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August 08 2013

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▶ Chilean Economist Manfred Max-Neef on Edward Snowden - YouTube

06.08.2013 - Democracy Now! anchor Amy Goodman recently spoke with Chilean economist Manfred Max-Neef about Ed Snowden, when he was still in the Russian airport. This interview took place in Bogotá, Colombia, at a gathering of Latin American Right Livelihood laureates, often referred to as the Alternative Nobel Prize.

MANFRED MAX-NEEF: In this meeting, we produced a declaration about this thing, about what happened to President Evo Morales, which we consider is an unbelievable and unacceptable abuse in terms of international law. And we also stated that we are appalled by the incredible cynicism of practically all the countries in the world vis-à-vis what this young man has done, sacrificing his life and his future for something in which he believed. If you analyze what Snowden did and then read the Declaration of Independence of the United States, and what that young man did is exactly, exactly, exactly what Thomas Jefferson said that an American citizen should do if a government, you know, does the kind of things that have been discovered now.

I am appalled, you know, that nobody in the world is stretching their hands to this young man. Particularly, you realize, the European Union announced that they are furious with the United States, you know, for the things that the States has been doing—spying on them, you know, as in the days of the Cold War. They are furious against it. Why are they furious? Because of something that this young man revealed. But nobody stretches a hand to this young man. They use the information that he gave in order to be furious with the United States government, but they forget about the person, the human being who sacrificed himself to do it. I am really—think that this is a Greek tragedy, no? Really a Greek tragedy. And I'm deeply disappointed, you know, even with my country, with my president, who opposed that the foreign ministers of Latin America should get together in order to discuss and take a decision about what happened to President Evo Morales. Chile and Colombia were against the initiative. And I am ashamed, you know, of my own government to have an attitude like that. So I am really sorry, and I would love to be able to give a hug to this brave young man.

Reposted bywikileaks wikileaks

February 19 2013

PRESS RELEASE: Ecuador's Election a "Referendum on Economic Policies," CEPR Co-Director Says

February 18, 2013

Reelection of President Correa in First Round with Alianza País Majority in Assembly a “Clear Mandate”

For Immediate Release: February 18, 2013
Contact: Dan Beeton, 202-239-1460

Washington, D.C.- Ecuadorean president Rafael Correa’s victory in the first round of elections and the election of a majority of his Alianza País party to the National Assembly presents a “clear mandate” for the continuation of Correa’s economic policies, Center for Economic and Policy Research Co-Director Mark Weisbrot said.

Correa was re-elected with 57 percent of the vote. His nearest challenger, Guillermo Lasso, received 23 percent. Correa’s Alianza País party has a clear majority in the National Assembly, getting 52 percent of the vote, according to the National Electoral Council’s tabulation of 11 percent of ballots so far.

“There’s no surprise here but there seems to be debate over the meaning of these elections,” said Weisbrot.  “During Correa’s presidency there has been solid economic growth and unemployment hit a record low of 4.1 percent last year; poverty has been reduced by 27 percent, real education spending has doubled, and access to health care increased.  These accomplishments are more than enough to explain the electoral results.”

“On the other hand, much of the international media has attributed Correa’s success to a combination of high oil prices and ‘government largesse.’  This is an oversimplification and a misunderstanding.”

Weisbrot noted that the Correa government instituted a whole set of financial and regulatory reforms, in addition to crucial counter-cyclical fiscal policy during the world recession, in order to achieve these successes.  

“I’m afraid that the governing party’s (Alianza País) winning a majority in the National Assembly will serve as fuel for much of the media’s continuing theme of a president with ‘too much power.’  But this is what democracy looks like: when a government succeeds, voters reward it at the polls.”

Weisbrot noted that there is also a prejudice against Correa in much reporting and analysis because of the media’s general bias against the left governments of South America, which are often portrayed as part of an “anti-American” alliance led by President Hugo Chávez of Venezuela.  He expects that these themes and prejudices will continue to pervade much of the reporting during Correa’s next four years.


