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family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>[aside postid='news_11764070']South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881725']Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>[aside postid='mindshift_59143']People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The community is seeking blood donations, legal assistance and funds for victims' families. ","status":"publish","parent":0,"modified":1705006806,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":779},"headData":{"title":"How to Help Uvalde Families Following the Texas Elementary School Shooting | KQED","description":"The community is seeking blood donations, legal assistance and funds for victims' families. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Jordan Vonderhaar","nprByline":"Rachel Treisman","nprImageAgency":"Getty Images","nprStoryId":"1101161673","nprApiLink":"http://api.npr.org/query?id=1101161673&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/05/25/1101161673/how-to-help-uvalde-school-shooting?ft=nprml&f=1101161673","nprRetrievedStory":"1","nprPubDate":"Wed, 25 May 2022 15:43:00 -0400","nprStoryDate":"Wed, 25 May 2022 09:09:15 -0400","nprLastModifiedDate":"Wed, 25 May 2022 15:43:36 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13913932/how-to-help-uvalde-families-following-yesterdays-elementary-school-shooting","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11764070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881725","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"mindshift_59143","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13913932/how-to-help-uvalde-families-following-yesterdays-elementary-school-shooting","authors":["byline_arts_13913932"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3080","arts_3081","arts_17620","arts_3914"],"affiliates":["arts_10778"],"featImg":"arts_13913933","label":"arts_10778"},"arts_13874591":{"type":"posts","id":"arts_13874591","meta":{"index":"posts_1591205157","site":"arts","id":"13874591","score":null,"sort":[1581105084000]},"guestAuthors":[],"slug":"iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","title":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance","publishDate":1581105084,"format":"standard","headTitle":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.[aside postID='arts_13874154,arts_13873186,arts_13859794' label='Related Coverage']\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n","blocks":[],"excerpt":"Shirin Fahimi, who holds a Canadian passport, was detained and questioned at the Toronto airport by U.S. officials before being denied entry.","status":"publish","parent":0,"modified":1705021329,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":809},"headData":{"title":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance | KQED","description":"Shirin Fahimi, who holds a Canadian passport, was detained and questioned at the Toronto airport by U.S. officials before being denied entry.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874154,arts_13873186,arts_13859794","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","authors":["61"],"categories":["arts_235","arts_1003"],"tags":["arts_1018","arts_1118","arts_3914","arts_1773","arts_5826","arts_2887"],"featImg":"arts_13874156","label":"arts"},"arts_13868809":{"type":"posts","id":"arts_13868809","meta":{"index":"posts_1591205157","site":"arts","id":"13868809","score":null,"sort":[1571948460000]},"guestAuthors":[],"slug":"hundreds-of-musicians-pledge-to-cut-ties-with-amazon-in-no-music-for-ice-letter","title":"Hundreds Of Musicians Pledge To Cut Ties With Amazon In 'No Music For ICE' Letter","publishDate":1571948460,"format":"standard","headTitle":"Hundreds Of Musicians Pledge To Cut Ties With Amazon In ‘No Music For ICE’ Letter | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>[aside postID='arts_13849625' label='Stories For You']\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13852882' label='Apple Isn't Paying Artists Who Perform at Its Stores']\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>[aside postID='arts_13859794' label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n","blocks":[],"excerpt":"The letter, which has been signed by Deerhoof, Hurray For The Riff Raff, Damon & Naomi and more, comes in light of a music festival put on by Amazon Web Services.","status":"publish","parent":0,"modified":1705021920,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":722},"headData":{"title":"Hundreds Of Musicians Pledge To Cut Ties With Amazon In 'No Music For ICE' Letter | KQED","description":"The letter, which has been signed by Deerhoof, Hurray For The Riff Raff, Damon & Naomi and more, comes in light of a music festival put on by Amazon Web Services.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Kevin Hagen","nprByline":"Andrew Flanagan","nprImageAgency":"Getty Images","nprStoryId":"773121764","nprApiLink":"http://api.npr.org/query?id=773121764&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/10/24/773121764/hundreds-of-musicians-pledge-to-cut-ties-with-amazon-in-no-music-for-ice-letter?ft=nprml&f=773121764","nprRetrievedStory":"1","nprPubDate":"Thu, 24 Oct 2019 15:35:00 -0400","nprStoryDate":"Thu, 24 Oct 2019 15:35:37 -0400","nprLastModifiedDate":"Thu, 24 Oct 2019 15:36:40 -0400","path":"/arts/13868809/hundreds-of-musicians-pledge-to-cut-ties-with-amazon-in-no-music-for-ice-letter","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13849625","label":"Stories For You "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13852882","label":"label='Apple Isn't Paying Artists Who Perform at Its Stores'"},"numeric":["label='Apple","Isn't","Paying","Artists","Who","Perform","at","Its","Stores'"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13859794","label":"label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say'"},"numeric":["label='Trump's","'Extreme","Vetting'","Hurts","the","Arts,","Discourages","Cultural","Exchange,","Experts","Say'"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868809/hundreds-of-musicians-pledge-to-cut-ties-with-amazon-in-no-music-for-ice-letter","authors":["byline_arts_13868809"],"programs":["arts_1272"],"categories":["arts_1","arts_235","arts_75"],"tags":["arts_10589","arts_2210","arts_3914","arts_1773","arts_9034","arts_746","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13868810","label":"arts_1272"},"arts_13859566":{"type":"posts","id":"arts_13859566","meta":{"index":"posts_1591205157","site":"arts","id":"13859566","score":null,"sort":[1560473753000]},"guestAuthors":[],"slug":"vic-mensa-calls-out-white-americas-empathy-gap-when-it-comes-to-migrant-children","title":"Vic Mensa Calls Out White America's Empathy Gap When it Comes to Migrant Children","publishDate":1560473753,"format":"standard","headTitle":"Vic Mensa Calls Out White America’s Empathy Gap When it Comes to Migrant Children | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Within the 24-hour (or more like 24-minute) news cycle, everyone moves on to the next trending topic in a matter days and sometimes hours, making it particularly hard for activists to gather the numbers needed to sustain long-term organizing.