer Humberto Gómez said Chávez's crusade won battles on the strength of our conviction of justice in the fields and that justice is still worth fighting for.

See, what happened is, like César used to say, the UFW is not only a union; it's a social movement. We belong to the community, and the community belongs to us. So we are part of the community, and that way, we will never die. You know, it is like me…you know, I start when I was 15 years old. I got my family here marching with me, and then more farmworker kids are going to be coming, and they're going to be getting involved in this. So we will never be shrinking, we will never die because this is a good movement. This is the best movement.

Another UFW organizer says he's not concerned at the passing of Chávez or the death of the union. Bobby de la Cruz, whose father was killed in an early union-organizing drive, said Chávez prepared them for his departure.

When I went and seen his coffin, you could see his face. I mean, he died peacefully, but you could tell that the work that he wants us to do is there. And he knows that, and we know, that the commitment is even stronger now. And I think this summer, you'll see the fruit of his labor really producing because it has inspired us to say that the union is alive, the leadership that it has. I mean, we come from that school. We've been at it for 20…25 years, and we're young, we're moving ahead and moving the movement forward to where he wants us.

For a time in the '70s, farmworkers had political clout in California. They even got the governor Jerry Brown, Jr., to sign a landmark legislation establishing the Agricultural Labor Relations Board. But through two successive Republican administrations, the tide started to turn against the farmworkers. California political consultant, Richie Ross.

I think César came to conclusion, and I think the correct one, that this movement has to win on the strength of average people and not be dependent on politicians.

Was that evident to you, and how?

He hasn't had any serious communication with any politicians in a long time. They haven't done anything. I mean, he tried everything. He supported them. He did it with money, he did it with people. He's done it every way you're supposed to play. He played the game the way everyone says you're supposed to play the game. He played the game. He got the law passed. He continued to support them all. And when push came to shove, all that he could do was no match for the money of the agricultural interests in the state. And uhh…I think he came to the conclusion when he started the grape boycott the second time several years ago that they're going to have to do it the old-fashioned way.

The union has also been weakened by internal strife and dissension within the ranks. But in the wake of César Chávez's death, the disaffected and the estranged have come back. Like California Senator Art Torres, many are talking about a renewal of the UFW.

It's a healing process for all of us. And now we realize that we still have a lot of work to do, and I think his death gives us all a rebirth of where we have to recommit ourselves even stronger now to erase some of these injustices which continue in one of the richest states in the world.

Welcome this evening, César Chávez of the United Farm Workers of America.

[Clapping]

Very early in our struggle, we found that…we really couldn't beat the growers at their own game…in their own turf. And taking a page from…Gandhi and Dr. King and others, we came to the conclusion that we had to involve half of the world to beat the growers and that we could not do it through public policy. Workers are not covered by any protective laws for collective bargaining. And…those local courts will issue out injunctions like…they were going out of style. We were going to strike. But we also found out that they couldn’t really…although they're very powerful, that they really couldn't reach out to Chicago or Boston or even San Francisco or [unintelligible] or other places…across the border to Canada or Mexico. And that there, we could begin to have a more level playing field.

I'm talking now of public action or the boycott. It is a boycott… public action…that saved this union. It is the only way we've ever made any progress, is through the boycott. We've never won anything without the boycott. The boycott or a threat of the boycott. It's a terrible irony that in our day and our age, our country produces more food than what it really needs…yet the men, women, and children whose labor harvests this food often go to bed hungry. That's a terrible irony, and that's why we're here, and we ask you to join us, to join us to put a stop to that. Thank you very much.

[Clapping]

[Corrido music about César Chávez]

The newly appointed successor to César Chávez, Arturo Rodríguez, started as a union organizer in the '70s. The Chávez lieutenant will have to deal with difficult issues like the grape boycott, the legal challenges by the growers, and the ban on toxic pesticides in the fields. Rodríguez will need the determination and daring Chávez taught his organizers. For Latino USA, this is Alberto Aguilar, reporting from Delano, California.

From Arizona, from Lansing, Michigan, all the friends from Lansing, from New York City. Ooh, what a day.

It was that time of year in San Antonio, again. Time for fans of the TexMex accordion to make the pilgrimage to Rosedale Park for the 12th-Annual Tejano Conjunto Festival.

[Transitional Music]

It's not only a part of the Tejano Chicano culture, but it's an art form, and people from all over the world come to experience it. That's what's special about it.

I didn't know a damn thing about Conjunto music till a few days ago. Now I'm a real fan.

It just brings out the spirit and the heart that has brought to you that you're raised with it, your parents loved it, and you continue to love it as well. It's just there.

See, I grew up listening to Conjunto music when my parents would take us to the dance hall as little kids. So it's not just what we're listening to now, but it's also a way of passing on culture.

The beat. The beat, it just, I mean, it just keeps your body going. You don't have to understand it to enjoy. But if you are fortunate enough to understand the language, pues esta mejor. Que viva conjunto.

This year's festival featured traditional Conjunto as well as its more modern musical cousin, Tejano music. As Elena Quezada reports from Austin, in the last few years, Tejano music is enjoying an unprecedented boom in popularity.

It's past midnight at Dance Across Texas, a popular dance club in Austin where nearly 2000 bodies are pressed up against the stage in anticipation of tonight's show.

This is not just any performance, this is a Tejano show. The very name means Texan in Spanish. The term Tejano has come to define regional TexMex music, and tonight it's Emilio Nevida and his group Rio from San Antonio, Texas. With hits like "Naciste Para Mi", they have become one of the most popular bands in Tejano music. The popularity of Emilio Nevida and other interpreters of Tejano music is selling out concerts and packing glitzy new nightclubs throughout the Southwest.

And now, another 40 minutes of continuum, on San Antonio's Numero Uno, Number One Tejano 107FM.

Another sign of Tejano music's popularity is that, in the last two years, radio stations across the Southwest, California and in Mexico are changing to a Tejano music format, dropping their contemporary pop or salsa formats and switching to a Tejano style.

I see the rise of Tejana music as being parallel to the popularity or the rise of Hispanics in this country, economically, politically, culturally. They said the eighties was the decade of the Hispanics, and then they quickly said, "Nope, this is going to go on for a while."

Ramiro Burr is an entertainment reporter who covers at the Tejano music scene for the San Antonio Express-News. He says that Tejano music, which was once thought of as the traditional music of older generations, now has legions of younger fans.

I see that when I go to Tejano shows and I see kids from five, six years old, eight years old, singing the lyrics to these people. Now I go back to '80 and I can't remember a time when they were teens or pre-teens that considered Tejano artists heroes. But now they do. Now they buy their t-shirts, their coffee cups, their caps. That shows me that there's a future for this.

With its sounds of the accordion, the bass and the guitar, Tejano music came out of the Norteno style, developed along the Texas-Mexico border. This style, also called Conjunto, was born when Mexican and Mexican-American musicians borrowed the accordion from their German and Czech neighbors in Texas. Tejano roots can also be traced to the early orchestra sounds of Little Jo and La Familia and others like Sonny Ozuna from the late fifties and sixties. Tejano music of the nineties consists of rancheras, polkas, ballads, and cumbias. With influences of pop, rap country and rock.

21-year-old Selena Quintanilla from Corpus Christi, Texas has been number one on the regional Mexican charts of Billboard Magazine for the past seven months. Selena and other young artists have added their own touches to the music.

We consider Tejano music like a folk music. It's always been here. It's never changed. It's like country music. But we feel that it's getting stronger now because it's more progressive. Now there's keyboard synthesizers and it's a lot more modern. And I think it's great now because now the young people are turning back to TexMex music and wanting to get more closer to their roots.

$33.39—put the guarantee on here. We have a 30-day guarantee on our cassettes.

In the past year alone, Tejano music sales have exploded from 3 million in 1980 to an estimated 16 million dollars in 1992. Artists like La Mafia, Selena and Moz can now sell more than 1 million records.