Reposted from02myEcon-01 02myEcon-01
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Équateur : ''révolution citoyenne'', modèle extractiviste et gauches crititiques

La « révolution citoyenne » en Équateur est l'un des symboles des expériences post-néolibérales sud-américaines et le gouvernement de Rafael Correa est souvent évoqué comme une référence par de nombreuses gauches européennes. Les prochaines élections présidentielles auront lieu dans ce pays le 17 février 2013, dans une conjoncture politique où l'opposition conservatrice a été incapable de présenter une candidature unique et alors que le gouvernement conserve une très forte avance dans les enquêtes d'opinions, mais avec une baisse notable après 6 ans de pouvoir. Il y a deux ans, nous avions établit un premier bilan critique de l'expérience équatorienne (...)
Source: CADTM
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August 17 2012

Lost Matisse inspires topless protest in Caracas

More than a dozen women wearing nothing but red genie pants demand return of art work to Venezuela

The guards in front of Caracas's Museum of Contemporary Art did not appear to feel too threatened by the protest taking place on their doorstep.

Early one recent morning more than a dozen women wearing nothing but red genie pants gathered at the doors of the institution from where Henri Matisse's Odalisque in Red Trousers went missing, to ask for the prompt return of the painting they were emulating.

The women were photographed by the Venezuelan artist Violette Bule in poses reminiscent of the 1925 post-impressionist work that was replaced with a fake over a decade ago.

"My main goal is to have the original returned but I also want to call attention to the irony behind the way the art market works," said Bule, who masterminded the ensemble. "After this scandal, the Odalisque will surely be worth much more," she added.

Though the painting is said to have been recovered by FBI agents in Miami, details of the operation or the exact whereabouts of the Odalisque – valued at well over $3m (£2m) – have yet to be revealed. Two weeks ago, the Venezuelan attorney general, Luisa Ortega, declared to the press that her two attempts to contact US officials regarding the painting had gone unanswered. No other announcements have been made since.

In the meantime, the mystery behind the theft of the semi-naked woman is leading some to doubt whether the oil painting allegedly offered to the undercover agents is not in fact another copy.

"I am fascinated about how art works are reproduced. At the end of the day, it turns out, that it doesn't really matter if you are looking at the original or at the fake," Bule said.

But for Wanda de Guébriant, who directs the Archive Matisse in France, telling the original from the fake is central to her role. "The FBI called me shortly after the operation happened. They said they'd call again but they haven't. Who knows?" said Guébriant. "Depending on who is involved, sometimes we never find out what happens," she added.

For Guillermo Barrios, an expert in museum studies, the irony is twofold. He said: "After all the attention this has garnered the fake too will worth a lot of money. It's become a cult figure". © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

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Return of lost Matisse revives questioning of Caracas museum

Auditor found 14 works unaccounted for in checks following discovery that Odalisque in Red Trousers had been stolen

For the curators of Venezuela's most prestigious modern art museum, the recent reappearance of a Matisse that was stolen from their collection more than a decade ago ought to have been cause for joy and relief.

But the FBI sting operation that recovered the French painter's 1925 work Odalisque in Red Trousers in Miami last month has also resurrected awkward questions about more than a dozen other valuable pieces said to be "unaccounted for" at the Caracas Museum of Contemporary Art (MACCSI), including works by Jasper Johns, Henry Moore, Lucian Freud and Jesús Soto.

A former director and an investigative journalist have raised concerns about the works that may be missing, some of which are estimated to be worth as much as $3m (£2m). They claim these are signs of deeper problems, including a lack of transparency, inadequate supervision and personal animosities at an institution that was once deemed among the leading contemporary art centres in Latin America, but has struggled since its founder, Sofía Imber, was sacked by the Venezuelan president, Hugo Chávez, live on public television.

The theft of the Odalisque was the biggest indication of problems at the museum, which was founded in 1973 and became a symbol of the country's oil wealth. Matisse's depiction of a semi-nude, dark-haired woman, which hung in a place of honour, was stolen at some point and replaced by a fake that was discovered in 2002.

It remained missing until last month, when the FBI arrested two suspects – Cuban Pedro Antonio Marcuello Guzman and Mexican María Martha Elisa Ornelas Lazo– who had allegedly been trying to sell the picture to undercover FBI agents for $740,000.