\u003c/p>\n\u003cp>The crisis in United States immigration detention centers is no different. \u003ca href=\"https://www.nytimes.com/2018/06/18/us/immigrant-children-detention-center-audio.html\" target=\"_blank\" rel=\"noopener noreferrer\">ProPublica\u003c/a>‘s audio of sobbing children, separated from their parents and locked in cages, drew outcries when the outlet published it in June 2018. But a year later, news of deaths in ICE custody hardly gets a reaction from the public at large: earlier this month, only about 15 people attended \u003ca href=\"https://twitter.com/supermarke/status/1135633651608170496\" target=\"_blank\" rel=\"noopener noreferrer\">a protest\u003c/a> at ICE headquarters in San Francisco following the untimely passing of detained trans woman \u003ca href=\"https://www.theguardian.com/us-news/2019/jun/12/trans-woman-death-us-custody-ice-deportation\" target=\"_blank\" rel=\"noopener noreferrer\">Johana Medina Leon\u003c/a>.\u003c/p>\n\u003cp>Chicago rapper and singer Vic Mensa and his new band 93PUNX hope to draw attention back to the \u003ca href=\"https://www.huffpost.com/entry/undocumented-immigrant-children-detained-internment-camp_n_5d00ea38e4b0e7e781705ded\" target=\"_blank\" rel=\"noopener noreferrer\">13,000 immigrant children currently in U.S. immigration detention\u003c/a>—\u003ca href=\"https://www.apnews.com/5a49d65213b54043825acc282830b139\" target=\"_blank\" rel=\"noopener noreferrer\">five of whom\u003c/a> have died in custody within the last two years, and over \u003ca href=\"https://www.nytimes.com/2019/02/27/us/immigrant-children-sexual-abuse.html\" target=\"_blank\" rel=\"noopener noreferrer\">4,500 of whom\u003c/a> have reported sexual abuse in the last four years. The band’s new pop punk single “Camp America” riffs on ICE Deputy Director Matthew Albance’s (ridiculous) comparison of detention centers to summer camps. In a faux cheery voice reminiscent of Billy Joe Armstrong on Green Day’s \u003cem>American Idiot\u003c/em>, Mensa sings, “So much fun, you lose count of the days / Playing hide and go seek inside of your cage / Daddy loves you, so he sent you away / to Camp America.”\u003c/p>\n\u003cp>https://youtu.be/goLtgUwFLD0\u003c/p>\n\u003cp>In the music video, Mensa and director Titanic Sinclair point to white America’s \u003ca href=\"https://www.salon.com/2017/09/19/new-study-white-people-lack-empathy-across-the-socioeconomic-spectrum/\" target=\"_blank\" rel=\"noopener noreferrer\">empathy gap\u003c/a>. Notably, all the children in the video are white (unlike the mostly Central American kids in ICE detention), calling to mind the question: Would this human rights crisis sound more alarms if the children affected looked more like the ones of those in power?\u003c/p>\n\u003cp>“My intention for using white kids as opposed to minority children is to point out the blatantly obvious fact that this would never happen to white kids in this country or maybe anywhere on this earth,” Vic Mensa told \u003ca href=\"https://www.thedailybeast.com/inside-vic-mensa-led-93punxs-shocking-ice-inspired-rap-video-for-camp-america-featuring-white-kids-in-cages\" target=\"_blank\" rel=\"noopener noreferrer\">The Daily Beast\u003c/a>, which exclusively premiered the video (it officially drops on YouTube at 9pm Pacific). “Although the nature of the actions the kids were involved in were graphic or shocking, it was all taken from actual occurrences reported at ‘detention’ centers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"His new music video with his band 93PUNX features white kids locked in ICE detention. ","status":"publish","parent":0,"modified":1705026014,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":415},"headData":{"title":"Vic Mensa Calls Out White America's Empathy Gap When it Comes to Migrant Children | KQED","description":"His new music video with his band 93PUNX features white kids locked in ICE detention. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13859566/vic-mensa-calls-out-white-americas-empathy-gap-when-it-comes-to-migrant-children","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Within the 24-hour (or more like 24-minute) news cycle, everyone moves on to the next trending topic in a matter days and sometimes hours, making it particularly hard for activists to gather the numbers needed to sustain long-term organizing.\u003c/p>\n\u003cp>The crisis in United States immigration detention centers is no different. \u003ca href=\"https://www.nytimes.com/2018/06/18/us/immigrant-children-detention-center-audio.html\" target=\"_blank\" rel=\"noopener noreferrer\">ProPublica\u003c/a>‘s audio of sobbing children, separated from their parents and locked in cages, drew outcries when the outlet published it in June 2018. But a year later, news of deaths in ICE custody hardly gets a reaction from the public at large: earlier this month, only about 15 people attended \u003ca href=\"https://twitter.com/supermarke/status/1135633651608170496\" target=\"_blank\" rel=\"noopener noreferrer\">a protest\u003c/a> at ICE headquarters in San Francisco following the untimely passing of detained trans woman \u003ca href=\"https://www.theguardian.com/us-news/2019/jun/12/trans-woman-death-us-custody-ice-deportation\" target=\"_blank\" rel=\"noopener noreferrer\">Johana Medina Leon\u003c/a>.\u003c/p>\n\u003cp>Chicago rapper and singer Vic Mensa and his new band 93PUNX hope to draw attention back to the \u003ca href=\"https://www.huffpost.com/entry/undocumented-immigrant-children-detained-internment-camp_n_5d00ea38e4b0e7e781705ded\" target=\"_blank\" rel=\"noopener noreferrer\">13,000 immigrant children currently in U.S. immigration detention\u003c/a>—\u003ca href=\"https://www.apnews.com/5a49d65213b54043825acc282830b139\" target=\"_blank\" rel=\"noopener noreferrer\">five of whom\u003c/a> have died in custody within the last two years, and over \u003ca href=\"https://www.nytimes.com/2019/02/27/us/immigrant-children-sexual-abuse.html\" target=\"_blank\" rel=\"noopener noreferrer\">4,500 of whom\u003c/a> have reported sexual abuse in the last four years. The band’s new pop punk single “Camp America” riffs on ICE Deputy Director Matthew Albance’s (ridiculous) comparison of detention centers to summer camps. In a faux cheery voice reminiscent of Billy Joe Armstrong on Green Day’s \u003cem>American Idiot\u003c/em>, Mensa sings, “So much fun, you lose count of the days / Playing hide and go seek inside of your cage / Daddy loves you, so he sent you away / to Camp America.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/goLtgUwFLD0'\n title='//www.youtube.com/embed/goLtgUwFLD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the music video, Mensa and director Titanic Sinclair point to white America’s \u003ca href=\"https://www.salon.com/2017/09/19/new-study-white-people-lack-empathy-across-the-socioeconomic-spectrum/\" target=\"_blank\" rel=\"noopener noreferrer\">empathy gap\u003c/a>. Notably, all the children in the video are white (unlike the mostly Central American kids in ICE detention), calling to mind the question: Would this human rights crisis sound more alarms if the children affected looked more like the ones of those in power?