La Tolteca 2.0 Issue #5 September 4, 2020
La Tolteca 2.0 September 4,2020
We are pleased to present La Tolteca 2.0 Issue#5 . We celebrate New York, New York lifetime creatives. Folks featured here have been thriving in NYC for decades but in 202o, added survival skills with COVID-19 pandemic, protests and riots, businesses closing down and being shut-in dealing with health issues, learning to teach remotely and/or how to navigate 
through one of the world’s busiest metropolises alone on untracked territory. We send our hope and best wishes for continued perseverance and thriving to all there.
(You don’t have to be a Babe-Boomer or Brown to submit a selfie or fave pic of yourself: ana@anacastillo.net.)
Manuel Adrián López, poeta & narrador nació en Morón, Cuba
In this issue:
Nitza Tufiño, artist, curator and co-director, Taller Boricua, NY
Nancy Mercado, “Virus Facial”
Carlos Manuel Rivera in the series “Santos en bolsa.” Photo credit: Luis Carle, NY, NY 2012.
Arturo Martínez, flamenco virtuoso
When Sherri Rosen is a publicist who has turned some of her attention to working on a memoir. Read her excerpt in this issue .
Arturo Martínez
With Shigeko Sara Suga, Arturo Martínez on guitar.
Biography
I was born in Chicago, first generation Sicilian and Mexican, raised in the Jane Adams Housing Projects. I played funky music–blues, rock, jazz…
Little Arthur with dad and siblings back in the day, Chicago.
with my friend, the late, great Paco de Lucia
In the eighties I began to travel to Spain and subsequently moved to New York City wheresince then my musical projects have been devoted to the historical plight of the refugee.
Barbara Martinez flamenco dancer and Najma Ayasha, Indian gypsy dancer.
Barbara Martínez, flamenco dancer and Najma Ayasha, Indian gypsy dancer.
Felah Menguz (Refugee) is a flamenco show I created based on when the Re-Conquest of Spain sent fleeing all non-Christians they called ‘Marranos.”
“In Defiance of Ethnic Conflicts”
New York City, which was one of the places where I’d always wanted to live in has provided me in these times as an artist with affordable housing (my apartment is in a Manhattan building where there are also a cultural center and art museum), access to Medicaid and recognition and opportunity to convey my message of the beauty of blended cultures. Also, demanding in my theater works is the aspiration for refugees all over to have the opportunities I’ve been given to lead a peaceful and creative existence.
Arturo Martinez
It’s been surreal in New York. We’re now in the struggle of our lifetime. There was enormous tragedy in Latino neighborhoods. I’ve been very careful. Thank God, I’m safe so far. The government sent unemployment checks for four months. There are the few who’ve been blessed not to be touched by tragedy who think the virus is all a hoax, a conspiracy. I’m living in an episode of The Twilight Zone. ~ Arturo Martínez
Carlos Manuel Rivera
Artist Statement: For the last forty years I’ve written and performed through a trans-disciplinary conception that includes poetry, theater, multimedia, body movement, and music. My work directly addresses an audience that sees and listens to a creative work that includes shamanic ritual, identity and geographical nomadism, the crossing of national borders, transgression of the standardization of the Spanish and English languages, ethnic, class and racial clashes, and the creation of hybrid and transgender queer identities.
Carlos Manuel Rivera, 1983 in ‘The Sun and the MacDonald by Rene Marqués, University of Puerto Rico, Río Piedras. Directed by Victoria Espinosa.
Filosofía como artista
Como un artista latino con 40 años de experiencia en el teatro, la poesía, la educación y el arte del performance en Estados Unidos, el Caribe hispano, Latinoamérica y España, yo he tenido intercambios interculturales, cuales me han dado competencia y un amplio trasfondo de cómo es la sociedad latina en el mundo.
