melaniecervantes:

Tlazocamati Tonantzin.Thank you Mother Earth for everything— my life and all the life you give. Your day is everyday.

melaniecervantes:

Tlazocamati Tonantzin.Thank you Mother Earth for everything— my life and all the life you give. Your day is everyday.

This is a new portrait I made of Gabriela Silang who is a shero of Pilipino history she was the wife of the Ilocano insurgent leader, Diego Silang. Following Diego’s assassination in 1763, she led the group for four months before she was captured and executed.

This is a new portrait I made of Gabriela Silang who is a shero of Pilipino history she was the wife of the Ilocano insurgent leader, Diego Silang. Following Diego’s assassination in 1763, she led the group for four months before she was captured and executed.



Download here: http://bit.ly/uxr9zU
Foreclose on the 1% and Occupy the banks!!! (design by Jesus Barraza)
This poster was developed for the bank actions happening this week in  Oakland to show my solidarity with all those who are challenging the Big  Banks to demand a moratorium on foreclosures and to stop its  investments in detention centers and dirty energy and to hold them  accountable for their role in causing our economic crisis.

Download here: http://bit.ly/uxr9zU
Foreclose on the 1% and Occupy the banks!!! (design by Jesus Barraza)
This poster was developed for the bank actions happening this week in Oakland to show my solidarity with all those who are challenging the Big Banks to demand a moratorium on foreclosures and to stop its investments in detention centers and dirty energy and to hold them accountable for their role in causing our economic crisis.
printeresting:

Klak, Linocut by Bart Wortel via Behance NetworkOn a related note, rumor has it that George Lucas only made Starwars as a film after failing to translate his vision into a suite of engravings.

printeresting:

Klak, Linocut by Bart Wortel via Behance Network
On a related note, rumor has it that George Lucas only made Starwars as a film after failing to translate his vision into a suite of engravings.

Troy Davis - 21st Century Lynching in Georgia…

Troy Davis - 21st Century Lynching in Georgia…

dope!
ernestoyerena:

VIVA PALESTINA LIBRE 2011.

dope!

ernestoyerena:

VIVA PALESTINA LIBRE 2011.

cihuatlicue:

“You can take my falafel and hummus, but don’t f***ing touch my keffiyeh,” declares 26-year-old British-Palestinian MC Shadia Mansour from a New York stage as she introduces her song, “El Kofeyye 3arabeyye” (The Keffiyeh Is Arab), written when she discovered that an American company had created a blue-and-white version of the iconic Arab scarf with stars of David on it. Then she starts rhyming. Arabic words emerge like a burst of machine-gun fire.
Rolling Stone Middle East | The Passion, Politics and Power of Shadia Mansour



Mansour only became an MC by chance. But today she’s regarded as one  of the luminaries of the Arab hip-hop scene, a platform she has used to  declare a musical intifada [uprising] against oppression – be it the  occupation of her people’s land, the repression of women, or  conservative opposition to her music.
“I’m like the keffiyeh/However you rock me/Wherever you leave me/I  stay true to my origins/Palestinian,” she raps from the stage. 
In response, numerous red-and-white and black-and-white checked  scarves appear above the crowd at Galapagos Art Space in Dumbo,  Brooklyn, where Mansour is performing. This is the first concert on a  fundraising tour for the organization Existence is Resistance, which  organizes hip-hop tours in the Occupied Palestinian Territories. Mansour  is part of a crew of MCs from the Arab diaspora performing both their  own songs and collaborations with each other.
“This is how we wear the keffiyeh/The Arab keffiyeh,” she sings. Her  voice, so uncompromising and stern just a second ago, has switched to  soft velvet. The audience is rapt. “Every single man, woman and child  that the Israeli government kills will give birth to another  rapper/Because we are the new generation,” Mansour shouts.
The keffiyeh has become an important focus of Mansour’s image and her  music, as it has for many Arab MCs. She received her first keffiyeh  from her grandfather in Nazareth. Originally, it had purely personal,  sentimental connotations for her. “Now when I put it on, it’s like a  statement. It’s Arab,” she says. “Our image is still being distorted,  and I am not going to allow that.” 
“The keffiyeh represents struggle now more than ever before,” says  Mansour’s friend Yassin Alsalman, the Iraqi-Canadian rapper who goes by  the stage name The Narcicyst, with whom Mansour collaborated on the  track “Hamdulilah” (Praise God.) “At first it represented nationalism,  but for our generation it represents the oneness of nations.” That  explains the anger Mansour expresses in her lyrics:
Now these dogs are starting to wear it as a trendNo matter how they design it, no matter how they change its colorThe keffiyeh is Arab, and it will stay ArabThe scarf, they want itOur intellect, they want itOur dignity, they want itEverything that’s ours, they want itWe won’t be silent, we won’t allow itIt suits them to steal something that ain’t theirs and claim that it is.“It’s  cultural appropriation,” says Alsalman, of the current clamor for  keffiyehs among non-Arabs. “There is a thin line between showing respect  to a culture and appropriating it because you assume it is cool or hot  or chic.” Both artists agree that wearing the scarf and singing about it  is their way of reappropriating and reowning it. 