[Transitional Music]

Major record companies like Capitol, EMI, Sony, and Warner Brothers have noticed that Tejano music's enormous market potential. They've signed on artists who previously recorded for small regional labels. Now their sales have escalated. This year, the 13th annual Tejano Music Awards were broadcast live for the first time via satellite to 32 markets, many of them outside of Texas. Another sign that Tejano music is reaching out beyond traditional borders is that this year the band which was recognized as the most promising in Tejano music is fronted by an African-American. Dee Burleson, lead singer of a group called Culturas, believes that this boom in Tejano music has only just begun.

It used to be like almost a mom-and-pop operation. Dad would go out and promote son and daughter for their band or whatever. Now they've got big sponsors and they've got huge industry behind them, and it's a great thing. It's a great, it's a building process and right now it's reaching all around the world. It's a rave thing in Germany right now, and Great Britain. So, Tejano music is finally getting the recognition it deserves.

Major corporations are also recognizing this music's potential. Coca-Cola, Miller Light and GMC Trucks are just a few of the many investors in this musical style. For Latino USA en Austin, I'm Elena Quesada.

[Transitional Music]

Certain instruments, like certain rhythms, are characteristic of Latin music. For instance, in Cuban rumba or salsa we hear instruments such as congas, bongos, and timbales. At the heart of Latin music are two simple wooden sticks known as the "clave". Without this simple instrument, Latin music would not be the same. From Boston, Producer Marta Valentín prepared this appreciation of Latin music.

[Salsa music highlight]

A few months ago, while out with an American coworker, I had a great experience while listening to Latin music at a small club here in Cambridge. As I am a Latin woman, it was obvious to me that we were listening to the music in different ways. After watching her tap to the wrong beat for some time, it occurred to me that I could point out an aspect of the music that would enhance her listening, get her tapping on the right beat, and thus make the night more enjoyable for her. [Latin jazz music]

[Latin jazz music] I asked her what she liked so much about Latin music, salsa and Latin jazz in specific. She told me, "The feeling that you get when listening to it. The pulse," she went on to say, "That feels like everyone's heartbeat is one, coming from the earth and reaching to the sky." I smiled, not only because I liked the metaphor, but also because I felt great pride in my music and my culture. I decided it was time to let her in on what that heartbeat is, the clave, or "key" as it is appropriately named, two sticks of wood that are banged together.

[Latin jazz music] In fact, the heartbeat of Cuban rumba and salsa music. That feeling she was referring to is known as the "clave feeling", and comes out of the five-stroke two-measure pattern that identifies it. [Clave sound] This pattern is perceived as a thymic clock that keeps the musicians on the same wavelength. However, when the actual claves are not present in a song, that feeling continues by virtue of melodic phrasing and percussion patterns. Although there are different claves, the two most popular are the Cuban clave, or rumba clave. [Clave sound] And the sone clave. [Clave sound]

As you can hear, the Cuban clave is a half beat later on the third stroke. Listen, Cuban. [Clave sound] And sone [Clave sound]. Although they sound almost the same, they aren't. That's why a musician's ability to not only play in clave, but distinguish the two, is not only attended, key to their success. Let's listen to a little Cuban rumba. This is “Orquestra Original de Manzanillo”, with Comenzó La Fiesta, the Party Has Begun. (“Comenzo La Fiesta Music highlight). In Cuba, the claves are considered to be one male, which is eight inches, and the other female, which is four inches long. Holding the female in a cupped hand, the male bangs against her middle repeatedly.

This gender designation comes from the African influence on the Cuban culture. It is interesting to note also that although the claves themselves are wholly Cuban, never having been found in Africa or Europe, the clave rhythm had permeated African music for centuries. The clave pattern is found in many different styles of music besides rumba and salsa. It is found in meringue, guaracha, danzon, cha-cha-cha, and even boleros. Here's Juan Luis Guerra's bolero,”Señales de Humo”, “Smoke Signals”. (Highlight “Señales de Humo”).

Finally, in salsa music, the clave is regarded as beginning as soon as the music begins, and continuing without interruption until the last note. Even when the music is silent due to rests or changes in the arrangement break the flow, the clave pattern is holding it all together and creating that clave feeling that my coworker loves so much. So next time you listen to Latin music, whether it be rumba, salsa, bolero, Latin jazz, whatever, try tapping along with the clave. It's simple when you can hear the actual claves, but then graduate to a more complex piece if you're up for the challenge.

Here's Seis del Solar, Una Sola Casa, One House. From Boston, I'm Marta Valentín. [Highlight “Una Sola Casa”).

It's been viewed by thousands of people in Los Angeles, Denver, Albuquerque, El Paso, Washington DC, and the Bronx in New York. Now the art exhibit known as the CARA show opens at its last venue of it's two year run in San Antonio. The exhibit examines the Chicano art movement of the 60s and 70s, through a wide range of multimedia, including posters, holograms, and altars. Latino USA's Maria Martin prepared this report.

[Tejano music background] The exhibit known as the CARA show, the acronym for Chicano Art Resistance and Affirmation, is the first-ever to focus specifically on Chicano art as opposed to Hispanic or Latin American art. Tomas Ybarra-Frausto, an art specialist with the Rockefeller Foundation and a member of the show's planning committee, calls the CARA show a landmark art exhibit which will put Chicano art on the map.

In the United States it's very difficult for Chicano art to get a hearing. First of all, because even today all the Latinos are lumped under the word Hispanic. And so, Chicano immediately separates out in a very particular way from that Hispanic rubric, which in a way many people, of course don't like because it means that it does away with your Indigenous and your African element, and only proclaims the European Spanish element. So, in that sense, because Chicano art is an art that fractures the myth of consensus, it's unknown.

[Natural sound, clapping] Playwright Luis Valdez, a member of CARA's National Honorary Committee, talked about the connection that Chicano art has with his pre-Hispanic roots.

The Aztecs had a term for growing up, for maturing, for living. All human beings in the process of their life acquired a face. And so, here the name of this exhibit, CARA, invokes this ancient concept. But it is not just the face of the Chicano community. It is not just the face of the Hispanic community. It is the face of America, and that is why I want to correct the usage of a certain title. I am not per se a Hispanic. I am a pre-Hispanic.

Officials at the San Antonio Museum of Art are hoping for a record turnout for the CARA show, which will be accompanied by a number of community events, and a low rider parade on opening day.

[Ranchera music transition] The Chicana writer, Ana Castillo, had an abuelita, a grandmother who signed her name with an X. Castillo's father dropped out of high school. Her mother only finished primary school. But all three had an indelible impact on Castillo as a writer. They told her stories, or cuentos, and in her latest novel, So Far From God, Ana Castillo brings these cuentos to life.

An account of the first astonishing occurrence in the lives of a woman named Sophia and her four fated daughters, and the equally astonishing return of her wayward husband. La Loca was only three years old when she died. Her mother Sophie woke at 12 midnight to the howling and neighing of the five dogs, six cats, and four horses, whose custom it was to go freely in and out of the house. Sophie got up and tiptoed out of her room.

So Far From God is based in New Mexico, where Castillo who grew up in Chicago, has been living for the past two years. The book has been called a telenovela, a Chicano soap opera. In fact, Castillo deals with some pretty heavy topics in her book, among them women's rights, environmental racism, sexuality, Catholicism, and the Gulf War, just to name a few. Thanks for joining us on Latino USA, Ana.

In your book, what's interesting, what caught my eye was that you have a lot of Spanish phrases with no translation at all. Is that one way in which you wanted to kind of deal with that schizophrenia of being bilingual and bi-cultural in just saying, "This is who we are," and it's not going to be translated?

Yeah, well of course, that is our reality. Lots of times when I would go to universities to read and I'd see the flyers, Ana Castillo, poet. I always say, "Chicana in search of her identity." I stopped before I did anything. I said, "I want people to know that I'm very aware of my identity. What I would like to do is assert that identity to the public." And so, part of our identity is not so much as schizophrenia. It's the denial from society that this is our language. So if this is an oral storyteller, she or he would say this, would talk this way, would not be inclined to translate.

