“Black Flag Boricuas: Anarchism, Antiauthoritarianism, and the Left in Puerto Rico, 1897 – 1921”

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“The black flag of anarchism . . . expresses one’s solidarity with those most abused by the state, by capital, and by religion. . . . ‘Boricua’ . . . [is] more about a collective identity of resistance – in short, a distinct form of antiauthoritarianism rooted in the island people’s collective nationality against colonialism” (Shaffer, 15 &17). “Black Flag Boricuas”

When people think of anarchism, the most common generalizations consist of youth destroying private property, disregard for authority, and a world burning in chaos. Yet, in spite of these misunderstandings, the general public forgets that anarchism stemmed from the struggles of marginalized communities throughout the world.  In “Black Flag Boricuas: Anarchism, Antiauthoritarianism, and the Left in Puerto Rico, 1897 – 1921,” by Kirwin R. Shaffer, the author explores the role of anarchism in the Caribbean and its interrelationship with other Puerto Ricans and other activist groups in Cuba, Florida, and New York. This book also serves to unite readers under a black flag that evokes the humanity of people affected by authoritarian forms of government.

Spanish colonialism, U.S. invasion, poor living conditions and low wages are some of the ingredients that led to the dissemination of radical consciousness and change in Puerto Rico. Anarchist thought was facilitated by the arrival of Spanish migrant workers to the island in the late 19th century. Their message resonated with the tobacco industries of Caguas, Bayamon, and San Juan, Puerto Rico which had “most of the leading anarchist writers and activists” (Shaffer, 3). Places like Havana, Tampa, and New York were also known tobacco cities; destinations that provided Puerto Rican migrants with more opportunities for income and for networking and mobilizing with fellow comrades. In order to build solidarity with and learn from transnational anarchists, anarchists in the island began to publish newspapers and write articles for American and Cuban periodicals “which helped to internationalize the movement wherever they went and to discuss international topics” (Shaffer, 5). These are just a few of the examples of dissidence that represent Puerto Ricans’ struggle for autonomy from foreign and domestic exploitation and social injustice.

“Black Flag Boricuas” provides a breadth of information and is a good introduction to the history of anarchism in the late 19th and early 20th century Puerto Rico.

If you are interested in learning more about anarchism around the world, you can check out “Zen Anarchism: The Egalitarian Dharma of Uchiyama Gudo” from the International and Area Studies Library. It is a collection of translated essays by a Zen Buddhist priest and anarcho-socialist activist that provide an interesting insight into Buddhist history in Japan.

Also, the main library has a book titled “Anarchism & The Mexican Working Class, 1860 – 1931” which looks at the impact of anarchism on the Mexican working class. Moreover, the main library has a collection of English periodicals, “Anarchy,” that focus on issues of unemployment, racism, gender discrimination, poverty, militarization, and other related issues within Europe and beyond. For something less broad, you might also be interested in learning about anarcho-feminism from “Anarcho-Feminism: From Siren and Black Rose, Two Statements.”

Finally, another recommended book which you can check out through I-Share is “Eyes to the South: French Anarchists and Algeria,” about Algerian and French anarchists during the Algerian revolution. Furthermore, check out one of our oldest bibliographies on this subject “Bibliographie de l’anarchie” by Max Nettalu.

Happy Reading & Power to the Reader.

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“The Organic Globalizer: Hip Hop, Political Development, and Movement Culture”

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The Organic Globalizer: Hip Hop, Political Development, and Movement Culture,” edited by Christopher Malone and George Martinez, Jr., is a compilation of essays that explore the ways in which hip hop culture serves as an “organic globalizer.” In the opening chapter, Malone and Martinez define organic globalizer as a movement which “builds a network of grassroots institutions geared toward social justice and political participation both locally and globally” (Malone and Martinez, Jr., 5). Hip hop developed during the early 1970s “among African Americans and immigrant populations in the urban United States” (Flaherty, 131) and has ever since traveled throughout the world, giving other marginalized communities a voice to raise social awareness and promote change.