cihuatlicue:

“You can take my falafel and hummus, but don’t f***ing touch my keffiyeh,” declares 26-year-old British-Palestinian MC Shadia Mansour from a New York stage as she introduces her song, “El Kofeyye 3arabeyye” (The Keffiyeh Is Arab), written when she discovered that an American company had created a blue-and-white version of the iconic Arab scarf with stars of David on it. Then she starts rhyming. Arabic words emerge like a burst of machine-gun fire.

Rolling Stone Middle East | The Passion, Politics and Power of Shadia Mansour

Mansour only became an MC by chance. But today she’s regarded as one of the luminaries of the Arab hip-hop scene, a platform she has used to declare a musical intifada [uprising] against oppression – be it the occupation of her people’s land, the repression of women, or conservative opposition to her music.

“I’m like the keffiyeh/However you rock me/Wherever you leave me/I stay true to my origins/Palestinian,” she raps from the stage. 

In response, numerous red-and-white and black-and-white checked scarves appear above the crowd at Galapagos Art Space in Dumbo, Brooklyn, where Mansour is performing. This is the first concert on a fundraising tour for the organization Existence is Resistance, which organizes hip-hop tours in the Occupied Palestinian Territories. Mansour is part of a crew of MCs from the Arab diaspora performing both their own songs and collaborations with each other.

“This is how we wear the keffiyeh/The Arab keffiyeh,” she sings. Her voice, so uncompromising and stern just a second ago, has switched to soft velvet. The audience is rapt. “Every single man, woman and child that the Israeli government kills will give birth to another rapper/Because we are the new generation,” Mansour shouts.

The keffiyeh has become an important focus of Mansour’s image and her music, as it has for many Arab MCs. She received her first keffiyeh from her grandfather in Nazareth. Originally, it had purely personal, sentimental connotations for her. “Now when I put it on, it’s like a statement. It’s Arab,” she says. “Our image is still being distorted, and I am not going to allow that.” 

“The keffiyeh represents struggle now more than ever before,” says Mansour’s friend Yassin Alsalman, the Iraqi-Canadian rapper who goes by the stage name The Narcicyst, with whom Mansour collaborated on the track “Hamdulilah” (Praise God.) “At first it represented nationalism, but for our generation it represents the oneness of nations.” That explains the anger Mansour expresses in her lyrics:

Now these dogs are starting to wear it as a trend
No matter how they design it, no matter how they change its color
The keffiyeh is Arab, and it will stay Arab
The scarf, they want it
Our intellect, they want it
Our dignity, they want it
Everything that’s ours, they want it
We won’t be silent, we won’t allow it
It suits them to steal something that ain’t theirs and claim that it is.


“It’s cultural appropriation,” says Alsalman, of the current clamor for keffiyehs among non-Arabs. “There is a thin line between showing respect to a culture and appropriating it because you assume it is cool or hot or chic.” Both artists agree that wearing the scarf and singing about it is their way of reappropriating and reowning it. 

In late August and early September we teamed up with Leslie Lopez to  publish three new prints for her upcoming solo exhibit at EastSide Arts  Alliance in East Oakland. Leslie has been a graffiti writer and a  teacher with Visual Element and in several Oakland high schools. We  first began mentoring Leslie in 2010 along with Natalia from  Xochitlceive when we published a series of five prints in Spring of  2010. Over the past year Leslie has worked in the studio with me, mixing  and matching colors for many prints and improving her understanding of  the medium. We are really happy with the new prints and can’t wait to  see her new paintings in the exhibit.

In late August and early September we teamed up with Leslie Lopez to publish three new prints for her upcoming solo exhibit at EastSide Arts Alliance in East Oakland. Leslie has been a graffiti writer and a teacher with Visual Element and in several Oakland high schools. We first began mentoring Leslie in 2010 along with Natalia from Xochitlceive when we published a series of five prints in Spring of 2010. Over the past year Leslie has worked in the studio with me, mixing and matching colors for many prints and improving her understanding of the medium. We are really happy with the new prints and can’t wait to see her new paintings in the exhibit.