Educators From The United States

"when we’re thinking about what’s next, we’re saying don’t bail out the fossil fuel industry, don’t bail out the airlines. Bail out people."

"Our current relationship to the Earth is based on a worldview of domination that supports an extractive economy."

"When we’re dealing with a crisis like COVID, which is disproportionately affecting people of color — and it’s a respiratory disease! — and then you consider that Black and Latino people overwhelmingly live in polluted communities, the disparities just become really clear."

"When it comes to climate change, most of the stories and cultural content that exist to inform and organize people are overwhelmingly pain oriented, outdated, and hella White."

"The power of art and culture is that it speaks to our heart. It speaks to our emotions, but it also opens up our imagination to show us what’s possible. It takes us to another world, and we can experience that world. What we urgently need in our climate movement is to be able to imagine solutions and see ourselves in a different kind of relationship to nature. In order for us to halt the climate crisis, we have to reimagine our relationship to energy. We have to think about our consumption, especially as Americans. We could tell very different kinds of stories around how we achieve happiness and success. How we do that is by reconnecting to each other and to the natural world."

"The anti-immigrant movement has successfully been able to dominate the immigration debate by pushing out messages about migrants that are inhumane, racist, xenophobic and hateful. But those of us who fight for migrant rights are not only fighting back, we want to reframe the way migrants are viewed, artists especially. We want to expose the tragic losses that have resulted from unjust immigration laws, and we want to inspire and challenge people to reimagine migration as something beautiful and natural — somethign [sic] we all do."

"Art is uniquely able to speak to our understanding of the world by delivering potent, powerful and empathetic content. People engage with art in a very different way than they engage with a policy paper or a news article or even a protest. This is why I believe in the power of art to shape thoughts, change hearts, and ultimately help shape laws and policy. Art has the potential to distill the most complex social challenges down to their most basic and simplest values. Values like love, family, caring for the other, caring for those in need, and fighting the things that cause human suffering."

"Culture is power. The music we listen to, the social media we consume, the food we eat, the movies and television shows we watch-these all inform our values, behaviors, and worldviews. Culture is in a constant battle for our imagination. It is our most powerful tool to inspire the social change these times demand."

"As the old narrative of capitalism reveals its devastating failures, we urgently need more compelling and relatable stories that show us what a just, sustainable, and healthy world can look like."

"I really long for a time when I can look at art and listen to music and watch films that remind me of my relationship to nature, that help connect me to all of the beautiful animals that we share this planet with, the ocean, the forest. That relationship has been broken. It has been altered and severed. That is the effects of white supremacy and colonialism. This is why in so many movements, there is a demand to return land to Indigenous communities and to center Indigenous voices because Indigenous people continue to be the ones who are most protecting our world’s biodiversity. And if you look at culture from an Indigenous perspective, they are very different kinds of stories. They are stories about being stewards of the Earth, stories about protecting the salmon."

"The power of art is that it can help us heal our relationship to nature and help us as human beings understand that we can move away from an extractive relationship toward a regenerative one. Culture can do that, but we have to do it by replacing the old fairy tales. Greta Thunberg called them “fairy tales of endless extraction” because, in reality, they are fairy tales. They are stories. They are a form of culture that has gotten us here—and largely a culture of colonialism that deemed some life could be exploited for the benefit of other life."

"The year 1998 would bring the 150th anniversary of the Treaty of Guadalupe Hidalgo as well as the 100th anniversary of the Spanish-American War, both landmarks of imperialist expansion"

"The narrative we need is to respect all life, including all human beings. How do we build our reconnection to each other as human beings? Because that’s what’s going to transition us away from an extractive economy and solve the climate crisis."

"She was an innovative type of organizer. In all projects, she had a posse of young people working with her. She loved being around young people and they loved being around her."

"In this extraordinary volume, Elizabeth Martínez reveals what has thus far been hidden from our view, the rich and inspiring history of Chicana women, from the early days of the Spanish conquest to the contemporary struggles for immigrant rights. The book is a treasure trove of exciting information and striking images. It should become an indispensable part of everyone's library, and a special gift to future generations of the young, on whom we depend to change the world."

"She was an elegant presence and a dynamic soul who wore red and purple together like no one else."

"I thought I knew my history, but 500 Years taught me more than I could imagine. In these pages, La Chicana emerges from historical erasure as spirit-warrior, artist, and revolucionaria. This book won't rest quietly on a coffee table, but belongs on the kitchen table, in the factory lunch-room, the school library, the clinic waiting room, the painter's studio. It is a book to be used, to remember and record Chicanas struggling to make home in our Native América."

"picking up the pen for Chicanas became a "political act." ...Women also founded and edited newspapers-El Grito (Betita Martinez); Encuentro Feminil (Adelaida del Castillo and Ana Nieto Gómez); Regeneracion (Francisca Flores); and El Chicano (Gloria Macias Harrison). Through their writings, Chicanas problematized and challenged prescribed gender roles at home (familial oligarchy); at school (the home economics track); and at meetings (the clean-up committee),"

"She was an example of what it means to not just speak your truth but to live your truth and to be prepared to commit your life to that truth."