The authors explore hip hop as a “means of expression for groups that are historically marginalized and outside of traditional political, institutional access to power” (Flaherty, 131-32) from America’s inner-cities and industrial prison complex to the colonized lands of Palestine, Australia, Africa, and Latin America. From the socio-economic disparities and injustices endured by these transnational communities, the authors propose that “hip hop, rooted in a movement culture, has been an artistic medium used to foster awareness, build and transform social institutions, and/or encourage political activism in local communities that have largely found themselves marginalized” (Malone and Martinez, Jr., 15). Therefore, hip hop unites the struggles of international peoples and serves as a force for political engagement, cultural awareness, and social justice on a global scale.

In May 16, 2001, the United Nations sponsored and recognized hip hop as an international culture through the Hip Hop Declaration of Peace. This declaration lists 18 principles which “seek to maintain the dignity and respect of individuals, cultures, tribes, and peoples of the globe . . . [and to promote hip hop] as a veritable source of conflict resolution” (Malone and Martinez, Jr., 11). To honor the message of “The Organic Globalizer” and the forthcoming Hip Hop Awareness Week, I encourage you to visit the International and Area Studies Library to check out “The Organic Globalizer” and the rest of our collection and resources. And, make sure you watch the following videos by artists I consider organic globalizers: Aisha Fukushima, DAM, and Nomadic Massive.

Aisha Fukushima

Vocalist, speaker, RAPtivist, instructor and international artist Aisha Fukushima hails from Seattle, Washington/ Yokohama, Japan. She navigates and explores the intersections between hip hop and social justice through her project RAPtivism, public performances, and speeches. The following video further elaborates on her accomplishments and the work that she has done.

“Hip Hop Lives–Raptivism Around the World: Aisha Fukushima at TEDxSitka”

DAM

Da Arabian MC’s (Suhell Nafar, Tamer Nafar, Mahmoud Jreri) are known as the first Palestinian hip hop group from a neighborhood called Lyd/Lod. Their work speaks to the struggles of the Palestinian people living under occupation, challenging ethnic and cultural stereotypes, and raising social awareness. Recently, DAM added a new member to the group, Maysa Daw, and they have worked on a new project through a joint effort with the United Nations Population Fund (UNFPA) which addresses the oppression of patriarchal structures. Here is the group’s new video for their single “Who R You?”:

“#Who_You_R (Official Video)”

Nomadic Massive

Nomadic Massive a Montreal-based hip hop group composed of 8 members: Vox Sambou, Nantali Indongo, Lou Piensa, Waahli, Ali Sepu, Meryem Saci, Rawgged MC, and Butta Beats. This super, multicultural and multilingual group of artists conveys their messages in French, English, Creole, Arabic, and Spanish. They have given workshops and worked with international communities, like Haiti, Cuba, Brazil, etc. The following video speaks about the origins of the group and their work to empower and build sustainable communities through hip hop culture.

“TEDxConcordia – Nomadic Massive”

If you are interested in learning more, the following links will direct you to University of Illinois professors, and their curriculum vitas (CVs), for a list of interdisciplinary presentations and publications on hip hop culture.

Dr. Ruth Nicole Brown

Dr. Karen Flynn

Dr. Adam J. Kruse

Dr. Samir Meghelli

Love. Peace. & Hip Hop.

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Faces (Phases) of Iraq: Canvas Truths vs. Plasma Screen Blues

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“Violins and Bases” by Sundus Abdul Hadi (via http://sundusah.tumblr.com/warchestra)

On Monday, September 15, 2014 I gave a presentation entitled “Sundus Abdul Hadi and the Narcicyst: From Weapons of Mass Destruction to Instruments of Creation.” The presentation dealt with two married artists of Arab descent who use their artistic mediums of expression to defy and transform the image of traditional marriage and hip-hop. However, it is important to note that the music and art Abdul Hadi and the Narcicyst produce is part of a movement of Arab artists who use hip-hop as a medium to challenge not just the commercialization of a youth culture, but also to redefine and recreate the image of underrepresented communities abroad.

Since the tragedy of 9/11, Iraqi-Canadian multimedia artists Abdul Hadi and the Narcicyst had begun to produce art and music that defied the negative stereotypes broadcasted by the media. Warchestra, a multimedia art project, was their response in order to challenge the misinformation and marginalization of Arab society by mainstream media. Through the creation of a soundscape, Abdul Hadi and the Narcicyst worked to “replace weapons of war with musical instruments . . . [in order] to re-imagine, re-define, and re-invent the war in Iraq as it was represented in the media” (Abdul Hadi). Instead of wielding an automatic weapon or explosives, the men’s weapons are replaced with tubas, trombones, saxophones, and clarinets. While media broadcasts images of violent and radical Arabs, Sundus and the Narcicyst use Warchestra to encourage dialogue and transform the image of the Middle East and its people.

