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'Move into the Future': A Racial Justice and Abundance Sculpture

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Title: 'Move into the Future': A Racial Justice and Abundance Sculpture
Language: English
Authors: Aguirre, Sheridan, Young, Mer, Fazlalizadeh, Tatyana, Arzú, Alex
Source: Equity & Excellence in Education. 2022 55(1-2):19-22.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 4
Publication Date: 2022
Document Type: Journal Articles
Reports - Descriptive
Descriptors: Racism, Immigrants, Social Justice, Sculpture, Art Products, Minority Groups, Ethnic Groups, Consciousness Raising, Cultural Awareness, United States History, Power Structure, Government Role, Police
Geographic Terms: Texas (Houston)
DOI: 10.1080/10665684.2022.2064297
ISSN: 1066-5684
1547-3457
Abstract: In the United States, and in particular in the South, elected officials resistant to Black and brown demographic and cultural shifts have sought to destroy or block the histories and cultures of immigrants and minoritized from public discourse. United We Dream, an organization led by immigrant youth, is using public art to center minoritized visionmakers, history weavers, and storytellers whose experiences as immigrants awaken a mindset of abundance, racial justice, and Black and brown liberation in the broader public. Often, the concept of scarcity -- that there are not enough resources to go around -- undergirds the country's vast carceral and immigration enforcement systems. United We Dream's powerful cultural work aims to debunk these falsehoods and show the richness and abundance of communities nationwide.
Abstractor: As Provided
Entry Date: 2022
Accession Number: EJ1355695
Database: ERIC
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  Value: <anid>AN0157666095;eie01feb.22;2022Jun29.06:08;v2.2.500</anid> <title id="AN0157666095-1">Move Into the Future: A Racial Justice and Abundance Sculpture </title> <p>In the United States, and in particular in the South, elected officials resistant to Black and brown demographic and cultural shifts have sought to destroy or block the histories and cultures of immigrants and minoritized from public discourse. United We Dream, an organization led by immigrant youth, is using public art to center minoritized visionmakers, history weavers, and storytellers whose experiences as immigrants awaken a mindset of abundance, racial justice, and Black and brown liberation in the broader public. Often, the concept of scarcity – that there are not enough resources to go around – undergirds the country's vast carceral and immigration enforcement systems. United We Dream's powerful cultural work aims to debunk these falsehoods and show the richness and abundance of communities nationwide.</p> <p>We are United We Dream (https://unitedwedream.org/), the largest undocumented and immigrant youth-led network in the United States. In February 2022, we debuted <emph>Move Into the Future</emph> (Arzú et al., [<reflink idref="bib1" id="ref1">1</reflink>]), a racial justice sculpture at Emancipation Park in Houston, Texas, situated in the Third Ward, a predominantly Black and Brown neighborhood. The sculpture was conceptualized and produced by undocumented creative strategists, with a team of Black, immigrant, and Native artists, including sculpture director Wyatt Closs and featured artists Alex Arzú (Figure 1), Tatyana Fazlalizadeh (Figure 2), and Mer Young (Figure 3). Readers can go to Ochoa and Mack ([<reflink idref="bib7" id="ref2">7</reflink>]) for photos of the sculpture and a hyperlinked virtual tour of the public art installation.</p> <p>PHOTO (COLOR): Figure 1 Artwork by Alex Arzú.</p> <p>Graph: Figure 2 Artwork by Tatyana Fazlalizadeh.</p> <p>PHOTO (COLOR): Figure 3 Artwork by Mer Young.</p> <p>We created this sculpture because we are at a critical moment in history where the voices of Black, Brown, and Native people are rising in pop culture and online, but are being blocked from public discourse in the Southern states, such as Texas and Florida (Camera, [<reflink idref="bib2" id="ref3">2</reflink>]; Salvatore, [<reflink idref="bib8" id="ref4">8</reflink>]). These minoritized people also face the real threat of white supremacists using racist disinformation and scarcity narratives to pit communities against each other in the 2022 midterm and 2024 presidential elections (Talev, [<reflink idref="bib10" id="ref5">10</reflink>]). The immigrant community is a multiracial community, and people of color need meaningful racial solidarity that speaks to their interconnected past, present, and future in order to win liberation and create a more pluralistic democracy.</p> <p>Our goal is to travel the sculpture to cities with expansive Black and Brown communities. We chose Houston as our first stop because the 2020 U.S. census revealed that people of color make up 95% of the population growth in Texas, and in 2019, the state was third in the nation's largest growing populations of Black immigrants (U.S. Census Bureau, [<reflink idref="bib11" id="ref6">11</reflink>]). It is clear that the fear of white erasure prompted Texas Republicans and their white supremacist base in 2021 to attempt to pass laws that would ban schools from teaching about the state's anti-Black and anti-Native founding (McGee, [<reflink idref="bib6" id="ref7">6</reflink>]). Specifically, white supremacists invaded the Native territories that make up Texas to illegally seize the land and hunt down Black and Brown people in order to build a state where they could continue to own enslaved people.