\u003c/p>\n\u003cp>“My intention for using white kids as opposed to minority children is to point out the blatantly obvious fact that this would never happen to white kids in this country or maybe anywhere on this earth,” Vic Mensa told \u003ca href=\"https://www.thedailybeast.com/inside-vic-mensa-led-93punxs-shocking-ice-inspired-rap-video-for-camp-america-featuring-white-kids-in-cages\" target=\"_blank\" rel=\"noopener noreferrer\">The Daily Beast\u003c/a>, which exclusively premiered the video (it officially drops on YouTube at 9pm Pacific). “Although the nature of the actions the kids were involved in were graphic or shocking, it was all taken from actual occurrences reported at ‘detention’ centers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859566/vic-mensa-calls-out-white-americas-empathy-gap-when-it-comes-to-migrant-children","authors":["11387"],"categories":["arts_2303","arts_69"],"tags":["arts_2767","arts_3914","arts_1773"],"featImg":"arts_13859591","label":"arts"},"arts_13850067":{"type":"posts","id":"arts_13850067","meta":{"index":"posts_1591205157","site":"arts","id":"13850067","score":null,"sort":[1549308812000]},"guestAuthors":[],"slug":"rapper-21-savage-arrested-by-ice-for-allegedly-overstaying-visa","title":"Rapper 21 Savage Faces Deportation After Allegedly Overstaying Visa","publishDate":1549308812,"format":"standard","headTitle":"Rapper 21 Savage Faces Deportation After Allegedly Overstaying Visa | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The Grammy-nominated rapper 21 Savage, who has long been associated with Atlanta, has been arrested by U.S. Immigration and Customs Enforcement. The agency says he is actually a U.K. citizen who overstayed his visa and that he now faces deportation.\u003c/p>\n\u003cp>The news has come as a surprise to fans, who assumed the rapper was from Atlanta, as he has often talked about his tough childhood in the city’s Eastside. As The \u003ca href=\"https://www.ajc.com/news/breaking-ice-arrests-rapper-savage-says-actually-british-and-overstayed-visa/HgORJxcJCckHjlMdzlqwKM/\">Atlanta Journal Constitution put it\u003c/a>, 21 Savage — whose real name is Sha Yaa Bin Abraham-Joseph — “has long been considered a local act.”\u003c/p>\n\u003cp>The 26-year-old first appeared on the rap scene in 2015 and has since rocketed to success. In December, he scored \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491748/21-savages-i-am-i-was-album-debuts-at-no-1-on-billboard-200\">his first No. 1 \u003c/a>on the Billboard charts for his latest album, \u003cem>I Am > I Was.\u003c/em>\u003c/p>\n\u003cp>It turns out he was a U.K. national who came to the U.S. as a child but then overstayed his visa, federal officials say. He was taken into custody Sunday morning during a “targeted operation” in metro Atlanta, ICE spokesman Bryan Cox said, as reported by the \u003ca href=\"https://www.apnews.com/5775521aeeed48c0ba981e2ddb985ec0\">Associated Press\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=opKizJadkzA\">http://www.youtube.com/watch?v=opKizJadkzA\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Immigration and Customs Enforcement says the rapper, long associated with Atlanta, is actually a U.K. citizen who came to the U.S. in 2005 and overstayed his visa.","status":"publish","parent":0,"modified":1705026660,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":494},"headData":{"title":"Rapper 21 Savage Faces Deportation After Allegedly Overstaying Visa | KQED","description":"Immigration and Customs Enforcement says the rapper, long associated with Atlanta, is actually a U.K. citizen who came to the U.S. in 2005 and overstayed his visa.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Prince Williams","nprByline":"Matthew S. Schwartz","nprImageAgency":"WireImage","nprStoryId":"691210275","nprApiLink":"http://api.npr.org/query?id=691210275&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/04/691210275/atlanta-rapper-21-savage-arrested-by-ice-for-allegedly-overstaying-visa?ft=nprml&f=691210275","nprRetrievedStory":"1","nprPubDate":"Mon, 04 Feb 2019 13:42:00 -0500","nprStoryDate":"Mon, 04 Feb 2019 05:28:00 -0500","nprLastModifiedDate":"Mon, 04 Feb 2019 13:42:33 -0500","path":"/arts/13850067/rapper-21-savage-arrested-by-ice-for-allegedly-overstaying-visa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy-nominated rapper 21 Savage, who has long been associated with Atlanta, has been arrested by U.S. Immigration and Customs Enforcement. The agency says he is actually a U.K. citizen who overstayed his visa and that he now faces deportation.\u003c/p>\n\u003cp>The news has come as a surprise to fans, who assumed the rapper was from Atlanta, as he has often talked about his tough childhood in the city’s Eastside. As The \u003ca href=\"https://www.ajc.com/news/breaking-ice-arrests-rapper-savage-says-actually-british-and-overstayed-visa/HgORJxcJCckHjlMdzlqwKM/\">Atlanta Journal Constitution put it\u003c/a>, 21 Savage — whose real name is Sha Yaa Bin Abraham-Joseph — “has long been considered a local act.”\u003c/p>\n\u003cp>The 26-year-old first appeared on the rap scene in 2015 and has since rocketed to success. In December, he scored \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491748/21-savages-i-am-i-was-album-debuts-at-no-1-on-billboard-200\">his first No. 1 \u003c/a>on the Billboard charts for his latest album, \u003cem>I Am > I Was.\u003c/em>\u003c/p>\n\u003cp>It turns out he was a U.K. national who came to the U.S. as a child but then overstayed his visa, federal officials say. He was taken into custody Sunday morning during a “targeted operation” in metro Atlanta, ICE spokesman Bryan Cox said, as reported by the \u003ca href=\"https://www.apnews.com/5775521aeeed48c0ba981e2ddb985ec0\">Associated Press\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=opKizJadkzA\">http://www.youtube.com/watch?v=opKizJadkzA\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850067/rapper-21-savage-arrested-by-ice-for-allegedly-overstaying-visa","authors":["byline_arts_13850067"],"programs":["arts_1272"],"categories":["arts_69","arts_235"],"tags":["arts_6475","arts_3914","arts_746","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13850070","label":"arts_1272"},"arts_13837892":{"type":"posts","id":"arts_13837892","meta":{"index":"posts_1591205157","site":"arts","id":"13837892","score":null,"sort":[1533063627000]},"guestAuthors":[],"slug":"fast-crass-and-in-your-face-indecline-redefines-activist-art-in-the-trump-era","title":"Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era","publishDate":1533063627,"format":"standard","headTitle":"Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Early in the morning of June 21, commuters on Interstate 80 were greeted by an unusual sight. “We make kids disappear,” read an altered billboard over Shellmound Street in Emeryville. The message was signed, “—I.C.E.”\u003c/p>\n\u003cp>The billboard responded to President Trump’s “zero-tolerance” immigration policy, and U.S. Immigration and Customs Enforcement’s (ICE) enactment of that policy, which separated 2,800 or more children from their parents along the U.S.