Celebrating Good Friday at Shrine of the Sacred Heart, Columbia Heights, DC

As part of the Museum’s documentation of communities of faith, museum photographer Susana Raab photographed the Good Friday Procession at the Shrine of the Sacred Heart on April 14, 2017.

Members of the Shrine of the Sacred Heart wait in front of the church before beginning their procession through Mt. Pleasant and Columbia Heights on Good Friday. Photograph by Susana Raab/Anacostia Community Museum/Smithsonian Institution

If you spend any time in Latin America around Easter you may be familiar with the ritual of Good Friday processions just prior to the celebration of Easter Sunday.  Every year, penitents and clergy gather to reenact the crucifixion, on the path known as the Via Dolorosa, or “Way of Grief” in Latin.  Processing on foot, and bearing biers with images of Saints, the Virgin Mary, and Jesus, the marchers perform this act of penance in commemoration of Jesus’ sacrifice of his life for mankind’s sins.

A young parishioner dressed as a Roman soldier waits to begin the procession outside the Shrine of the Sacred Heart on Good Friday. Photo by Susana Raab/Anacostia Community Museum/Smithsonian Institution

Here in Washington, DC, perhaps no other parish is as identified with carrying on this tradition as the Shrine of the Sacred Heart.  Established in 1899, this Roman Catholic church in the Mount Pleasant/Columbia Heights neighborhood of Washington, DC has a long history of social justice ministry.  Run by the Franciscan Capuchin Order, it is the spiritual home to many Latin American families, including a large population of Salvadoran-Americans.

A penitent reenacts the role of Jesus Christ on the Via Dolorosa, his last walk with the cross before being crucified. Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

In 2017, the procession began at the church at 3211 Sacred Heart Way, moving past townhomes on Park Road before entering Mount Pleasant Street, continuing on Irving Street NW to 14th Street NW in Columbia Heights, and forming a loop that ends at the church.

Spectators hold votive candles as they line the streets of Mt. Pleasant during the procession.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

A family gathers to light the votive candles that they will bear as they file behind the penitents and join the Good Friday procession.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

The procession walked past row houses on the streets of Mt. Pleasant before heading through the central commercial district on Mt. Pleasant Avenue.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

The youngest penitents in the procession dressed as shepherds.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

A life-size Jesus in a coffin was borne on the backs of a group of men, who carried their heavy burden while singing hymns in unison with the crowd that grew in numbers  as they approached the heart of Mt. Pleasant on Mt. Pleasant Street.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

Spectators lined the streets of Mt. Pleasant to watch the large procession pass.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

Singing in Spanish, the crowd was lit by the small votive candles they carried while a  group of men carried an effigy of the Virgin Mary through Mt. Pleasant St.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

The procession, numbering several hundred people,  travelled in a wide loop, traversing through the Mt. Pleasant neighborhood before reaching 14th Street in Columbia Heights on Park Rd.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

Various songs and hymns were sung in different languages within the procession, representing the Latin American, Vietnamese, and Haitian immigrants who have found a spiritual home at the Shrine of the Sacred Heart.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

As his group sings softly in French, a Haitian man holds his hand to his heart as he brings the Virgin Mary back to the Church at the end of the procession.Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

Over an hour later, the parishioners return the Shrine to say Mass on after the Good Friday Procession.
Photo by Susana Raab/Anacosita Community Museum/Smithsonian Institution

 

 

 

 

Ms. Kilbourne: Chemistry Teacher Extraordinaire

“Among the things that have made teaching of chemistry an inspiration have been the intrinsic challenge of the subject matter, and the enthusiasm of the students—above all, witnessing their later successes in life. . .”      –Elaine M. Kilbourne, circa 1967

Elaine M. Kilbourne (1923-2014)

As Women’s History Month comes to a close, we would like to highlight the achievements and influence of high school chemistry teacher Elaine M. Kilbourne (1923-2014), who taught locally from 1948 to 1993. A collection of scrapbooks and other memorabilia she compiled was recently donated to the Museum by her friend and former student, Mr. Guy A. Toscano. It documents her distinguished career as a teacher and educator, and her ability to mentor and inspire generations of students.

Elaine M. Kilbourne, Anacostia History School Chemistry class, undated.