Yo escribo y actúo a través de una concepción transdisciplinaria del arte que incluye la poesía, el teatro, lo multimedial, el movimiento corporal y la música. Mi propósito es directamente dirigido a una audiencia que ve y escucha un trabajo creativo que incluye tópicos, como la poesía como ritual chamanico, el nomadismo identitario y geográfico, el cruce fronteras nacionales, la transgresión a la estandarización de las lenguas española e inglesa, los choques étnicos, raciales y de clase, y la creación de identidades hibridas, transgéneras y “queer”.
“San Hediondo Sal que Daña.” Horas de Junio, Encuentro de Escritores, Universidad de Sonora, Hermosillo, Sonora (2011). Photo by Horas de Junio Staff.
” La Tongo” monologue by Abniel Marat. “Live from Cuba!: Roxy La Rusa and Friends”. The Phoenix Bar, NY, NY. June 15, 2011. Photo by Luis Carle (Photographer).
“San Hediondo Sal que Daña.” Horas de Junio, Encuentro de Escritores, Universidad de Sonora, Hermosillo, Sonora (2011). Photo by Horas de Junio Staff.
“Poemaction”. Poetry Performance for New York Latin American Art Triennial. Bronx Art Space, Bronx New York September 20, 2019. Photo by Linda Morales (Photographer).
In the midst of restrictions related to COVID-19, I am adapting to use new mediums, like Facebook Live, Blackboard Collaborate Ultra, and Zoom, to continue to create performance, my talks of art, and the teaching of Spanish language and Hispanic Caribbean literature. At this time, I am doing an exploration and examination of the ways that connect everybody on the planet. The pandemic is a turning point for people to gain a new awareness of political and humanitarian issues and of our global interdependence. ~ Carlos Manuel Rivera
Nitza Tufiño
Nitza Tufiño, artist, curator and instructor.
From a series based on Maldito Amor (danza) by the 19th century Puerto Rican composer, Juan Morel Campos.
Maldito Amor series, pastel on paper
Maldito Amor (Juan Morel) series, pastel on paper
The artist at home with a biographical mural.
Maldito Amor (Juan Morel Campos) Series, pastel on paper
Manuel Adrián López
Poeta y Narrador, practicing photographer in NYC
“Into the Unknown” Photo Credit: Manuel Adrián López
Un antes y un después de la pandemia…
Niños apáticos
No éramos niños refugiados de la antigua Rusia.
Esto no sucedió en Suecia.
“This Used to Be My Playground,” Photo credit: Manuel Adrián López
Nuestro mal era caribeño.
Sufríamos una enfermedad tropical
y lo único que recordábamos de los rusos
era su peste a grajo
y la carne enlatada que apareció
una temporada en la isla.
Éramos niños apáticos
hijos de padres gusanos.
Nos alimentábamos por las manos de la abuela.
Por las sondas corrían frijoles negros
a veces duro frio de mango
mermelada de guayaba
y dulce de leche.
No escuchábamos los discursos de seis o más horas.
no lo necesitábamos
inculcaban nuestros padres.
Éramos niños apáticos.
Huíamos de los tentáculos
de un pulpo verde olivo
y en cualquier momento
podía llegar la hora señalada.
Vestidos de miedo
esperábamos
pensando:
¿y si nos regresan?
Quisiera haber olvidado la travesía
el amargo del vomito
ese fuerte olor a orina
que luego me dejó queriendo sentirlo
en todo mi cuerpo
la primera vez que me bañe con otro hombre.
Y hemos seguido siendo niños apáticos
aparentemente despiertos
sin realmente pertenecer
de un lado
o del otro.
“Adrift ,” Photo credit: Manuel Adrián López
Resignarme
¿Cuántas veces debo resignarme?
O acaso esto es un perenne estado
una vida entera de rodillas
un síndrome incurable.
No creo haberme recuperado
del salto en el estómago.
Mariposas acuchilladas sucumbiendo
en mi interior.
Nunca superé la ansiedad
de sentir un informante
a mis espaldas.