-Mexico border since last summer. Trump later reversed the mandate of family separations, and as of July 27, the federal government \u003ca href=\"https://www.nytimes.com/2018/07/26/us/migrant-families-reunifications-deadline.html\" target=\"_blank\" rel=\"noopener noreferrer\">says it has met the court-ordered deadline\u003c/a> for reuniting “eligible” parents and children. But \u003ca href=\"https://www.nytimes.com/2018/07/27/us/migrant-families-deportations.html\" target=\"_blank\" rel=\"noopener noreferrer\">711 children deemed ineligible\u003c/a> to reunify with their parents—the parents of 431 of those children were seemingly deported without them—remain in federal custody.\u003c/p>\n\u003cp>The message, which was removed by midday, struck a chord in the Bay Area, where many people are part of mixed immigration-status households and have personally witnessed or gone through the trauma of separation and deportation.31\u003c/p>\n\u003cp>The American activist collective \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a> claimed responsibility for the billboard, which originally read “We make junk disappear,” next to the face of a shocked blond-haired child, an ad for 1-800-GOT-JUNK.\u003c/p>\n\u003cp>The collective, a group of filmmakers, graffiti artists and photographers, worked on the billboard overnight, and by the following day, it made the \u003ca href=\"https://www.nbcbayarea.com/news/local/We-Make-Kids-Disappear---ICE-Activists-Vandalize-Billboard-in-Emeryville-With-Immigration-Message-486201131.html\" target=\"_blank\" rel=\"noopener noreferrer\">local media rounds\u003c/a>. Even the mayor of Emeryville, John J. Bauters, tweeted about the billboard. Unsurprisingly, he didn’t condemn it, instead saying the message “reflects our community’s belief that #FamilesBelongTogether.” (Mayor Bauters often uses his Twitter platform to support prison reform, and the need to protect the most vulnerable members of our community.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JohnBauters/status/1009847307376848896\u003c/p>\n\u003cp>Clear Channel Outdoor, the billboard’s owner, sent INDECLINE a letter, asking the collective to “cease and desist from taking any further and future action to interfere with CCO property.” An INDECLINE spokesperson (the collective maintains anonymity) says the billboard was their way of asking, “Where’s your moral compass? How can Clear Channel care more about a billboard that can be easily painted over, rather than the countless families that have been separated.” The letter was a first for INDECLINE.\u003c/p>\n\u003cp>Why did INDECLINE pick the Bay Area, and specifically Emeryville for their action? “We were in town working on a video for [the band] Rise Against,” the spokesperson says, “and we saw this as an opportunity.”\u003c/p>\n\u003cp>It wasn’t the first Bay Area project for the collective. Last year, INDECLINE teamed up with graffiti writer PEMEX and writer NEKO of Madrid to work on \u003ci>\u003ca href=\"https://thisisindecline.com/flicks/a-house-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">A House in Oakland\u003c/a>\u003c/i>, a joint effort to bring awareness to the Bay Area’s homeless crisis.\u003c/p>\n\u003cp>https://vimeo.com/204100424\u003c/p>\n\u003cp>While the collective often uses existing billboards for their work (as they did last month in Emeryville), they took a different approach with this project. The team went on a dangerous and illegal hunt for plastic billboards that they cut down and stretched over PVC frames to create shelters. The collective then delivered the newly made tents to homeless encampments around Oakland.\u003c/p>\n\u003cp>INDECLINE might be best known for one of their most ambitious projects, unveiled on August 18, 2016 across five U.S. cities. Naked statues of then-Republican-presidential candidate Donald Trump appeared in public spaces in Seattle, New York, San Francisco, Cleveland and Los Angeles. The statues drew mixed reactions: some blissfully took selfies with the naked Trump, others were horrified, and many heavily criticized the project for the implicit body-shaming in Trump’s sculptural physique.\u003c/p>\n\u003cp>\u003cem>The Emperor Has No Balls\u003c/em>, as INDECLINE named the stunt, was a project six months in the making, and one that required the help and resources of not only the collective’s core group of 12, but of fans and supporters of the protest work INDECLINE does. “You don’t have to be working with the founding members in order to participate,” the INDECLINE spokesperson says, “we work with all sorts of creatives.”\u003c/p>\n\u003cp>https://vimeo.com/179665091\u003c/p>\n\u003cp>The founding members of INDECLINE met as young adults in 2001. They were, the spokesperson says, “teenagers not entirely politically developed struggling to express their feelings.”\u003c/p>\n\u003cp>Those feelings stemmed from the turbulent events of 2001: 9/11, President George W. Bush’s refusal to sign the Kyoto Agreement on Climate Change, Enron’s bankruptcy and a series of anthrax attacks across the United States.\u003c/p>\n\u003cp>The group gained notoriety for their 2002 video \u003ci>Bumfights: A Cause for Concern\u003c/i>, depicting footage of high school fights and homeless men performing stunts and skits. The backlash was immediate. The U.S.-based National Coalition for the Homeless argued that the video dehumanized the homeless population. The video was banned in the U.K., Canada and New Zealand, the producers faced felony charges and jail time, and they were required to pay settlements to the homeless men depicted in the video. Indecline Films ceased to exist, and the group rebranded as INDECLINE, protest art collective.\u003c/p>\n\u003cp>Their self-admittedly misguided early work doesn’t prevent INDECLINE from courting controversy nearly two decades later. As political turmoil increases under Trump’s presidency, their protest art gets more and more confrontational. As if naked statues of Trump weren’t enough to raise eyebrows, last year the collective put together an installation in Richmond, Virginia—a month after the white nationalist rally in Charlottesville left 32-year-old counterprotester Heather Heyer dead.\u003c/p>\n\u003cp>https://vimeo.com/232818473\u003c/p>\n\u003cp>For this particular installation, the collective took over Joseph Bryan Park, where they hung dummies dressed as clowns wearing Ku Klux Klan robes from the branches of a large tree. One of the dummies carried a sign that read, “If attacked by a mob of clowns, go for the juggler.”\u003c/p>\n\u003cp>But INDECLINE’s projects can also involve heartfelt messages of support—particularly for the undocumented community. While the collective was still in the Bay Area last month, they worked on a mural in Downtown Oakland called \u003cem>Dear Immigrants\u003c/em>, located off 15th Street and Franklin. Made by INDECLINE and ten other artists, the colorful piece simply reads, “Dear Immigrants: Without U there is no U.S.” Monarch butterflies, a symbol often used to depict migration, decorate the mural.