During her tenure at Anacostia High School in Washington, DC (1948-1968), and later at Thomas S. Wootton High School in Rockville, MD (1979-1993), Ms. Kilbourne earned a national reputation for her teaching. She pioneered the use of experimental and hands-on learning in her classroom, even discussing “atomic and ionic dimensions and molecular structure from student-constructed models”. In 1958 and 1963, Ms. Kilbourne received Principal Awards for Excellence in Science Teaching by the District of Columbia. The American Chemical Society recognized her contributions to the STEM field with numerous awards, including the Second District James Bryant Conan Award in High School Chemical Teaching in 1967.

Ms. Kilbourne is presented the James Bryant Conant Award, 1967

Not a person to rest on her laurels, Ms. Kilbourne created a series of national curricula for high school chemistry seniors while serving as Science Education Specialist for the Food and Drug Administration, U.S. Department of Health and Human Services. She also worked for the National Science Foundation’s summer program, training chemistry teachers.

This is one of ten science projects written by Ms. Kilbourne, while she worked as a Science Education Specialist at the Food and Drug Administration.

Throughout her long career, Ms. Kilbourne demonstrated a passion for chemistry and a keen ability to influence students’ learning achievements. Her impact is evident in the letters and notes of appreciation she received from students, which are preserved in her scrapbooks. Actions speak even louder than words, and as one of her awards noted, an “average of nine to ten of her students per year” went on to major in science at college, leading in several cases to illustrious careers in STEM fields.

Ms. Kilbourne graduated from Eastside High School in 1940, received her B. A. in Physical Sciences from Montclair State Teachers College in 1944 and completed a M.A. degree in Student Personnel Administration at Columbia University in 1947. The collection contains limited personal information, and I am left to wonder about this remarkable woman’s early life and school experiences, what sparked her interest in chemistry, and how she experienced being a woman science teacher during the mid-20th century. What is undeniable is that she contributed to the advancement of STEM education, and that she instilled a love of learning in generations of Washington, DC area students. Her contributions are now duly documented among the Museum’s collections.

 

Help us identify these families!

In honor of National Quilting Day, research conservator Annaick Keruzec takes a closer look at several quilts with photographic patches in the museum’s collection.

Quilts are made for comfort, to decorate a home, or to tell a family story. For a textile conservator like myself, each quilt is unique and fascinating. Crafted from small pieces of fabric, they carry within them things that were part of the quilt maker’s environment. I can spend hours researching each fabric square, identifying fibers through the microscope or combing through historic sales catalogues to date and source the fabrics. I can examine how they were selected, arranged, and stitched together. I can document and admire the handiwork, the color combinations, and the artistry. Quilts are richly textured objects, full of connections and personal choices made by the maker. Indeed, researching quilts can offer remarkable insights on the person who made them.

Quilt with photographic patches

Shroud Series #2, Quilt by Fay Pullen Fairbrother. Photographed during examination in the collections processing room of the museum.

Several quilts in the museum’s collection incorporate squares with photographic images printed on them. This gives an added layer of complexity. How were they made? Why were these photos chosen? What was the artist’s intention? I am collaborating with a photo conservator and conservation scientists at the Smithsonian’s Museum Conservation Institute (MCI) to document these photographic quilts historically, technically, and personally from the artist’s perspective. In the next few months, we will analyze the fabrics, inks, emulsions, and binders used to create the photo patches – and we will report on it in this blog.

I’ve been examining a set of seven quilts created in the early 1990s by the artist Fay Pullen Fairbrother (1948-1997). Collectively titled The Shroud Series, they incorporate turn-of-the-century photographs depicting family portraits, lynchings, and the Ku Klux Klan. In an artist statement shortly after she made the quilts, Fairbrother wrote that the photographs of the KKK activities, studio portraits of black and white families, and lynched men clearly reflected a dissolution of family values and morals, Christian or otherwise. She chose to accentuate the dissonance of the violent imagery by juxtaposing it with quilt making, which has associations of comfort and family. The images stand out among the patchwork of the quilt.

 

I’ve been sourcing the images for the 50 photo-patches Fairbrother created, although I am not sure where and how she located them pre-internet. She reused some images, so they constitute a total of 24 different photographs. Among them are eight photographs depicting lynchings. Lynchings were public events that were described and recorded in local and sometimes national news. Some were depicted on early 20th-century postcards. I have identified the men in four photographs as Bennie Simmons (1913), Thomas Shipp and Abram Smith (1930), Claude Neal (1934), and Rubin Stacy (1935), whose photographs are published in Without Sanctuary: Lynching Photography in America (2000). Four other scenes remain unidentified.