In literature, once you see that in print, obviously it would be very redundant to say, “Callate. Shut up," he told me, or something like that. I work at what I had to do to compromise for everybody. It's a compromise because some Latinos do not read any Spanish, and some Chicanos won't understand this particular Spanish, is then you work it into the text. Sophie put the baseball bat that she had taken with her when checking the house back under the bed, just in case she encountered some tonto who had gotten ideas about the woman who lived alone with her four little girls by the ditch at the end of the road.

It was then that she noticed the baby-

After growing up Chicago as I did, which is not necessarily a very magical realist place, although it has its moments, was magical realism a part of your moving to the Southwest? [laughing] Because you talk about the Southwest and New Mexico as an integral part of this novel of yours.

Let's just kind of deconstruct this magical realism catch word I think that's associated with Latin American literature, but also with the Latino reality I think. That's why I laugh, because I think it's more like this, this is a reality and magical realism is what motivates us. I did not have that intention at all to do that in my literature, in this particular book. What happened was that I think I was possessed, and I was there immersed, baptism by fire in Nuevo Mexico. Much of what comes out in here is material that is based on faith, whether it's Catholic faith, it's Pueblo Indian mythology faith, or the creation story that is told here.

It's sort of diluting to simply say it's magic realism. I'm not saying there's a, "Now what can I do that's very extraordinary?" Well everything around me is very extraordinary. What's probably... I couldn't beat the reality here. I wouldn't call it magic realism. I would call it a book based on faith.

[Reading] Esperanza let out a shriek long and so high-pitched it started some dogs barking in the distance. Sophie had stopped crying to see what was causing the girl's hysteria, when suddenly the whole crowd began to scream and faint, and move away from the priest who finally stood alone next to the baby's coffin. The lid had pushed all the way open and the little girl inside sat up just as sweetly as if she had woken from a nap, rubbing her eyes and yawning, "Mami?" She called, looking around and squinting her eyes against the harsh light. Father Jerome got hold of himself and sprinkled holy water in the direction of the child, who for the moment was too stunned to utter so much as a word of prayer.

[Reading] Then as if all this was not amazing enough, as Father Jerome moved toward the child she lifted herself up into the air and landed on the church roof. "Don't touch me. Don't touch me," she warned. This was only the beginning of the child's long life's phobia of people.

Highlight--music--Violin

There's been a lot of attention given to this book, So Far From God. You've gotten a lot of press, you've been doing readings, you've been traveling starting at 500 in the morning and ending at 900 at night, reading in many, many different places. But this isn't your first novel. You've written other novels and other books of poetry before. So why now? Why do you think there's this interest now? Is it because there's all of sudden this general incredible interest in Chicana/Latina writers, or what? Or do you think it's just because hey, it just was the right historical moment? How are you interpreting it?

Since I've been writing and publishing now for almost 20 years, I had that vision that it would take that long as a Chicana. I don't know how I had it, but I did have it. Unfortunately, that was an analysis that I understood in terms of racism, sexism, and classism, which that is something that we can say most Chicanas, Latinas, do experience in this country. You are not Native American. You are not European. What you are is a drone that should just go and work, and don't worry. Nobody wants to hear what you have to say. When you're a writer, that's what it's about, is what you have to say.

And so, I worked for many years as a poet. People still see me primarily as a poet. Then I thought, how can I really get the word out? Well, not that many people read poetry, and that's when I started teaching myself how to write fiction. It took me a number of years before I did The Mixquiahuala Letters, which I thought I would die with it stuck between the mattress and the bedspring, and nobody would ever see it or want to see it. When it was accepted so quickly and so highly-acclaimed critically by the Chicano scholars, that literary audience, it really took me aback.

I guess, finally, what do you say to young Chicanos and Chicanas, but I guess primarily Chicanas, who are probably maybe even listening to this, who are sitting in their little casita who knows where, or in their dorm room if they're in a university and saying, "I don't have anything to say, and my voice is strange. No one understands me." How do you try to convince them to trust their voice as you have finally come to trust yours?

You have to have great tenacity about this, great personal conviction, that this is what you want to do, that you love to do. I would say, write, write, write, write, and read everything you can read, and brace yourself because we all get rejected. I still get rejected. Sandra Cisneros still gets rejections. You say, "Well in comparison the success or to acknowledge when who cares," but everybody at some point and continuously will get that when they're sticking by their convictions, and when you're trailblazing with a machete to try to make a little pathway there.

I would say to young Chicanos and Latinos who want to write, to read, read, read, write, and to believe in yourself. How can you go wrong when you're doing what you believe in?

Thank you for joining us on Latino USA. It's been a pleasure Ana, un placer. Ana Castillo's latest book, So Far From God, is published by Norton. Muchas gracias, Ana.

Thank you.

This is Maria Hinojosa. The memory of farm worker leader Cesar Chavez continues to be honored throughout the country. In Los Angeles, there's talk of naming a boulevard after him and a bill has been introduced in the state of California to make his birthday a statewide holiday. Recently, in another state, in El Paso, Texas, the city and county government declared a Cesar Chavez Day when a local supermarket chain announced it would honor the boycott of table grapes advocated by the United Farm Workers. Cesar Chavez Day in El Paso was also commemorated with a march attended by farm workers and farm worker advocates. It was an occasion, as an Angelica Luevano reports, to focus on the plight of the farm workers who picked chile in the fields of West Texas and Southern New Mexico.

Close to 3,000 gathered to pay tribute to the late Cesar Chavez, the farm labor leader who fought to better working conditions in the picking fields. And it's here near the border with Mexico, in the chile fields, where the worst working conditions prevailed, according to Carlos Marentes, president of the Border Farm Workers Union.

Farm workers in this area are still receiving wages way below the federal minimum wage. They are working on their unhealthy and unsafe working conditions, and they continue to be treated in an inhuman way by the agri business and the food industry.

Marentes indicates that the average annual income for a farm worker in this area is just over $5,000, well below the poverty line. At the same time, the chile industry has become the most prosperous in the region. In 1992, picante sauce or salsa surpassed ketchup as the most popular condiment in the US. And for the state of New Mexico, chile is the most lucrative crop. Mark Schneider, a lawyer with Texas Rural Legal Aid says that the Department of Labor for years has ignored the enforcement of minimal labor laws for the farm workers.

The sad thing is, here in El Paso, in southern New Mexico, even the minimal laws are not complied with and they're broken more than they're complied with.

Is the situation here for the farm workers worse than in any part of the country or what is the situation?

I think it's probably the worst of any place in the country because of our day hall system and that means that people are recruited one day at a time, they spend four to five hours a day in old dangerous school buses going a hundred to 120 miles away to work, picking chile in 100, 110-degree heat on a piece rate. They don't even make minimum wage for time in the fields, let alone for travel time, and the workers are made homeless. These are people who maybe have homes, but they have to sleep in the streets of El Paso so they can get a job every day.

Even the Catholic diocese of El Paso has joined in the call for better working conditions. Bishop Raymundo Peña honored Cesar Chavez and the struggle of the farm workers.

We are consciously aware of the fact that we must carry on his work. That much remains to be done in order to bring about the necessary legal and social changes that may ensure just wages for the farm worker, fair treatment in the workplace, and a life of dignity and respect that results when civil and human rights are protected.

Three years ago, over 100 workers went on strike against one of the largest chile farms in New Mexico, and as a result, a collective bargaining agreement was signed. That contract has not been renewed. Still, labor leader Carlos Marentes says the farm workers' movement is alive and as time goes on, more attention continues to be focused on the plight of the chile workers. For Latino USA, I'm Angelica Luevano in El Paso, Texas.

In an old classroom in South Seattle, in the community center known as El Centro De La Raza, a transformation is taking place. Two evenings a week, kids as young as eight and as old as 20, some of them just a step away from joining a gang, are instead writing poetry. Ingrid Lobet reports that little by little, the kids and the adults who hear them are realizing the importance of what they have to say.