\u003c/p>\n\u003cp>“As we were working on the mural, Mexican construction workers who were working close by came by wanting to help,” the spokesperson says. While the artists were hard at work, curious bystanders, local business owners and residents gathered around the mural until it turned into a block party-like gathering of people who shared the mural’s sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13838061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg\" alt=\"INDECLINE's 'Dear Immigrants' mural, June 2018.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">INDECLINE’s ‘Dear Immigrants’ mural, June 2018. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>INDECLINE isn’t a non-profit collective; they aren’t eligible for tax-deductible donations or grants. So in order to fund their projects, which often involve flying the group’s members across the country, renting hotel rooms, paying fabrication costs and buying hundreds of gallons of paint, they rely heavily on merchandise sales (including “emperor” figurines).\u003c/p>\n\u003cp>Their notoriety, fed by controversial, high-profile stunts like \u003cem>The Emperor Has No Balls\u003c/em>, also helps pay for their projects. And those projects, in turn, show a surprising amount of range—confronting governmental entities one week and offering up messages of support to those suffering at the hands of that government the next.\u003c/p>\n\u003cp>INDECLINE’s focus isn’t just political, they also care about bringing awareness to the social, economical and ecological injustices brought by corrupt government institutions, the damage done by greedy corporations and the abuse of power by law enforcement agencies.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being older, we’ve seen so much politically, it has helped to solidify our beliefs,” the spokesperson says.\u003c/p>\n\n","blocks":[],"excerpt":"The anonymous collective behind last month's anti-ICE billboard message in Emeryville nimbly balance controversial stunts with messages of support.","status":"publish","parent":0,"modified":1705027430,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1350},"headData":{"title":"Fast, Crass and In Your Face: INDECLINE Redefines Activist Art in the Trump Era | KQED","description":"The anonymous collective behind last month's anti-ICE billboard message in Emeryville nimbly balance controversial stunts with messages of support.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13837892/fast-crass-and-in-your-face-indecline-redefines-activist-art-in-the-trump-era","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the morning of June 21, commuters on Interstate 80 were greeted by an unusual sight. “We make kids disappear,” read an altered billboard over Shellmound Street in Emeryville. The message was signed, “—I.C.E.”\u003c/p>\n\u003cp>The billboard responded to President Trump’s “zero-tolerance” immigration policy, and U.S. Immigration and Customs Enforcement’s (ICE) enactment of that policy, which separated 2,800 or more children from their parents along the U.S.-Mexico border since last summer. Trump later reversed the mandate of family separations, and as of July 27, the federal government \u003ca href=\"https://www.nytimes.com/2018/07/26/us/migrant-families-reunifications-deadline.html\" target=\"_blank\" rel=\"noopener noreferrer\">says it has met the court-ordered deadline\u003c/a> for reuniting “eligible” parents and children. But \u003ca href=\"https://www.nytimes.com/2018/07/27/us/migrant-families-deportations.html\" target=\"_blank\" rel=\"noopener noreferrer\">711 children deemed ineligible\u003c/a> to reunify with their parents—the parents of 431 of those children were seemingly deported without them—remain in federal custody.\u003c/p>\n\u003cp>The message, which was removed by midday, struck a chord in the Bay Area, where many people are part of mixed immigration-status households and have personally witnessed or gone through the trauma of separation and deportation.31\u003c/p>\n\u003cp>The American activist collective \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a> claimed responsibility for the billboard, which originally read “We make junk disappear,” next to the face of a shocked blond-haired child, an ad for 1-800-GOT-JUNK.\u003c/p>\n\u003cp>The collective, a group of filmmakers, graffiti artists and photographers, worked on the billboard overnight, and by the following day, it made the \u003ca href=\"https://www.nbcbayarea.com/news/local/We-Make-Kids-Disappear---ICE-Activists-Vandalize-Billboard-in-Emeryville-With-Immigration-Message-486201131.html\" target=\"_blank\" rel=\"noopener noreferrer\">local media rounds\u003c/a>. Even the mayor of Emeryville, John J. Bauters, tweeted about the billboard. Unsurprisingly, he didn’t condemn it, instead saying the message “reflects our community’s belief that #FamilesBelongTogether.” (Mayor Bauters often uses his Twitter platform to support prison reform, and the need to protect the most vulnerable members of our community.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1009847307376848896"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Clear Channel Outdoor, the billboard’s owner, sent INDECLINE a letter, asking the collective to “cease and desist from taking any further and future action to interfere with CCO property.” An INDECLINE spokesperson (the collective maintains anonymity) says the billboard was their way of asking, “Where’s your moral compass? How can Clear Channel care more about a billboard that can be easily painted over, rather than the countless families that have been separated.” The letter was a first for INDECLINE.\u003c/p>\n\u003cp>Why did INDECLINE pick the Bay Area, and specifically Emeryville for their action? “We were in town working on a video for [the band] Rise Against,” the spokesperson says, “and we saw this as an opportunity.”\u003c/p>\n\u003cp>It wasn’t the first Bay Area project for the collective. Last year, INDECLINE teamed up with graffiti writer PEMEX and writer NEKO of Madrid to work on \u003ci>\u003ca href=\"https://thisisindecline.com/flicks/a-house-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">A House in Oakland\u003c/a>\u003c/i>, a joint effort to bring awareness to the Bay Area’s homeless crisis.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"204100424"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the collective often uses existing billboards for their work (as they did last month in Emeryville), they took a different approach with this project. The team went on a dangerous and illegal hunt for plastic billboards that they cut down and stretched over PVC frames to create shelters. The collective then delivered the newly made tents to homeless encampments around Oakland.\u003c/p>\n\u003cp>INDECLINE might be best known for one of their most ambitious projects, unveiled on August 18, 2016 across five U.S. cities. Naked statues of then-Republican-presidential candidate Donald Trump appeared in public spaces in Seattle, New York, San Francisco, Cleveland and Los Angeles. The statues drew mixed reactions: some blissfully took selfies with the naked Trump, others were horrified, and many heavily criticized the project for the implicit body-shaming in Trump’s sculptural physique.