On three of the quilts in the Shroud Series, Fairbrother incorporated family portraits. They show well-dressed black and white families posing against draped studio backdrops. In contrast to the lynching photographs, the portraits are private and personal. Family portraits are also ubiquitous, and it is hard to describe them in a way that is unique. As a result, portraits are difficult to research and document. I have contacted archives to which Fairbrother might have had access, but have not yet located the images she used.

Please help us identify the five family portraits shown above and below! Have you seen these photographs or any like them? Let us know in the comments section.

  

Our scientific research on the quilts will continue to reveal Fairbrother’s technical processes. Meanwhile I am hoping to discover more about the artist’s life and sources of inspiration for her exceptional quilt series.

A Portrait of Frederick Douglass

Urban Waterways newsletter issue 9

Urban Waterways and Education

Sockeye Salmon in the fish ladder at the Hiram M. Chittenden Locks. (U.S. Army Corps of Engineers photo by Shane Wallenda/released)

As waterways and their environs undergo the process of being restored and deemed valuable in the eyes of a variety of stakeholders, the multitude of their “values” has become apparent as residents and other interested parties seek to define, solidify, and justify their connections and right to these natural resources.   How do we utilize them? What roles can the natural world play in our lives?  This issue explores education along waterways.   Education can be defined as “the process of giving or receiving systematic instruction, especially at a school or university.”  It can also be defined as “an enlightening experience”.   As communities look to a future in which equitable access to reclaimed natural resources is one of the foundational pieces to healthy, sustainable communities what kind of educational experience is owed the people living along our urban waterways? Do either of the above definitions suit the task before us or is it a combination of the two?

The contributors of this issue present a variety of models for how our natural resources can be used as an integral part of the transmission of skills and values needed to ensure informed civic engagement in the variety of issues facing communities as they work to create a sense of belonging to and equal access to their natural world. UW Newsletter 9

If You Lived Here: the Historic Barry Farm Settlement

Archaeological artifacts from Historic Barry Farm on display at the Anacostia Community Museum, 2017

In celebration of the 150th anniversary of Historic Barry Farm, the Museum presents a display of unique household items from the late-19th to mid-20th centuries. These items were excavated by urban archaeologists at the site of the Anacostia Metro Station in 1981.

Back in 1867, the Freedmen’s Bureau purchased 375 acres of land from Juliana Barry to create a settlement where freed slaves and free blacks could build their homes. The lots ranged in price from $125-$300 which had to be paid in instalments over two years. Lumber for the construction of a basic 14×24-foot house was also available for purchase. In order to pay for their new land, families held down jobs in the city during the day, and at night they crossed the river to build their homes. Over time, this post-bellum African-American community grew to include not only homes, but also schools, churches, and thriving businesses.

Porcelain Box from Historic Barry Farm, 1991.0064.0008

The objects on display in the exhibit illustrate a flourishing middle-class neighborhood. Some of the items were locally made, others imported, some mass-produced, and others hand-crafted. Of particular interest, the late 19th-century porcelain trinket box is stamped on the bottom with ‘Victoria Carlsbad Austria,’ showing that the neighborhood’s ladies favored elegant, European-made boxes for storing their treasured items. Another object, the stoneware crock bottle of ginger beer, suggests a preference for non-alcoholic beverages during Prohibition. The bottle was produced between 1910-1914 by the Washington Bottling Company once located at 465 Stafford Alley, SW, in Washington, D.C.

Beverage Bottle from Historic Barry Farm, 1991.0064.0005

The display complements an outdoor art installation titled “If You Lived Here,” created by Washington, D.C. artist Peter Krsko. The structure encourages us to reflect on how we live − in the house, the home, and the broader community across 150 years of shared history.

“If You Lived Here” Art Installation by Peter Krsko & Pink Line Project, outside the Anacostia Community Museum, 2017

Please join us for programming through July 2nd! More information is at https://www.ifyoulivedheredc.com/events/

This project was developed in collaboration with The Pink Line Project + Citizen Innovation Lab, the DC Preservation Office, and with funding from the DC Office of Planning and the Kresge Foundation.

For further information on the area’s history, check out:
http://cdi.anacostia.si.edu/wp-content/uploads/2011/10/Portia-James-EOR-Article.pdf

Flashback Friday: Good Hope Road

 

Commercial buildings and traffic along Good Hope Road in 1975.   Learn more here.

