A post from Jevi. You can comment on this post up through Friday this week, since it was posted belatedly.
In this week’s topic on Indigenous Roots and Rituals, it is interesting to discuss the parallelism between Carlos Villa’s Atang and Lucy Lippard’s Telling, particularly the struggles of artists of color in their art practice and everyday life. Although Lucy Lippard speaks about “artists of color” in general ( from African American, Latin Americans to Native Americans..) Carlos Villa tells stories of Asian Americans in the Bay Area on a personal level.
What do artists of color have in common? Especially those who migrated and grew up in the United States. Why are hybridity, fusion and syncretism very important subjects in Lucy Lippard’s article? Why are storytelling and personal narratives very important methods or strategies used by artists of color to understand one’s “roots” and history?
Do you think Carlos Villa’s storytelling method in “60 Forms of Utang”– about artists he admires– is an effective way of narrating the “forgotten” history of Asian American artists in the Bay Area? As Villa mentioned in Atang No. 53, “..history belongs to those in power.”
In both articles, art is often mentioned as survival mechanism; do you think art can be used as a form of ritual like Atang or Santeria to “ward off evil spirits” by artists of color in order to survive our contemporary society? Can artists still be griot- story teller of the past or shaman-a healer of the future in the 21st century?