New discussions about the future of Iraq are taking place worldwide concerning the threat of a militant group named the Islamic State, or ISIS (Islamic State of Iraq and Syria), as they are commonly referred to. President Obama has commented about his stance against ISIS, but has also been careful not to declare war. Recent news developments mention the US has conducted airstrikes on ISIS targets in Syria. And with each new day, more images of war-stricken foreign lands emerge, thus reinforcing the negative stereotypes of Arabs and the Middle East. Fortunately, artists like Sundus Abdul Hadi and the Narcicyst provide an alternative to such negative stereotypes with their art and message of peace.

The International and Area Studies Library at the University of Illinois is home to many resources related to the history and current events of Iraq and other Middle Eastern countries.

For more information about Abdul Hadi and the Narcicyst’s multimedia project Warchestra and other projects, go to the following link: http://sundusah.tumblr.com/warchestra

For links to subject headings, databases, news updates, articles, encyclopedias, dictionaries, blogs and more on Iraq and neighboring Middle Eastern and North African countries, go to the following links:

http://uiuc.libguides.com/content.php?pid=517878&sid=4261171

http://uiuc.libguides.com/ArabDemocracy

For additional electronic references, go to the following link:

http://www.library.illinois.edu/eref/formats/countries.html

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Global Food, Locally: Jerusalem Middle Eastern Cuisine

“Global Food, Locally”  is a series designed to introduce you to the International and Area Studies Library’s new graduate assistants as well local dining options for food from around the world. In our second installment, Sveta Stoytcheva reviews Jerusalem Middle Eastern Cuisine.

Like Quetzalli, I am also new to Champaign-Urbana and am eager to try out the different restaurant options the area has to offer.  For this installment of Glocal Notes’ Global Food, Locally series, I visited Jerusalem Middle Eastern Cuisine.  Middle Eastern food is some of my favorite and I was excited to find a go-to place in the neighborhood. I found out about the restaurant from a coworker, who included it among her list of local restaurants to try. This blog post provided me with the perfect opportunity to follow-up on her recommendation. The restaurant, located at 601 South Wright Street, is a short walk from campus and a great place to enjoy a weekday lunch.

The restaurant has a very casual atmosphere: there are two- and four-person diner style tables and the food served is on plastic cafeteria trays. The walls are minimally decorated and a row of plants lines the large windows on one side of the small restaurant. I went there around noon on a Wednesday afternoon and the place was busy with lunch hour customers –at least 20 patrons came through the restaurant as I finished my meal. Despite the traffic, it was quiet enough to read through lunch and the NPR News program playing quietly in the background seemed surprisingly appropriate. Although the décor isn’t exactly fitting for a special occasion, it is perfectly fine for a quick weekday meal. More importantly, the food itself is worth the trip.

Jerusalem has a pretty extensive menu and I had a hard time deciding what to order even after settling on a vegetarian dish. In addition to chicken and beef shawarma, kufta, and other meat entrees, the restaurant serves a variety of vegetarian options, including falafel, vegetable tagine, dolma, hummus, and lentil soup. Individually wrapped portions of baklava are for sale at the counter. (If you’d like to learn more about any of these foods, take a look at some of the Middle Eastern cookbooks available at the library.)

JerusalemFalafel sandwich special at Jerusalem Middle Eastern Cuisine.

To simplify things, I decided on one of the reasonably priced lunch specials and got a falafel sandwich, fries, and a spiced tea for just six dollars. The delicious tea is available either hot or iced in a styrofoam cup and, despite the warm weather, I decided hot tea was the way to go.  Once you pay for your meal, you get a number and after a short wait (I waited about 15 minutes) your number is called and you pick up your order at the counter.  I enjoyed my food, especially the falafel sandwich.  In case you’re wondering, falafels are fritters made out of chickpeas (sometimes fava beans) and spices and often served with pita bread. In this case, warm falafels were served in a pita with diced tomatoes and cucumbers with a pleasant tahini and parsley dressing. In addition to lunch specials, Jerusalem offers several dinner specials after 4 p.m. I plan on coming back for a vegetarian platter with dolma and lentil soup!