#FlashbackFriday

An Immigrant’s Journey: Cornelio Campos and Gateways

Cornelio Campos

 During the research process prior to the opening of Gateways/Portales, I had the pleasure of meeting with the artist Cornelio Campos his Durham, North Carolina home-studio several times. I got to sit among his vibrant paintings and works-in-progress, and learn about this soft-spoken artist’s journey. Born in Cherán, Mexico, he arrived in the United States in 1989, moving first to Los Angeles where he worked in construction. Eventually he moved to North Carolina in 1992 after hearing of better job prospects from a cousin. He moved to Epson, North Carolina, where he did farmwork. He later transitioned into landscaping and moved to Durham. He currently works as an alarm installation specialist in addition to being a well-known artist in North Carolina. He has been featured in many group and independent shows, as well as community events throughout the state.

In 2015, the archives at the Durham County Library accessioned and are continuing to build Campos’ archive. His papers include correspondence, sketches, purchase invoices, institutional partnerships, his many exhibitions, as well as commissions, including one for noted Chilean author Isabel Allende. The archive details the depth of his artistic career in addition to his importance in the state of North Carolina as a whole.

Campos’ personal experience of coming to the United States and to Durham in particular, is that of other Latinxs in the region. Many Latinxs started coming to North Carolina in the 1990s, drawn by the promise of work and money. Like Campos, many became farmworkers. In March of 2016, Dr. Ariana Curtis conducted a video interview with Campos for the Anacostia Community Museum’s Gateways/Portales exhibition. During his interview Campos lamented how incredibly taxing farmwork was, and how few people understand what difficult, back-breaking work it is. “No one told me how hard coming to the United States would be.”

Like Campos, many Latinxs found steadier, non-seasonal work, and ended up making Durham their home. The Southeastern United States is currently experiencing some of the largest Latinx population growth in the country. This growth, particularly in urban centers like Durham, is challenging and changing the black-white binary that has dominated the Southeastern United States for decades. Campos’ painting Realidad Norteña (the Reality of the North) helps document that change, as well as confronting viewers with the realities of the immigrant experience.

realidadnortena

Realidad Norteña by Cornelio Campos, 2016 Anacostia Community Museum, Smithsonian Institution

 

Campos’ body of work visualizes and examines both the geographic and cultural borders between Latinxs and the larger United States population. Like the “Big Three” Mexican Muralists before him, (Diego Rivera, David Alfaro Siqueiros , and Jose Clemente Orozco), his large scale paintings feature workers and the marginalized as subjects, with social justice as their themes. Campos aims to visualize the dangers and difficulties that people experience not only in crossing the border into the United States, but the severe circumstances that lead to such a decision. Realidad Norteña (the Reality of the North) was painted after Campos became a United States citizen; he describes it as his most personal, autobiographical piece.

The central image of the painting is a female figure that fuses the Virgin of Guadalupe, symbol of Mexico on the left, and the Statue of Liberty on the right, in a rising sun. The rays of the brown Virgin’s mandala mirror the blonde Statue of Liberty’s crown. In the center of the female figure’s chest is a hybrid seal that combines the U.S.’s bald eagle and Mexico’s emblem of a golden eagle devouring a rattlesnake. The eagle stands on a combination of Mexico’s prickly pear cactus and the U.S. olive branch. Spanning the female figure and bridging the two halves is a monarch butterfly, symbol of migration. Beneath the monarch is an orange lily blended with a white flowering dogwood blossom, state flower of North Carolina; the stem of the flower is stylized barbed wire that bisects the bottom of the painting.

On the left of the picture plane, Campos has depicted a mother and child seated in an arid, barren Mexican landscape which merges with the steps of a Pre-Columbian temple. On the right is a segmented landscape, divided from the Mexican side by the barbed wire. In the segment closest to the wire is a desert littered with bones and a faceless, contorted figure, waist-deep in the sand, gazing up at the U.S. flag. Just beyond the flag is a verdant, lush field, tended by hunched farmworkers.

During a September 2016 visit to Campos’ home, he brought out a faded cardboard box. When he lifted the lid I gasped when I saw the contents: the boots he wore as a farmworker when he first came to North Carolina. He then brought out a small, tissue-thin envelope which held his ticket from his journey from Mexico to the U.S.  Both the boots and ticket stub are displayed together in the introductory section of Gateways/Portales. The dusty, weathered boots add an even greater weight to Realidad Norteña, hung just across the gallery.

