DOCUMENT RESUME

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AUTHOR Roark-Calnek, SueTITL3 Passages: A Celebration of Migrant Arts. A Guide to

the 1991 Exhibition.INSTITUTION BOCES Geneseo Migrant Center, Geneseo, NY.SPONS AGENCY New York.Foundation for the Arts.; New York State

Council on the Arts, New York.PUB DATE 91NOTE 22p.PUB TYPE Creative Works (Literature,Drama,Fine Arts) (030)

EDRS PRICE MF01/PC01 Plus Postage.DESCRIPTORS American Indian Culture; *Art; Black Culture;

Exhibits; *Folk Culture; Haitians; Hispanic AmericanCulture; Mexican Americans; *Migrant Workers

IDENTIFIERS African Americans; Algonquin (Tribe); NativeAmericans

ABSTRACTThis booklet accompanied a 1991 exhibition of migrant

arts, mounted by CAMPS (Creative Artists Migrant Program Services)and an ongoing program of collection and documentation research onmigrant folk arts at the BOCES Geneseo Migrant Centere There are fourpassages in migrant lives: through historical time, through space,through the seasons of nature, and through the cycles of life. Thisexhibit traces passages in the arts of four migrant groups: Mexican,Algonquin Native, Haitian, and African Americans. African Americanmigrart art celebrates the passage of historical time out of Africathough slavery to freedom. Today ancient African traditions areadapted to life tl the migrant stream, as wood found on the way iscarved into walking canes--symbols of traditional authority--and camprappers and poets emulate traditional African praise singers. Haitianart evokes the passage by water in carefully detailed drawings ofboats, which are also a powerful protective Voodoo symbol. Otherprotective spiritual images found in Haitian art are the skeletalmale figure with split color hands and checkerboard patterns of vividcolors. Algonquin art celebrates nature and the turn of the seasons,and includes woodcarvings of images of the bush and floral designs onbaskets, beadwork, and embroidery. Mexican and Mexican-American art,often related to ceremonies marking passage through the life cycle,includes decorations of flowers and cut and folded paper as well asleathercraft and paintings. (SV)

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PASSAGES

A Celebration of Migrant Arts

A Guide to the Exhibition

by

Sue Roark-Calnek, Ph.D., Curator

CAMPS/Folk Arts ProgramLivingston-Steuben-Wyoming

BOCES Geneseo Migrant Center

ACKNOWLEDGEMENTS

We gatefully acknowledge the help of many people whomade this exhibition possible. They include:

The New York State Council on the Arts/Folk Arts, Literature,and Special Arts Services Programs; Poets & Writers; and theNew York Foundation for the Arts, for supporting earlierresearch on which the present exhibition is based.

Bob Lynch, Director of the BOCES Geneseo Migrant Center,and Sylvia Kelly, Coordnator of the Center's CAMPS/Folkkts Progam, for their tireless efforts on behalf of migantfarmworkers.

Contributing researchers for the exhibition sections: JuanaCamacho (Mexican/Mexican American), Dr. Rose-MarieChierici (Haitian American), Dr. Sue Roark-Calnek(Algonquin Native American), and Dr. Mary Arnold Twining(African American).

Maureen Hardng, who produced a splendid design for theexhibition, and Carl Shanahan and his students in ExhibitionDesign at SUNY Geneseo, who helped with its preparationand mounting.

Mary Fink and Juan Huerta, who ably assisted Sylvia Kellyand Sue Roark-Calnek with the catalog layout. Juan Huertaalso photographed artwork for the catalog.

Will Wadsworth of The Pictures Framer, who matted photosand texts for the exhibit.

The photographers whose work is featured in the exhibition:Elizabeth Boettger, Bill Cronin, Deborah Fazackerley,Michael Greenlar, and Roger Smith.

And most of all, the farmworkers who have shared with ustheir skills, their knowledge, and their lives. The presentexhibition can present only a small part of what we havelearned from them. Our deep appreciation goes out to thepeople whose labor sustains us all. Jvluch as gracias. mesianpil, kitglmtgwetc: thank youl

Sue Roark-Calnek

INTRODUCTION

1 here are four passages in migrant lives:

through historical time, anchored in the past whilereaching for the future;

through space, over the sea, across national frontiers, onthe migant stream;

through the seasons of nature, on the land they traveland work;

through the cycles of life, in family and community.