\u003c/p>\n\u003cp>\u003cem>The Emperor Has No Balls\u003c/em>, as INDECLINE named the stunt, was a project six months in the making, and one that required the help and resources of not only the collective’s core group of 12, but of fans and supporters of the protest work INDECLINE does. “You don’t have to be working with the founding members in order to participate,” the INDECLINE spokesperson says, “we work with all sorts of creatives.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"179665091"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founding members of INDECLINE met as young adults in 2001. They were, the spokesperson says, “teenagers not entirely politically developed struggling to express their feelings.”\u003c/p>\n\u003cp>Those feelings stemmed from the turbulent events of 2001: 9/11, President George W. Bush’s refusal to sign the Kyoto Agreement on Climate Change, Enron’s bankruptcy and a series of anthrax attacks across the United States.\u003c/p>\n\u003cp>The group gained notoriety for their 2002 video \u003ci>Bumfights: A Cause for Concern\u003c/i>, depicting footage of high school fights and homeless men performing stunts and skits. The backlash was immediate. The U.S.-based National Coalition for the Homeless argued that the video dehumanized the homeless population. The video was banned in the U.K., Canada and New Zealand, the producers faced felony charges and jail time, and they were required to pay settlements to the homeless men depicted in the video. Indecline Films ceased to exist, and the group rebranded as INDECLINE, protest art collective.\u003c/p>\n\u003cp>Their self-admittedly misguided early work doesn’t prevent INDECLINE from courting controversy nearly two decades later. As political turmoil increases under Trump’s presidency, their protest art gets more and more confrontational. As if naked statues of Trump weren’t enough to raise eyebrows, last year the collective put together an installation in Richmond, Virginia—a month after the white nationalist rally in Charlottesville left 32-year-old counterprotester Heather Heyer dead.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"232818473"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For this particular installation, the collective took over Joseph Bryan Park, where they hung dummies dressed as clowns wearing Ku Klux Klan robes from the branches of a large tree. One of the dummies carried a sign that read, “If attacked by a mob of clowns, go for the juggler.”\u003c/p>\n\u003cp>But INDECLINE’s projects can also involve heartfelt messages of support—particularly for the undocumented community. While the collective was still in the Bay Area last month, they worked on a mural in Downtown Oakland called \u003cem>Dear Immigrants\u003c/em>, located off 15th Street and Franklin. Made by INDECLINE and ten other artists, the colorful piece simply reads, “Dear Immigrants: Without U there is no U.S.” Monarch butterflies, a symbol often used to depict migration, decorate the mural.\u003c/p>\n\u003cp>“As we were working on the mural, Mexican construction workers who were working close by came by wanting to help,” the spokesperson says. While the artists were hard at work, curious bystanders, local business owners and residents gathered around the mural until it turned into a block party-like gathering of people who shared the mural’s sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13838061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg\" alt=\"INDECLINE's 'Dear Immigrants' mural, June 2018.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/DearImmigrants_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">INDECLINE’s ‘Dear Immigrants’ mural, June 2018. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>INDECLINE isn’t a non-profit collective; they aren’t eligible for tax-deductible donations or grants. So in order to fund their projects, which often involve flying the group’s members across the country, renting hotel rooms, paying fabrication costs and buying hundreds of gallons of paint, they rely heavily on merchandise sales (including “emperor” figurines).\u003c/p>\n\u003cp>Their notoriety, fed by controversial, high-profile stunts like \u003cem>The Emperor Has No Balls\u003c/em>, also helps pay for their projects. And those projects, in turn, show a surprising amount of range—confronting governmental entities one week and offering up messages of support to those suffering at the hands of that government the next.\u003c/p>\n\u003cp>INDECLINE’s focus isn’t just political, they also care about bringing awareness to the social, economical and ecological injustices brought by corrupt government institutions, the damage done by greedy corporations and the abuse of power by law enforcement agencies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Being older, we’ve seen so much politically, it has helped to solidify our beliefs,” the spokesperson says.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837892/fast-crass-and-in-your-face-indecline-redefines-activist-art-in-the-trump-era","authors":["11624"],"categories":["arts_835","arts_70"],"tags":["arts_1119","arts_1118","arts_3914","arts_5849","arts_596","arts_5375"],"featImg":"arts_13838062","label":"arts"},"arts_13835709":{"type":"posts","id":"arts_13835709","meta":{"index":"posts_1591205157","site":"arts","id":"13835709","score":null,"sort":[1529679656000]},"guestAuthors":[],"slug":"its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border","title":"'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border","publishDate":1529679656,"format":"image","headTitle":"‘It’s Horrifying’: 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.","status":"publish","parent":0,"modified":1705027592,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":52,"wordCount":3377},"headData":{"title":"'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED","description":"After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"KQED Arts Staff","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13835709/its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13835709/its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border","authors":["byline_arts_13835709"],"categories":["arts_2303","arts_835","arts_69","arts_235","arts_70"],"tags":["arts_5180","arts_2767","arts_1753","arts_5185","arts_1118","arts_3914","arts_1773","arts_596"],"featImg":"arts_13835799","label":"arts"},"arts_13823927":{"type":"posts","id":"arts_13823927","meta":{"index":"posts_1591205157","site":"arts","id":"13823927","score":null,"sort":[1518364831000]},"guestAuthors":[],"slug":"a-powerful-harrowing-look-at-the-border-through-an-agents-eyes","title":"A Powerful, Harrowing Look at the Border Through an Agent's Eyes","publishDate":1518364831,"format":"image","headTitle":"A Powerful, Harrowing Look at the Border Through an Agent’s Eyes | KQED","labelTerm":{"term":1054,"site":"arts"},"content":"\u003cp>We may think of the U.S.-Mexico border as a solid boundary, but where it is marked by the erosion-prone Rio Grande, “the border, no matter how painstakingly fixed upon the land, [changes] its course [endlessly] with the whims of [the] river,” writes poet, academic, and former U.S. Border Patrol agent Francisco Cantú in his debut memoir, \u003cem>The Line Becomes a River\u003c/em>.