""We have practiced a different kind of leadership, a leadership that empowers others, not a hierarchical kind of leadership." Elizabeth (Betita) Martínez echoed, "The leadership that empowers others is the leadership we need." Over fifty years ago, Luisa Moreno and Josefina Fierro de Bright provided this type of leadership."

"Thanks to the inspiration of Elizabeth Martinez, who founded and published El Grito del Norte in Española, New Mexico, during the late 1960s and early 1970s, I decided to write my doctoral dissertation on the history of land tenure in northern New Mexico. Only through understanding history and land, I believed, could the present be understood."

"At first, she struck me as a film director at work, trying to create order out of chaos. She exuded an air of authority."

"Sometimes we also find a tendency to view everything that's indigenous as good and anything "European"-such as Spain-as evil. That view overlooks such historical realities as the Aztec empire's oppressive domination of other indigenous societies and its class system, which privileged priests and the military. That view also forgets Spain was not a typically European nation after 600 years of rule by the Moors, an Arab/Berber people from Africa."

"it's vital to avoid a longtime error of leftist politics, starting with Marxism: failure to understand the powerful role in human society of subjective forces such as spirituality. That failure has opened the door wide to right-wing manipulation of spiritual hunger. That failure undermines the possibility of mobilizing masses of Latinos/as for whom faith has been an affirmation of heart in a heartless world. The bottom line in any organizing for social justice needs to be respect for others' needs, including spiritual needs."

"We can look to Mexico, where a vision for social change has been powerfully affirmed by the Maya people of Chiapas. They named their vision "Zapatismo," in memory of Mexican revolutionary Emiliano Zapata, and startled the world with an armed uprising on January 1, 1994…The Zapatista vision does not find the answer to injustice in the replacement of one domination by another, but in a vast change of the political culture from the bottom up that will create a revolutionary democracy."

"Many young Raza activists today are adopting a vision that embraces the strengths of nationalism while shunning its divisiveness. They call it "native spirituality," or "the natural way," or "indigenismo," and see it as that revolutionary worldview we urgently need...indigenismo can subvert the colonized mentality found among mestizo peoples that elevates the European and denigrates the Indian. For Chicano/a youth, discovering they have roots in indigenous, often advanced, pre-Columbian cultures can help develop a sense of potential empowerment."

"Much has changed and some things haven't changed. Beware the unholy trinity of the 1960s, still with us: reactionary nationalism, sexism and homophobia. Too often they travel together."

"Other historic events that must have contributed to the politicization of youth: the 1991 Gulf War, the beating of Rodney King and the Quincentennial of 1992 as an occasion for year-long protest. Together those events stripped away many lies about U.S. foreign policy and domestic racism. The Zapatista uprising in Chiapas beginning January 1, 1994, and ongoing support for Cuba as demonstrated by the Venceremos Brigade have also educated and inspired."

"One of the most striking facts about the 1990s is the high level of female leadership and participation. For anyone who remembers the sexism of the 1960s and 1970s movements, today's young women in action are a joy to see."

"Throughout this book, Martínez reminds readers again and again of why we should balance the wisdom of experience with the fire of youth and honor both perspectives. So many great leaders have boldly embodied this ethic, from the recently departed such as Yuri Kochiyama, Grace Lee Boggs, and Cedric Robinson, to those who carry on like Jamala Rogers, Miss Major Griffin-Gracy, and Betita Martinez herself...so much of Martinez's work calls us to reconsider the black-white schema for US racial politics. As Martinez insists, "a bipolar model of racism has never been really accurate for the United States"...As she has for decades, Betita Martínez both opens and answers questions, she lives the coalition ethic she espouses, and she reminds us eternally, that achieving justice requires all of us."

"From her involvement with the Student Nonviolent Coorditing Committee during the 1960s to her current leadership of the Institute for Multi-Racial Justice, Elizabeth (Betita) Martinez' work comprises one of the most important living histories of progressive activism in the contemporary era. Furthermore, her writings recording countless struggles for social justice-some won, some lost, some still raging with varying degrees of intensity, and many having international implications-offer us an invaluable reader in the rich history of radical activism in the Americas...Martínez' words are always powerful, never mournful as she addresses the role of U.S. people of color in forging the past, present and future of leftist activism... Her voice is of wisdom gained through a wide range of experiences across a broad spectrum of social movements...Her approach is no-nonsense, yet it reflects the sharp sense of humor that so effectively keeps the weightiness of her subjects from overwhelming...Betita Martinez' life and work stand as a living monument to the possibilities for success that reside in our collective knowledge, commitment, persistence and plain old hard work... the inimitable, the irrepressible, the indefatigable Betita Martínez."

"One legacy of muralism is to make the point that we are losing the public commons. We should recognize we need them and fight for them. Parks and schools can be commons. Spaces and arts should not be privatized. Arts should be public..."

"I think that all art is political. I think that art is always an expression of a human experience, and I very much believe that the arts are central to our society…"

"Judy Baca is one of our great feminist artists...She has not received the kind of attention she should have received over the course of her career. She has been a low and steady and every day practitioner."