This exhibit traces passages in the arts of four migantgroups: Mexican, Algonquin Native, Haitian, and AfricanAmericans. The passages are common to all migrant people.The pieces shown here highlight, for each goup, onepassage that receives particular expression and value in theirart.

Passages in historical time have left their traces on migantarts: in the African roots of Haitian and African American art,the traditional skiils of Algonquin craftwork, and the diverseIndian and Spanish cultures on which Mexican artisans ctaw.In each case, traditional arts have been transformed in waysthat reflect complex histories of conquest or ensiavement andsurvival. For migrant workers, the arts have been furtheradapted to contemporary life on the migant stream

Moving through space, across political and geographicalboundaries, migrants must travel light. They carry theirtraditions in their minds and speak them in words. Mrterialsare used as they find them; art forms are fitted to new settings.Still, the arts serve as powerful, even protective, reminders of

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home.

Migrants move with the seasons, intimately knowing the landthat they work. More than most workers today, they respectthe feel of the earth in their hands, the blessing and bite of theweather, the changes in plant and animal life. This respect isreflected in artists' cho;ces of materials and techniques. Theirlabor binds them to the land for a season, and then theymove on.

Most miwants return to tomebase" communities in theAmerican South and Southwest, the Canadian North, andMexico. In the supportive community environment of thehomebase, there can flourish the private and publicceremonies that move people through the cycle of life. In

turn, the ceremonies renew a sense of community connectingpeople with their past. Traditional Lilts provide color and form

to the ceremonies of family and community renewal.

The artists whose work you will see are, like all artistseverywhere, creators. They work with tradition, but they alsoimpress upon it their own particular vision and personal style.We honor their creative vision as much as their cultural roots.

AFRICAN AMERICANS

African American migrants in Western New York State workin a variety of vegetables and nits. In the past, they wereoften employed on potato sidr118, where the pieces shownhere were collected.

Their art celebrates the pacisage of historical time, out ofAfrica through slavery to f, eedom. Ancient African traditionsnourished the will to survive. Today they ere adapted to lifeon the migrant stream, in words that travel the hard road fromFlorida to New York and back, in wood found on the way andcarved into forms that recall the African past.

The sky serpent or rainbow snake in West African art is anancient symbol connecting heaven with earth and water. Itappears here on a carved stick and walking canes. Canes orwands in Africa ere symbols of traditional authority. In themiglint camp, the cane asserts prideful identity and street-smart sophistication.

Camp rappers and poets continue the tradition of Africanpraise singers, "men of words" who construct and celebratereputations by their verbal artistry. They tell their stories of lifeon the stream in words sometimes tender, sometimes tough,always moving.

I Work Too Hard" is an extract from a long rap session andmusical perfcrmance. The poems were collected from poetrywriting workshops conducted in miTant camps.

The faces of African American farmworkers are, like theirwords, sometimes tender, sometimes tough, always moving.They are captured indelibly in strong photogaphic imagesthat also provide documentation of the way it was, andsometimes still is, "goin' on the season".

As African American migants have traveled thestream, they have striven to affrm lives of value, forthemselves and their chikken. The rapper asserts bravelythat "when I get to work, it ain't the end of my game". Hispassage through history, from slavery to freedom and towardreal equality, continues.

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HAITIAN AMERICANS

Passages through space, over the sea, brought waves ofHaitian "boat people" to America, as refugee immigrants soonto become miwants. They have harvested potatoes andapples in Western New York, although many no longer travelup from Florida for the "season".

Haitians fled political repression, instability and poverty insearch of a better life. Still, they remember the way home toHaiti in strongly felt, brilliantly colored artwork.

Passage by water is evoked in carefully detailed ctawings ofboats. For Haitian immigrants who were once fishermen, theboat also represents work; the sea and the rivers are richsources of life and livelihood. Seine nets like tho one shownare pulled by teams of men wading through streams .

In the context of the religion called Vodou, the boat is thevi,vde or symbol of Agwe, the god of the sea: a powerfulinvocation of protection by spiritual forces in an uncertainworld. When Haitians first arrived at farms in Western NewYork, some drew boats on the walls of their camps. Otherprotective images appear in the skeletal male figure whose

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enlarged forward foot and split-color hands guard againstspiritual danger. Checkerboard colors break up visualpatterns to confuse and repel evil doers. They can also beseen in a kite and traditional peasant housefronts. In thisway, Haitian art embraces and sanctifies ordinary things.

yodoltand other forms of Haitian popular culture have deeproots in the African past. Like African Americans, all Haitianshave ancestors who experienced the "Middle Passage" of theslave ships across the Atlantic from Africa. Like the Creolelanguage spoken by most Haitian immigants, their culturedrew as well on the legacy of the French who once ruledHaiti. Today, the vivid palette and striking forms of Haitian artinspire artists in Europe and America. History comes fullcircle.