Outside the old school building, a dozen kids are shooting hoops as a cool night begins to fall across the city of Seattle.

Fellas, let's go.

As 6:30 approaches, the kids file into the classroom from the ball court. Others come in from elsewhere, looking tired. Whether tired or full of energy, the 15 kids in this room are here by choice. They've come because here they can put heart into words.

Ode To My Car. The exhaust blows out like the drop of oil. The black dewey night that passes, simply turn itself into a single piece of grass.

Martinez, Armando (Man) has been coming to El Centro for several months now.

Wild rivers, one drop of water that continues, grass, and then run off with my motor vehicle.

The kids' hands shoot into the air. They can't wait to comment. Their comments encourage, but also suggest certain word changes or changes in delivery. Armando's own older sister has a comment for him. I liked your poem, hijo, she says, it was really good. I like the way you read really slow.

Let's go ahead and stand up. It really helps to stand up. I'll be right here beside him.

But even the support that fills this room isn't enough for 16-year-old Glenda Arenas on her first night. When it comes time for her to read the poem she's just written, she hangs her head, her long dark hair, mostly covering her face. Her voice begins, barely audible.

Ode To The Homies. The tree, kicking it. Summer, smooth.

This first night, Glenda can't finish. Another girl comes over, stands by her, and finishes the poem.

Ode to the homie, the tree, kicking it. Summer, smooth. It's all eight-ball. Say eyes, high on weed, 44 Magnum, blow to the head, a scorched rag in the hood, the brightness and the sky showing a flag. Green, white, and red grows into multiplication, sweet and sad.

There's a little poet running around your house, no matter how small he or she is.

Roberto Maestas has directed El Centro for 20 years. He's seen a good number of the 74 children who've spent time in the workshops changed by them. Some are getting better grades, some are being invited to recite poetry at rallies and banquets.

I don't think that poetry itself is going to save the inner cities, but when a young person reads their poetry and other people appreciate their poetry, that begins to build a sense of value, a sense of worth, a sense of somebodiness.

Recently, we had an election for student council, and I didn't really think I'd make it, and I beat everybody by 10 points. It was really amazing.

15-year-old Sandra Martinez says it was in the poetry workshops that she learned to be confident enough to assume that position of leadership.

My name's Sandra Martinez and the poem I'm going to read is "Garibaldi Park in Mexico City".

Blue corazon danced on the stones, cuando la mujer was tocando las musica. On the streets, los gatos laughed, and tonight's the final night.

The poets of El Centro, known as Hope for Youth, now have a book, it's called Words Up. And the kids are getting more and more attention, some even nationally and internationally. Just recently, Hope for Youth received an invitation from the government of Chile to travel there this summer. For Latino USA, I'm Ingrid Lobet in Seattle.

A North American Free Trade Agreement has been signed by Canada, the US, and Mexico. Once it becomes law, we will be in the process of becoming the largest artificial economic community of the planet.

Negotiations between the US, Canada, and Mexico continue regarding the North American Free Trade Agreement. If the three parties should come to an agreement regarding environmental protection and labor issues, and if the US Congress approves NAFTA, free trade will be the economic order on the continent. But there are many opposing views on the impact NAFTA will have, should it become law. For performance artist and Latino USA commentator Guillermo Gomez Peña, many questions regarding the free trade agreement remain.

In terms of geography and demographics, it will be much larger than the European community or than the fashionable Pacific Rim. From the myriad possibilities of free trade agreements that could be designed and implemented, the neoliberal version we have is not exactly an enlightened one. It is based on the fallacy that the market will take care of everything. Avoiding the most basic social labor, environmental, and cultural responsibilities, there are many burning questions that remain unanswered. Given the endemic lack of political and economic symmetry between the three countries, will Mexico become, as Mexican artist Yareli Arizmendi says, the largest Indian reservation of the US? Or will it be treated as an equal by its bigger partners?

Will the predatory Statue of Liberty depower the Virgin of Guadalupe, or are they merely going to dance a sweaty cumbia? Will Mexico become a toxic and cultural waste dump of the US and Canada? Who will monitor the behavior of the three governments? Given the exponential increase of American trash and media culture in Mexico, what will happen to our indigenous traditions, social and cultural rituals, language, and national psyche? Will the future generations become hyphenated Mexican-Americans, brown-skinned gringos and Canochis or upside-down Chicanos? And what about our northern partners? Will they slowly become Chicanadians, Waspacks and Anglomalans?

Whatever the answers are, NAFTA will profoundly affect our lives in many ways. Whether we like it or not, a new era has begun and the new economic and cultural topography has been designed for us. We must find our new place and role within this new federation of US Republics.

This is news from Latino USA. I'm Maria Martin. President Clinton met with Latino leaders from around the country in Washington. Among those meeting with the president were representatives of the National Council of La Raza, the National Hispanic Leadership Agenda and the League of United Latin American Citizens. Healthcare, Education and Clinton's economic plan were among the topics on the agenda.

Chicano students at the University of California at Los Angeles continued to press for a Chicano studies department. Several students and a UCLA faculty member have even started a hunger strike to call attention to their cause. From Los Angeles, Diana Martinez reports.

For several months now, students along with Latino professors have tried to get a department by working through university channels. All of those attempts have failed. In fact, there have now been three generations of students since 1968 who've attempted to establish a Chicano studies department at the well-known campus. Now, the six students and one university professor, on the water only fast, say they're determined to continue even if it takes their lives.

I'm more afraid to die in vain, to die without having our three demands met. I'm more afraid of the chancellor not responding to any of what we're doing.

One student has already become ill and another sits in a wheelchair because his legs have grown weak. Concerned about their health and the support of their position, some parents and community members are joining the students on rotating two-day fasts. For Latino USA and Los Angeles, I'm Diana Martinez.

[chanting] This is news from Latinos USA. I'm Maria Martin. A hunger strike by Chicano students at the University of California at Los Angeles has ended happily. The students who had fasted on water only for nearly two weeks reached an accord with UCLA Chancellor Charles Young, over their demand for the establishment of a Chicano studies department.

I want to let you know what we won today. First of all, we won the Cesar Chavez Center for Chicana and Chicano studies. Second of all, we got the administration to realize that the 99 students that protested in the faculty center are not criminals, but they're political activists and we have the charges dropped. Third, we got the administration to recognize the validity of ethnic and gender studies on this campus and guaranteed two years of no budget cuts for any of those programs. [sounds from community gathering]

The final agreement falls short of the students' original demand that Chicano studies become a full-fledged department on campus. Nevertheless, the development was greeted as a major step forward by the students and their supporters, including California State Senator Art Torres and Dolores Huerta of the United Farm Workers.

We're going to have one of these in every UC campus in the state of California. [gatherting sounds]

We're showing here, in the spirit of Cesar Chavez, that we can make social change, that we can right the wrongs that people have done against us with gun violence, by unity and by sacrifice. And by working together, we can make them listen to us. [gatherting sounds][nat sound, music]

Allegations of abuse by the Border Patrol, customs, and immigration agents are often heard in many Latino communities, particularly along the U.S.-Mexico border. These widespread complaints have prompted several congressional leaders to call for the creation of a commission to investigate abuses by these federal agencies. From Washington. Patricia Guadalupe has more.

Cuando yo me miraron se aceleraron y me dijeon parate

Heriberto Arambula is a Mexican national who claims he was beaten up by the US Border Patrol while riding his bicycle in El Paso, Texas.

Me agarre la bicicleta me tumba para atras y el otro esta gringo parece Bruce Lee.

They grabbed me and threw me from my bicycle. One of the officers then jumped at me. He looked like Bruce Lee. Imagine. He sunk his boot into my chest that left the mark. They didn't ask me what I was doing or explain why they were after me, nothing. Only the beating and then to the police, then to the ambulance, then to the hospital, and that's all. [Spanish dubbed over]

It is because of this and many other complaints that legislation was introduced in Congress May 20th to create an independent commission that would oversee the Border Patrol. Currently, the Border Patrol is part of the immigration and naturalization service, which immigrant advocates say is inefficient and biased since it polices itself. Democratic representative Xavier Becerra of California is the chief sponsor of the commission bill in Congress.