For the former director of the museum, Rita Salvestrini, the investigation in Miami has brought back doubts she raised in 2002 about the running of the museum that she took over after Imber was fired.

After discovering the Matisse hanging on the walls was a fake, Salvestrini ordered a series of full inventory checks. When she realised several pieces were missing, she called in an external auditor, who reported that 14 works – including Jasper Johns's Brooms and a piece by Soto that once hung behind her predecessor's desk – were unaccounted for. In addition, close to 200 other works were uncatalogued. "Both instances were equally alarming because they reflect that none of the controls were being followed," Salvestrini said.

"To me the findings [of the auditor] should have been used to correct a situation but the museum became a place where people's answers were designed to confuse and not to clarify," she said.

It was unclear whether the 14 pieces were temporarily misplaced or stolen, but efforts to track them down came to little.

One work, an etching by Freud, was purchased from the Timothy Taylor gallery in London, but appears not to have arrived at the museum. The London gallery said it had sold 55 Freud etchings to the Caracas museum between 1998 and 2001, "all of which were invoiced to the museum and shipped directly as per instruction".

Marinela Balbi, author of The Kidnap of the Odalisque, said there were 365 discrepancies in the number of works catalogued and accounted for at the museum. "These were institutions that were managed as if they were private, even though they are public. There was no accountability, or controls," said Balbi, who added that the tumult caused by the sacking of the founder also created a period of confusion that thieves may have exploited. After the sacking of Imber "there was a lot of institutional uncertainty coupled with a certain carelessness in inventory practices and a permissiveness in moving works to and from the museum", she said.

The museum denies any of its works are missing.

"Works of art get stolen all the time … Until the FBI reports its findings it would be irresponsible to speculate," said Adriana Meneses Imber, former director of the Jacobo Borges Museum and the daughter of the MACCSI founder. She said: "With the change in administration from my mother to the other person, an inventory was conducted and they said several pieces were missing. That is completely untrue."

The museum did not respond to repeated requests by the Guardian to be shown the works said to be "unaccounted for". On a recent visit there were very few pieces from its permanent collection on display – although Picasso's Suite Vollard etchings were among them. © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

August 12 2012

Chavela Vargas obituary

Hard-drinking, pistol-packing, taboo-breaking singer of Mexican rancheras, revolutionary ballads and tangos

Gut-wrenching renditions of Mexican popular classics combined with a taboo-breaking personality and an iron liver ensured that Chavela Vargas, who has died aged 93, lived her own legend to the full. Vargas's raw, rasping voice and intimate arrangements stripped down well-known rancheras, boleros, revolutionary ballads and tangos to leave them as haunting laments, punctuated by waves of tenderness and bitter irony.

In the 1990s, the Spanish film-maker Pedro Almodóvar, whom Vargas described as her "soulmate", included her music in his films and championed her work, thus ensuring that she will be remembered not only as a tequila-soaked cantina singer from Latin America, but also an international artist who could sell out the most formal venues. "Chavela Vargas turned abandon and desolation into a cathedral within which we all fit," Almodóvar wrote after her death. "She emerged reconciled with the errors she had made and ready to make them again."

Vargas was born in Costa Rica. By her own account, she hardly knew her parents and was brought up by relatives in the countryside, dreaming of the day she would escape to bigger things. Vargas left for Mexico as a teenager and, after a while singing on the streets, became a fixture of the effervescent artistic scene of the post-revolution years. Even in that context, she stood out. She not only slept with women, but also sang love songs about them, wore trousers, smoked cigars, drank heavily, carried a loaded pistol and credited her recovery from polio to shamans.

"Chavela carries with her an aura of grace, charm and a legend," the writer and journalist Paco Ignacio Taibo said in a 2009 television documentary about his friend's life, "but she is also an emotionally possessed earthquake."

Vargas was particularly close to the painter Frida Kahlo. "I admired her deeply," the singer said, "but my love was much bigger than my admiration." She lived for a couple of years with Kahlo and her husband Diego Rivera, whom she described as "a bit amphibian in his ways".