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ALGONQUI NS

Algonquin Native Americans from Western Quebec aremiwant mink skinners on Western New York fur farms. Theirwork applies skills learned in hunting and trapping in thengkimak, the northern Canadian forest or "bush", where theirlives traditionally followed a passage through seasons ofnature_ The work shown here comes from the Barriere LakeBand of Algonquins now settled at Rapid Lake, Province ofQuebec.

Algonquin artisans recognize and respect the turn of theseasons. Birch bark peeled at the right season can be madeinto baskets and decorated by scratching. There is a time fortanning hides for summer moccasins, a time for makingwinter boots and mitts.

The large w000dcarvings displayed here present elegantimages of the bush: the moose and other animals hunted forfood, hides and fur. Floral designs on baskets or in beadworkand embroidery honor the medicine plants that sustainhuman and animal life.

In the traditional Algonquin creation story, the earth is formedon the back of a weat turtle; North America itself is "Turtle

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Island". The plates on a turtle's shell are a calendar markingthe passage of days and months. At Reasonal feasts throughthe year, Algonquin families renew their relationship with theearth.

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As Algonquins move with the seasons over the land, theytravel light. A hunter on snowshoes can walk through thebush "like a rabbir, it is said. Babies were once wrapped inrabbitskin robes for travel. They are often still tied ir. easilyportable carriers or cradleboards. Cradleboards stoodupright allow the child to observe what adults do, looming bywatching.

The Algonquin child will grow up in a world that is rapidlychanging. Clear-cut logging and economic developmentthreaten the bush; the market for animal furs is dedining. Thetfaders who once bartered guns and beads for furs are gone.Like other miTants, Algonquins face an uncertain future withcourage and hope.

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MEXICANS AND MEXICAN AMERICANS

Most migrant farmworkers in Western New York are now ofMexican heritage. They come to this area to cut lettuce orharvest cabbage, onions, or beans. Teams of skilled lettucecutters move across fields with speed and precision. Othercrops are harvested by dose-knit family crews.

Mexican workers cross lifrontera, the border, to workin the United States. For Mexican Americans, Ilfrontera ismore than a line in space; it is a way of connecting with aproud cultural heritage.

At homebases in Florida, California,Texas, or Mexico, folktraditions flourish in ceremonies marking passage throughthe cycles of life: fiestas marking the annual church calendaror stages in life from birth through death. The ceremoniesrenew social ties within families and communities. For aquinceahera or girl's 15th birthday, many godparents share ina family's joy and assist with the expenses of the celebration.

For these joyful or solemn occasions, Mexican artisans foldand cut paper to create piñatas. streamers, and floraldecorations. The tradition (taws on Mexico's twin culturalroots, in Catholic Spain and Native America. In the religionsof ancient Mexico, flowers were symbols of impermanentbeauty, the never-ending cycle of life and death. Senderos

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de petalos (pathways of petals) are still strewn on the Day ofthe Dead.

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In the norteño culture of northern Mexico, traditionalleathercraft is imaginatively applied to animal parts in makingpractical tools for work on ranches and farms. The whipscombine deer feet with alligator and tortoise skin. The deerantler, carried on a saddle pommel by a ranch worker,becomes a rope frayer, corn husker, or weapon of selfdefense as the situation demands.

The paintings of Juan Cavazos portray farms and farm laborin glowing colors. In its grand scale and strong socialmessage, his work echoes the 7eat muralista tradition ofmodern Mexican art. But Juan's vision is very much his own.

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AND THE PASSAGE CONTINUES...

The exhibit closes with images of passage through the livesof migant farmworkers. The accompanying texts celebratemigrant life and labor in the words of the founder and firstdirector of the BOCES Geneseo Migrant Center, Dr. GloriaMattera. Like her, we pay tribute to:

* the hard work that often begins for migrant children beforethey are born;

* the hard work that continues for toddlers and pre-schoolerswho still lack daycare facilities;

* the hard work done by school-age chilcken like Juan, workneeded for their family's survival;

* the hard work that results in a high ckopout rate for migantyouth like David;

* the hard work that only begins in the fields for migantwomen like Cruz, and must continue at home with care forher family;

* the hard work, making us the best fed nation on earth, thatis performed by men and women all too often forgotten by oursociety.