We believe that you need independent review and that's the big change here. It's not dramatic, but what we're saying is let's get some serious activity in here because there are people who are being abused.

Congressman Becerra adds that the problem doesn't exist only among the undocumented along the border.

We're talking about US citizens, legal permanent residents who have been abused by the INS. And we have not only eyewitness testimony and firsthand testimony of people who've come, but we have court cases where we have had judicial decisions that show that people have been abused.

Former Consul General of Mexico in El Paso, Roberto Gamboa Mascarenas investigates many cases of alleged abuse by Border Patrol agents. Most recently, the violent deaths of three undocumented workers in Arizona and Texas. He said the commission would have the power to act on claims of abuses, something he says the system is not now set up to do.

It is the most fantastic and the most positive step that has ever been taken in favor of the human rights and the civil rights of many people in the border areas, not necessarily all Mexican, whose rights have been violated continuously by agents who, again, are unchecked, uncontrolled, and not disciplined whatsoever.

In its annual report released on the same day Becerra introduced this legislation, the human rights group, America's Watch, concludes that conditions at the border have not changed. Cases of abuses have risen, not fallen. Juan Mendez is executive director of America's Watch.

There's something wrong in the way abuses are referred to the proper authorities and investigated inside these agencies, both the Border Patrol and the customs administration.

Mendez says that creating an independent commission would alleviate the fear many have of coming forward when they have claims of abuse. When reached for comment, a spokesman for the INS said they would follow whatever directive the Congress and Attorney General Janet Reno handed down. For Latino USA, I'm Patricia Guadalupe in Washington.

Perhaps no other site on the US-Mexico border sees more complaints regarding human rights abuses than the San Diego-Tijuana region. In recent years, the number of complaints of abuses has risen as a number of anti-immigrant groups have organized to protest the number of undocumented immigrants crossing the border. Observers in California, which has lost over 800,000 jobs in the last four years, point to a growing anti-immigrant climate in the state, particularly apparent in the San Diego area.

With us to discuss some of these issues are Muriel Watson of the organization Light Up the Border, which has drawn attention to the issue of the number of immigrants crossing the border by stationing cars with their headlights turned on facing Mexico. And Roberto Martinez, director of the American Friends Service Committee San Diego office. The AFSC has documented numerous cases of human rights abuses in the area. Welcome to Latino USA, both of you.

Thank you.

Muriel, let me start out with you. Would you like to see this border area right here between San Diego and Tijuana and this area here, would you like to see it closed? What would you like to see happen with the border?

I would like to see that border secured and I would like to see good business being transported back and forth between Mexico and the United States. I'm a member of the San Jacinto Chamber of Commerce and they're constantly saying that business is good between Mexico and the United States, but the drug smuggling and the alien smuggling distorts that good business and healthy climate. And unless we secure the border... No, I don't want it closed. I want it secure. I have no objections to legal immigration. But illegal immigration hurts everybody.

Roberto.

Well, before we address illegal immigration, as a human rights office, we're more concerned right now with the increase in human rights abuses by Border Patrol. These last few weeks, we've been receiving at least three to four cases a day of people coming across the border. [interruption]

Well, that's incredible.

Let me say my piece first. [interruption] With their heads split open. Two of them required surgery for internal injuries. We have two shootings right now, one in Calexico and one in MCC Jail right now by Border Patrol. These are all unarmed civilians. This doesn't even begin to address the day-to-day insults and racial remarks that Border Patrol uses on the buses and the trains. And I say this from firsthand experience, I don't say this from third-hand. I interview these people myself. Whether they're undocumented or coming across illegally or not, there still has to be respect for human rights, and then we'll address illegal immigration.

Well, then- [interruption]

What needs to happen on the border then, Roberto?

Well, like Muriel wants the border to become secure, we want Border Patrol to adhere to the policies that are already in place. There's laws right now that call for the respect of the rights and dignity of people crossing the border within IRCA, within the law- [interruption]

How about the immigration laws that are not being respected by Mexican nationals and others from South America? Those laws need to be respected, too. You can't ask for respect for the laws on the one hand and ignore the other laws

Well, see. You have to understand, and I know this is difficult, but hunger and poverty does not understand laws.

We understand that, but what about the Mexican government's responsibility on this?

Well- [interruption]

The host country has a responsibility.

Muriel, do you believe that this country which was built by immigrants and was a country-[interruption]

Hey, there's no denying that.

Do you believe that you can in fact completely closed down any kind of undocumented immigrants coming into this country? Do you think that that's realistic and that it's possible?

Yes, it is, because we haven't been doing it for the last 20 years.

So, how is it possible?

It's possible by the will of the people. Obviously, the Gallup Polls have said they want to put an end to illegal immigration. Those people who would like to immigrate to the United States, many of them want to come to just work. We have those facilities in hand to allow them to work legally, so that they can come back and forth. All of those mechanisms need to be brought forth by the Department of Agriculture and the Department of Labor, and to do it legally. There is no reason why we as a nation have to cope with this kind of silent invasion and the abuse that goes on both sides of the border. Border patrol agents are abused too.

But to shoot 15-year-old kids for having a rock, in the back or in the stomach or whatever, you know. [interruption]

Yeah, well, the rock was the first form of execution in written history. And when you've got 15-year-old kids in a pack of 200 throwing rocks at one single Border Patrol agent, his life is in danger. I have friends who were in the helicopter that was shot down by the bandits who didn't want the helicopter flying over that international line. I have Border Patrol agents that are shot at, Border Patrol agents that are rocked. All of these kinds of abuses go on, and Congress just sort of sits back-

Nobody condones that.

At this point, you're saying, Roberto, that there's no accountability... When the Border Patrol in fact violates, as you say, unarmed civilians, there is no one who they must be accountable to?

That's not true.

This was brought out very clearly two weeks ago when they announced the introduction of this bill to create a federal civilian oversight, that there is no system of accountability, no system of complaints.

When you say that no complaints are recognized, every time there is something that goes on as far as the Border Patrol is concerned, depending on the jurisdiction, either the sheriff's investigators take over, or the FBI takes over, or the San Diego police take over.

How many agents have been prosecuted for abusing an undocumented person?

Many of them have. Internally, they have been prosecuted.

How many?

Not one has ever been- [interruption]

Well, you know, prosecution follows through-

Are you saying that no Border Patrol official has been prosecuted for their…

In the dozens of shootings that have taken place over the last 10 years, not one agent has been prosecuted for shooting or killing an undocumented or unarmed civilian. In the abuse types, maybe one or two. The last criminal prosecution was of a Border Patrol agent in El Centro earlier this year for raping and beating a 16-year-old girl. He was sentenced to 24 or 25 years in prison.

How many undocumented immigrants have been shot and killed by the Border Patrol?

Oh, I've lost track. I mean, there was 30 or 40- [interruption]

How many of many have been shot and killed by smugglers and bandits down on the border? We don't have any track of that either.

That-[interruption]

The Border Patrol is just simply a policing arm of the United States government. And like all police agencies, it's suffering the same form of criticism that every other police force in the country is facing. But it is one of the tightest, one of the firmest, one of the most obvious to the public. I mean, they work down there in a fishbowl.

Let's just end up on this point. Is there any point, Roberto and Muriel, where your opposing views can ever come together? You both live in San Diego, you both live in an area that's a border. These things are not going to change overnight. Will you continue to be as far apart as ever or is there anything that can bring together these opposing perspectives? Roberto?

