here is a poem of mine.

see. I told you would be better with posting. here is a newer piece I wanted to share.

(window ledges)

That summer I bussed it

City to valley and back

Each day

Stones grew in my heart

And fingers tensed along window ledges

 

I cried as

The valley remained dry

Those days

Spit in spurts between fatigue and fairy tales

Novels at novellas

Fluffing

Between lines

So much said turned out wrong

 

I could not tell

Where the river and road met

Nor handle tiny hands peeled with thirst,

The tearing away of love

Walking out of doors

It smelled

 

Of creaking agony

That summer where

Every stone between bus and home

Grew in my heart and stuck between toes

 

I could not stay or goodbye

Did not know real from fiction

 

I hugged and whispered them

It is not over yet

Look over the mountaintop

I will be back

 

-jca

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Let’s Celebrate APIA Month, shall we?

Hey, Good Peoples.

It’s been about two months since posting something. And now I commit to being better about using this whole social media thing from here on in.

I’ll be performing tomorrow at 1PM Brooklyn Children’s Museum. Part of the APIA Month celebration. All ages welcome. I’ll be sharing songs, words, and language lessons for the little ones (and not so little ones) for when I get into Tagalog and Spanish text. Brooklyn Children’s Museum, 145 Brooklyn Avenue (at St. Marks Avenue), Brooklyn, NY 11213.

 

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El Otro at COTE/ Looking Glass Theatre

This coming Wed. and Thurs. (4 & 5 April), there will be a workshop of Miguel de Unamuno’s play, El Otro. I play the role of Ama and it’s been great to be in rehearsals. Directed by Robert A.K Gonyo, produced by Co-Op Theatre East, and presented at Looking Glass Theatre (422 W. 57th St.). We’ve been translating the original Spanish text into English-Spanish, and we’re welcoming everyone to come through and let us know what you think at the post-show Q&A. And there should be wine and beer for a good, cheap price. Suggested donation $5. Come through and spread the word. More questions? jca@junipersupadupa.com

 

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BAM’s Poetry 2012, Fri., Mar. 9

For the past 5 or 6 years, Brooklyn Academy of Music has put together spring poetry performances for high school youth. I had the pleasure to perform with We Got Issues! fam in 2009 in addition to being one of the BAM teaching artists that preps the youth for what they see onstage.

Woot woot! I’ll be performing again this year, doing a piece at the top of the show with Mo Beasley, Mahogany L. Brown, Jive Poetic, and Samara Gaev. It will be a definite family reunion that I’m looking forward to. This is the first year BAM is opening up the show to the general public.  Come this Fri., Mar. 9, and check out fly poetry, music, and dance at Poetry 2012: Grand Slam at BAM’s Harvey Theater. Hosted by Baba Israel, tunes by DJ Reborn. Also performances by jessica Care moore, The Striver’s Row, Mike McGee, Jamaal St. John, Ishmael Islam, Nene Ali, DJ Yako, Rokafella, and Kwikstep. Have a beautiful week, folks.

 

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Musicians We Love- Xoel López

This interview originally appeared in Dec. on Friends We Love, for which I guest write. And only now posting it. One of my favourite interviews I’ve done so far…Check it out

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Great music. Good people. Work to inspire. This comes to mind when describing Galician musician and songwriter Xoel López.

He has been composing since his teens and gained popularity the past decade as Deluxe. Three years ago, though, he decided it was time for something else and put that name to rest. Off to the Americas he went…

That’s where I was introduced to his music: a random Saturday night in Montevideo’s Lindolfo Theatre, playing with Franny Glass and Pablo Dacal. The show was Canciones Compartidas, one of the many dates as part of Xoel’s La Caravana Americana project. When I learned about La Caravana’s joining of musicians and common roots, it compelled me even more to link with him. If it’s one thing I love, it’s Diaspora.

Recent schedules overlapped perfectly to connect in Buenos Aires, where he resides. It was a plethora of Spanglish, talking about being one half of Lovely Luna and their new album, Chang y Eng;producing Franny Glass’s new album, El Podador Primaveral; La Caravana Americana. And mate. Man, I love me some Xoel López.

