WEBVTT

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It's very good that
you note that, Julie,

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because that is sort of a given
preponderance to the visual.

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It's a way of
oppressing cultures,

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you know, because the
majority, for example,

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when they speak
of the Indigenous,

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I always get the sense
that people think oh, she's

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speaking-- for example,
in Chile, I'm often

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ridiculed for being an Indian.

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And why is it?

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Because people have this idea
that the Indians are minorities

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and they are primitive peoples.

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Nobody thinks that
there are 380 million

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of Indigenous peoples who
still live in oral cultures

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like people have lived
for millions of years.

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So this preponderance
of the visual

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is something that is not
experienced by the majority

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of people in this planet.

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However, this wants
to be imposed.

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So that's why
people, for example,

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that when you have a colonizing
effect of a dominant culture,

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people can adopt the images
of the dominant culture.

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But they very rarely give
up their sounds, you know?

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And I think that is something.

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It's like a resistance
of connectivity

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with the ancient spirit that is
transmitted through the ability

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to hear, which is dimensionless.

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As a desert rat, I
encourage you to reflect

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on how racism is being
[INAUDIBLE] in Arizona

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today, as visitors.

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It's the Black-white sort of
racist discourse is not a--

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you can learn from it,
but it's Brown-white here.

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And so it's really interesting
when you look at how

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Mexican-Americans and Mexicans,
Latinos, ethnic studies,

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immigration--

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it's all this politics
of dis- belonging

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to say you're supposed
to be invisible.

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So Trayvon Martin is fine.

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We learned.

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We understand.

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But there's acts that are going
on today that are very toxic.

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Then to Cecilia, the
question about-- your piece

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was beautiful.

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The desert what we have,
will be gone, thank god.

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And the fact that the whole
time you were doing this,

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it sort of--

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I kept thinking about the
power of ritual and ceremony,

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which within this Indigenous
Southwest, we see it.

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We have holidays around it.

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And so it's really interesting.

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Then I was trying to think about
how does that work with film

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and text in terms of ceremony?

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If we wanted to kind of
put ourselves in that frame

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for a moment?

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Just thoughts.

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It's a wonderful thought.

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For example, yesterday I
went for the second time

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to the so-called reservation.

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I do not understand how
this word came to be.

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I mean, it is so offensive,
so brutally offensive

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just as a name for
a place, you know?

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But there I was.

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And so I have been
translating some

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of the poetry of the
Southwest, the sacred poetry

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of the Southwest, for
more than 20 years.

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So for me, it's really
a thrill to be here,

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to be in the land that
generated this poetry that

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has been sustained
for thousands of years

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through ceremony and ritual,
and never through text.

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And I encountered
this lady who told me,

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we don't speak about it.

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So that's how it's kept
alive, by not writing and not

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speaking about it.

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But how can that be so contrary
to the Western idea, you see?

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And yet it is so powerful that
it really generates such force.

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However, covered up it
may be, it will surface.

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And I know-- I am with you--

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the desert will win.

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The deserts will continue.

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The Black-white--
there's a sportscaster.

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And anytime that anything
happens that is racially,

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he says, oh, it's a Black-white.

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And then the other guy goes, you
mean it's another Black-white?

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And he's like, yeah,
it's a Black-white.

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And it just-- it's
code for it's something

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between the dominant
and the non-dominant,

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or the Black and the white,
the Brown and the white.

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So I think to say that here,
the question is Brown--

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I think the Black and white
is any form of discrimination

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in this country by the
majority against a minority.

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So in a way, you're also
talking about gay marriage.

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You're talking about
immigration [INAUDIBLE]..

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That's why we call this
piece "Undocumented,"

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because we're also talking
about undocumented.

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The same impotence is what
sprouts out into oppression

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across.

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And I think it's a
mistake to see it

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as well, you might
think the Black-white,

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but here, it's the
Brown-- that's bullshit.

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It's all the same.

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It's all the same.

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I didn't.

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I didn't.

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I was just trying to say
you're here as visitors.

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You should understand it.

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No, no, no.

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I'm understanding.

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But I'm saying--

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And so I use the language of
the politics of disbelonging,

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understanding that
marginalization

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happens all the time.

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Right.

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But it's so easy to
reduce it to Black-white.

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And I want to keep that--

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I want to rupture that.

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I want to create a
critical witness that

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says no, it's more than that.

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And we know it.

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I get what you're saying.

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I didn't have a
problem with the work.

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No, no, no.

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It's not a question
of having a problem.

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But I do think it's a
good thing to bring up,

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because I think it becomes
emblematic of a condition that

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plays itself out over
and over and over again

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but points to different--

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at one time, it was women.

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And probably if Romney gets in,
it will be women again, right?

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And it just-- but
it's the same dynamic.

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It's a question of limiting
the rights of certain people

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because they don't
have the power.

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That's it.

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It's just like in
order to maintain

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a certain kind of power,
all of these other people

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should have none.

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But I do think that what
goes on for Brown men,

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Black men in this country,
it's not that dissimilar.

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It's the same dynamic.

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They're all Black men, in a way.

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Black man is just a paradigm
for that kind of condition.

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Oh, I've got it.

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Thank you.

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I just want to thank
you all for coming.

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Let's give our artists a great--

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[APPLAUSE]

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