Vargas was also inextricably associated with José Alfredo Jiménez, the singer and composer of many of the best known ranchera songs. The title of her 2002 autobiography Y Si Quieres Saber de Mi Pasado (And If You Want to Know About My Past) comes from a line from a Jiménez song that continues "... it will be necessary to tell a lie".

Vargas and Jiménez would go on drinking binges together that lasted for days at a time and included helping each other serenade the different women they desired. But while Jiménez died young, Vargas continued to drink bars dry until she was in her 60s. She then stopped, abruptly. "Life offered me the most beautiful things that a human being can have," she said, "and I preferred to sink into alcohol."

Vargas suffered deeply from the homophobic atmosphere that enveloped Mexico and helped ensure she was not fully embraced by her adopted homeland until after Spain had elevated her to stardom. "I opened my arms and I said to the world: 'Come here, let's talk.' And the world and I talked every night and sometimes it rejected me," she said in an interview with the Spanish newspaper El País in 2009. "It required tears of blood for me to get ahead."

In her final years, for all the talk of pain, she was also notably satisfied with her achievements. She continued to travel and perform, making the last of her 80 albums, La Luna Grande, in 2011 – a homage to the poetry of Federico García Lorca, with whose spirit she said she chatted regularly.

"I am proud that I do not owe anybody anything, and it is wonderful to feel free," she said in 2009. "Now I have the desire to lie down in death's lap, and I am sure that will be quite beautiful."

• Isabel "Chavela" Vargas Lizano, singer, born 17 April 1919; died 5 August 2012 © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

June 26 2012

Van Gogh's Starry Night recreated in dominoes – video

The Canadian YouTube user FlippyCat recreates Vincent van Gogh's Starry Night using 7,000 dominoes

May 18 2012

Native Americans know that cultural misappropriation is a land of darkness | Jessica Metcalfe

Using Native American-inspired themes in fashion is great, but Native artists themselves too often don't get a look-in

Let's talk about cultural appropriation and cultural misappropriation. The two are very different. But sometimes the two get mixed up. The differences are essential, but not always easy to point out in our daily lives.

Cultural appropriation happens every day, especially in the world of fashion. It's the loose idea of borrowing, sharing and being inspired by other cultures. Cultural appropriation in this sense is an awesome thing. We learn, and we grow. Cultural misappropriation is a land of darkness. It's a place where one culture (most often one that has an historical record of oppressing other cultures) engages in the unauthorised taking of some aspects of another (most often a minority) culture.

Power factors shape the definitions of these two categories. Sharing is great. Unauthorised taking is not. Being inspired by an artist is great. Copying an artist and writing it off as your own is not. Appreciating Native American headdresses is great. Wearing a headdress when you have not been authorised to wear one is not. (And by "authorised" I mean you were gifted the right to wear one by a recognised leader of a Native American community in which headdresses are known to be status symbols. You probably haven't since it is hard to earn this right, so take the headdress off, you look silly.) See, these beautiful items belong to a people. They are restricted cultural items. Not just anyone can wear them. Read this article if you disagree with me.

With headdresses, in my mind the issue is black and white. But not every Native/Native-inspired item is so clear. So let's talk about this. Here are some rough guidelines:

"Can I wear turquoise?" – Yes, it's a beautiful stone, it's found throughout the world, and Native people do not claim ownership over its use.

"I have a small business, I want to label my work as Navajo, because I think it's based on Navajo cultures, can I?" – No, the Navajo nation has trademarked their name, you cannot use it any more than you can label your work as Prada. It's trademark violation.

"I have a small business, and I want to reprint Navajo textiles on my shirts and sell them as Native American T-shirts, can I?" – No, you cannot steal a design from another artist. Furthermore, you cannot label your work as Native American when it is not. There is a law against that.

"I found a tee with really cute cartoon Indians on it, can I wear it?" – We are not cartoons, it's not illegal, but please don't do it – it's just poor taste. Essentially stay away from anything that violates the law, perpetuates stereotypes, or disregards the wishes of Native people. It's a fuzzy world – the lines that divide appropriation and misappropriation can get blurry. It's important to keep the discussion line open. It's also important to do your research before making assumptions.