JCA: Why Buenos Aires?

XL: That’s a good question. I decided three years ago to make a stop in my career and I decided to travel to America. One of the main parts of this story is that my girlfriend is from here, but that’s not all because I really wanted to be living in Buenos Aires. This is the kind of city that, when you visit, you think about coming back and staying for longer, you know? The other city where I felt that was New York. I came to Buenos Aires for two months and then to New York for two months, too. At the beginning, that’s the only thing I wanted to do. But then I decided to stay more and more and more and more and more. The years went passing by.

I left Spain. I left my career; I think, at the best moment… but [I was] just looking for new music, new experiences, living my life with more intensity. I needed perspective on all the things I’d done in Spain. I started very early—I was 15. When I was 17, I started to record records, doing tours in Europe. From 17 to 31, I made eleven records through many different projects. I never had time to chill. I needed it, and I thought America was a very nice place because the things I knew from this place— from North America to South America— I really loved. I thought it was a very nice place to go inside and go more deeply, with the culture and things.

JCA: Do you want to go back to Spain?

XL: Sometimes. It’s difficult to say because when you travel you always have these thoughts of staying. It depends on the day, the week, the month. Sometimes I miss a lot of things from there. Sometimes I worry about my career because I think the travel has been very long—maybe what I had is not anymore. But I would do it again. I really love this continent. Buenos Aires, especially, because I know this city more. When you start to know something of some value, you start to love it. The more I am here the more I love it. As the time passes by, I feel more like staying but I also miss Spain more. All the time there are these two feelings competing.

I have to say that the more I travel, the more I feel international. At the same time, I feel more Galician, more like my city.

JCA: What does it mean to be Galician?

XL: Galician people are immigrants. We are very rich in culture and many things, but not money; that’s the reason we were traveling all the time. We had a very important immigration at the beginning of the 20th century to America to many parts of the world, but especially Buenos Aires, Caracas, New York, New Jersey, Brazil, Mexico. Because Galicia came to America, I feel a bit American, too. There are many Galicians here, a lot of Galician culture in America. If you talk to a taxi driver, many times they will tell you, ¨My father is from Galicia. ¨This makes me feel like someone from these cities.

This is very important to say: we are travelers, but more than that, we have a strong culture. Even in Spain we are different. Spain is very complex, and Galicia is one of the reasons. We have our own language; that is why I really understand Portuguese, why I have listened to Portuguese music and Brazilian music since I was 10 years old. Galician is a mix of Spanish and Portuguese. It is the same language but it evolved in a different way. But we had the same language in the beginning. [I speak Galician and I love it] and it was a very important link for me to start speaking Portuguese, too.

JCA: How many languages do you speak?

XL: Not too many. I studied, like, three years of French so I can understand a little, but only Galician, Spanish, Portuguese, and a little English. [I studied English] at school and then I improved my English traveling, speaking to my friends in San Francisco.

JCA: How did you come to music?

XL: I can’t remember. When I was a child, I would listen to music and I asked my father to sing to me. He’s not [a professional] singer, but he likes to sing. And when I was, maybe, 8 years old, I started to play in the mirror with the [tennis] racket, [doing] that kind of stuff that every musician child has inside. I used to dream about having a band. (Laughs)At that time, I was probably more a manager. I would take cooking things and say to my friends, ¨Let’s play together. ¨ But we didn’t know how! This thing grew to what it is now. I think I was born a musician.

JCA: Where did you study or was there someone you studied with?

XL: No, not too much. I went to some teachers, especially for guitar, and I studied a little bit of piano. I studied in the conservatory, but just for three years. Everything was just half. I didn’t finish anything. But I took this little information I got and increased it by myself.

I think I learned singing by singing, singing, singing a lot. When I started, my voice was horrible. I started before my voice changed—you know, that moment when you become a man. I really practiced a lot; I started imitating voices I really liked. I made this mixer in the beginning, and then I started to make my own voice. It was something that just happened.