The exhibition, "Gateways/Portales," curated by Dr. Ariana Curtis at the Anacostia Community Museum from December 5, 2016 - August 6, 2017. Photo by Susana Raab/Anacostia Community Museum/Smithsonian Instituion

Campos’ boots and ticket from Mexico are on display in the introduction of Gateways/Portales

In his video interview for the Gateways/Portales exhibition, which will be part of the ACM permanent collection, Campos discussed how people on opposite ends of the political spectrum have reacted to his work. Shrugging and smiling, Campos noted that he received an intense amount of anti-immigrant backlash when the University of North Carolina, Chapel Hill bought and displayed his work, but despite the negative feedback, he was pleased that his art was sparking discussion. He says he sees his work as a form of visual documentation, and as he says, “cultural diplomacy”. In addition to the University of North Carolina, Chapel Hill, Campos has worked with several institutions throughout the state including Duke University, Johnston Community College, Peace College, North Carolina State University, and Smithsonian affiliate North Carolina Museum of History to try and educate and create a dialogue between the Latinx and the non-Latinx communities.

Realidad Norteña has recently been acquired by ACM, and will be on display as part of the Gateways/Portales exhibition, on view until August 6, 2017.

[this post is written by Elena Muñoz]

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Elena C. MunozElena C. Muñoz received her MA in Art History from Rutgers University, and her BA in Art History from Fordham University. Her primary research interest is teasing out the African influences in Latin American
and Latino art. She is also fascinated with the evolution and uses of Marian imagery in the Americas. In 2014, she was a recipient of the Smithsonian’s Latino Museum Studies fellowship, working with the Teodoro Vidal Collection at the Lunder Center and the Smithsonian American Art Museum. Currently she is a research assistant at the Anacostia Community Museum, working on the exhibition Gateways/Portales, which examines Latino im/migration in the D.C. Metro Area, Baltimore, the Raleigh-Durham region of North Carolina, and Charlotte, North Carolina.

 

cornelio-campos-in-studioCornelio Campos is a self-trained painter from Cheran, Michoacan,Mexico who now resides in Durham, North Carolina. He has been painting since childhood, although the strong themes present in many of his paintings did not surface until he became an American citizen as an adult. His earlier works show a Mexican folkloric influence, whereas his more recent works are quite contextual, mixing ancient and modern styles, themes and images. Campos paints with a passion for educating others, primarily on the migrant experience, and for sharing the customs and culture of his people, Purepecha from Cherán. His work has been shown at exhibits throughout North Carolina, including Duke and UNC – Chapel Hill, where some of his pieces are permanently on display.

Book Review: Public Housing, Urban Development in Byker by Sirkka-Liisa Konttinen at the Anacostia Community Museum Library

But now you don’t care if your neighbor looks at ye. She might have fifty watches and she’ll not give you the time . . .  ” – Byker by Sirrka-Liisa Konttinen

Published in 1985, and representing over 12 years of work by Finnish photographer Sirrka-Liisa Konttinen, who lived in this working-class community in Newcastle for 7 years, Byker depicts the last days of this public housing development before it was razed in the 1970s to make room for a world-famous architect’s design, the Byker Wall Estate by Ralph Erskine and home to 9,500 people.

Here in Washington, D.C.’s Ward 8, the community of Barry Farm is facing similar issues of relocation and development and there are a few local photographers working in those communities producing work, but none of whom I am aware actually live there while engaging in such a dedicated documentation of this community specificity as exemplified in Byker. Her focus and persistence in following this now very different community is remarkable.

The Anacostia Community Museum is lucky to own a second-hand copy annotated by an original Byker resident.  How wonderful it is to see his/her inscriptions under some of the photographs confirming the veracity of Ms. Konttinen’s portrayal of the Byker spirit.

Perhaps most significantly for us, Byker serves as a cautionary tale in the breaking up and restructuring a community.   Much as the Barry Farm Community was bifurcated by the building of Suitland Parkway in the 1940’s, and then further overwhelmed by the relocation of the majority of public housing to east of the Anacostia River in the 1960s, so is the United Kingdom facing a second wave of public housing redevelopment, though Byker Wall is being spared this time, as the original Byker was not in the 1970s.