With Native American cultures inspiring and influencing the broader fashion industry these days (you can see it splattered all over fashion magazines and catalogues), I think it's time we start including actual Native American artists in this movement, rather than just our awesome inspiring culture. I mean, we (the people) are still alive and still exist.

Since the mainstream fashion world doesn't seem to be too keen on giving diversity a chance (and I mean in terms of representation of designers and models from diverse ethnic backgrounds), I've been blogging at Beyond Buckskin in hopes of creating a platform for Native artists – a platform that has been (and continues to be) denied to Native American fashion designers.

It is time that Native American artists reclaim their right to determine what is "Native American" when it comes to fashion. As we have seen in recent popular white culture and hipster movements, this label has been misappropriated (taken without authorisation) and misused. This situation has created important conversations about issues of cultural appropriation, but the debate has also stolen attention from the Native cultures and individual artists who produce "Native" designs, clothing and accessories.

In many ways, our cultures have been reduced to nothing more than patterns on a shirt. There's more to us than that, and I hope to rehumanise Native American designers and their work by giving them an opportunity to explain the history and inspiration behind their craft. These explanations are important because they offer new self-imposed definitions of what is "Native".

I want to provide a means to bring Native artists and their work to the forefront by providing a space to present the people and history behind the trend. It gives them the opportunity to say, "This is Native fashion." With the help of this site, Native artists and designers will be able to create new markets for themselves by broadening the set of images associated with "Native America". Eventually Ralph Lauren, Proenza Schouler and Urban Outfitters will no longer dictate the public's taste for "Native" fashion. Native Americans will. It's about time we start buying Native-made.

• This article was commissioned after a suggestion by Oroklini. If there's a subject you'd like to see covered on Comment is free, please visit our You Tell Us page © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

May 08 2012

Art project brings back memories of Latin America

Hispanic people in Leamington Spa are working with a textile artist to create artwork that reminds them of home

The members of Club Amigos meet in Leamington Spa every second Saturday of the month. The group consists of about 30 people who are mostly from Latin America – Peru, Cuba, Mexico and Costa Rica – and they meet to engage in creative activities aimed at passing on their Hispanic language and culture to their children.

The group has recently been collaborating with textile artist Deirdre Nelson on artwork that reflects the members' conflicted relationship with the notion of home. Nelson is one of a number of artists involved in the Making Moves project – a craft development initiative across the West Midlands led by Staffordshire county council and Birmingham-based craft agency Craftspace.

"We were asked to come up with a project [in Leamington Spa] that would involve and engage the migrant group, and promote the group," explains Nelson.

She encouraged them to draw things that reminded them of home. Some drew everyday objects from their life in Britain, while others were inspired by the countries their families had left. "There was one boy, Alex, who drew a picture of Cuban Indians on a mountain in Cuba because that was where his parents were from," says Nelson.

The drawings are scanned and digitally printed on to a large tablecloth that the group embroiders. "I was amazed at how open the men were to stitching; we had some fantastic sessions where fathers and sons stitched together," says Nelson. The group is meeting this Saturday to celebrate the project and to see the final work.

Nelson has also engaged with Leamington Spa's Portuguese community, who came over to work in service stations along the M40 when the motorway was being built. In her research, Nelson stumbled upon the story of Portuguese love hankies. Traditionally, when a Portuguese woman saw a man she took a liking to she would embroider a handkerchief and embellish it with words and flowers and present it to the man who would then wear it in his pocket. Any other woman seeing him would then realise he was taken.


Nelson learned traditional stitching and has created a pattern for a traditional napkin that is being printed on to disposable napkins. "There are lots of Portuguese cafes in the town, so I will give them out to them and that way the work will be seen and spread out across the community," she says.

The public will be able to visit the Making Moves touring exhibition of work starting at Stafford railway station in September. The tour will continue in other community venues around the West Midlands until August next year. © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

April 18 2012

Cuban art: banged up abroad

Two Cubans are exhibiting their art in Britain – despite being imprisoned in the US – in a groundbreaking new show

Two of the artists featured in a new exhibition will definitely not be present on the opening night. Instead of mingling with fellow artists in London's West End, they will each be spending the time in a high-security cell in a penitentiary in the US.