JCA: Why did you leave Deluxe?

XL: Deluxe was just another name for me. It was not a band, as many people think. It was a solo project. I really needed to change skins. Be myself. I started with Deluxe when I was 23 or something like that. Nowadays it makes no sense, that name. I am not the same person. I am more Xoel López than ever, maybe. My music is more directly related to my life and I don’t feel like there are two sides. I am not the kind of person that has [an onstage] personality; for me it is the same. I feel it very naturally. That is the reason I thought it was the moment to put them together and take off the mask.

JCA: Do you miss any part of Deluxe?

XL: It was easier; I stopped a successful career. For me, it was the right decision because I learned many, many things from life, from other musicians. I have more time now to do what I really want. At the same time, I think about my work; I had a lot of concert proposals. Sometimes I think maybe in the future I will miss that, but this change is the best for me.

I am still working hard to see if this is the correct way. The other way— I like it, but I prefer this one. So keep on going.

JCA: Did you get backlash?

XL: Well, my manager is the same, so he really understood. In fact, I am coming back to Spain with a new album. The first Xoel López album and I think I will start to work again and stay longer than these past 3 years. But he understood perfectly these three years of traveling, living, mixing music and growing up as a musician and as a person.  Fans…yeah. Sometimes they say, ¨Come back to Spain. We understand that you are traveling, but come on. That’s enough. ¨ But I’ve been coming back for a while. I have played, but it’s been more like a transitional tour because I play songs from Deluxe and new songs that people don’t know yet.

For people who like Deluxe, I don’t feel like it’s a break-up. It’s a continuance. The last songs—especially the last two albums of Deluxe—are Xoel López albums. It is just a change of names.

JCA: You write in English, too?

XL: It’s very interesting. I have to speak about the Spanish scene, because it wasn’t

something personal, not me saying, ¨I’m going to write in English! ¨ Many people started to sing in English and I’ll tell you why: Anglo culture is very strong all around the world. That’s obvious, especially in cinema and music. Many people in Spain were born with English and North American music. For us, the references were from there. That’s why we started copying: thinking that if we speak and sing in English it will be more similar to the music we like. That’s the wrong concept. We have to sing in our language as the English sing in theirs.

When I was 15, I started to make songs. If you were in an underground band, you had to do it in English. You had to do that. Then I grew up and I noticed that I was copying, and so then I started singing in Spanish. Naturally, I should have done it at the beginning.

I really like to sing in English, Portuguese, and many other languages. But now for me, it’s something to do on special occasions. I probably will never do an English record of my songs again. I could do it if I did it with somebody, but [for the past ten years] I always write in Spanish.

JCA: What comes first: the lyrics or music?

XL: Lyrics, always. Sometimes together, but normally, the lyrics. When I started writing in English, I would do the opposite— it was strange. But now, if I’m going to make a song, it’s because I have something to say. I write about something then I put the music to that.

JCA: Do you do any other art? For example, Gonzalo (aka Franny Glass) told me he writes scripts.

XL: Many times my songs come from poetry I’ve made. But I am not a poet. I don’t have any book. I don’t feel like doing it now; I feel more secure in the songwriting style.

JCA: Your lyrics are poetic.

XL: You think so? Songs are different from poetry, but they have the same root. I think if you’re a poet and you practice, you can write a song, and if you’re a songwriter, you can become a poet if you wanted to. Maybe in the future? I have many things written without music, so I have to make something with that.

JCA: Tell me about La Caravana Americana.

XL: Wow. That may be the best and biggest project I ever made because it was not just me. I conceived it and made it possible, but there are many people involved and, as you know, people from many countries— from United States, Cuba, Dominican Republic, Venezuela, Colombia, Brazil, Chile, Argentina, Uruguay, and Spain.