Food is an important element of the various cultures of the Middle East. Although the region is very diverse, several common elements distinguish Middle Eastern food from other regional cuisines. Dishes are often cooked for a long time over low heat and feature a variety of spices, including cumin, sumac, saffron, and turmeric.  Chickpeas (the main ingredient of both falafel and hummus) are very common, as are certain vegetables, such as eggplants (“V.B.1.” 2000).  Apparently, there is a Middle Eastern saying that “to dream of three aubergines [eggplants] is a sign of happiness” (ibid).

If you are interested in learning more about the cultures of the Middle East, feel free to browse some of the International and Area Studies libraries offerings on the Middle East & North Africa Collections website or visit us in person. Additionally, you can attend the weekly brown bag lectures at the Center for South Asian and Middle Eastern Studies. The lectures cover a variety of topics and are free and open to the public. For your brown bag, food from Jerusalem Middle Eastern cuisine is available for take-out and I recommend giving it a try.

Jerusalem Middle Eastern Cuisine
601 S Wright St
Champaign, IL 61820
(217) 398-9022

Sources:
V.B.1. The Middle East and South Asia. (2000). In Cambridge World History of Food. Retrieved from http://proxy2.library.illinois.edu/login?url=/login?qurl=http://www.credoreference.com/entry/cupfood/v_b_1_the_middle_east_and_south_asia

 

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Occupation Libraries: Libraries speak

Occupation libraries are temporarily built street libraries during protest activities. Protestors or the general public can stop at the library in the street to read as a way to show their support to these events. Some of the first occupation libraries were built during the Fall 2011 Occupy Wall Street protests in New York[i] This practice has been adopted by protestors in Turkey.

Occupy Library 2

Occupy library in New York street [ii]

The protest in Turkey started in Gezi Park on May 28, 2013. It was triggered by the government selling out the Taksim Gezi Park, Istabul’s last public space, to real estate developers for commercial use. This protest later turned into a large scale civil rights event to pursue freedom of expression and other civil rights.[iii] The occupation library was initially built in the park with a box of abandoned books. Later more than 10 Turkish publishers donated books to the library to support their protest. These donated books cover a variety of topics, including political issues, religions, history, philosophy, etc. Some popular readers’ picks on the shelves cover: The Myth of Sisyphus by Albert Carnus, Leaf Storm by Vabriel Garcia Marquez, Old Garden- Old Love by Tezer Ozlu, When Nietzsche Wept by Irvin David, and Resurrection Gallipoli 1915 by Turgut Ozakman.[iv] People are invited to read at the protest site, preferably in front of police officers to support this activity.[v]

Both makeshift libraries share some common features. First, all books in occupation libraries are donated by individuals or institutions. They are open for the public use. Second, because of their special nature, these libraries operate under strict government rules. This causes challenges to preserving books. Some of the first group books in the People’s library in Occupy Wall Street campaign were flooded in a rain because the police did not allow librarians to cover them.Taksim Square Book Club

People are reading at the Occupy library in Istanbul[vi]

Occupation libraries extend libraries’ missions in social life from circulating materials and sharing information to expressing people’s attitudes. Occupation libraries also mark a new development of civil rights activities. Despite protesters’ dissatisfaction with the government, these libraries avoided violent confrontations in the protests.  Instead, they invite people to stop and read at the library as a way to say they care and support the activities. No matter which side these libraries stand with, they should be respected for expressing the public’s opinions on social issues and discussing disputes in an open and peaceful way.


[i] Christian Zabriskie (2013). A Library Occupies the Heart of Occupy Movement. http://www.americanlibrariesmagazine.org/article/library-occupies-heart-occupy-movement.

[iii] Wikipedia: 2013 Protest in Turkey. https://en.wikipedia.org/wiki/2013_protests_in_Turkey.

[iv] George Henton (2013). In Pictures: The Taksim Square Book Club: Protesters stand silently and read books in central Istanbul, in stark contrast with scenes of violence. http://www.aljazeera.com/indepth/inpictures/2013/06/2013624105477515.html.

[v] Ariel Bogle (2013). Turkish publishing houses unite in Gezi Park to distribute books. http://www.mhpbooks.com/turkish-publishing-houses-unite-in-gezi-park-to-distribute-books/

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