I guess as long as people don't understand why people come here and the poverty that brings them here, and never promote the contributions that Mexican immigrants have made to this state, the 4 billion agribusiness that's sustained on millions of seasonal agricultural workers and just targets the negative part of it, I think we're always going to be opposed to it. But also I think my problem too is that the anti-immigrant sentiment is getting so focused on undocumented problems that I think that if we don't begin to realize that immigrants are the ones that built this country instead of focusing on the negative, I think there we're always going to be poles apart. But I think people have to accept their responsibility for the growing anti-immigrant sentiment. And I think until that is addressed, we're going to continue being on different sides of the fence.

Muriel.

Well, I think what I'm hearing from Mr. Martinez is the fact that he would like to have open borders, and I think that sort of debate has to take place on the floor of Congress. We cannot have a law and then not enforce it. We cannot expect anarchy not to be taking place at those ports of entry. I mean, it's happening in New York State, it's happening in San Francisco, happened right here in San Diego. As long as people seem to feel that they can come to this country without permission, then we're going to have constant anarchy and danger to the people involved and to the law enforcement officers who are put out there by Congress to maintain that law.

Okay, thank you very much. Muriel Watson with the organization Light Up the Border, and Roberto Martinez with the American Friends Service Committee Border Office, here in San Diego. Thank you for Latino USA.

Thank you.

Thank you.

My own feeling, my own personal feeling is that if we work at it, that we'll be able to get a treaty that's good for the country and good for Mexico.

That's Raul Yzaguirre, president of the National Council of La Raza, commenting on the present status of the North American Free Trade Agreement. At this point, congressional approval of NAFTA is still in question. Mexico and Mexico's president, Carlos Salinas de Gortari, have a lot at stake in NAFTA's becoming a reality, as do many Hispanic entrepreneurs in this country. In Dallas, Latino business and civic leaders recently met with the Mexican president trying to counter the arguments from a certain Texas politician that NAFTA will mean major job losses. Brian Shields prepared this report.

Dallas billionaire, Ross Perot is spending millions of dollars to go on national television to stir up opposition to NAFTA, but members of the Dallas Hispanic Chamber believe the treaty will be beneficial for their businesses. During a recent visit to Dallas, Mexican president, Carlos Salinas, asserted there's no time to waste.

I have been asked, "Why NAFTA?" Because this is the only way how we will be able to compete in the world in which we live. "Why now?" Because we are late, late when other regions in the world are getting together to increase the efficiency and competitive capacity.

To my business, it would probably help it tremendously. I've been in business now for 12 years, doing business back and forth through Mexico, and we have had quite a bit of product going back and forth. The prices generally will then be lowered on some of the items that we now are paying some duties in.

Opposition to NAFTA in the United States centers on concerns that higher paying jobs north of the border will disappear to be replaced by very low wage employment in Mexico. Such arguments are coming not only from supporters of Ross Perot, but also from grassroots Hispanic groups such as San Antonio's Fuerza Unida, if you're a loss of American manufacturing jobs that now employ Latinos here. However, President Salinas insists the treaty will have the opposite effect.

NAFTA is also a wage increase agreement, because with increases in productivity, we will be able to increase wages in Mexico more than they have been growing in the past four years.

Between Ross Perot and opponents of free trade in and out of the Congress, right now, the agreement appears to be in trouble, but Jorge Haynes with Laredo's International Bank of Commerce insists the opportunity is too important to allow it to slip away.

If we should decide not to adopt NAFTA, which is something I don't want to think about, I think we will be going backwards in our relationship with Mexico rather than forwards.

NAFTA has provided fertile ground for the work of performance artist Guillermo Gómez-Peña. In the following skit, Gómez-Peña becomes a character he calls "the Aztec salesman". The Aztec salesman is a lobbyist for free trade who at first tries to sway others to enter into the free trade fever, but later has an identity crisis.

[“Tequila” background music] Bienvenidos damas y caballeros, lovers, consumers of pura vicultura, a new transcontinental breeze, ricochets from Monterrey to Manhattan, from DF to LA, we perceive the pungent smells of chile con ketchup and low-cal mole. Never before have Gringolandia—[clears throat] digo--America succumbed to the sabor of the amigo country with such eagerness and gusto. Let Frida Kahlo's monkeys run wild in your dreams. Get lost in the labyrinth of solitude of a Mexican painting. Dance yourself to sleep with the picante sounds of Guapango rap. Don't forget to wear your conceptual sombrero, güerita. Enjoy the tender, tender, magenta nipples of a ranchero diva. Don't get left behind. Don't arrive late to the Grand Tri National Fiesta. Support NAFTArt, free trade art for the klepto Mexican connoisseur.

Como debe diciendo, man, join a new vibrant Castro erotic—digo—econo-cultural ma-ma-maquiladora y de paso contribute to. Sorry. What I meant to say is you will receive a glossy 200-page catalog, certified by Televisa and the Metropolitan. You can place your mail orders debolada by simply dialing your resident-alien number. Remember, no one can like Mexi-can. No mejor dicho en Spanglish, lo echo en Mexico esta bien [clears throat] digo—[beep]. Me-me-me-Comprehend this machine. Approach your funders de ya porque Free raid, digo, free trade artist, tax-deductible, hombre.

No, I'm sorry, I didn't mean to. I'm having an identity crisis on the radio studio. I don't know what I'm saying. I mean, la neta es que…I need a job, man. I mean, I can cook, translate, guide tours en Nahuatl and Arawak, do gardening, security, community outreach, got my resident-alien card, barata. My social security number is ... [“Tequila” plays]

Latino USA commentator, Guillermo Gómez-Peña, a recipient of the MacArthur Genius Award, is based in California.

Latino USA commentator, Guillermo Gómez-Peña, a recipient of the MacArthur Genius Award, is based in California. In Brownsville, Texas, a group of Chicanos and elders from Indigenous populations in the US and Mexico gathered recently for what they called the 17th Encuentro of the National Chicano Human Rights Council. The group is part of a movement which began in the 60s to help Mexican Americans reconnect with their Indigenous roots. Today, the movement is taking a new turn involving Chicanos in a spiritual reawakening foretold in ancient Indian myths, which caused them to action on human rights and the environment. From Brownsville, Lillie Rodulfo and Lucy Edwards prepared this report.

[natural sound] This weekend, council members have brought their families to camp on the grounds of the Casa de Colores. The multicultural center sits on 360 acres of prime farmland along the U.S.-Mexican border order.

[conch chell sounds] With the sound of a conch shell, a Mexican shaman, Andre Segura, calls a group to worship in a sacred dance of the Indigenous that the Aztecs have practiced for thousands of years. They also are called to reunite with the Indians of Mexico in their common struggle for equal rights. Elders like Segura say when Chicanos answer the call of the Danza, they are joining in a revival of the Indigenous spirit that is happening throughout the Americas. [Ceremony natural sounds] "This reawakening of the spiritual traditions," the elders say, "was foretold by Indian leaders centuries ago. Danzas and other Indigenous ceremonies carry a strong message of preserving the earth and all its people."

Andre Segura's Danza Conchera contains the essence of Aztec or Toltec thought in the entire worldview.

Chicano author Carlos Flores explains what happens when a Chicano worships in the sacred tradicion of the Danza.

When the Mexican-American decides to call himself a Chicano, basically what he's doing is declaring publicly that he's an Indian. In effect, what we're seeing here then is Mexican-Americans through their connection with an Indian shaman, I guess you could say, practicing the sacred.

Susana Renteria of the Austin-based PODER, People Organized in Defense of Earth and its Resources, offered passionate testimony at the conference. Her group has worked hard to focus attention on environmental racism in the Mexican-American communities in Austin.

They take toxic chemicals and inject it into Mother Earth. They inject it. It's like when you put heroin in your veins, and you're contaminating your whole blood system. That's what they're doing to Mother Earth. The water is the blood in her veins, and they're injecting these chemicals into, and they wonder why we have so much illnesses, why we have so much despair.