I wanted to explain to the Spanish people my travel to America and have a reflection of what I was living. It was very expensive for us— the project of our lives, maybe. But it was a dream come true. I took all these people to Spain and I showed them to the Spanish people to tell them there are many people making fantastic music that they don’t know about. If you listen to the radio, you listen always to the same thing. It’s not easy to meet a Pablo Dacal, a Franny Glass, or Bart Davenport. I wanted to show this very, very high quality of musicians, and we recorded a documentary of all my experiences in America and all the experiences of the Americans in Spain in this tour.

JCA: When does it come out?

XL: Maybe at the end of the year. It’s a very difficult process. In fact, we thought it was finished but then we decided to make it again; we really thought it was an important thing and we want to do it very well. In any case, I have the record in March, so I have things to do.

JCA: How did you find the musicians?

XL: Many of them because of friends. For example, Bart [Davenport] I met in Spain when he was playing there. That’s more normal: a North American playing in Spain, but not the opposite. I thought it was a very nice thing to do—me playing there [in San Francisco]. Bart really helped us in that way. Franny Glass, because I knew his manager. From that very first day, we became friends. It’s very funny— everything was very natural. Legiao Urbana is a big popular rock band in Brazil, and I met them because of friend in common, very casually. With all of them it was the same. Some of them—for example, in Venezuela, Jóvenes y Sexys and Ulises Hadjis—I met because I asked for people to play with as my band.

I had started doing this thing: I came to the country and I would say to the people I knew there, ¨Do you know people who could play with me? ¨ I didn’t have the [preconceived] idea of La Caravana Americana. It was a moment that came that I thought that this is incredible and a critical experience and I really have to tell the people about it. That’s how the Caravana came to my mind.

JCA: Is there anything that was missing that you would have liked to include?

XL: Yeah. Many, many things, many musicians don’t appear because it was a lot. The people in this documentary are not the most important part. For me, the philosophy, the idea of a mix of people, travel, cultures…the spirit is most important.

JCA: Do you feel yourself political? Is your music political?

XL: I don’t like people saying, ¨I’m not political. ¨ No. Obviously, you are. Every decision you make is political. That’s why I feel political, but sometimes I feel a little bit lost when I think about parties because it’s very difficult to know everything that’s happening. Politics don’t carry the whole thing. There are the banks, many things we don’t feel we can control. That’s why I feel apart from political parties and politics. But I have very strong ideas.

The Caravana is a project talking about opening borders. It is a little bit idealistic, too. It is democratic in many ways because there are many kinds of music and many different populations: people who are huge and some not so well- known, people 60 years old and people who are 22. This is political. I believe in this open mind concept of things. In fact, our friends from Colombia could not come to Spain because of passport issues. Very sad, but that’s a reality. This project is the opposite. It is against the monopoly. In Spain, we have English and North American influences. I love it, most of the records I have are from your country. But economically, we are influenced too much by that and it [affects] the music you do not hear, because it is all mainstream. If I live here, why do I have to listen to Beyoncé every day? Every time I get to a newspaper, it’s Beyoncé or Shakira. It’s not the only thing out there.

I was talking about the complexity of Spain, but in the States it is even more complex. New York —

JCA: Is like it’s own country.

XL: Yeah, absolutely. It’s strange, the feeling of being from somewhere. It’s very romantic and complex, something very spiritual. We were born where we were born; it was just by chance.

JCA: Lovely Luna. I have both albums.

XL: Really? And you are one of the people that prefer Lovely Luna to Deluxe?

JCA: No.

XL: Okay, because it is a very common thing. Somebody comes to me at night, especially in Spain, and they tell me they prefer Lovely Luna than Deluxe. I really like that! Somebody listened to the records and listened to the music. Deluxe was popular at one time, but Lovely Luna was that obscure project on the side of Deluxe. [Lovely Luna] is my friend Félix Arias and me. We have been playing together since 1995, have three records. Our first one was in English, but it was only 500 copies in 2000.

JCA: Why Chang y Eng?