The pair, Antonio Guerrero and Gerardo Hernández, are members of the so-called Miami Five, who were jailed in the US in 2001 at the conclusion of a controversial trial. The five were Cubans who had infiltrated militant anti-Castro exile groups in Florida that were suspected of carrying out sabotage attacks aimed at destabilising Cuba.

The men were sentenced in Miami to terms varying from 15 years to "double life" on the grounds that they were acting in the US as agents of a foreign power. Their defence was that they were seeking to disrupt terrorist attacks which, the Cuban government claims, have caused hundreds of deaths, most recently in a 90s bombing campaign in Havana hotels and clubs aimed at derailing the booming holiday industry.

Lawyers for the five argued unsuccessfully that a fair trial in the toxic anti-Castro atmosphere of Miami was impossible. In 2011, one of the five, René González, was released and remains on parole in Florida.

The art exhibition, entitled Beyond the Frame, which moves to Glasgow in May, will show the work of 26 of the best-known Cuban artists and of 20 other international artists who have donated work to draw attention to the case. It is the largest collection of Cuban artists ever to be shown in the UK.

"The art itself is very surprising," says Dodie Weppler, an expert on Cuban art who is co-ordinating the exhibition. "There's no socialist realism, it's all things you might not expect. Culture has always been a vital element in Cuba's radical tradition, but the revolution made possible a cultural experiment on a scale never before seen in the Americas." A number of artists being exhibited – "Kcho", Manuel Mendive, "Choco", José Fuster, Juan Roberto Diago – already have international reputations.

Antonio Guerrero learned to draw and paint while in jail in Florence, Colorado, as the pupil of a cellmate, an African-American artist. He works in watercolours, charcoal, oil and pastel, his latest subjects being exotic birds and butterflies, and has written that, through art, "I have overcome imprisonment." Hernández was an amateur cartoonist before his arrest; cartooning remains his speciality.

Art was originally seen as a key part of the Cuban revolution. There are still 14 art schools on the island and a university of the fine arts in Havana. According to Rene Duquesne of Cuba's National Council of Visual Arts, there are 13,000 "registered artists" there. "With this number, there are simply not enough galleries or materials – most of the materials have to be imported," he says. "The blockade causes enormous difficulties. Artists who don't have a salary – who aren't book designers, art teachers or other related jobs – have to rely on the sales of their work. This forces Cuban artists to look abroad."

Weppler says the reputation of Cuban art has increased steadily, as evidenced by an article four years ago in the Wall Street Journal – no great admirer of the Castro brothers – which highlighted Cuba as "the next hot art hub" for investors. The US still operates a blockade against Cuba and a near-total ban on Americans visiting the island, although there has been a slight loosening of restrictions under Barack Obama. Cuban art, however, can be bought by Americans, provided it has not been commissioned; Afro-Cuban artefacts, such as drums or plates, fall foul of the embargo because they have a use and thus fail to qualify as "artworks".

Other artists, mainly UK-based, who have donated their work in support of the show include John Keane, Mona Hatoum, Alasdair Gray, Derek Boshier, John Byrne, David Harding, the kennardphillipps collective and Guardian cartoonist Steve Bell.

"We called the exhibition Beyond the Frame because it ruptured the traditional role of the frame as a boundary and acknowledged the Five have been 'framed' by the US government," says Weppler, who put the show together with the Cuba Solidarity Campaign, in the hope that it will highlight the case of the Miami Five – a cause célèbre on the island – as well as the scope of Cuban art.

"I didn't know a great deal about the Miami Five before," says Keane, official war artist of the 1991 Gulf war. "But I believe in using art to help the course of justice. If art can provide some sort of conscience, it's preferable to merely being a currency for the super-rich." Boshier, the British artist now based in Los Angeles, said that he had made his first artwork connected to the island, entitled Situation in Cuba, back in 1961: "It was a reaction to the Bay of Pigs [the failed US-backed invasion by Cuban exiles]." His contribution to the current exhibition is a 2011 reconstruction of that work.