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LIVINGSTON-STEUBEN-WYOMINGBOCES GENESEO MIGRANT CENTER

The BOCES Geneseo Miwant Center serves migrantfarmworkers in a six-county area of Western New York State.Founded in 1968 by Dr. Gloria Mattera, the Center nowoperates under the auspices of the Livingston-Steuben-Wyoming Board of Cooperative Educational Services. Itworks closely with other erea mit/ant programs to coordnateand staff educational, health, cultural, and recreationalservices for micrants.

Center staff have acted as advocates for migant farmworkersby speaking out on their behalf at the local, state, andnational levels. The Center has conducted researchaddressing a number of national issues, including alcoholismamong migrant farmworkers, secondary education, andparental involvement.. Commencing with Project Child,validated in 1973 as an exemplary program by the U.S. Officeof Education, the Center has given special attention tocomprehensive prowams addressing migrant needs in familyand community settings.

CAMPS (Creative Artists Miwant Program Services) bec ln in1975, with funding through the Arts Council.for WyomingCounty. In 1982, a program of collection and documentationresearch on mig.ant folk arts was added, with support fromthe New York State Council on the Arts, Folk Arts Prog-am.Since 1982, CAMPS/Folk Arts has mounted interpretedexhibitions and performances of miwant arts, with activeparticipation from migrant artists and visiting scholars.

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PASSAGES: A Celebration of Migant ArtsSponsored by BOCES Genesee Mig-ant Center

National Conference On Migrant and Seasonal Farmwcskers

April 29 - May 1, 1991

EXHIBITION PIECES

African Ameeican1. "Cold"Group Poem, Kemp Robinson Camp, Wyoming Co., NY 1978

2. Photograph by Roger SmithHunter Camp, Wyoming Co., NY 1973

3 'Urines"Troy Perks, Smith Camp, Wyoming Co., NY 1977

4. Photograph by Elizabeth Boettger

Finch Camp, Wyoming Co., NY 1982

5. "Love Me Blues'Group Poem, Smith Camp, Wyoming Co., NY 197/

6. Photogaph by Elizabeth Boettger

Brown Camp, Wyoming Co., NY 19827. 'Following A Dream"Group Poem, Kemp Robinson Camp, Wyoming Co., NY 1978

8. Photogaph by Elizabeth BoettgerFinch Camp, Wyoming Co., NY 1982

9. 1 Wok Too Herd" (Rap)Ronnie Walker, Morse Camp, Uvingston Co., NY 1986

10. Photovaph by Elizabeth Boettger

Mocre Camp, Uvingston Co., NY 198611. "Snake on a Bough'. Carved wood with varnish and ink

Otis Green, Wells Camp, Wyoming Co., NY 1985

12. Crine. Carved wood with varnish and rhinestones

James.; Scrivens, Smith Camp, Wyoming Co., NY 1984

13. Cane. Carved wood with stain and varnish

James Scrivens, Smith Camp14. - 19. Six photographsby Bill Cronin and Michael Greenlee

Migant camps in Wyoming and Steuben Cos., NY 1976 - 1979

Haitian American1. Photogaph by Michael Greenlet.

Hardy Road Camp. Wyoming Co., NY 1983

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2. `Les Poissone. Pastels on paperMaris L Stanford, Hoshande Camp, Wyoming Co., NY 19853. Seine nst. Cotton Minegnus Sylvsstre, Lyndonvilis Camp, Orisons Co., NY 19864. Photowaph by Michael GreenlyCitö de Sdell. Haiti 19905. 'Boar. Pen and Ink on paperChides LaMarre, Hoshandis Camp, Wyoming Co., NY 19855. 'Haitian Bateau°. Pastels on pap,Louis J. OM, Hoehanda Camp, Wyoming Co., NY 1985

7. lodou Man'. Pastels on paperCantave Swan. Hoehands Camp, Wyoming Co., NY 19858. 'Kite Flying*. Pastels on paperLouis J. Brilii, Hoshande Camp, Wyoming Co., NY 1985

9. 'House. Pastels on paperSean Cantave, Hoehande Camp, Wyoming Co., NY 198510. liouu°. Pastels on paperSale Poispi, Hoehands Camp, Wyoming Co., NY 198511. "House', Pastels on paperDelva Richelieu, Hoehande Camp, Wyoming Co., NY 198512. 'National Bank'. Pastels on paperFrido Mondestin, Hoehande Camp, Wyoming Co., NY 198513. - 18. Six photogaphs by Michael GrainierMiami, FL and Hardy Road Camp, Wyoming Co., NY 194.3