\u003c/p>\n\u003cp>A son of immigrants himself, Cantú became a Border Patrol agent to learn about the border firsthand after graduating college. Your response to his decision probably mirrors his mother’s, who told him, simply: “Are you crazy? There are a hundred other ways of knowing a place.”\u003c/p>\n\u003cp>Cantú tells her that there’s something at the border he can’t look away from. He tells her of his plan to study the problems of the border and then quit after a few years so that, having been on the inside and experienced the border from all angles, he could shape more humane immigration policy.\u003c/p>\n\u003cp>What Cantú fails to realize (and his mother immediately comprehends) is that the knowledge he sought would come at a cost, and that Cantú would become someone she would no longer be able to recognize in the process.\u003c/p>\n\u003cfigure id=\"attachment_13823977\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13823977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of the Rio Grande. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>A poetic treatise on the making of the border, the indomitability of the desert, and the nightmare-inducing experience of collecting dead bodies and surviving migrants for “voluntary” deportation — this is a book I have long been waiting for. It offers a multitudinous experience of the border — the border as an abstraction, the border as poetic symbol, the border as a real force of devastation, the border as a place that consumes Cantú with guilt and upends all plans he had for himself after the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he went through his patrol training, Cantú watched as his body became a tool. But his resolve to experience the border was unshakeable. Once, during shooting practice, as a bird landed on his target. He shot at the bird wanting to prove to himself that he could take a life: “I walked over and picked up its body and in my hands the dead animal seemed weightless,” he writes. “I rubbed its yellow feathers with my fingertip. I began to feel sick and I wondered, for one brief moment, if I was going insane.”\u003c/p>\n\u003cp>He dug a small hole to bury the bird. The beauty of this memoir is that Cantú remains sensitive and discerning even while he is undergoing the transformation into an agent. And yet the change is there, and it is chilling:\u003c/p>\n\u003cblockquote>\u003cp>Of course, what you do depends on who you’re with, depends on what kind of agent you are… but it’s true that we slash their bottles and drain their water into the dry earth, that we dump their backpacks and pile their food and clothes to be crushed and pissed on and stepped over, strewn across the desert and set ablaze. And Christ, it sounds terrible, and maybe it is, but the idea is that when they come out from their hiding places…to find their stockpiles ransacked and stripped, they’ll realize their situation… that it’s hopeless to continue, and they’ll quit right then and there, they’ll save themselves and struggle toward the nearest highway or dirt road to flag down some passing agent…—that’s the idea, the sense in it all.\u003c/p>\n\u003cp>But still, I have nightmares, visions of them staggering through the desert, men from Michoacán, from places I’ve known, men lost and wandering without food or water, dying slowly as they look for some road, some village, some way out. In my dreams I seek them out, searching in vain until finally I discover their bodies lying facedown on the ground before me, dead and stinking on the desert floor, human waypoints in a vast and smoldering expanse.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823981 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg\" alt=\"\" width=\"463\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-240x363.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-375x567.jpeg 375w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>At the border, Cantú encounters drug mules, and he hears of migrants who’ve been kidnapped by their smugglers until their family pays extortion. He encounters children, teenagers, couples, desperate to provide a better future for their children, desperate to reunite with loved ones. He encounters migrants who’ve ran out of food and have collapsed, dead, in the desert.\u003c/p>\n\u003cp>During the downtime of patrol nights, Cantú observes the beautiful display of the desert’s inhospitality: the ground seething “with volcanic heat,” the glittering Milky Way above, and sometimes in the distance, lightning “like a line of hot neon, [illuminated] the desert in a shuddering white light.”\u003c/p>\n\u003cp>After quitting the Border Patrol, Cantú finds himself courting yet another aspect of the border. A friend who is undocumented is deported, and Cantú spends much of his time trying to help the family that the border has torn apart. The driving question of this memoir is whether one can be absolved of complicity, and if not, whether there is a place where one can hold that place of guilt. For readers, \u003cem>The Line Becomes a River\u003c/em>, offers a unique but hard look at what the border is really like, both for migrants and the people in charge of deporting them.\u003c/p>\n\u003cp>In this memoir, Cantú cites the poetry of Sara Uribe:\u003c/p>\n\u003cblockquote>\u003cp>Count them all.\u003c/p>\n\u003cp>Name them so as to say: this body could be mine.\u003c/p>\n\u003cp>The body of one of my own.\u003c/p>\n\u003cp>So as not to forget that all the bodies without names are our lost bodies.\u003c/p>\u003c/blockquote>\n\u003cp>It occurs to me this book tries to do just that: It attempts to count, it attempts to plea for all the lost bodies. \u003cem>The Line Becomes a River\u003c/em> is a powerful, harrowing view of the border — a no man’s land where no one returns the same.\u003c/p>\n\u003cp>Run, don’t walk, to your bookstore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Francisco Cantú will be in conversation with R.O. Kwon at Green Apple Books (1231 9th Avenue in San Francisco) on Monday, February 19th at 7:30 p.m. More information \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-francisco-cant%C3%BA\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Poet, academic, and former U.S. Border Patrol agent Francisco Cantú's memoir, 'The Line Becomes a River,' offers a unique but hard look at what the U.S.-Mexico border is really like.","status":"publish","parent":0,"modified":1705028544,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1081},"headData":{"title":"A Powerful, Harrowing Look at the Border Through an Agent's Eyes | KQED","description":"Poet, academic, and former U.S. Border Patrol agent Francisco Cantú's memoir, 'The Line Becomes a River,' offers a unique but hard look at what the U.S.-Mexico border is really like.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13823927/a-powerful-harrowing-look-at-the-border-through-an-agents-eyes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We may think of the U.S.