Annotations for People: Creighton-kelly-chris 1950-

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

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

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