XL: It’s a nice metaphor of what we are. Félix is one of my best friends. We always had it as a part of our bands. We started making more pop-rock bands, and Lovely Luna was this perfect place where we were playing just acoustic music. Now the folk thing is bigger, but at that time we were very strange people to the rest. ¨Why are you playing without bass and electric guitar and drums? ¨ Félix and I were, like, ¨We like Simon and Garfunkel.¨ It was the ‘90s, with people like Nirvana, Oasis…so [comparatively] we were so boring.

Chang y Eng reflect the idea of Félix and me together no matter what happened around us. We didn’t mind what was happening, solo projects, because we are always connected.

I heard the story of Chang y Eng by chance. I made a short poem about the guys, not thinking about Lovely Luna or Félix. When we started to make the record, I thought, ¨I have this poem. Maybe you’d like it. ¨

JCA: You’re favorite song of yours?

XL: I don’t have one to say right now, but I can…it changes.

JCA: Do you have a song of yours that you don’t like?

XL: Yes. There is one on the last record. Well, I have many, especially, ¨El Ultimo Encuentro¨ onReconstruccíon. Many people like it, but I never play that song on stage. Never. I recorded it and then decided I didn’t like it. There are things you do quickly. A month later, you think the song is not for the record. Maybe if it was a single or a B-side but it was an example of making things quickly. You have to make things calm, think about it, reflect. You have to take time to do things. Sometimes you can make something quickly and it’s good, but many times you feel regret.

JCA: Are you addicted to yerba mate?

XL: Yeah! You don’t like it? I have become a purist. I have to say in the beginning, I didn’t like it, like many things: I didn’t like the first beer; I didn’t like the first cigarette…I gave up smoking a year ago.

JCA: Good! What made you stop?

XL: Thinking about death. Really. I wanted to live more, not die because of this stupid thing. And my voice. In fact, I think it’s better now. My voice is more open. And mate is of the culture. It helped a lot to give up smoking because I substituted the cigarette with the bombilla. You get used to it… and then you love it.

JCA: So, the new Franny Glass album [El Podador Primaveral]. What can you say about it?

XL: It was a very, very inspired recording— something unrepeatable. You can like it or not, but it is what we wanted it to be. We didn’t have much money; we made it at my house and I think it feels like that when you listen to it, very homey. We made it in maybe two weeks, the whole day just recording, recording, recording. Very concentrated. We didn’t have the best studio in the world, so I think we based all the energy on the inspiration and the feeling of the record. I had to think about what to add or not. I did it with Lalo, obviously, but the songs were very finished. He really knows what he wants, and that [makes it] really easy for a producer. I could concentrate on the mood, adding clothes to a body that is already defined. It made it quicker. We changed things, but very small things. I really concentrated on what the lyrics made me feel and how they inspired me, making the perfect mood to them. The lyrics are very much about the past and it is very, as I think I do, too, cinematographic. It inspired me as to what to do with the atmosphere: more reverbs, more acoustic, more rock, whatever. It was a production based on the feelings. It was something special. Not better or worse, but different because we are very similar. For me, producing is very different. I am a musician and composer, so my concept of production is maybe not very good to other producers, you know? But it is special, different in many ways.

I love the record because I love Lalo’s songs, especially the new ones. I think they’re more mature now, the lyrics of the songs. He’s mixing things with some folkloric themes from Uruguay. For me, Lalo is one of the best songwriters right now in Latin America, but he’s going to be more artistically important in the future, I think. But I think the best person to speak about the record is Lalo.

JCA: What inspires you?

XL: Life, people. The way people communicate, their relationships. I wrote about different things when I was 20 than now, being 34. Sometimes I make this in context. I talk about a feeling and I am talking about a little world— a city, for example. I have a song on my new record called ¨Buenos Aires¨. It’s not necessarily about Buenos Aires; I’m talking about my feelings here and why I came. In fact, it came from a question many people asked: why are you in Buenos Aires? [Art] is like therapy. It is a way to communicate with yourself and with the rest of the people.

JCA: What is love?