[meeting natural sounds] The council heard hours of testimony like this on a wide range of issues, bringing into focus everyday realities for Chicanos, such as the disproportionate number of Mexican American prisoners sentenced to die and the alarmingly high incidents of babies born in the Rio Grande Valley with incomplete or missing brains. Opata Elder Gustavo Gutierrez of Arizona, one of the founders of the council, offers this prophetic warning.

The moment that we start losing our relationship between Mother Earth and ourselves, then is when we get into all this trouble, and I think that what has happened to the people that are in power, they have the multinational corporation. They have lost their feeling about what is their relationship between the Earth, and the only thing they can think about is how to make money, and once that is the main focus, how to make money, then I feel that we're really in a lot of trouble.

[Danza natural sounds] The shaman, Andre Segura, says, "The Indigenous ceremonies that are part of every council meeting provide a spiritual foundation to unite Chicanos, as they speak out for the rights and the rights of all Indigenous."

Buscar dientro de su corazon, dientro de su-

Search your heart and soul as to how you feel about the Indigenous. The Chicano roots come from Mexico, and accepting this will unite the Chicano people.

[Singing, natual sounds] The Chicano Human Rights Council was formed in the 1980s to address the human rights violations in the southwest. The council teaches Chicanos how to document abuses that affect their community. The testimony they hear in Brownsville will be presented at international forums, such as the United Nations Commission on Human Rights. (Singing) For Latino USA, with Lucy Edwards, I'm Lily Rodulfo. (Singing)

Even now, before NAFTA's implementation, business people in Texas are actively trading with their colleagues south of the border, and if the trade agreement is going to work, it will be up to individual entrepreneurs to lead the way. It's a trail already being blazed by many Hispanic-owned businesses, such as John Montoya's. He's the president of World Dallas International, a trading services company, and for him, the rewards of the agreement are quite clear.

And finally, to get a poet's perspective on this year's National Association of Hispanic Journalist Conference, we turned to José Burciaga. He watched and listened as journalists mingled. Burciaga found a feisty network of Latino media professionals and evidence in the form of a fruit that there is still much more work to be done in consciousness raising.

It was a study of appreciation and diversity. Latino journalists could not take each other at face value. Blonde, blue-eyed, or African-American journalists could have easily been of Mexicano, Puerto Rican, or Colombian descent. The presence of women was strong, beginning with association president, Diane Alverio, who did express a lack of diversity in news media management. Only 3% of Latino journalists are managers.

At a noontime luncheon, Leonard Downie, executive editor of "The Washington Post," lamented the lack of training among all journalists. Despite the diversity of the term "all," he was taken to task for something Latinos hear a little too often: "You are ill prepared."

There was networking, interviewing for new jobs, old jobs, and workshops on everything from covering the Supreme Court to how to write a book. The conference was dedicated to the memory of Cesar Chavez with United Farm Worker Vice President Dolores Huerta giving a plenary session speech. Organizers had made sure no grapes would be served at the hotel, this to honor the United Farm Worker grape boycott. Nevertheless, an evening reception hosted by the "Chicago Tribune" featured the typical hors d'oeuvre fare crowned with a pineapple surrounded by two luscious mounds of forbidden grapes. Bothered by the hypocrisy and insensitivity, I placed the grapes on a silver tray, covered them with a napkin, laid the tray on the floor, and applied gentle foot pressure on the plump, juicy grapes. With a boycott sign over the squashed grapes, I placed the tray at the floor entrance, but this was not the end.

The word spread, and grapes were spotted at another reception on the terrace of the Freedom Forum office building. Hispanic Link News Service publisher Charlie Ericksen, carefully dumped them over the side of the 25th-floor terrace. No grapes were reported to have survived. And still, this was not the end. At another reception given by the Organization of American States, grapes were again served. This time I gave them a gentle warning, and the grapes were removed.

The OAS reception and grape boycott were a fitting end to the NAHJ conference. As I looked across the Grand Halls bedecked with the many colorful flags representing our mother countries, we invoked the memory of Cesar Chavez.

Poet José Antonio Burciaga lives, writes, and paints in the San Francisco Bay Area.

Long before the word ‘multicultural’ came into popular usage, it was reflected on the public television children's program, Sesame Street. Now, the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

Long before the word ‘multicultural’ came into popular usage, it was reflected on the public television children's program, Sesame Street. Now, the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

[Latino Sesame Street Music]

[Latino Sesame Street Music]

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. [Latino Sesame Street Music Highlight] With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a mariachi band and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks, and visit a community center known as La Casita. This year, the spotlight will also be on the new fluffy blue bilingual Muppet, Rosita.

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. [Latino Sesame Street Music Highlight] With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a mariachi band and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks, and visit a community center known as La Casita. This year, the spotlight will also be on the new fluffy blue bilingual Muppet, Rosita.

Hola amigos como estan?

Hola amigos como estan?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Si, si. Yes. Yeah. I'm trying to help my friends to speak Spanish. And all my other friends that they're watching us, I'm trying to let them know that if they speak Spanish like me, and English, they have to feel proud because they're very lucky to speak two languages.

Si, si. Yes. Yeah. I'm trying to help my friends to speak Spanish. And all my other friends that they're watching us, I'm trying to let them know that if they speak Spanish like me, and English, they have to feel proud because they're very lucky to speak two languages.

[Clip of Sesame Street] Abierto? Yes, certainly. Abierto is the Spanish word for open. Abierto!

[Clip of Sesame Street] Abierto? Yes, certainly. Abierto is the Spanish word for open. Abierto!

For many years now, Sesame Street has been teaching kids a few words in Spanish like hola and adios. But what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

For many years now, Sesame Street has been teaching kids a few words in Spanish like hola and adios. But what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

El Mundo.

El Mundo.

[Clip of Sesame Street] That's the word, all right? And we are moving into...

[Clip of Sesame Street] That's the word, all right? And we are moving into...

[Background music] Puerto Rico.

[Background music] Puerto Rico.

[Background music] Puerto Rico, it is, but look.

[Background music] Puerto Rico, it is, but look.

Cotorra!

Cotorra!

[Background sounds of Sesame Street]In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character Maria on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

[Background sounds of Sesame Street]In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character Maria on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

I had the opportunity to write a show where Maria's family comes to visit. And I wanted everyone in Maria's family to be a different skin color because that occurs in a lot of Hispanic families, Puerto Rican especially, is that there are people of different skin colors in the same family. And actually have a puppet say, "Wow, but he's darker than you. How could he be related? Or she's lighter than you. How could she be related to you?"

I had the opportunity to write a show where Maria's family comes to visit. And I wanted everyone in Maria's family to be a different skin color because that occurs in a lot of Hispanic families, Puerto Rican especially, is that there are people of different skin colors in the same family. And actually have a puppet say, "Wow, but he's darker than you. How could he be related? Or she's lighter than you. How could she be related to you?"

For the last 20 years, Maria and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's fix-it shop

For the last 20 years, Maria and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's fix-it shop

Here, Luis and Maria, who are both Latinos are regular people. I mean, they own a business, they have a family, they're just regular people. They work like everybody else. They brush their teeth, they comb their hair, whatever. It's the role model is, hey, they're just like everybody else. And that's important to show.

Here, Luis and Maria, who are both Latinos are regular people. I mean, they own a business, they have a family, they're just regular people. They work like everybody else. They brush their teeth, they comb their hair, whatever. It's the role model is, hey, they're just like everybody else. And that's important to show.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

20 years ago, when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either. [Background sounds of Sesame Street music]

20 years ago, when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either. [Background sounds of Sesame Street music]

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Oh, that was great. Well, this is big bird leaving you with one final word, Viva! [laughter] [Children yelling] [Wooshing sound]

Oh, that was great. Well, this is big bird leaving you with one final word, Viva! [laughter] [Children yelling] [Wooshing sound]

Hollywood movies and television commercials often give us quick, concise images of people and places along the US-Mexico border. Going beyond those media-made notions towards real understanding is difficult, even impossible. Without firsthand contact. In the nation's capital, there was an attempt to go beyond those media images of the border. It was part of the Smithsonian Institution's annual Festival of American Folklife. But as Franc Contreras reports from Washington, real, cultural understanding required more than a taste of border foods or the sounds of border music.