</p> <p>Likewise, minoritized communities know from lived experience that the police and deportation agents are one and the same, rooted in a culture of violence that harms people of color. In fact, in 1823, a predecessor of the U.S. Border Patrol was formed, known as the Texas Rangers (Ivey, [<reflink idref="bib3" id="ref8">3</reflink>]). The Texas Rangers were white men who volunteered to uphold slavery in Texas by catching and lynching runaway enslaved people seeking freedom in Mexico.</p> <p>By 1924, after the abolition of slavery in the United States, the U.S. Border Patrol was formed to maintain a southern border and keep Chinese people out after they had been banned by the first-ever U.S. immigration law, known as the Chinese Exclusion Act (Lytle Hernández, [<reflink idref="bib5" id="ref9">5</reflink>]). The U.S. Border Patrol was thrust into the national spotlight in 2021 for its abuse of Black migrants from Haiti (Sullivan & Kanno-Youngs, [<reflink idref="bib9" id="ref10">9</reflink>]) and, in 2017, was actively separating parents from their children at the U.S.-Mexico border under the Trump Administration (Kriel, [<reflink idref="bib4" id="ref11">4</reflink>]).</p> <p>These are just some of the many examples of the histories that white supremacists in elected or appointed office have tried to obscure from Black and Brown immigrant and Native youth. These communities deserve to know the truth. When we, as a nation, learn about one another, it makes it much harder to devalue anyone.</p> <p> <emph>Move Into the Future</emph> calls on the viewer to reflect on the country's shared histories and future and to embrace abundance in order to heal and dismantle systems of harm and punishment. We believe that public art and community building have the power to defy the fear and scarcity that government agencies, such as the U.S. Border Patrol and the police, need in order to continue terrorizing minoritized communities.</p> <p>This is only the beginning of our journey, as we continue organizing artists to use their family and ancestral art, traditions, and culture to redefine immigrant justice. There is no immigrant justice without Black and Brown liberation. There is no racial justice without dignity for immigrants.</p> <p>Abundance is right here in front of us if we all move forward as <emph>we</emph>.</p> <hd id="AN0157666095-2">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0157666095-3"> <title> References </title> <blist> <bibl id="bib1" idref="ref1" type="bt">1</bibl> <bibtext> Arzú, A., Fazlalizaded, T., & Young, M. 2022. Move into the future. Sculpture. Emancipation Park.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref3" type="bt">2</bibl> <bibtext> Camera, L. (2021, December 15). DeSantis proposes law based on Texas abortion ban that would target teaching of critical race theory. U.S. News & World Report. https://<ulink href="http://www.usnews.com/news/education-news/articles/2021-12-15/desantis-proposes-law-based-on-texas-abortion-ban-that-would-target-teaching-of-critical-race-theory-in-florida">www.usnews.com/news/education-news/articles/2021-12-15/desantis-proposes-law-based-on-texas-abortion-ban-that-would-target-teaching-of-critical-race-theory-in-florida</ulink></bibtext> </blist> <blist> <bibl id="bib3" idref="ref8" type="bt">3</bibl> <bibtext> Ivey, D. L. (2010). The Texas Rangers: A registry and history. McFarland.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref11" type="bt">4</bibl> <bibtext> Kriel, L. (2017, November 25). Trump moves to end 'catch and release,' prosecuting parents and removing children who cross border. Houston Chronicle. https://<ulink href="http://www.houstonchronicle.com/news/houston-texas/houston/article/Trump-moves-to-end-catch-and-release-12383666.php">www.houstonchronicle.com/news/houston-texas/houston/article/Trump-moves-to-end-catch-and-release-12383666.php</ulink></bibtext> </blist> <blist> <bibl id="bib5" idref="ref9" type="bt">5</bibl> <bibtext> Lytle Hernández, K. (2010). Migra! A history of the U.S. Border Patrol. University of California Press.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref7" type="bt">6</bibl> <bibtext> McGee, K. (2021, June 15). Texas "critical race theory" bill limiting teaching of current events signed into law. The Texas Tribune. https://<ulink href="http://www.texastribune.org/2021/06/15/abbott-critical-race-theory-law/">www.texastribune.org/2021/06/15/abbott-critical-race-theory-law/</ulink></bibtext> </blist> <blist> <bibl id="bib7" idref="ref2" type="bt">7</bibl> <bibtext> Ochoa, M., & Mack, B. (2022, February 26). 