XL: I have a song on the new record. It is called ¨La Boca de Volcán¨ and it talks about all the different ways to call love and how love changes. Love is maybe the most important thing in my life. I am not talking specifically the love of my girlfriend or my parents. I mean love in a bigger context. I am not very religious. For me, love is a kind of god. I really believe in love. But what is it? Nobody knows. It is many things. You know they say how God is everywhere? Love, for me, is everywhere. Sometimes it changes to hate, but it is something very complex.

JCA: Do you think you can have love without hate?

XL: Yes. I try not to feel hate at all. Yeah… I think you can be a lover without hate. Love is respect. It is empathy. But you have to love yourself first and respect yourself to respect people like that.

Expect a new album from Xoel early 2012.

Foto Credit: Lola Garcia Garrido

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Reading at New York Foundation of the Arts

Whoa. It’s been a while since I’ve posted. Happy 2012! A mix of lots of events and work happening and need to rest and step away from the computer. Starting things off…I’ll be reading as part of the New York Foundation of the Arts Bootstrap Festival. If you’re in the area, come on through and spread the word. Click here to RSVP.

Thursday, February 16, 2012

Time: 7:30pm 

LaunchPad, 721 Franklin Avenue, Brooklyn, NY 11238

An Evening of Literature featuring Jennifer Cendaña Armas, Katy Rubin (Concrete Justice), Ama Birch, and Hossannah Asuncion.

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Fight the ShutDown of OWS- no press allowed

Check out this stream. Let them know you’re watching.

http://www.livestream.com/globalrevolution

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Youth Programs We Love: Save Sessions LA

My homeboy, DJ Phatrick, sent out a call a few weeks ago: a program he works with, Sessions LA, lost funding and they were raising the money to keep it going.  A click of a button and I learned that ¨Sessions LA is a DJ, music production, and recording Workshop for youth and young adults in Los Angeles.¨ What makes it even better? It’s free. In the midst of cut after cut to programming nationwide, let’s come together as a community and help each other stay up. Every dollar counts. Please click here to donate to SessionsLA and learn more about their work. - Jennifer Cendaña Armas

http://www.vimeo.com/30209217
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Foundations We Love: The Global Block Foundation

Check out my latest piece in Friends We Love on Global Block Foundation, also included below. Big up to hip-hop and community work.

The Global Block Foundation, founded by the Hon. George Martinez (also GBF’s President), Clara Guerrero, and Jelani Mashariki, integrates hip-hop and community work through a group who is truly invested and inclusive in creating sustainable community. It was a pleasure to fly down and facilitate some workshops with Youth Voices Belize, another project I love and which GBF is involved with.

Honestly, I don’t remember how long I’ve known Martinez, aka Rithm. Either I don’t remember… or I don’t want to date myself. We’re fam, meeting through Blackout Arts Collective, and over the years we have shared stories and performance clips of our projects around the globe. How could I not share their work with the Friends We Love circle?

Your introduction to Global Block Foundation may be a bit late, but it’s gotten here with care.

Rithm, take it away.

JCA: How did Global Block Foundation come about?

GM: GBF officially formed in 2008; it represents the natural growth of my own activism and the practical need to begin linking our global communities through arts activism and sustainable development. The reality is that everyone, everywhere lives on a block, whether dirt road or pavement, and I believe that we can change the world one block at a time, connecting them by harnessing the spirit of innovation, creativity and activism at the core of the Hip-Hop movement.

My Hip-Hop and arts activist roots, which grew for me into the GBF, actually started off in the 90s as co-founder of Blackout Arts Collective, and then as a founding board member of the Hip Hop Association (H2A), in 2002. Then, in 2007, I was appointed as a US Cultural Envoy from the Department of State, and began Hip-Hop diplomacy missions throughout Latin America. It was then that I really began to formulate the full idea of the organization called the Global Block. With encouragement and support from my closest friends and colleagues, like Jelani Mashariki, Martha Diaz, and my wife, Clara Guerrero Martinez, I took the plunge and created GBF and began branding it across my work. By 2008, the brand was ready to take legal form based on our programmatic collaborations in NYC, Alaska, Honduras, Bolivia, and El Salvador.