No he logrado olvidar
a la anciana sin nombre
suspendida por extraños
sobre las olas furiosas.
La ubico repetidamente
en todo lo que escribo.
Me resigno a no pertenecer.
Nadie nos salvó
de los hambrientos tiburones
de los sanguinarios consumistas
aparentando ser héroes
mientras enriquecían a la par
de burgueses
a los que deben criticar
para seguir empañándole
la vista
a los que nos prohíben
manjares.
Las vacas son nuestras hermanas
corren por la sabana
temblando de miedo
con las mismas mariposas nuestras
acuchilladas
en estómagos anémicos.
Resignarnos.
Pudrirnos en espera
a sabiendas
que no superaremos
el pánico:
¡Queremos costillas!
¡Queremos comernos unos a los otros!
“Dark Times,” Photo Credit: Manuel Adrián López
Me han preguntado por los desamparados de la ciudad
No he leído noticias sobre el paradero de los desamparados.
No puedo contestar.
Así de egocentrista somos.
No sé dónde los han ubicado.
¿Será al este o al oeste
de la metrópolis agonizante?
No tienen la luz que tengo en este palomar
ni las nubes que prohíben exigir respuestas.
Tienen más:
La brisa absoluta les pertenece.
No tienen la ansiedad que viaja conmigo.
Son dueños de amaneceres con y sin vistas
diseñadas a su antojo.
El sol y la luna los resguardan en sus bolsillos
y han sobrevivido casi todo.
Soy tan vil como cualquiera de esos
pidiendo
que mueran los más viejos.
Soy tan cruel como los que asesinan a gatos
para luego venderlos por libra.
Arrepentido estoy de creerme el ombligo del mundo.
¡No tengo idea de lo que han hecho con los desamparados de mi ciudad!
Aprender a contar la comida y otros menesteres
Aprendo a contar las rebanadas de pan
tocan a dos por día.
Mastica lento la ensalada mustia.
Macarronis disfrazados
un día con perejil y ajo
otro
revueltos con gandules
y siempre con un velo de mozzarella.
Nada de quemar la comida en estos tiempos.
No te atrevas a botar ni un frijol.
Escurre la última gota de tomate de la batidora.
La corteza del pan ponla a un lado
tuéstala
acompáñala con la sopa.
¡Ah la sopa!
No cuentes a nadie que has derramado
la crema de apio y zanahoria hirviente
sobre tu mano derecha.
¡Serás castigado!
Manuel Adrián López tiene publicado los libros: Yo, el arquero aquel (Editorial Velámenes, 2011), Room at the Top (Eriginal Books, 2013), Los poetas nunca pecan demasiado (Editorial Betania, 2013. Medalla de Oro en los Florida Book Awards 2013), El barro se subleva (Ediciones Baquiana, 2014), Temporada para suicidios (Eriginal Books, 2015), Muestrario de un vidente (Proyecto Editorial La Chifurnia, 2016), Fragmentos de un deceso/El revés en el espejo, libro en conjunto con el poeta ecuatoriano David Sánchez Santillán para la colección Dos Alas (El Ángel Editor, 2017), El arte de perder/The Art of Losing (Eriginal Books, 2017), El hombre incompleto (Dos Orillas, 2017), Los días de Ellwood (Nueva York Poetry Press, 2018/2020), y Un juego que nadie ve (Ediciones Deslinde, 2019-2020).
Todos los poemas pertenecen al libro inédito, “Síndrome de resignación
Nancy Mercado
“My Home Puerto Rico, #1,” photo credit: Nancy Mercado
4th Praise
For the grace
of the ocean waves
patiently rolling
back and forth
‘til the word is hurled
through the universe
to cease.
Puerto Rico, photo credit: Nancy Mercado© 2020 Nancy Mercado
Nancy Mercado was named one of 200 living individuals who best embody the legacy of Frederick Douglass by the Frederick Douglass Family Initiatives and American University, Nancy Mercado is also the 2017 recipient of the American Book Award for Lifetime Achievement presented by the Before Columbus Foundation.