-Mexico border as a solid boundary, but where it is marked by the erosion-prone Rio Grande, “the border, no matter how painstakingly fixed upon the land, [changes] its course [endlessly] with the whims of [the] river,” writes poet, academic, and former U.S. Border Patrol agent Francisco Cantú in his debut memoir, \u003cem>The Line Becomes a River\u003c/em>.\u003c/p>\n\u003cp>A son of immigrants himself, Cantú became a Border Patrol agent to learn about the border firsthand after graduating college. Your response to his decision probably mirrors his mother’s, who told him, simply: “Are you crazy? There are a hundred other ways of knowing a place.”\u003c/p>\n\u003cp>Cantú tells her that there’s something at the border he can’t look away from. He tells her of his plan to study the problems of the border and then quit after a few years so that, having been on the inside and experienced the border from all angles, he could shape more humane immigration policy.\u003c/p>\n\u003cp>What Cantú fails to realize (and his mother immediately comprehends) is that the knowledge he sought would come at a cost, and that Cantú would become someone she would no longer be able to recognize in the process.\u003c/p>\n\u003cfigure id=\"attachment_13823977\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13823977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1024px-Rio_Grande_Texas_by_Planet_Labs.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of the Rio Grande. Wikimedia Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>A poetic treatise on the making of the border, the indomitability of the desert, and the nightmare-inducing experience of collecting dead bodies and surviving migrants for “voluntary” deportation — this is a book I have long been waiting for. It offers a multitudinous experience of the border — the border as an abstraction, the border as poetic symbol, the border as a real force of devastation, the border as a place that consumes Cantú with guilt and upends all plans he had for himself after the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As he went through his patrol training, Cantú watched as his body became a tool. But his resolve to experience the border was unshakeable. Once, during shooting practice, as a bird landed on his target. He shot at the bird wanting to prove to himself that he could take a life: “I walked over and picked up its body and in my hands the dead animal seemed weightless,” he writes. “I rubbed its yellow feathers with my fingertip. I began to feel sick and I wondered, for one brief moment, if I was going insane.”\u003c/p>\n\u003cp>He dug a small hole to bury the bird. The beauty of this memoir is that Cantú remains sensitive and discerning even while he is undergoing the transformation into an agent. And yet the change is there, and it is chilling:\u003c/p>\n\u003cblockquote>\u003cp>Of course, what you do depends on who you’re with, depends on what kind of agent you are… but it’s true that we slash their bottles and drain their water into the dry earth, that we dump their backpacks and pile their food and clothes to be crushed and pissed on and stepped over, strewn across the desert and set ablaze. And Christ, it sounds terrible, and maybe it is, but the idea is that when they come out from their hiding places…to find their stockpiles ransacked and stripped, they’ll realize their situation… that it’s hopeless to continue, and they’ll quit right then and there, they’ll save themselves and struggle toward the nearest highway or dirt road to flag down some passing agent…—that’s the idea, the sense in it all.\u003c/p>\n\u003cp>But still, I have nightmares, visions of them staggering through the desert, men from Michoacán, from places I’ve known, men lost and wandering without food or water, dying slowly as they look for some road, some village, some way out. In my dreams I seek them out, searching in vain until finally I discover their bodies lying facedown on the ground before me, dead and stinking on the desert floor, human waypoints in a vast and smoldering expanse.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823981 alignleft\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg\" alt=\"\" width=\"463\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713.jpeg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-240x363.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/9780735217713-375x567.jpeg 375w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>At the border, Cantú encounters drug mules, and he hears of migrants who’ve been kidnapped by their smugglers until their family pays extortion. He encounters children, teenagers, couples, desperate to provide a better future for their children, desperate to reunite with loved ones. He encounters migrants who’ve ran out of food and have collapsed, dead, in the desert.\u003c/p>\n\u003cp>During the downtime of patrol nights, Cantú observes the beautiful display of the desert’s inhospitality: the ground seething “with volcanic heat,” the glittering Milky Way above, and sometimes in the distance, lightning “like a line of hot neon, [illuminated] the desert in a shuddering white light.”\u003c/p>\n\u003cp>After quitting the Border Patrol, Cantú finds himself courting yet another aspect of the border. A friend who is undocumented is deported, and Cantú spends much of his time trying to help the family that the border has torn apart. The driving question of this memoir is whether one can be absolved of complicity, and if not, whether there is a place where one can hold that place of guilt. For readers, \u003cem>The Line Becomes a River\u003c/em>, offers a unique but hard look at what the border is really like, both for migrants and the people in charge of deporting them.\u003c/p>\n\u003cp>In this memoir, Cantú cites the poetry of Sara Uribe:\u003c/p>\n\u003cblockquote>\u003cp>Count them all.\u003c/p>\n\u003cp>Name them so as to say: this body could be mine.\u003c/p>\n\u003cp>The body of one of my own.\u003c/p>\n\u003cp>So as not to forget that all the bodies without names are our lost bodies.\u003c/p>\u003c/blockquote>\n\u003cp>It occurs to me this book tries to do just that: It attempts to count, it attempts to plea for all the lost bodies. \u003cem>The Line Becomes a River\u003c/em> is a powerful, harrowing view of the border — a no man’s land where no one returns the same.\u003c/p>\n\u003cp>Run, don’t walk, to your bookstore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Francisco Cantú will be in conversation with R.O. Kwon at Green Apple Books (1231 9th Avenue in San Francisco) on Monday, February 19th at 7:30 p.m. More information \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-francisco-cant%C3%BA\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Spine is a bi-weekly column. Catch us back here in two weeks!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823927/a-powerful-harrowing-look-at-the-border-through-an-agents-eyes","authors":["78"],"series":["arts_1054"],"categories":["arts_73"],"tags":["arts_1118","arts_3914","arts_1773","arts_596"],"featImg":"arts_13823933","label":"arts_1054"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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