Algonquin1. Winter boots. DierNde with beackvorkBarbara Poucachiche, Rapid Lake, Queboc 19852. Mitts. Dutlel, with embroidery and moosehide trimNellie Raft, Rapid Lake, Quebec 19853. Mids. Deerhlde with silk embroidery and fur trimMina Brascoupe, Bennett Farm, Ontario Co., NY 19874. Snowshoes. Wood with varnish and bablcheFrank Thusky, Saxby Farm, Ontario Co., NY 19765. Photogaph by Michael GreenletRapid Lake, Quebec 19886. Rabbilskin blanket. Twined rabbitskin stripsLena Nottaway, Rapid Lake, Quebec 19877. Photogaph by Michas! GreenlyRapid Lake, Quebec 1988

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6. Cradebowd Wood with cloth cover and destdde thongAlphonse Rodgers and Mary Jane No !away, Rapid Lake, Quebec 19881 Baby ckesa. Cloth with rickrackGracey Rail Jerome, Rapid Lake, Quebsc 198810. Baby cap. Cloth viith rickrackGracsy Rail Jerome, Rapid Lake, Quebec 198611. Baby shoes. MoosehideGracsy Rail Jerome, Rapid Lake, Quebec 198812. Baby socks. WoolGracsy Rall Jerome, Rapid Lake, Quebec 198813. Newborn baby carrier. Birch bark with moosehide and yarnLena Nottaway, Rapid Lake, Quebec 198614. Baby wrap. Cloth vdth rickrackGracey Ran Jerome, Rapid Lake, Quebec 198815. Storage basket. Birch bark with ash dm and spruceroot blndngLena Nottaway, Rapid Lake, Quebec 198716. Basket. Birch bark with ash rim andlackpine root bindngIrene Jerome. Rapid Lako, Quebec 199017. "Moose. Curved pine with stain and varnishJacob Wawatis, Genes.% NY 199018. *Beavers°. Carved pine with Main and varnishJacob Wawatie, Genesso, NY 199019. `Bears". Carved pine with stain and varnishJacob Wawatic Genus% NY 199020. - 25. Six phologaphs by Michael Greenlaral Rapid Lake, Quebec 1988 - 1990.

Mexican and Mexican American1. "Cesar Chavez*. Oil on canvasJuan Cavazos, Buffalo, NY 19882. 'Fields% Oil on canvasJuan Cavazos, Buffalo, NY 19883. Knits with sheath. Steel and leatherSamna Muftis, Muss* Camp, Steuben Co., NY 19904. Wtdpo MuMz, Musso Camp, Steuben Co., NY 1990S. Whip. Dem leg with tondos skinSartain Whiz, Musso Camp, Steuben Co., NY 19906. Deer horn trayer. Deer antlerSeralln Muhlz, Musso Camp, Steuben Co., NY 19907. Photomontage

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Monks Garda, Garda Camp, Steuben Co., NY 1990(with Elisabeth Boettger and David Burke)6. Cut paper **M. Paper, folded and cutAurora Guerrero, Hanson Farm, Ontario Co., NY 19909. Photottsph by Debora,. FaaackerleyHanson Farm, Onterio Co., NY 199010. Paper flowers. Paper with strawsMel Hernandez, Robson Farm, Ontwio Co., NY 199011. Paper crowns. Paper with wire, paint, wax, and glitterOlga Rodiguez, Robson Farm, Ontwio Co., NY 199012. Ouincefiera crown. Wire with ertifidal flowers, tape and ribbonsHector Avalos, Sharon Farms, Stsuben Co., NY 198513. Ouincenera cane. Wire with wtifidal flowers, tape and ribbonsHector Malta, Shearon Farms, Steuben Co., NY 198514. - 16. Three photographs by Michael GreenlwOswego Co., NY 1983

And the Passe. Continues...1. - 6. Six pholocaaphs by Bi8 Cronin, Michael Greenlet', andRoger Smith, Wyoming end Steuben Cos., NY 1973- 1983

The BOCES Geneseo !Agent Center geteluqy acknowledges supportfrom the New York Slate Coundl on the kts: Folk Arts, Uterattre, endSped& Arts Services Prof:rams; Poets and Writers: and the New YorkFoundation lor the Arts, lor funding previous research on which thisexhibition is based.