"I think that people often think that culture is neutral, but culture is a major battleground. People have to understand that the culture they're seeing is reflective of a power structure that is impeding our progress as a society…"

"Judy invented a model of public art...Rather than plop down a monument or a sculpture, without accounting for the people around it, Judy really started a model where you have that community engagement early on in the neighborhood. So people in the neighborhood had a sense of connection with the work."

"a great American artist who has always had a strong sense of place, occasion and history."

"It doesn't matter if it's art or digging a ditch, building an airplane or making a sculpture, what matters is that it's a creative, innovative act. That the hands of the group have more power joined together. What really matters is the collaboration and skills young people develop figuring out how to get it done."

"Some of the young people found in the arts a place to live, but I wasn't intending to make them artists, I wanted to make them citizens, part of the world they lived in."

"I was trained as a minimal and gestural painter, in color theory, color optics, that's what was popular in the universities. And then I walked into a moment in history when the civil rights movement was in full effect. The Chicano Moratorium against the Viet Nam war, Cesar Chavez, Belvedere Park, I was there. I was in Cal State Northridge when students occupied the administration building. I thought, "Okay, I am perfectly suited to do nothing about any of these issues, I am a color field painter, what good am I?" On the night of my graduation, my grandmother said sweetly in Spanish, "What is it good for, what does it do?" Everything in her life had reason and meaning, even the little plants growing by the water fountain in her yard in South Central were used for healing. She could turn a stick in a coffee can into a beautiful thing, and I thought to myself, "I've got to learn what this is for." I began to systematically unlearn and move away from elitist system of arts. I realized that arts lived in all people. More primitive cultures have a culture of gifts, so the gift grows as it's given. In the potlatch of the Northwest, the tribal chief who gives you the goats expects you to have a big feast. In our culture, the gift giving culture meets capitalist culture, the culture of acquisition, where we value what men acquire instead of what they give away. In old cultures, those who gave the most were the most regarded. I began to see that if art were given away, it would grow. I began to answer my grandmother's questions one by one, and began to change the way I made art. The scale had to be big enough to include others. I had to think about we as opposed to me, the creation of family versus the agency of the individual. As I started to do that, I began to see I was very good at that."

"I will hire anyone who has the will and the capacity and will put down a knife for brushes! The deal was, no violence. We had to enforce this; it was always a negotiation. The kids had to find other ways to express conflict."

"I was expanding the role of women in my own thoughts. I wanted to break all the rules. Women don’t build in massive scale, women don’t build monuments or make public art. Women play with dollhouses; they don’t make architectural statements, they don’t build Disney Hall. There is no financial backing for women to develop the agency of a Frank Gehry. Women will never have that power in my lifetime."

"I'm interested in stepping outside the traditional role of arts, the creation of beautiful paintings bought by wealthy people to decorate their homes. People with expendable wealth could acquire art and determine who could see it. For me, art could go where my family went, in neighborhoods where museums are as foreign as the moon, so that working and poor people who had a great appreciation of beauty could see the murals and live with them. I was fighting a whole series of stereotypes..."

"(You have mentored so many young people. Who was a mentor for you?) Gilbert Roland, the actor. He was one of the first to break the notions of who a Mexican actor was. He was a silent movie star and was in the original talkies. He was the original Cisco Kid, a vaquero. He created the character of the gentleman who was a beautiful Latin lover, with a shot of whiskey and a rose in a vase on the bar. He would smell the rose before throwing back the whiskey. He had both tenderness and strength. Women's leadership can be both vulnerable and strong, that's the trick."

"What we need more now is to make art that is about connection. Mural painting is a perfect form, the oldest form, we know those cave guys were marking those walls for magic. Those guys were shamans who recorded history. I haven't traveled far from these ideas, that particular role, or consciousness, so that you can elevate your worries about global warming into a song that will move the souls of everybody in the room. This is a different and bigger role than the western European visions of art. This vision goes back to the ancient American. I like to say mural painting is a form made in connectedness, connected to architecture, to the river, where we made our first huge mistake in the city. We concreted the artery, and my job was to begin healing the river and the people. We are connected to that river, we are connected to living things, the whole planet, the Gaia, the large philosophical point of view, the creation of another idea of what can be."

"In some ways, we didn’t cross the border, the border crossed us"

"I always thought I’d make a work and it’d go out into the ether, never to be seen again or spoken about,” she said. “But I realized that when I was making it, that I was processing through my hands, and through my art. I was finding a way to live with truth that was hard and difficult. It was a way of keeping me sane, and keeping me in the process of healing, and healing those around me"

"Murals can do some amazing work in the world, because they live in the places where people live and work, because they can be made in relationship to the people who see them, because the people themselves can have input, if it’s done in a profound way. And that’s what I intend to keep doing as long as I’m standing here on earth."

"My work has been ignored a lot in LA … and the men here have been pretty profoundly unable to see women as their peers. That’s been the struggle of my whole life as a Chicana and activist and feminist. It’s created a devil-may-care attitude for me. I had to just perceive what I was doing as significant for myself and my community and move ahead with willfulness and belief, buoyed by the community people I worked with – not by the arts."

"Arts are a magnificent way to deal with multilingual people. Arts are an entryway."