Despite the authorities best efforts at engaging the community and encouraging participation – architect Erskine famously set up shop in a defunct funeral parlor in the Byker community hosting open hours for residents  – less than 20 percent of the original Byker residents returned after the new Byker Wall had been erected.

“Over 17,000 people lived in Byker at the start of the redevelopment. Fewer than 20% of them were living in the New Byker in 1976. One is only left to speculate what would have happened had the policy not been to retain the community, ” Peter Malpass wrote in a commission by the Department of the Environment quoted in the afterword in Byker

Through Ms. Konttinen’s work in Byker we can see the effects of the forces of neighborhood change and renewal on one specific populace.  In the photographer’s follow-up work in Byker Revisited, the viewer gets more of a sense that isolation and dislocation have taken hold over Byker, even as the subjects of her camera’s gaze become more multicultural and diverse.

To see this book in person as well as browse other titles in our growing urban community photography book collection, you can come to the Anacostia Museum Library (let us know that you are coming and we will pull the book for you), more information on how to contact us and hours is available here.

More resources on neighborhood change and Byker:

https://www.theguardian.com/cities/2015/may/21/byker-wall-newcastles-noble-failure-of-an-estate-a-history-of-cities-in-50-buildings-day-41

See more of Sirrka-Liiisa Konttinen’s work here:

http://lens.blogs.nytimes.com/2013/02/08/bringing-color-to-newcastle/?_r=0

http://www.amber-online.com/collection/byker/

http://www.amber-online.com/collection/byker-revisited/

December 12th – La Virgen de Guadalupe

On this day in 1531 the Virgin of Guadalupe was said to have appeared in Mexico to an indigenous man, Juan Diego.

The dark-skinned Guadalupe is often interpreted as a coming together of Spanish and indigenous cultures in Mexico. Her name, Guadalupe is the Spanish pronunciation of the Nahuatl name Coatlaxopeuh, a Mesoamerican fertility goddess. Her appearance to an indigenous man in the New World further rooted Guadalupe to the specificity of this place.

The Virgin of Guadalupe is a powerful religious and cultural icon for Mexico and Mexican-Americans. Her green mantle and golden mandala are readily recognizable to people outside of those groups. She is not only a visualization of faith, but also a symbol of nationalism, cultural pride, and resistance for those in Mexico and beyond its national borders.

 

demographics-mexican

Of the four areas explored in Gateways/Portales, Mexicans are the dominant Latinx group in Baltimore, Raleigh-Durham, and Charlotte. In Washington, D.C. metro area, Mexicans are second to Salvadorans. As a result of Mexican migrations throughout the US and the power of her imagery, Guadalupe appears in various iterations throughout the Gateways/Portales exhibition.

 

15540341_10101612089656310_534593938_o

She is representative of Mexico in Cornelio Campos’ autobiographical painting Realidad Norteña in “Social Justice & Civil Rights”.

 

 

 

madre-protectora-baltimore-tile

She is reimagined as an armed millennial in Rosalia Torres-Weiner’s  Madre Protectora displayed in “Making Home and Constructing Communities”.

 

 

virgin-de-guadalupe-mexico-2

Displayed beneath Torres-Weiner’s painting is a photograph of the altar dedicated to the Virgin of Guadalupe in Baltimore’s Sacred Heart of Jesus Church.

 

 

altar

Artist Gabriela Lujan placed a candle emblazoned with the Virgin’s image on the Day of the Dead altar in the “Festival as Community Empowerment” section.

 

eversoll_diablo_sm

High in the festival portal is an image of a diablo dancer resting on the base of an handmade altar for the Virgin after a performance in Durham, NC on her feast day.

 

 

La Virgin de Guadalupe was declared the patroness for the entire Continental Americas by the Catholic Church in 1945. Though she is most often associated with Mexico and Mexican-American culture, she was not specifically designated as the patroness for Mexico until 2002.  Guadalupe acts as a sort of cultural glue in the U.S., with her imagery and associated ceremonies being transplanted, creating a sense of community and solidarity among her devotees in Mexico and beyond.  December 12th marks the Feast of Our Lady of Guadalupe in the United States!

 

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Gateways is open! Through the lenses of social justice, constructing communities, and festivals as community empowerment, the exhibition explores the triumphs and struggles of Latinx migrants and immigrants in four urban destinations: Washington, D.C., Baltimore, MD, Raleigh-Durham, NC and Charlotte, NC

 

 

written with Elena C. Muñoz, research/curatorial assistant for the Gateways exhibition. 

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