'United We Dream' and 'Black Lives Matter: Houston' debut Move Into the Future, a public art installation celebrating Houston's Black and Brown youth power. United We Dream. https://unitedwedream.org/press/united-we-dream-and-black-lives-matter-houston-debut-move-into-the-future-a-public-art-installation-and-pop-up-experience-celebrating-houstons-black-and/</bibtext> </blist> <blist> <bibl id="bib8" idref="ref4" type="bt">8</bibl> <bibtext> Salvatore, S. C. (2009). Civil rights in America: Racial voting rights (Rev. ed.). National Historic Landmarks Program, National Park Service, U.S. Department of the Interior. https://<ulink href="http://www.nps.gov/subjects/tellingallamericansstories/upload/CivilRights%5fVotingRights.pdf">www.nps.gov/subjects/tellingallamericansstories/upload/CivilRights%5fVotingRights.pdf</ulink></bibtext> </blist> <blist> <bibl id="bib9" idref="ref10" type="bt">9</bibl> <bibtext> Sullivan, E., & Kanno-Youngs, Z. (2021, October 19). Images of border patrol's treatment of Haitian migrants prompt outrage (Rev. ed.). The New York Times. https://<ulink href="http://www.nytimes.com/2021/09/21/us/politics/haitians-border-patrol-photos.html">www.nytimes.com/2021/09/21/us/politics/haitians-border-patrol-photos.html</ulink></bibtext> </blist> <blist> <bibtext> Talev, M. (2021, June 2). 2022ʹs war over racism. Axios. https://<ulink href="http://www.axios.com/republican-strategy-culture-war-racism-e0c6ce43-98c9-4fd7-8600-d4093ca980ed.html">www.axios.com/republican-strategy-culture-war-racism-e0c6ce43-98c9-4fd7-8600-d4093ca980ed.html</ulink></bibtext> </blist> <blist> <bibtext> U.S. Census Bureau. (2021). QuickFacts: Houston city, Texas. https://<ulink href="http://www.census.gov/quickfacts/houstoncitytexas">www.census.gov/quickfacts/houstoncitytexas</ulink></bibtext> </blist> </ref> <aug> <p>By Sheridan Aguirre; Mer Young; Tatyana Fazlalizadeh and Alex Arzú</p> <p>Reported by Author; Author; Author; Author</p> <p></p> <p>Sheridan Aguirre is a screenwriter, producer, and the arts and culture change strategist at United We Dream (UWD). A testament to the leadership pipeline at UWD, Sheri joined the network as a youth organizer for deportation defense and trans/queer liberation campaigns while working as a videographer and theater educator in Austin, Texas. They later led communications strategy on Texas and Florida campaigns and national deportation cases, before going on to spearhead the development of UWD's culture change strategies, arts programming, and leadership pipeline for immigrant youth artists and writers.</p> <p>Mer Young is an Indigenous published artist who has created a body of artwork manifested in collages, drawings, and paintings, and she also is the founder of Mausi Murals (https://<ulink href="http://www.mausimurals.com/),">www.mausimurals.com/),</ulink> which showcases her public artworks. Through her artworks, she aims to inspire, celebrate, and elevate repressed Indigenous, First Nations, and Native cultures and women of color. Her works also focus on matters of immigration and the uprising to justice, equality, and complete freedom of Black lives.</p> <p>Tatyana Fazlalizadeh is an artist based in the Brooklyn borough of New York City, New York, working primarily in oil painting, public art, and multimedia installations. She is from Oklahoma City, Oklahoma, born to a Black mother and Iranian father. Fazlalizadeh's work is rooted in community engagement and the public sphere. She makes site-specific work that considers how people, particularly women, queer folks, and Black and Brown people, experience race and gender within their surrounding environments, from the sidewalk to retail stores, to the church, to the workplace. She is the creator of Stop Telling Women to Smile (<ulink href="http://www.tlynnfaz.com/Stop-Telling-Women-to-Smile">http://www.tlynnfaz.com/Stop-Telling-Women-to-Smile</ulink>), an international street art series that tackles gender-based street harassment.</p> <p>Alex Arzú is a muralist and tattoo artist based in Houston, Texas, who was born in Germany to Garifuna Honduran immigrants. He enjoys excelling in all forms of artistic expression but finds that art is about the creation itself, not the medium. His goal is to produce art that inspires viewers to have their own unique experience. Arzú, a graduate of the University of Houston and had a four-year stint as an architect before becoming a well-known local artist. He has since worked with influential brands such as Coca-Cola, musician Willie Nelson, the reality show MTV Cribs , and more.</p> </aug> <nolink nlid="nl1" bibid="bib10" firstref="ref5"></nolink> <nolink nlid="nl2" bibid="bib11" firstref="ref6"></nolink>
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  Data: In the United States, and in particular in the South, elected officials resistant to Black and brown demographic and cultural shifts have sought to destroy or block the histories and cultures of immigrants and minoritized from public discourse. United We Dream, an organization led by immigrant youth, is using public art to center minoritized visionmakers, history weavers, and storytellers whose experiences as immigrants awaken a mindset of abundance, racial justice, and Black and brown liberation in the broader public. Often, the concept of scarcity -- that there are not enough resources to go around -- undergirds the country's vast carceral and immigration enforcement systems. United We Dream's powerful cultural work aims to debunk these falsehoods and show the richness and abundance of communities nationwide.
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