JCA: What are the differences and/or similarities using hip-hop as a tool between your work in the States and abroad?

GM: In 2001, the UN identifies hip-hop as a global culture of peace through the recognition of the Hip-Hop Declaration of Peace. And yet there still is no official museum in NYC, the birthplace of Hip Hop. Overseas, I can say Hip-Hop Ambassador of the United States of America and be taken seriously, while people in the US generally think that I am making it up because they can’t imagine that it is even possible.

In the United States, most don’t know the difference between the rap industry and Hip-Hop culture. While overseas, the Hip-Hop community is still dedicated to the original elements, and they concern themselves with the knowledge of the movement. Now to be clear, the Hip-Hop community in the US is strong, vibrant, and intergenerational and pioneering the next levels of effective organizing and educational platform development. Here is a story that illustrates my main point. While arriving at a venue for a sound check in preparation for a concert that evening in Guatemala City, a group of B-Boys, MC’s and Graffiti artists approached me with an overflowing hard covered journal that had pages hanging out and was held shut with rubber bands. They opened it up and proceeded to ask me if the information that they had accumulated, the knowledge of the Hip-Hop the pioneers, values, techniques, events, etc, was accurate. I was blown away by their commitment to understanding the roots of the culture.

JCA: Please share the cultural and social preservation work the foundation takes part in?

GM: GBF has found itself on the forefront of indigenous peoples’ struggles for land rights, cultural preservation, and the bridging of traditional wisdom with modern tools and approaches all throughout the hemisphere.

Clara Guerrero, my wife and co-founder of the GBF, is a Garifuna woman with family roots in Honduras and Belize. We first visited Honduras in 2004, we visited the village of Masca, which was the village where Clara’s father was born and where he and her mom built a home and small business. After Clara’s mother’s death, Clara began to develop a vision of a Garifuna Community Center named after her mom, Sylvia, to be developed on her parents’ property. By 2006 we had acquired the legal rights to the property and began programming small community events. Now the Sylvia Center for Culture and Development is a part of the GBF, and Clara is the director; its mission is to integrate holistic healing and wellness, cultural preservation and education, through traditional Garifuna wisdom. We have been truly blessed to be a part of the community and work plans included cooperative farming, eco-agro-ethno tourism, health and wellness, education and cultural and language preservation.

GBF is also currently supporting a project in Belize that is built upon models that I have used in New York and other places, but like with all projects that GBF is involved with, it must be developed and led by local folks, incorporate youth, and be relevant to the community. The project is called Youth Voices and is led by Nyasha Laing, daughter of the late Belizean Ambassador to the US, Edward Laing. It seeks to integrate spoken word, film making, and story telling into a youth development initiative.

JCA: Have you had any issues working with the various governments in which projects have taken place, where what the organization is working for and its approaches can be construed as ¨dangerous¨?

GM: Thus far no, save one instance, which was more about the pre-existing tensions between nations and less about GBF. On an envoy mission to Leon, Nicaragua, the Sandinistas who controlled the area tried to shut down one of my workshops and public performances by locking us out of the community center that we were going to use. However, in true hip-hop form, we hit the street and turned it into a block party instead. Then a Sandinista sound truck came rolling through the neighborhood and attempted to crash the block party, at which point neighbors barricaded the streets and prevented them from entering. In that moment my connection with the people and our connection to hip-hop was more important than the historical political tensions between our existing countries, and the politics of the US did not hinder our Hip-Hop diplomacy. This is because hip-hop is an intergenerational, transnational family.

JCA: What is love?

GM: One of the greatest gifts of Life is The Bond Between Me and My Family.

Learn more at http://www.globalblock.org

- Jennifer Cendaña Armas 

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RIP Steve Jobs

I got back to my apartment in Lima tonight and the first thing that popped up on the computer screen upon turning it on was the announcement of Steve Jobs’s passing. This was a great commencement speech.  YouTube Preview Image

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