Sherri Rosen
Opening Up My White World (Memoir)
My happy wedding day with my first marriage. Myself and my now deceased ex, Arnie.
First is Dan. We’re engaged for 5 years. I meet him at a Buddhist Retreat enter. Dan stands 5’9,” portly, sweet, fun, spiritual and smart. It’s the first time I’ve been in a spiritual relationship. Dan works as a technician for the New Jersey
at Bread & Puppet Theatre in Vermont *
postal system, and he fixes all of their machines.
Our love making is off the charts, because he so loves to please me. But, this man is so attached to mamma. We are in couples’ therapy. He moves in with me, and his mother gets married for the 3rd time, and we standup for her in the ceremony. “Oh, I am safe,” I think. Maybe Dan won’t be so attached to her. Wrong! Mamma calls over Christmas and says “I need you!” Her new husband is sick and in the hospital and Dan leaves our home to go see his mamma and never tells me. We split.
A playful & affectionate kiss
He calls me his “Big Barbie Doll.” They only thing I ask him is please tell me when you’ve met someone else and he does and we split.
with friends in Germany
A memory I shall never forget: Without malice he used to call me “his Jew girl”. What I discover is he’s not telling me the truth about an old love he has had from five years prior, and I can never reach him on the phone. There’s more frustration when I confront him and he’s not speaking the truth. It ends as quickly as it began although it takes me one year to break up with him because I am so crazy about him.
THANK YOU FOR CHECKING OUT L/T 2.0. See you here September 18th with Issue#6: California Creatives, Thrivers and Survivors 2020.
Disclaimer: La Tolteca 2.0 respects the right of the artist to free expression. Views of contributors in text or visual form are not necessarily those of La Tolteca 2.0.
GUIDELINES
LA TOLTECA 2.0 is making its return here at www.anacastillo.net It is a virtual zine with ongoing posts.
You may submit original, unpublished, not posted work to ana@anacastillo.net
Youl’ll receive an automated response. (If you don’t receive the automated response alert me on FB-instant messenger.) For consideration to the following new features only unpublished, never posted on SM, original images and material will be considered.
BOX 4B: Brown & Beautiful Babe-Boomers
You don’t have to be brown or a Boomer and your submissions don’t have to be selfies but you’re welcome to submit. Send us what gave you a smile, lifted your spirits, kept you going that past week. Smart phone pics work, no specific format necessary. Do NOT send images previously posted on social media or elsewhere. Your submission is consent for use at L/T 2.0. Add a couple of lines with your name and about the pic or yourself to be included, if selected.
Yo ¡Presente!
No rants or editorials, please. Only clean, proof-read submissions will be considered. Double space, 12 point, Times Roman— max 750 words. Your most recent activist concern. Include your name and a line describing how you participate in social justice issues. Checklist for your piece: What, when, why who and how, images help.
Poetry, Flash Fiction, Memoir/Testimonio
Original and unpublished work. Spanish and English languages considered.
All submissions must have been proofread double-spaced, 12 point, paginated. Fiction word count limit 2,500. Your name and one line about yourself or your submission.
La Tolteca 2.0 is a blog. We reserve all rights to post as and what we choose.
4 Comments
Manuel September 07, 2020 - 11:54
Gracias Ana for such a beautiful project. So honored to be here among so many talented artists. Un abrazo, Manny
Ana Castillo September 07, 2020 - 13:34 – In reply to: Manuel
Gracias por tu participación, poeta. Que sigues bien, cuidate.
Poemas inéditos en La Tolteca – El Coleccionista / The Collector September 15, 2020 - 11:32
[…] https://www.anacastillo.net/blog/la-tolteca-2-0-issue-5-september-4-2020/ […]
curbjumperstreeteats.com September 20, 2020 - 09:34
You are my inspiration, I own few blogs and occasionally run out from brand :).