[Natural sounds of Washington D.C.] Some young guys from Mexicali were standing in a crowd between the Capitol building and the Washington Monument. They wore baggy pants, some had dark glasses, and others' headbands pulled way down low. To some people, they looked like gangsters, but they're not. They're cholos with a distinctive style of dress that comes straight from the border. Suddenly, they started speaking Spanish out loud.

Bueno, aqui pasa todo los dias la patrulla fronteriza. Que tal si sacamos la lengua?

Border patrol goes through here every day. Let's stick our tongues out at them.

[Natural sounds of Folklife Festival] Then from behind a food stamp where some beans were cooking, A guy came out wearing all white with a pointed hood clan style. [Highlight, natural sounds of Folklife Festival] It was the border patrol chasing down one of the Cholos people watching realized it was a play by a theater group from Mexicali, a border town south of California. The actors were hitting one of the main issues on the border, immigration. Their translator is Quique Aviles.

A lot of people complain that they don't understand because the show is being done in Spanish, but at the same time, that's what life is. When Latinos come here, we don't understand either. So, we were talking about that last night. It's sort of like returning the favor.

A woman walked past us, dressed like the Virgin of Guadalupe, the patron saint of Mexico. She went past a display where a man was making guitars by hand, past a group of muralists from El Paso who were painting an eagle, and over to a food stand where a Black woman who speaks only Spanish was serving tamales and Tecate beer, and next to her was a woman from Texas.

We're breaking a lot of preconceived ideas, a lot of biases that perhaps have been most influenced by the media.

Cynthia Vidaurri teaches at the Southwestern Borderlands Cultural Studies and Research Center in Kingsville, Texas. She says, the American Folk Life Festival in Washington is an opportunity not only for people who've never seen the border, but also for people who've come here from the border to share their cultures.

The rest of the world perceives us as what the media makes us out to be, the movies, the news, and they're really thrilled to have a chance to say, this is who we are. We are living, breathing human beings that have the same needs as you do. We just take care of those needs in a slightly different fashion.

That sounds fairly straightforward, and some people walked away from here with more understanding about the people of the borderlands, but not without some effort. At one display, Romi Frias of El Paso was trying to explain to some people from Delaware, what a low rider is, you know, a highly stylized car, usually an older model with small thin tires, maybe a mural painted on the hood and lowered about an inch from the pavement.

[Laughter] I tell people that it's really going to mess you up. You're doing about 55 and there's this monster pothole and you've got about an inch clearance. I've got a lot of friends that face that situation and unfortunately hadn't learned the hard way.

Later under a shaded area, there was a storytelling session. It was supposed to be about women on the border. An Indian woman from the Mexican side sat on the left. On the right was a white woman who works for the US Border Patrol in the middle of the two women sat a university professor. He was monopolizing the discussion. Then at another storytelling session about immigration, the professor was taking over again. Some people in the back were saying it was typical. Here's this white male, the expert, not letting the others talk. After the session, I went over to him and learned his name is Enrique Lamadrid, a man of mixed races whose family migrated to the Americas from France and Spain like many others along the border. His family goes back generations. Lamadrid says he saw many surprised people at the folk fest who learned of the amazing cultural diversity along the border.

I mean, just the amazement that you can see in people's faces when they encounter these two black women over here from the black Seminole community. They're Mexicans. So these are really complex cultural entities.

Complex, like the land where they live. The border is often characterized by clashing cultural forces. Lamadrid says People living on the border cross the international boundary daily, but it's no big deal because it's part of their daily life. And he said the people living along the 2000-mile separating line did not come to the border. It came to them. Then he mentioned a series of treaties between the US and Mexico dating back to the late 18 hundreds. It's a complex history, a balancing act, he says, because the needs of border people compete with the national needs of Washington and Mexico City, and the result of that struggle is border culture.

But culture isn't in your blood. Culture is something that you learn. Culture and identities are things that are negotiated and forged every day of our lives as we live our lives out in specific areas of the country.

Lamadrid told me about a sewer line that broke during the festival Sunday morning. Smelly dark sewer water flooded a small area around some of the exhibits. He and the other said it reminded them of some border towns where pollution has become a major problem. But on the day the sewer broke, people taking part in the American Folk life Festival this year continued their efforts to share their life's experiences as the smell and humidity surrounded them. For Latino USA, I'm Franc Contreras in Washington.

Esperanza, or hope. It's said, that's one thing young people living in this day and age, often lack. But in San Antonio, Texas, a group of teenagers is creating theater that expresses a measure of hope for the future. Even amidst a reality of drugs, gangs, identity questions, and homelessness. Along with Lucy Edwards Latino USA's, Maria Martin prepared this report.

[Natural sounds, theater] Grupo Animo

It's the Friday afternoon at Fox Technical High School in San Antonio. The young members of the acting troupe El Grupo Animo, ages 13 to 18, have come together to start rehearsing their new production. The group's name derives from the Spanish word meaning spirit, energy, and a desire to inspire and the drama they're preparing is written and performed by the kids themselves.

[Natural sounds, theater] All the young women in the piece, over here.

Identity. [Natural sounds, theater]

The drama in production is called, "I Have Hopes, Hopes I Keep Sacred in My Soul." It's a series of vignettes, tales of young people, much like the members of El Grupo Animo, facing life's challenges and learning to cope.

It's about a young girl who gets pregnant and she has to tell her parents because both of us know so many girls who have already gotten pregnant and it's not looking better or anything.

I'm 17 years old, and I wrote about the homeless. So much we can learn from our people. They've gone through rough times, and by that, a lot of them are on the streets, and we don't even care about them.

I decided to bring up the issue of teenage homosexuality, because Hispanic, Mexican American families, it's harder for them to deal with it. There's a lot of tradition, and a lot of the tradition is built around the male role model and female role model, you know?

14-year-old Michaela Diaz, along with Guadalupe Covera and Victoria Rivera, are among the nine playwrights who make up El Grupo Animo. 16 year old Priscilla Valle wrote about a young gang member.

He's dealing with the pressures of being tied to his gang, but then wanting to get out and be free and lead the life that he wants to lead, that the gang doesn't allow him to.

You don't understand, what if they come after me? Babe, they know where I live.

They're tearing you apart. They mess around with people's lives like it's nothing. You can't be afraid to be who you are. Don't keep it down forever. I hate them!

It's really a lot of what's going on in their minds and in their lives, but they never have a place to talk about it.

Director George Emilio Sanchez of New York is working with the young playwrights and actors of El Grupo Animo.

It takes a lot of courage to be a young person. It takes a hell of a lot of courage to say, "Yeah, I'm young. I don't know everything, and I want to be alive." Boom. That to me is like heroic. I think individually, if you read the things they write, no, I don't think they have a lot of hope.

But still, say the kids, their stories do express hope as the title of their collective work indicates.

Even though we are, we're sad and depressed about it. I think there's always that bright side and that hope that we have, and that's just what the whole play is about.

That's why I think that the name of it, "I Have Hopes, Hopes I Keep Sacred in My Soul", is what we're using. They're not all happy plays with happy endings, but we're not trying to say that the whole world is terrible. You know, that everything's terrible, that there's no hope for anything. Even though we know what reality is, we still feel that there can be a change, that there will be a change, and if anybody, we'll be the ones who will do that. And that's our message, basically.

El Grupo Animo’s production of "I Have Hopes, Hopes I Keep Sacred in My Soul," runs through July 17th at San Antonio's Guadalupe Cultural Arts Center. The Center's theater director, Jorge Pina, calls the troupe the next generation of Chicano Teatristas.For Latino USA with Lucy Edwards in San Antonio, I'm Maria Martin.

The number of migrant workers in this country has tripled in the last 15 years. According to a study by the Migrant Legal Action Program in Washington, there are now 3 million migrant laborers in the U.S.