Beyond the Frame – Contemporary Cuban Art is at Gallery 27, London W1, 23–28 April, and The Lighthouse, Glasgow, 7–13 May. © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

April 13 2012

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American Holocaust: The Destruction of America's Native Peoples


Uploaded by VanderbiltUniversity on 30 Oct 2008

American Holocaust: The Destruction of America's Native Peoples, a lecture by David Stannard, professor and chair of the American Studies Department at the University of Hawaii. Stannard, author of American Holocaust, asserts that the European and white American destruction of the native peoples of the Americas was the most substantial act of genocide in world history. A combination of atrocities and imported plagues resulted in the death of roughly 95 percent of the native population in the Americas. Stannard argues that the perpetrators of the American Holocaust operated from the same ideological source as the architects of the Nazi Holocaust. That ideology remains alive today in American foreign policy, Stannard avers.

The 31st Annual Vanderbilt University Holocaust Lecture Series, the longest continuous Holocaust lecture series at an American university, takes the theme this year of (over) Sites of Memory and examines places that are infused with memories of genocide and the challenge to find effective ways to honor these memories.


cf.: - - "US-Regierung zahlt Ureinwohnern eine Milliarde Dollar" | 2012-04-12

In einer historischen Einigung entschädigen die USA zahlreiche Indianerstämme für die Nutzung ihres Landes. Damit werden zum Teil mehr als 100 Jahre alte Klagen geregelt.

Reposted byhenteaser henteaser

February 02 2012

Play fullscreen
Ecuador Creating Alternative to Neo-Liberal Model

Jayati Ghosh: Ecuador raising taxes on wealthy, higher royalties on oil companies and making large social investments

Time: 16:38 More in News & Politics

January 26 2012

The back of Berlusconi: Is this the end of populism in Europe?

Luigi Guiso, Helios Herrera, Massimo Morelli, 25 January 2012

What good might come from Europe’s crisis? Profligate governments in Italy and Greece, while pandering to the masses, have left their countries with crippling debt. This column draws parallels with Latin America and argues that the current hardship may sound a death knell for populism in southern Europe, as it has elsewhere.

Full Article: The back of Berlusconi: Is this the end of populism in Europe?

// oAnth - IMHO extremely weak, but an outstanding example, how to miss a good chance to characterise the turn from media orientated populism  to media orientated strict authoritarianism.
Reposted from02myEcon-01 02myEcon-01

October 12 2011

Latin American Social Movements and #OccupyWallStreet

Benjamin Dangl in Upside Down World writes a report that “connects tactics and philosophies surrounding the Occupy Wall Street movement with similar movements in Latin America, from the popular assemblies and occupation of factories during Argentina’s economic crisis in 2001-2002, to grassroots struggles for land in Brazil.”

Reposted by99percent 99percent

October 11 2011

Cuba: Review of New Feature Film

Havana Times blogs about a new feature film, set in the Cuban coastal town of Holguin: “Marina presents itself as something different – quieter, more intimate, another (more contemplative) way of looking at ordinary people who come and go within the island.”

Curacao: Triple 10 - Fooled Again?

A year after the dissolution of the Dutch Caribbean federation formerly known as the Netherlands Antilles, TRIUNFO DI SABLIKA examines the fallout: “They still whipping us with a refurbished copy paste Dutch colonial constitution. Same old problematic political coalition system. New government old tricks new business elite same greediness as their predecessors. Media needs a restructuring…justice system still oppressive just like education for our youths.”

Cuba: New Independent News Agency

Pedazos de La Isla announces the launch of a new independent press agency in Cuba; Uncommon Sense comments: “Cuba's independent journalists…are deserving of respect and admiration because without their reports…from the front lines of the struggle for liberty, the world would know far less about the reality of life on the island today.”

Jamaica, U.S.A.: #OccupyTogether Going Global

Diaspora blogger Labrish Jamaica says of the global spread of the Occupy Wall Street phenomenon: “BRILLIANT! May this be the beginning of the end of the immoral, rapacious greed and criminality that has overrun democracy in favor of the 1% plutocratic overlords…”

Recipes for ‘World Dulce de Leche Day'

October 11 is ‘World Dulce de Leche Day‘. To celebrate, a group of bloggers have come together to share recipes -in Spanish and English- and invite others to “make a recipe with dulce de leche, blog about it on October 11, with a link to this blog.”

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